This second movement, while open to various interpretations and images, is considered by the author to be a string quartet. As a hint for performing this second movement, we will consider it primarily as a string quartet. For example, there are many elements of string ensemble, such as the articulation in measure 3, reminiscent of violin bowing, the articulation between measures 17 and 18, and the string ensemble elements between measures 24 and 25.

By thinking in this way, one can imagine violin bowing and consider the articulation, which also aids in the independence of voices. For instance, in measure 11, while the first violin plays a quarter note D, the second violin and viola play triplets underneath. By being careful with the volume so that the first violin's D is never obscured, the music can flow horizontally in a polyphonic manner. Have you noticed that this second movement proceeds almost entirely in three voices? While there are sections with two voices, the majority progresses in three. Please consider the four voices of a quartet reinterpreted into three: the lower register as cello, the higher register as violin, and the middle as viola, etc. The piece is in a minor key, and while there are dramatic sections, occasionally featuring augmented sixth chords (German 6/5), it is not an overly serious piece; rather, consider it an expression of beauty more than sorrow.