This ternary slow movement contrasts tonally-infused D-minor passages with more strictly motivic atonal passages that contain many ostinatos. To be sure, it is a rather advanced type of tonality that is alluded to, but the “tonal” passages are distinctly triadic. The following is an outline of the work:
No. Meas. Form Materials 1-9 A D minor introduction 1 10-17 B First “atonal” passage. “Hauptstimme” melodies are indicated throughout, and F# octaves maintain ostinato. 2 18-22 A D minor returns, ending on D major-E major chord. 3-5 23-44 B Development of 4-note C-E-D#-D# varying motive in 4 vs. 3 rhythm 6 45-46 Concluding passage recalls F#-G-E-D from meas. 10 47-53 ostinatos versus descending arpeggiations 7 54-56 builds to major pianissimo climax 8-9 57-71 B return of 4-note motive, ending in ostinatos 11 77-78 A recapitulation of D minor opening -12 79-85 B return of ostinatos from 47-56 86-92 B 4-note motive leads to “D minor” ending (Eb-Bb-D-A-E-G# chord)