This second movement is considered an aria. It tends to sound rigid and metronomic. Therefore, at least for the lyrical sections, it is advisable to slightly deviate from the tempo, approaching the style of Romantic pieces (this is merely the author's personal opinion). As an experiment, imagine measures 17-24 were written by a Romantic composer like Chopin, and try playing them with significant rubato and ample pedal. The degree of deviation is a matter of discretion, but this is the fundamental idea to consider.

At times, the orchestra enters, such as in measures 14-16 and 29-31. In such passages, play with precise timing, without applying rubato.

This movement is a variation. From measure 39, the same phrase as in measure 1 is repeated with different ornaments, etc.

In this movement too, do not take the forte markings literally; avoid producing an overly loud forte. Instead, conceive of it as the lustrous forte produced by a string section.