With the arrival of the
thirty-second notes, Riemann punctuates the theme this way:
[Musical score excerpt]
The melody, of course in profile, is in the ghth [sic: eighth]
notes. This gives meaning to the decorative pattern of the
passage. And what charm, buoyancy, and sweetness there is in this
caprice! It has the tantalizing, elusive charm of a humming bird
in full flight. The human element is almost eliminated. We are in
the open, the sun blazes in the blue, and all is gay,
atmospheric, and illuding. Even where the tone deepens, where the
shadows grow cooler and darker in the B major section, there is
little hint of preoccupation with sadness. Subtle are the
harmonic shifts, admirable the ever changing devices of the
figuration. Riemann accents the B, the E, A, B flat, C and F, at
the close--perilous leaps for the left hand, but they bring into
fine relief the exquisite harmonic web. An easy way of avoiding
the tricky position in the left hand at this spot--thirteen bars
from the close--is to take the upper C in bass with the right
hand thumb and in the next bar the upper B in bass the same way.
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