Piano Sonata in F, Episode 7

This is the end of the second movement, where the marching ostinato makes its third appearance. The right hand manipulates the motive E-C#-D# starting in bar 123 with parallel sixths added. A block chord version follows that fades but the ostinato brings the music back. A retrograde of the motive is stated once, then an embellished variant with sixths or thirds added. A descent from a high C# leads to the motive re-ordered to E-D#-C# which continues the descent to the motive as a chord in bar 134.



In bar 135, the motive is inverted and spread out as triplet quarter notes, then it soars up on triplet sixteenths to a D# and the motive scattered over two octaves. The re-ordered variant from bar 132 makes a second appearance in bar 138 followed by a descent that goes deep, growling with the motive as a chord that is freely extended. Rising out of the depths on triplet sixteenths, the motive appears inverted at different pitches until it is no longer the motive but a sequence of three descending notes.



Those descending triplets dive once more, but briefly, into the bass, then soar up to an F#, then floats back down to a final simple statement of the motive in bar 148. The ostinato continues for one bar alone, then abruptly quits.