Second Movement 3/4 Lebhaft (Lively) (dotted half note = 80)

A three-part (ABA') form with a long coda. Each section begins with the same motif in unison, serving as a signal.

A (Measures 1-26)

The unison in the opening measures 1-4 dynamically initiates the second movement. The musical character, without explicitly presenting harmonies, gives an impression of being somewhat out of tune, and overall possesses a bright and humorous atmosphere. While the tonal center is placed on B and F-sharp, the suggestion of both D and D-sharp maintains the key of B.

B (Measures 26-68)

Following the unison in measures 26-29 as a demarcation, the B section begins, characterized by more prominent dissonant sounds and a grotesque quality compared to A. From measure 44, it shows a dynamic development based on octaves with an expanded range, leading to a sudden ff in measure 54, staged as if (the protagonist of the musical narrative of this piece) suddenly realized something. From measure 56, the music rapidly diminishes to mp, attempting to regain its composure while hinting at B-flat major. However, from measure 62, the range and volume expand again as if a latent sense of unease erupts, heightening the musical tension.

A' (Measures 69-108)

A returns with partial variations. From measure 97, a variation of measures 9-18 appears at ff, strikingly inserted in the highest register of this movement. This new interpolation rapidly converges while gradually lowering its register, and from measure 105, the music stagnates in unison towards pp. While a single tonality is not established overall, E major (measures 69-70, 80-81, 95-97) and A-flat major (measures 82-87) are partially hinted at.

Coda (Measures 109-144)

The unison motif that demarcates each section is fragmented and varied into a canon between the right and left hands. The rapid increase in volume from pp at the start of the coda to ff in measure 116 is short-lived; from measure 117 onwards, the large section (measure 18, beat 3 – measure 26, beat 1) from A, imbued with emptiness and a decadent mood, is extensively varied. The preceding section, with its ascending melodic pattern, is repeated while gradually being truncated as if pleading something, but it is abruptly concluded by the succeeding section with a fifth chord, leaving an impression of incomplete emptiness. From measure 135, the unison motif reappears, and the movement ultimately concludes quietly, establishing E major with an E major triad.