Please note that the following is the author's perspective and not a matter of "right or wrong." This sonata is conceived instrumentally, with sections that evoke an orchestra and others that suggest a string quartet. Therefore, I will proceed with an instrumental approach.

In the opening measures 1-3, the left hand has two quarter notes written on the first beat and two on the second beat, respectively. The author's score indicates an asterisk to release the pedal on the second beat. Indeed, there are recordings that follow this instruction. However, the author finds this pedaling counter-intuitive: after a large, tutti-like texture on the first beat, the number of notes is halved on the second beat, and the bass is lost. If it were the author, I would sustain the pedal for beats 1-2 and release it on the third beat. Please try both versions: changing the pedal on the second beat and sustaining it for two beats.

The dynamic markings written in Mozart's scores should sometimes not be taken at face value. For example, a p marking on the second beat, as in measure 4, makes logical sense. This implies that the forte of the tutti continues until the first beat of measure 4, and then a smaller ensemble plays p from the second beat. However, the author's score has a forte marking on the first beat of measure 16. Some recordings faithfully adhere to this dynamic, playing suddenly forte from the first beat. Nevertheless, this F on the first beat is the end of the phrase from the preceding measure, measure 15. Therefore, even if one assumes the volume increases from measure 16, the F in the right hand on the first beat is considered to descend from the G on the third beat of the previous measure, so it should be played softer than the G.

Furthermore, the first beat of measure 12 is the ending of the tutti from measures 9-11, so it should be played forte, and a string quartet is considered to begin from the second beat. This string quartet ensemble is considered to conclude on the first beat of measure 16. For your reference.