This unique first movement is fundamentally conceived as a dialogue between two voices. While the number of notes increases towards the end of each section, thickening the texture to as many as four voices, it is essentially a two-voice texture. Therefore, the primary aim should be to achieve independence of the voices, respecting both parts. There may be instances where one voice executes a crescendo while the other performs a diminuendo; thus, ensure that each voice maintains internal coherence. For example, in measure 2, the left-hand voice ascends, so its volume might gradually increase, whereas the right-hand voice descends from the suspension F to the resolution E. Therefore, apply a diminuendo to the right hand and a crescendo to the left hand. The essence of this sonata's first movement is, above all, to maintain a "smooth horizontal flow." Consequently, without perceiving the vertical beats (even if intellectually aware of them), strive for a legato, semi-improvised, and smooth flow. Furthermore, even when forte markings appear, such as in measure 30, or when octave scales are written, never play loudly or aggressively; instead, perform with an unwavering focus on a smooth, horizontal flow.