This third movement should be approached as an ensemble piece. Large and small groups perform alternately. Observing the dynamics, forte is consistently followed by piano, and piano by forte, indicating an alternation between forte and piano. Therefore, forte passages should be interpreted as performed by the large group, and piano passages by the small group. Consequently, a clear distinction in dynamics is desired. This is the first point.

Furthermore, while this movement is not overtly optimistic, it is entirely devoid of any serious aspects. The impression is of elegant, light, and pleasant music flowing continuously.

Pay attention to the detailed articulations, which evoke string playing. For instance, from measures 8 to 11, imitate violin bowing and play the slurs connecting two notes as if on a string instrument. From the third beat of measure 24 to the second beat of measure 26, accents fall on the off-beats, surprising the listener. From the third beat of measure 26 to measure 28, accents return to the on-beats. Do not overlook these subtle articulations; use them to bring out the interest of the piece.