This is the second movement, primarily based on triplets. While the left-hand accompaniment is almost entirely filled with triplets, the right hand in the third beat of measure 4 is written in eighth notes, intruding into the triplets. This compositional style suggests a dream-like, fantastical aria. Although it's difficult to specify the exact scene, for instance, measure 4 would naturally be a cadential (ending) section. However, the melodic line B B from measures 1-2 (within the two-measure phrase) reappears in measure 4. This suggests a persistent reiteration of the same idea. It could be a plea, an emphasis of affection, or an attempt to convince someone. However, its repetition twice, across measures 2-3 and 3-4, makes it a strong expression.

This material becomes even stronger when the A section returns, with B B appearing three times between measures 44 and 47. While it doesn't necessarily mean "play loudly," please play it with such a special feeling.

Although it is a slow, fantastical aria, be careful not to play too strongly when octaves appear in sections marked forte. Furthermore, left-hand octaves, such as those in measure 21, must not be disconnected, nor should they become muddy from the pedal. Change the pedal frequently and precisely to ensure they remain connected and clear.