This second movement serves as a bridge, transitioning from the joyful D major to the sorrowful B minor. It requires a sense of improvisation. For instance, in measures 124-125, the dotted rhythm in the right hand should not be played strictly metronomically; instead, allow the tempo to fluctuate freely. The ascending scale in measure 126 should also be performed with a gradual acceleration.

From measure 127 onwards, the tempo may settle. For example, the author would consider a tempo where the whole note bass A, starting from measure 128, is still faintly audible by measure 130, but this is a matter of personal interpretation. A slower tempo is also acceptable.

The poignant part of this movement lies in the chromatic progression of the bass in the left hand at measure 133. Indeed, chromatic progressions held special significance during this era. Let us change the atmosphere here.

For the final three measures, envision a slow build-up where instruments gradually layer, and the volume increases.