This is the second movement, characterized by strong dramatic elements. It follows an A-B-A form, with the A sections conceived as an aria. While there are some passages that could be interpreted as a duet, the fundamental conception is that of a female vocalist accompanied by an orchestra, with all parts except the right-hand melody line considered as accompaniment.

The mood is optimistic, yet the movement possesses an inherent beauty. When preparing, aim to sing out fully, even if it means slightly deviating from strict timing.

Next is the B section, which is conceived as a duet. Indeed, from measures 29 to 40, the music proceeds with only two voices. Since both voice parts are considered important, treat them independently, ensuring that neither is prioritized over the other.

The peak point of this B section is considered to be around measures 46-47, where the orchestra begins to join the duet (from measure 41 onwards), gradually increasing in tension and reaching a moment of heightened emotion. Measure 48 is considered the end of the B section, and from measure 49, the A section resumes.

When performing, never rush; focus on singing out fully.