First, it is advisable not to strictly follow the voice parts. For instance, the soprano in m. 6 is A#, C#, F# for beats 1-2, so m. 8 should also be G#, B, E (even if E belongs to a separate voice).

Next, identify the peak points. One such point is the soprano A in m. 11, which is reached after an ascending sequence.

Another peak is the A in m. 17, which serves as the highest note (the highest-pitched sound) in this Largo.

The chord in m. 20, reached by the left hand's descending octave figure in m. 19, is also a point of high tension. Performers should gradually increase the volume without losing the sense of direction towards these peak points.

Conversely, let's also identify the places that should be played at the softest (pp) dynamic. For example, the E G# B chord in m. 8 is a warm chord within the strict F#-minor; therefore, it should be played at p or pp, and the volume should gradually increase from there.

This Largo possesses a highly dignified and strict atmosphere.