The first movement of this famous sonata can be interpreted in many ways, but personally, I consider this sonata to be optimistic. The most fitting interpretation is to view this first movement as a scene from an opera. Imagine a tenor proudly singing, with the lyrics expressing anticipation or expectation for something. It is also possible to imagine that the high-pitched sections are sung not by the tenor, but by another singer who enters.

At measure 42, a dialogue begins between the tenor and soprano singers. At measure 53, the soprano's laughter begins with EsEsEsEs, and another person responds with AsAsAsAs, leading to a sense of reconciliation by measure 58.

In the development section, from measure 65, imagine a string quartet, and the string instruments begin to play. At measure 84, it enters C minor, but this is by no means serious; it quickly shifts to a major key, and the sense of anticipation rises again.

At measure 108, the mutual laughter resumes. Even when a seemingly serious diminished seventh chord appears, it quickly changes to a major triad, returning to an optimistic atmosphere.

Fundamentally, consider this entire first movement to be an optimistic world, and play it lightly and joyfully. Timing is crucial. Even in sections with long rests, count precisely and avoid taking extra time.