The second movement of first Sonata does not bear an agogic textual indication but only the metronome at the quarter of forty beats. A first part, of sixteen beats, is again orchestral; it moves for long notes and in chords. It seems to describe a scene where inexorability reigns, the impossibility to change things, the greyness of impotence. Instead, a painful voice of the individual is born in the central region of the piano that slowly, while the suffered melody unravels, conquers higher sounds and then descends from where it was born again. The initial choral part returns, this time varied from a left hand to a well amalgamated bass that simulates a continuous sound thanks to the use of the pedal. The whole ends in a major way almost as if to refresh the listener or as a pale hope.