The Largo appassionato turns from the first movement’s quick wit to a measured, deeply expressive sound in D major. Its most distinctive texture combines sustained upper notes with a detached bass that continues beneath them. Although the pace is slow, the writing is often layered: melody, inner voices, and bass have different lengths and articulations. The movement grows through contrasts between this stately opening idea, more flowing melodic passages, and increasingly intense returns.

Measures 1–18 establish the opening section, which presents a broad, chordal melody with repeated tenuto markings. Underneath, the lowest left-hand notes are short and separated by rests, while a higher left-hand voice connects the harmony to the right hand. This creates a deliberate contrast between a held, singing surface and a lightly articulated foundation. As the phrase unfolds, crescendos, accented chords, and descending inner lines disturb its initial calm. Turns and trills then decorate the melody, while the accompaniment becomes more continuous.

Measures 19–31 form the contrasting passage, which lightens the texture and allows the melodic line to move more freely. Small ornamental groups surround longer notes, and the melodic interest briefly shifts into the upper part of the left hand while the right hand supplies widely spaced punctuations. When the melody returns to the right hand, moving notes continue underneath it. The resulting texture is intimate and conversational, with the voices entering and releasing at different moments rather than simply sounding as a block.

At measure 32, the return restores the opening’s tenuto melody and detached bass, but the continuation grows more expansive. Chordal accents and chromatic harmony build toward the forceful coda beginning at measure 58. Its tension eventually subsides into a quieter version of the opening idea, now surrounded by rapid inner notes beneath the sustained melody. The last phrases become more delicate, with ornamental figures, diminishing dynamics, and a slight slowing before the final held chord.

A revealing detail in this edition is its explicit instruction to bring out the higher left-hand part as the melody for three measures, then the higher right-hand part for five. It shows how deliberately this slow movement transfers the singing line between the hands, even when the page initially looks like melody above accompaniment.