The core idea for this second movement is that it functions as an opera aria, with the vocal line flowing continuously throughout. In other words, rather than alternating between vocal and orchestral sections, the vocal line is conceived as uninterrupted from beginning to end. Consequently, even sections that might appear to be purely orchestral, such as the forte passage between beats 2 and 3 of measure 2, should be interpreted as "orchestra + voice."

Form

While various interpretations of the form are possible, we will consider it as ABA. This comprises A (measures 1-20), B (measures 21-40), and A' (measures 41-64). The initial A section is further subdivided into A1 (measures 1-8) and A2 (measures 9-20).

A1 Section (Measures 1-8)

Within measures 1-8, phrases are considered to be two measures in length. This results in four phrases within A1:

• From the anacrusis to the downbeat of beat 2 in measure 2.
• From the upbeat of beat 2 in measure 2 to the downbeat of beat 2 in measure 4.
• From the upbeat of beat 2 in measure 4 to the downbeat of beat 2 in measure 5.
• From the upbeat of beat 2 in measure 5 to the downbeat of beat 2 in measure 8.

All four of these phrases possess distinct expressions. Perform them by considering the specific emotion conveyed by each "vocal" line. The fourth phrase features a more prominent solo part, and the descending staccato passage can be interpreted as conveying a sense of laughter. A1 thus presents a portrayal of calm emotions.

A2 Section (Measures 9-20)

In contrast, the A2 section exhibits heightened tension. It suggests a new development, perhaps like an untold story being revealed. Within this section, too, there are multiple distinct phrases. Here again, consider the emotions associated with each individual phrase and vary their expressions accordingly.

B Section (Measures 21-40)

The B section, in stark contrast, deviates from the preceding expressions and includes elements of sadness. This section also features a greater proportion of orchestral accompaniment. Note the presence of eighth and sixteenth notes that mark the beat.

On Repeated Notes

Incidentally, one of the main themes in this movement begins with three repeated notes. For example:

• The three Cs in the anacrusis to measure 1.
• The three Cs in measure 12.
• The three A-flats at the beginning of the B section in measure 20.

When playing the piano, particular attention should be paid to repeated notes. Repeated notes can sometimes make the music sound rigid. Therefore, careful consideration is required when performing them. Regarding these repeated notes, there is often a fourth identical note following the initial three. For instance, in measure 1, there are three Cs in the anacrusis, followed by one C on beat 1 of measure 1, totaling four identical notes. In such cases, never play these four notes with identical timing or volume; instead, create a sense of progression towards the fourth note. By creating this sense of forward motion, rigidity can be avoided. Conversely, what must be avoided is playing all four repeated notes with the same volume, like a metronome. For your reference.