It begins with an opening theme reminiscent of the Fugue in C minor from Book II of the Well-Tempered Clavier. Numerous diminished fifths, augmented fourths, and diminished triads appear. It would be correct to interpret this as an expression of a sorrowful aspect. Although the opening and most themes in this piece are written in C minor, the key signature is G minor. Therefore, the G minor theme that appears in measure 42 is in the correct key (even if it ends on the dominant).

A characteristic feature of this Adagio is that a new theme emerges after each cadence, and all of these themes are canons. Pay attention to the soprano and bass in measures 1-2, 10-11, 29-30, and 42-43. When the soprano plays the theme, the bass follows it one measure later. These bass movements, which follow the soprano, can either be emphasized or not, and you may choose to emphasize some of them. Please keep this in mind.

Regarding the final 3/2 time signature, this itself implies a desire for a significant broadening of the tempo, so please slow down the tempo exaggeratedly.