This second movement can be considered an operatic aria. The performer needs to differentiate between the vocal part and the orchestral part. This will be explained at the beginning. At the beginning, the vocal part extends from the anacrusis to E-flat, D, C, B. The chord on the second beat, B and A-flat, should be conceived as something like a woodwind instrument, thus requiring a change in timbre. Then, from the last 32nd note (B-flat, D) of the second beat of bar 1, the vocal line returns in bar 2 with F, E-flat, D, C. After the C, E-flat and G should again be considered orchestral instruments. In this way, one melodic line is assumed to be vocal, and parts that are clearly not considered vocal should be thought of as different instruments.

In bar 11, the composer's score indicates fortissimo. The sixteenth notes in the left hand starting from the second beat of bar 9 represent some kind of instrument, but the melodic line in the treble clef above it can be considered either vocal or instrumental. In any case, even though fortissimo is written in bar 11, it is safer not to make it excessively loud, but rather to give it only a slight increase in volume, imagining an orchestral tutti.

Such sections should never be played marcato, articulating each note distinctly. Instead, use the pedal and conceive of them as a thick, layered orchestral passage.