Let us consider the A section of the second movement, which is in ABA form. While the interpretation of this minuet is entirely at the performer's discretion, for the author, it resonates as an aria, imbued with vocal qualities. Let us assume, for instance, that a phrase begins on the anacrusis G-sharp and ends on F-sharp on the second beat of measure 2. In this case, the direction would be towards B on the second beat of measure 1, which we assume to be the peak point. Consequently, the next phrase would lead to E on the second beat of measure 3, the subsequent phrase to D-sharp on the second beat of measure 5, and then to A on the second beat of measure 11. As such, each phrase differs in harmony, and the peak note, when counted from the preceding note, varies significantly—an octave, a fourth, a tenth, a seventh, and so on.

There are two crucial points to consider:

• Firstly, it is essential to differentiate the expression of each phrase.
• Secondly, this presents a significant challenge. Traditionally, singers, when making large leaps (jumping from one note to the next), require a certain amount of time to reach the target note. If we assume this second movement is an aria, many of the target notes involve large leaps, necessitating a certain amount of time. This much was understood. However, when actually playing, one cannot afford to take time when approaching the peak point of each phrase. Taking time would cause the music to halt and result in an unnatural flow. I will elaborate on this premise.

While it is not possible to take time when approaching the peak point, I would at least ask that you “do not rush into the peak note.” On the piano, it is easy to quickly and instantaneously reach from the thumb to the fifth finger, or from the thumb to the fourth finger. However, this often leads to mechanical music. Please treat the peak note with care. Avoid mechanically rushing into the peak point; instead, play it with a slight sense of hesitation and care.