This second movement strongly features elements of a string quartet. It is by no means a serious movement, but rather one that combines both joy and beauty. A point to note is that, for instance, if this were truly played by a string quartet, it would be necessary to make each voice heard independently. However, to achieve this, the performer must first understand the mechanism, and a way to understand it is to play each voice individually.

For example, in the 15 measures from bars 20 to 35, the voices are quite close to each other, which could potentially mislead the listener. For instance, try playing the soprano voice from bars 20 to 35. Then, play the alto, and then the bass, each as a single melody.

Next, play the soprano and alto together, then the alto and bass together, then the soprano and bass together, as two voices, and finally, combine them into three voices. By doing so, you can become aware that ties across bar lines are properly sustained by string instruments, allowing you to think of the music horizontally. The performer should pay meticulous attention to note values, ensuring that sustained notes are held for their full duration and rests are strictly observed, and "continue to listen" to the sustained notes. This habit of "continuing to listen to sustained notes" is one of the most crucial elements when performing Western classical music.

If you own a synthesizer or music software, you might find it very insightful to input and listen to the three voices of violin + viola + cello, even just for the aforementioned bars 20-35.

The piano is an instrument where notes do not sustain. Notes cannot be sustained; after a single note is played, neither a crescendo nor a diminuendo can be applied, nor can vibrato. Consequently, a habit of only listening to the attack at the moment of playing can develop, which ultimately leads to disrupting the order of polyphony.