6. INTERMEZZO. Andante con moto. Sanft bewegt [Gently moving].

(Ternary form
, with an enclosed rounded binary structure in the outer sections). A MAJOR, 2/
4 time.
A Section--A major
0:00 [m. 1]--Part 1. The melody is concealed within flowing triplet groups that
go against the main 2/4 meter. It begins with an upbeat and arches up and down
, both within the triplet groups and the larger melody itself. The fifth bar co
nverts the triplets into three groups of two for an implied 3/4. Against all of
this, the left hand plays descending groups of two octaves or thirds that enter
in syncopation against the triplets and hold notes over bar lines. In the last
three bars of the phrase, the right hand moves to straight 2/4, and the triplet
s are transferred to the left, with bass octaves entering in the seventh bar. D
espite the extreme metric conflicts, the phrase is gentle and flowing, coming to
a cadence on the dominant, E major.
0:20 [m. 1]--Part 1 repeated.
0:38 [m. 9]--Part 2. The first phrase of Part 2 (which is twice the length of P
art 1) abruptly shifts to C-sharp major. It re-establishes the opening pattern
for two bars. The next four bars, however, which build in intensity, use the 3beat grouping from the fifth bar of Part 1 in the right hand. The first note of
each group is harmonized below. The left hand plays straight bass octaves in a
descending chromatic line against this. There follow two bars of slowing, lead
ing to a pause and a half close in C-sharp. These also use the 3-beat grouping,
with syncopated rising notes in the left hand.
0:58 [m. 17]-- The second phrase of Part 2 is similar to Part 1. It begins with
another abrupt shift in key, back home to A major. The first two bars are iden
tical to Part 1, but the harmony is changed thereafter so that the phrase can en
d in the home key. The final bars, with the straight 2/4 in the right hand, are
more rich and expressive than they are in Part 1.
1:17 [m. 9]--Part 2 repeated. Repetition of the first phrase.
1:37 [m. 17]--Repetition of the second phrase.
B Section--F-sharp minor
1:57 [m. 25]--The B section uses consistent groupings of two against three. The
right hand is in straight 2/4. The left hand is in triplet groups, each one go
ing against two right hand notes. The melody in the right hand is melancholy an
d flowing, with several embellishing grace notes. The left hand has wide, smoot
h arpeggios. The phrase is grouped into two sequential halves, the second built
on the dominant key of C-sharp and extended by one bar leading into the next phra
se.
2:13 [m. 34]--Exact repetition of the previous nine-bar phrase after an initial
rolled chord.
2:27 [m. 43]--Contrasting ten-bar phrase of rising intensity, based on the same
material. At the climax, a middle voice is added. It plays first in the straig
ht rhythm, then in the triplets. The phrase delays any sort of resolution, with
many chromatic notes increasing the harmonic as well as the dramatic tension.
2:43 [m. 53]--A six-bar extension finally brings resolution onto a delayed, but
strong cadence in F-sharp minor. The intensity settles down for a full, self-co
ntained close to the B section.
A Section--A major
2:56 [m. 59]--Part 1, as at 0:00 [m. 1]. There is a rest before the upbeat, so
that entire bar is counted here, extending the identical phrase to nine bars ins
tead of eight. It is not repeated.
3:14 [m. 68]--Part 2, first phrase, as at 0:38 [m. 9].
3:34 [m. 76]--Part 2, second phrase, as at 0:58 [m. 17]. No repetition of Part
2.
3:53 [m. 84]--Coda, based on the B section. The melody is transformed into a br
ight major-key version. The two-against three pattern is preserved. A middle v
oice is added. It settles down onto a repeated murmuring, with syncopated tripl
ets in the bass and straight-rhythm syncopation with biting dissonances in the m
iddle voice. The lowest bass note is reiterated six times. There is a steady d
ecrease in volume. The final gesture makes reference to the opening triplet of

the main A section melody.

4:22--END OF PIECE [92 mm.]