This is the second movement, which is in variation form. Towards the latter half, the note values become considerably finer, octaves appear, and the texture thickens. However, the primary point of attention is dynamics. Not limited to this sonata, most dynamic markings in this second movement are written as forte or piano. Above all, be careful not to overemphasize the forte, and do not play the fine notes as if they were an etude. Even when forte is written, it differs from the forte of Beethoven or Liszt. On modern pianos (instruments), even without particular effort, if many notes are written, the volume naturally increases.

And another point concerns tempo. Please look at the first beat of the first measure. Slurs are written on AF and BG respectively. This signifies violin bowing, meaning that after playing AF, you cut the sound once before playing BG. The same applies thereafter. And set a slow tempo that allows for ample room even while observing that articulation. In the latter half, fine notes also appear. If possible, you will want to proceed at the same tempo as the first measure, so at the beginning, observe the articulation and maintain a comfortable, slow tempo.