While the indication 'Andante con moto' might suggest a tempo that is not overly slow, if one attempts to play the turn-like notes on the first beat of measure 14 unhurriedly and melodically, or similarly, the 32nd notes on the third beat of measure 20 without haste, it becomes clear that the tempo setting should not be excessively fast. The following discussion is based on this premise.

The second movement features a remarkably frequent pattern of alternating notes between the left and right hands, such as in measures 14-19, where one hand plays on the downbeat and the other on the upbeat, alternating. Typically, when performing such passages, varying the volume or timbre of one hand relative to the other can eliminate stiffness and allow the music to flow horizontally. However, in this second movement, where the downbeat notes consist of two notes (a third) and the upbeat consists of a single note, the two downbeat notes tend to become disproportionately louder, making the volume control between these two voices extremely challenging.

Furthermore, as seen in measures 45-50, even when the left hand is not playing in thirds, if the accompaniment is on the downbeat, volume control also becomes quite difficult.

Therefore, the problem can be resolved by embracing 'con moto'. The more precisely one plays this second movement, with its alternating notes, strictly according to the metronome, the more vertical and mechanical the performance tends to become. Try to approach this second movement as closely as possible to Romantic music, within permissible limits. And give it 'direction.' These two points are key.

For instance, when reaching the peak point at measure 50, by providing sufficient direction in the preceding sequence, and then at measure 50, extending the tempo to its maximum and singing freely, the performance of this second movement will dramatically transform. Try performing the entire second movement with free rubato, as if it were Romantic music. This is the fundamental idea.