Andante sostenuto, C-sharp minor, 3/4 time

The movement broadly takes an ABA' ternary form. The theme of the A section begins in C-sharp minor and modulates to E major. Upon the theme's repetition (m. 18), it begins in E major and aims for C-sharp minor. The theme of the B section begins in A major, producing a warm sound due to its low register. The sixteenth-note rhythm in the accompaniment creates a contrast with the static A section. Upon the theme's repetition (m. 51), the accompaniment figuration changes, and sixteenth-note triplets are added as an inner voice. In measure 59, the opening figuration of the B section returns, moving from E major through D major and B-flat major back to A major, where the opening theme of the B section is presented again (m. 68). This restatement of the B theme suddenly proceeds in minor in its third measure, forming a climax (m. 72). In measure 76, the texture with triplets in the inner voice returns, modulating towards the recapitulation in the tonic key.

From measure 90, the opening theme returns in the tonic key, marking the recapitulation of the main section. This A' section is a varied recapitulation, characterized by the addition of a low voice on the third beat. What further differentiates this recapitulation from the opening section is the moment when, after the theme reaches a half cadence, it suddenly shifts to C major (m. 103). In this movement, where a minor key with a key signature formed the basis, a major key without a key signature appears as a celestial sound. The peculiarity of this sound stems from the fact that the C major on the score is enharmonically H-sharp major (His-Dur). It transcends the circle of fifths, ascending even further. It then proceeds to E major (enharmonically D-double-sharp major, Disis-Dur) and reaches C-sharp major (enharmonically B-double-sharp major, Hisis-Dur) in the coda. Thus, the tonal structure of this movement is meticulously conceived to make the A' section entirely distinct from the A section.