The second movement, a real moment of transition, is an Allegretto with short sentences where a fairly linear and simple theme unravels nimbly supported by a movement of octaves that act as a countersong
and a rhythmic-harmonic support that also reaches consistent sonorities. In the writing of the left hand there is a rapid sound, a torch that poses executive problems. I have personally tried to
play this writing trying to solve (not without difficulty) what is a real question from which I have not escaped. After this part a section appears as a character opposed to the previous very delicate
one. At times it almost seems to feel Schumannian intimacy. At the end of this oasis returns the initial part that ends in strong with, in fact, the left hand's ache that completes, on the bass, the E flat major chord, tonality of this Allegretto.
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