It is a beautiful Adagio that can be interpreted as an expression of sorrow. While it can be considered an instrumental piece, it is also acceptable to interpret it as an opera aria and sing it out with full expression. Trills and other ornaments should be played at a tempo that allows for effortless vocalization.

From bar 6, a long trill begins, at which point the uppermost note in the left hand becomes the melody line.

Fundamentally, the piece progresses in two-bar phrases. Midway through, the piece modulates to B-flat major. While the contrast between G minor and B-flat major is certainly desired, this piece can easily lose its sense of direction, so always strive to convey a sense of progression towards a destination. For example, in bar 1, aim towards the E-flat (Es) in the right hand on the third beat, and consider the following D as a resolution. Similarly, in bar 4, on the third beat, aim towards the B-flat (B), and decrease the volume on A. In bar 6 as well, aim towards the B-flat on the second beat, and decrease the volume on A. The same applies to bar 9, on the fourth beat. These descending melodic lines by a second should be treated as targets, and you should give them a sense of direction, moving towards them.