First, it might be advisable to listen to many of Haydn's other sonatas and works, not just this one, to gain a thorough understanding of his character. While some pieces require a refined performance, this sonata, at least, demands the expression of Haydn's humorous side; merely playing it elegantly and accurately is insufficient. Within this first movement, there are numerous thematic materials, and these must be clearly differentiated for the listener, sometimes strong and incisive like brass instruments, at other times gentle like violins. In other words, a performance lacking in color and proceeding too cautiously will be utterly unengaging. Taking the opening 8 measures as an example, one might imagine it as an opera, with a man telling a joke, beginning his discourse until the first beat of measure 4. Next, a woman begins to sing from the second beat of measure 4, continuing until the downbeat of C-sharp in measure 6. Subsequently, a large man sings from the following A until the first beat of A in measure 8. Thus, three characters sing within these 8 measures: the first, a typical man speaking cheerfully; the second, a melodic female voice; and the third, a humorous forte singing from measures 6 to 8. Finally, in the left hand, there is an octave of E and A; a crescendo should be applied towards the final A. The final A octave should be the loudest within measures 1-8. Measures 13-16 feature a sudden forte, a characteristic element of Haydn's surprises. The same material reappears towards the end of the exposition.

Rather than performing everything with uniform elegance, neatness, and seriousness, it is desirable to infuse the performance with the joy of Haydn's surprises, humor, and sudden fortes. For a reference video, please listen to the performance by Evgeny Kissin.