The author's advice regarding this second movement may be considered somewhat personal. Concerning the issue of timing, the author believes that some listeners count in their heads while listening to music, and therefore, performances that disrupt their counting are undesirable. Hence, especially in slow-tempo movements, it is desirable to reproduce the timing accurately. This is the first important point.

Furthermore, in this trio, phrases progress in two-measure units. For instance, in the first eight measures, there are four phrases, each two measures long. The first phrase descends from the highest note, F, on the second beat of the first measure. The second phrase, by introducing G natural, creates an impression of C major; although its notes are higher than those of the first phrase, it can be considered harmonically less tense.

The third phrase reaches its highest note, B, and uses a diminished triad, making it a high-tension phrase. The fourth phrase ends with a deceptive cadence, also making it a phrase that is by no means stable.

For these phrases, which progress in two-measure units, try to determine the dynamics and tone quality according to their respective contexts.