The most important thing is not to treat this second movement as vertically segmented music, but to allow it to flow horizontally. In that regard, tempo becomes an extremely important companion. For example, in the first measure, there are three chords, and staccato markings are also written. If one plays each chord individually at an excessively slow tempo and adds staccato, the music will become completely vertically segmented, losing its horizontal coherence.

For pieces like this, first, try extracting and considering only the chords. The numbers on the left indicate the measure numbers, the middle shows the chords used, and the right presents the chords in a way that is easy to understand when actually played on the piano.

• 1~2 DFA DFAD
• 3~4 ACisEG AEGCis
• 5~6 DFA DFAD
• 7~8 DFisAC FisDAC
• 9~10 GBD GBDB
• 11 EGisHD EHDGis
• 12 ACE ACEA

Etc.

Please try playing only the chords on the right on the piano. By doing so, you will clearly understand which chords require increased tension. Then, try adding dynamics.

Once that is done, next, play the entire piece normally, but do not lose the flow (direction) you established by playing only the chords earlier. Maintaining a somewhat faster tempo (even within a slow overall flow) will enable you to preserve horizontal coherence. Even if staccato is marked, as in the first three chords, do not play the three chords disjointedly; connect all voices horizontally.