Third Movement

Rondo form, including an introduction and a postlude.

Introduction (Measures 1-20) 6/8, 9/8 Sehr langsam (♪=69 or less)

At the outset, a B minor theme based on dotted rhythms is presented like a funeral march. In measures 3-4, while hinting at the dominant major, F-sharp major, the music proceeds as if wandering in a tonally unstable state, sounding an F minor tonic chord in measure 5 and a D minor tonic chord in measure 6. From the “vorangehen” (progressing) section in measure 9, the melodies in both hands are linearly interwoven, gradually increasing in volume, but the music loses its strength again, peaking on the third beat of measure 13. In measure 16 (“Ruhig” - calm), the music transitions to a 9/8 section in D major, symbolizing tranquility, but three chords struck forte in measure 18 momentarily disrupt the sense of tonality. Just when it seems that the tranquility of D major is restored in measure 19, an F-sharp major tonic chord is presented at the end of measure 20.

Rondo (Measures 21-197) 2/2, 3/2 Bewegt (half note = 100-108)

The overall structure is A/B/A’/C/A”/D (recapitulation of the introduction)/A/B’/A’”/Coda.

Section A, which begins rapidly with a drastic change in musical character from the introduction, continues until measure 32, maintaining a bustling, lively character. Section B begins on the second beat of the same measure, repeating the same motif while progressing from piano to forte, but the music rapidly declines after peaking at measure 40. From measure 46, A returns in a varied form, and from measure 54, the right-hand melody of A shifts to the left hand, with the upper voices of the right-hand chords played in this section providing propulsion to the music (A’). Section C begins on the second beat of measure 65, with a four-note motif in the right hand (descending 2nd + descending 3rd + descending 3rd) being repeated, raising the tension by increasing the register by an octave. From measure 79, accompanied by a chromatic melody in the left hand, the right-hand motif disrupts the sense of meter through ties, exaggerating the improvisatory nature of C. From measure 101, A returns again in a varied form (A”), but from the fourth beat of measure 125, the B minor theme from the introduction is recapitulated, transposed to G minor (D). Unlike the introduction, the tempo and volume increase, and the dotted rhythms are omitted during this recapitulation and expansion, creating a passionate and poignant impression. The register gradually rises, and the volume reaches fortissimo at measure 150, but the music abruptly stagnates after peaking at measure 152. From the third beat of measure 163, the initial A (measures 22-32) is recapitulated without change (A). From the second beat of measure 174, the music returns to B, but here, a variation of the characteristic right-hand motif (measures 33-34) is repeated transitionally. On the third beat of measure 186, an E major tonic chord is struck forte, symbolically returning to A, but it is only fragmentarily recapitulated until it reaches pianissimo with “langsamer werden” (gradually slowing down), quietly concluding the rondo.

Postlude (Measures 198-203) 9/8 Langsam (♪=69 or less)

The section beginning at measure 16 of the introduction returns in E-flat major. Similar to the introduction, after the three chords in measure 200 negate the sense of tonality, E-flat major is restored, but the music ends extremely quietly with the G major tonic chord that concluded the first movement.