This second movement, like the first, is a movement with strong instrumental elements. Let's continue to consider it based on a string quartet. For example, if we assume that up to measure 21, the cello does not enter, and only three instruments—violin and viola—are playing, it proceeds in exactly three voices, making it easier to visualize.

When a slur covers two notes, as in the melody line of measure 3, try to imitate the appropriate violin bowing. In this case, the second of the two notes should be played without force, pp and staccato.

Now, please look at measures 27-28 in the Trio section. Here, the cello can either enter or not, but the right hand should be changed to two voices. That is, in the inner voice, do not treat the sustained note H (B natural) as an eighth note; instead, play it as a quarter note, pp, and sustain it with the thumb. By so doing, H (B natural) can continue to sound on the downbeat as well. If you then press the pedal one beat at a time, H (B natural) will remain, but no muddiness will occur. Please imagine this sustained note as a single instrument, continuing to sustain. The author has also tried this, and it clearly adds thickness and allows for a more polyphonic sound.

Incidentally, if these two measures are played strictly according to the score, observing the note values precisely and without using the pedal, it becomes clear that the music sounds truly bland, mechanical, and vertically segmented. Although these are minor points, such considerations are crucial.