The following analysis is merely one example. It is hoped that it will assist in the structural understanding of the piece. This second movement is conceived as an aria, envisioned for orchestra plus two soprano (or alto) singers.

The first four measures feature the orchestra's entrance. The soprano begins singing from the upbeat of the second beat of measure 5. As many trills appear, particularly between measures 9 and 12, the tempo should be set sufficiently to Adagio, ensuring a speed that allows for the unforced execution of ornaments. The character of the piece is fundamentally optimistic. While it becomes dramatic at times, it is essentially considered a serene aria.

After the beautiful melody concludes in measures 5-12, the character shifts to a slightly coquettish song from measure 13. In measure 14, the second soprano enters, singing the same melody as in measure 13. Subsequently, the two engage in a dialogue, culminating in a cadenza in measure 20.

From measure 21, the two singers perform a beautiful harmony at an interval of a third. This harmony in thirds continues until measure 28. Thereafter, whenever thirds appear, it should be assumed that both singers are simultaneously singing the same lyrics.

From measures 29-32, the first soprano sings, with the second soprano entering in measure 33.

While this is merely an example, what the performer should prioritize is the polyphonic lines. The individual voices should be respected and treated with care and precision. Rather than thinking vertically, consider all parts, including those of the orchestra, as continuously flowing horizontal lines.