Second Movement Analysis
The second movement is in a compound ternary form. It is in simple quadruple time in E major with the tempo of Adagio. It is nocturne-like (Zi, 2001, p. 94) and it’s meant to give the audience a peaceful feeling.
Introduction: The opening of the second movement has used muted strings, woodwind, clarinet and bassoon. These instruments slowly modulate from the previous C minor to E major using chromatic notes. Fig.16
Exposition (A): In preparation for the first theme to appear, the piano joins at Bar 5 after the modulation with simple triplet arpeggios in glissando as an accompaniment of the theme. The first part of the theme in the second movement is firstly introduced by the flute expressively at Score Fig. 17 shown …show more content…
17 Bar 1-6
At Score Fig. 18, piano and the orchestra has switched their role of leading and accompanying, as this time piano is leading the melody while the orchestra is playing the accompaniment with clarinet and violin playing the arpeggios as what the piano did before at Score Fig. 17.
The second part of the main theme is then played in a major 3rd lower as indicated in red box in Fig.18. It is then repeated in original key afterward.
Transition: At Score Fig. 19, the transition has transposed into the dominant key which is B major. The violins were playing the melody derived from the first theme and piano accompany them by playing arpeggios once again.
Development (B): As there is no new material or subject, this section is so called the middle part of the ternary form, where it’s actually the development of the exposition. It is divided into 3 parts and the first part is starting from Bar 9 at Score Fig. 19 in a 4+4 phrase with piano playing the theme with bassoon in F# major. It is derived from the second part of the main theme in the exposition. Fig. 19 Development Part 1 Fig. 20 Main Theme Part …show more content…
22. It then leads to part 3 of the development which started in G major at Bar 7 at Score Fig. 22. It is played by the piano, which lasted for 11 Bars before the woodwinds join in to play a long note which leads to the transition. It is based on the motif on the theme and it is heard in the highest and longest note of the piano part. This has made a contrast and role switch with the second part of the development, as now chromatic semi-quaver accompaniment pattern is played by left hand and the right hand is playing some quavers (as shown in Fig.23). It has transposed in these 11 Bars and it firstly played in G major then E major then A major and lastly F#