This is the second movement, evoking the image of an opera aria. In sections like measures 13-16, where continuous 32nd notes appear densely in the right hand, set a tempo that never feels rushed. For measures 13-16, create a smooth and melodic line, as if a singer could naturally sing it.

At this point, do not play these four measures all at once. A vocal line without sufficient breathing becomes distressing for the listener. It is acceptable to treat the first note of each measure, or every two measures, as the final note of the preceding measure. For example, the first note of measure 14, F#, should be treated as the last note of the preceding measure's final four notes (B-G-F#-E). Take a breath at this F#, and then treat the subsequent D as the beginning of a new phrase. Similarly, in measures 15 and 16, treat the first note as the last note of the preceding measure, take a breath, and thus play with a certain degree of rubato.

Furthermore, since the tempo of these four measures will serve as the basic tempo, try starting the beginning at that tempo.