This is a very sentimental and dramatic second movement. The key of F minor itself is a key that specifically expresses sadness, and Haydn's variations also use the same key. It is unclear whether the entire piece was set in F major with this in mind, but it is a piece that should be sung relatively freely, like an opera aria. However, there are several points to note. Although I mentioned 'freely,' it is crucial to keep in mind the fundamental principle that the left-hand accompaniment should align with the right hand. The time signature of this piece is 6/8, and compound meters inherently tend to progress without interruption. Therefore, this second movement should also proceed without stopping the flow. Be careful not to hold back, take time, or pause with the left hand itself. Doing so would cause the listener to lose the beat and halt the flow. 'Freely' means aligning with the right hand. For example, if there are parts in the right hand's melodic line that you wish to emphasize or notes you want to linger on, it is certainly possible to express them by taking appropriate time, and the left hand supporting this is perfectly acceptable. This means that the left hand should not take time independently. Fundamentally, the left hand should proceed steadily, without disrupting the time signature. At times, when the left hand is absent (or when the sixteenth notes disappear, as in measure 4), and the right hand can sing freely, you should express the right hand even more freely. Similarly, in measures 9-12, the right hand can sing freely.