7. INTERMEZZO.

Moderato semplice (Rounded binary form with framing introductio

n and coda). A MINOR, Cut time (2/2) with one 3/2 bar.
0:00 [m. 1]--Introduction. A solemn, chorale-like melody in rich chords begins
on an upbeat. The initial chord gesture is connected to the next by an active
middle voice that oscillates on a half-step. The second gesture echoes the firs
t an octave lower. Again, the middle voice connects it to the third chord entry
, which begins like the first, but is twice as long and contains syncopation. T
he connecting idea is then transferred to bass octaves, which lead to the fourth
and final chord entry and a complete close to the introduction.
0:23 [m. 9]--Part 1. It begins with an upbeat on a syncopated, oscillating gest
ure. We hear that it is derived from the connecting half-step motion from the
introduction, especially its last appearance in the bass. The idea is developed
into a leisurely, strangely melancholy melody that continues to incorporate the
initial oscillating gesture with its syncopations. The left hand accompanies w
ith rising arpeggios. Motion at the end to the relative major key of C.
0:38 [m. 9]--Part 1 repeated.
0:53 [m. 17]--Part 2. The beginning is transitional. Isolated two-note gesture
s from the main melody are isolated. The melody itself is briefly transferred t
o the left hand. The accompanying arpeggios begin to reach into the right hand
range. The culmination is on a long, winding arpeggio in the left hand against
highly syncopated chords (derived from the main melody) in the right. The last
transitional bar is extended by a beat in preparation for the re-entry of the me
lody. It is notated as a 3/2 measure (m. 23). The next bar, m. 24, completes t
he transition and contains the upbeat to the main melody.
1:09 [m. 25]--Return of the main melody. After the first two bars, it is altere
d so that it will remain on A minor rather than moving to C. The altered portio
n contains an increase of intensity. It then settles down to the cadence. Ther
e is a four-bar extension (three of which are notated as a first ending) that se
rves to emphasize the ending and then to transition back to the C-major beginnin
g of Part 2 for the repeat.
1:30 [m. 17 (36-37)]--Part 2 repeated. The first ending leads to the transition
al passage from 0:53.
1:46 [m. 25]--Return of the main melody. The four-bar extension at the end is a
ltered (notated as a second ending) and extended to five bars. The last two of
these hover as the middle voice oscillates. The music trails off to a very weak
A-minor cadence before a pause.
2:13 [m. 38]--Coda. Identical to the introductory chorale. The first part of t
he upbeat bar contains a rest, so it is included in the measure numbering here.
2:43--END OF PIECE [46 mm.]