This is a highly dramatic second movement. The harmonic progression is not ordinary, and the scene changes are very rapid, requiring considerable ingenuity. This movement contains many very small note values, and if played strictly on time (at a tempo close to a metronome), it inevitably results in a mechanical performance, which is the primary issue that must be addressed.

For example, if the right-hand 32nd notes in measures 42-45 are played strictly in tempo, that section will naturally become mechanically fast, making the music itself very rigid and distant from an aria, resulting in a mere mechanical performance. Please keep this in mind.

Therefore, one suggestion is as follows: First, tempo rubato is essential for this second movement. Take ample time and control the tempo freely. The basic tempo should be set to quarter note = 50-55. This does not mean choosing one specific tempo within 50-55, but rather moving within the range of 50-55.

For example, suppose you start the opening at 55. At 55, the tempo will not feel overly drawn out. Then, upon reaching the dramatic measure 19, slow down the tempo, use tempo rubato, and after playing measure 19, pause slightly before entering measure 20, and again pause slightly before playing measure 21. This creates the impression of tension gradually and heavily building. In this case, 55 would be far too fast, so drop the tempo to 50 here, and by playing each measure “as if intentionally struggling,” it becomes possible to express a certain kind of suffering.

The same applies to measures 28-30. Furthermore, in this case, considering that an F-major chord awaits in measure 31, instead of abruptly rushing from measure 30 into measure 31, if you slowly decrease the tempo and create a pause before entering measure 31, you can enter it naturally.

Such ingenuity is required throughout the entire movement.