This second movement is truly a scene from an opera. Consider the melody line as the vocal part, sung by a female singer. Now, how can one make this beautiful, emotionally rich vocal line sound truly like singing? The answer lies entirely in "playing improvisationally."

For example, in measures 18-20, the descending figures of small 32nd notes must be sung freely and improvisationally. The more precisely, mechanically, and without the slightest rhythmic deviation one plays these descending figures, like a computer, the more mechanical the performance becomes. While this might be somewhat acceptable there, doing so in measures 20-21 would result in a very jarring performance.

Measures 31-32 are also a typical improvisational section. Instead of playing precisely, one should freely interpret and loosen the strictness of the rhythm. Similarly, whenever a series of small notes appears, play them in the same way, with a slight loosening of precision.

Ornaments and turns that appear throughout the piece tend to be played mechanically. For example, the turn in the right hand on the first beat of measure 6: since the target note is the half note on the second beat, begin with a soft sound, and shape the F G F E F of the turn melodically. Never rush; play carefully, making sure to differentiate the volume of each individual note.

In any case, consider everything as singing, and therefore, try to devise ways to make even strict dotted rhythms and other small notes sing as melodically as possible.