This is the third movement, which features a great deal of two-voice writing. When three voices appear, they seem to be written more to complete the chord members rather than as independent voices. That said, the two voices are not entirely independent either; the melodic line is often found in the right hand (upper voice), while the left hand takes on an accompanying role.

While articulations may vary across editions, if there were a choice, this author would feel that staccato, rather than legato, would be more suitable for this piece, especially for the left-hand passages resembling a walking bass, such as in measures 1-2.

The piece as a whole has a light and cheerful feel, devoid of seriousness, embodying Haydn's unique humorous and delightful character. Therefore, it is advisable to avoid a heavy left-hand touch.

Furthermore, when intricate notes appear, such as in measures 44-47, be careful not to slow down the tempo. Unless there are specific instructions like un poco rit., maintain a consistent tempo throughout.

The second movement of this sonata concludes on the dominant, creating a sense of anticipation for what follows. Furthermore, it is likely that the theme written in measure 1 of the second movement shares the same melodic contour (though in a different key) as the theme in measure 1 of this third movement. From this perspective, the third movement can be seen as a continuation of the second, suddenly becoming bright and offering a sense of relief and tranquility.