Consider this music to be smooth and horizontally flowing, at a slow tempo that naturally accommodates improvisatory ornaments. Although an instrumental piece, it is not dynamic; rather, consider it a melodic line akin to a song, and it is appropriate to play it with ample singing quality.

This Andante has one distinct characteristic: many non-harmonic tones, known as suspensions, are written. There are many types of these suspensions, such as 2-3, 4-3, and 7-6, appearing throughout the piece. Pay attention to their treatment.

For example, in bar 1, a harmonic analysis reveals GBD for beats 1-2 and DF#A for beats 3-4. Therefore, ideally, no notes other than DF#A should be present during beats 3-4; if they are, they become non-harmonic tones. Non-harmonic tones must always resolve to harmonic tones. When resolving, a diminuendo should be applied, playing the non-harmonic tone louder.

Here, in the bass clef at beat 3 of bar 1, G is tied from beat 2, which is a 2-3 suspension, a non-harmonic tone. This means it is carried over from beat 2. And this G resolves to F# on the next beat.

Therefore, give more volume to the G and play the F# softer.

Many such suspensions appear throughout the piece, so treat them similarly.