Movement 1 (Allegro deciso)

This movement has a clear and constructive impression, reminiscent of Haydn's style. It is characterized by the contrapuntal movement of themes and sonorities, and while valuing the sound quality throughout, one should aim to maintain a sense of gravitas without becoming light. While maintaining a consistent tempo, in sections where a natural forward momentum is felt, such as measures 3, 6, and 9-10, a brisk forward movement is required. It is important to articulate carefully, especially for staccato notes with tenuto, where one should sustain the sound firmly and listen to the harmonies created by the overlapping of the left and right hands. From measure 24 onwards, there are many accidentals, making it a section where performers may easily feel difficulty. While there are fingerings that avoid black keys, starting all passages with the 5th finger allows for a unified fingering. When the difficulty of the notes and the difficulty of the fingering coincide, proposing a fingering that deliberately uses the 5th finger can be one approach.

Movement 2 (Andante con espressione)

This movement has a lyrical character, and the dialogue between the right-hand melody and the left-hand accompaniment is impressive. Under the “cantabile” indication at the beginning, one should aim to perform while maintaining a calm and smooth flow. Supported by the stepwise motion in the left hand, allowing the melody to progress horizontally results in a natural expression. The turns (ornaments) should be practiced in isolation to enable a light touch. In melodies that progress on the same note, such as in measure 5, the legato can easily be broken, so it is a section where one should be conscious of the connection of sounds. Imagine the bowing of string instruments and strive for smooth phrasing. From the third beat of measure 16, the scene changes, characterized by leaps and dotted rhythms. One should aim to begin with a clear forte and express the gradual return to a quiet section.

Movement 3 (Rondo: Allegro vivace)

This is a lighthearted finale in rondo form, a movement that feels rhythmic and playful. While maintaining a strong sense of pulse, one should be careful not to overemphasize strong beats and aim to preserve a natural flow. Although it is formally in 4/4 time, it is effective to play with the image of completing the phrase from the anacrusis to the third beat in one go, riding on a 2-beat rhythm. The many scales that appear throughout the piece, when played with a refreshing, rushing feel based on a 2-beat rhythm, will allow one to experience the joy of playing. I would certainly like students to experience this kind of physical enjoyment as well.