This is the powerful and joyful D-major third movement. The interesting aspect of this piece lies in the changes in instrumentation and the number of instruments used in each section. In sections where one hand plays the accompaniment and the other plays the melody line, prioritize the melody line (e.g., measures 23-27). In other sections, the performer should decide which voice to prioritize, bringing that out while subduing the other.

In solo sections like measure 58, the right hand's movement is likely akin to a violin, so bring this out, considering the left hand as an accompaniment like a cello. In this way, please try various arrangements of balance and other elements, as if you were the conductor yourself.

To heighten the tension and enjoyment of this piece, dynamic shaping of sequences is essential. For example, the sequence starting from measure 61 is an ascending figure. By setting measure 69 as the goal and applying a crescendo towards it, a clear direction is established, and the tension is heightened. Please make sure not to play sequences flatly; strive to apply dynamics to give them direction.