This second movement is like an aria, which can be interpreted as sorrowful. While possessing immense beauty, if not played carefully, it can easily become a stiff, vertically-oriented piece. Please refer to the following points of caution:

• Performers should be aware of the existence of all non-harmonic tones in this movement, and should express the difference between non-harmonic tones and harmonic tones in their playing. For example, the E-flat on the first beat of the right hand in measure 8 is a non-harmonic tone called a suspension, which is an extension of the E-flat from the previous measure. Therefore, the E-flat in measure 8 should be emphasized, and it resolves to D on the second beat. When resolving, it is generally advisable to play with less volume than the non-harmonic tone. Hence, almost no force should be applied to the D; play it as if it's fading away. Pay careful attention to the treatment of such non-harmonic tones.
• Furthermore, do not place an accent on the final note of a phrase. For instance, do not accent the A on the second beat of measure 2, and play it with less volume than the preceding B.
• In addition, distinguish between important notes and less important ones. For example, in measure 35, the right hand has E-flat, C, G, E-flat, D, G, B natural, F, but melodically, E-flat, D, and F are considered important. Therefore, be mindful of these important notes and avoid playing the other notes stiffly or with excessive force.
• If equal force is applied to all notes in a passage where eight eighth notes are evenly arranged, the music will become very stiff and vertical, lacking horizontal flow. In measure 39, you may also consider it as D, C, A, B, G, or D, C, B. Be careful with measures containing eight consecutive eighth notes.