These are more points of caution than performance tips. Many learners can relatively easily grasp the atmosphere of this piece and play it lightly, quickly, and joyfully. This is acceptable up to a point.

Point 1

From the off-beat of the second beat of measure 8, many chords repeat. Especially in measures 10 and 12, where the same chord repeats, ensure there is absolutely no "rushing of tempo." This is also a section where it is very difficult to feel the beat. If you rush (accelerate) here, it will create a sense of pressure.

Point 2

From measures 17 to 26, two notes are connected with a legato slur. Please consider this analogous to violin bowing. As for the performance technique, play the first note normally, connect it seamlessly to the next note, and then cut the second note short. However, at that time, the volume of the second note must always be softer than the first note. If the volume of the second note is louder than the first, or if the articulation of the second note is unclear, it will ruin the effect. For the second note, reduce the volume with an upward motion of the finger (or hand) and cut it very short.

Point 3

This is a Classical period work. Classical period works are primarily instrumental. In orchestras and ensembles, where a conductor is present or everyone plays together, the tempo is unified and never fluctuates.

Unless otherwise indicated by the composer, the tempo proceeds steadily and without fluctuation. Therefore, unnecessary ritenuto or ritardando are forbidden. Also, be careful not to slow down the tempo in the final measures 42-44.