Although an aria, it is large in scale and contains many dramatic sections. Ultimately, measures 37-40 are considered the peak of this second movement, and the tension gradually builds towards this point from around measure 34.

A key point of attention in this movement is the treatment of repeated notes. When the same note appears two or more times consecutively, be careful never to play them with the same volume or timbre. For example, at the beginning, in measure 1, the second beat in the right hand is G, and the beginning of the third beat is also G, meaning G appears three times consecutively. If possible, subtly vary the volume from the second beat towards the G on the third beat, ensuring that these three Gs are not all identical.

There are repeated notes where a lack of nuance is noticeable, and others where it is less so. For instance, the semi-staccato GGGG on the second beat of measure 4 does not require significant volume variation if played lightly.

A prominent example is the AGG on the third beat of measure 10. In this case, A is a non-harmonic tone, and the adjacent G is the resolution. This G should be played weaker and lighter than the A, and since it has a slur, it should be cut short. However, the G on the upbeat of the third beat is a longer note, and this G should be played with more emphasis than the preceding G (not forte, but with a sense of implication). Similarly, in measure 11, on the first beat, there are Es Es, and then on the second beat, excluding the Es extended by a tie, three notes enter, leading towards the non-harmonic tone Cis on the third beat. Once Cis is reached, release the tension and play the subsequent D softly.

Please note that if mishandled, these "repeated notes" can flatten the music and make it sound rigid.