This is a second movement of considerable scale. To achieve a dramatic performance, one must utilize a wide dynamic range, and care should be taken not to overly suppress the volume.

Fundamentally, consider this second movement as a scene from an opera, imagining a soprano singer performing, and emulate that in your playing. A crucial point to note when emulating singing in this manner is to avoid sounding mechanical. To achieve this, distance yourself slightly from the metronome and perform the lyrical sections with a sense of free improvisation. In essence, prioritize the "singer," with the "orchestra" following suit.

However, this approach is naturally not feasible for the B minor middle section. The reason is that the continuous sextuplets indicate a section building towards a peak, requiring the music to constantly press forward and maintain tension. Nevertheless, once the A section returns, perform it freely and lyrically as before. The written 12-tuplets, 13-tuplets, or 32nd notes, etc., do not necessarily need to be strictly counted; rather, play them improvisationally, like a singer's glissando.