The second movement, written in F major and set in 3/4 time, is structured in three sections: A–B–A’. Marked Adagio, this movement provides a distinct contrast to the Allegro character of the first movement.
A Section (mm. 1–17)
The A section opens in F major, marked Adagio and 3/4 meter. The melody in the right hand is characterized by a long, lyrical phrase, which is immediately contrasted by a shorter, more fragmented answer. Both subphrases begin with the same motif, forming a parallel period: the first subphrase (mm. 1–4) ends with a half cadence, while the second (mm. 5–8) concludes with a perfect authentic cadence. At the beginning of the second subphrase, the harmony is thicker and the register higher than in the first, giving a sense of development. The gentle sixteenth-note accompaniment in the left hand helps create a calm, singing character.
A Section, continued (mm. 9–17)
The second phrase in the A section begins with an upbeat and features a dotted rhythm, maintaining a sense of unity with the opening. A dominant pedal is sustained, while the left hand continues the flowing sixteenth-note accompaniment. Beginning at measure 12, the main motif is restated, gradually becoming more fragmented and rhythmically active, leading to a closing perfect authentic cadence in measure 17.
B Section (mm. 17–31)
The B section moves to D minor, the relative minor, and consists of three phrases: mm. 17–20, 21–27, and 28–31. The main motif is played by the right hand, with the left hand harmonizing in parallel thirds.
When the motif returns at measure 21, it is expanded and now starts on the dominant of C major, rather than the tonic of d minor. Phrases are shortened and repeated more frequently, and the second phrase is extended beyond the typical four measures. The section concludes with a V–I progression in C major.
The third phrase features repeated V–I cadences, reinforcing the dominant and setting up the return to the A’ section.
A’ Section (mm. 32–61)
The A’ section returns to F major, essentially repeating the material from the A section but with greater rhythmic fragmentation from the third measure onward. Motifs from the B section are incorporated, fusing elements of both sections. After eight measures, the phrase comes to a cadence and transitions directly into the coda.
Coda
The coda begins with material drawn from the B section and is brought to a close with a perfect authentic cadence, but immediately extends with a return to the dominant.
In the latter part of the coda, the melody from the A section is presented in variation, with increased rhythmic subdivision. The V–I cadence is repeated several times, and the movement ends with a final perfect authentic cadence in F major.
The second movement, written in F major and set in 3/4 time, is structured in three sections: A–B–A’. Marked Adagio, this movement provides a distinct contrast to the Allegro character of the first movement.
A Section (mm. 1–17)
The A section opens in F major, marked Adagio and 3/4 meter. The melody in the right hand is characterized by a long, lyrical phrase, which is immediately contrasted by a shorter, more fragmented answer. Both subphrases begin with the same motif, forming a parallel period: the first subphrase (mm. 1–4) ends with a half cadence, while the second (mm. 5–8) concludes with a perfect authentic cadence. At the beginning of the second subphrase, the harmony is thicker and the register higher than in the first, giving a sense of development. The gentle sixteenth-note accompaniment in the left hand helps create a calm, singing character.
A Section, continued (mm. 9–17)
The second phrase in the A section begins with an upbeat and features a dotted rhythm, maintaining a sense of unity with the opening. A dominant pedal is sustained, while the left hand continues the flowing sixteenth-note accompaniment. Beginning at measure 12, the main motif is restated, gradually becoming more fragmented and rhythmically active, leading to a closing perfect authentic cadence in measure 17.
B Section (mm. 17–31)
The B section moves to D minor, the relative minor, and consists of three phrases: mm. 17–20, 21–27, and 28–31. The main motif is played by the right hand, with the left hand harmonizing in parallel thirds.
When the motif returns at measure 21, it is expanded and now starts on the dominant of C major, rather than the tonic of d minor. Phrases are shortened and repeated more frequently, and the second phrase is extended beyond the typical four measures. The section concludes with a V–I progression in C major.
The third phrase features repeated V–I cadences, reinforcing the dominant and setting up the return to the A’ section.
A’ Section (mm. 32–61)
The A’ section returns to F major, essentially repeating the material from the A section but with greater rhythmic fragmentation from the third measure onward. Motifs from the B section are incorporated, fusing elements of both sections. After eight measures, the phrase comes to a cadence and transitions directly into the coda.
Coda
The coda begins with material drawn from the B section and is brought to a close with a perfect authentic cadence, but immediately extends with a return to the dominant.
In the latter part of the coda, the melody from the A section is presented in variation, with increased rhythmic subdivision. The V–I cadence is repeated several times, and the movement ends with a final perfect authentic cadence in F major.