A conflict between light and darkness, enriched with all shades of gray and colors in between.

The introduction begins with a large ascending and immediately descending octave run gesture, alternating between D major and B minor, difficult to place due to the register depth and the sustained pedal. The deep pain thus depicted intensifies through the diminution of the note values as well as the dynamic increase, which finds its climax in a large dynamic contrast and sudden change of register. The short reflection of the agitation follows in more measured and subdued chords.

The lovely theme of the Andante in F-sharp major begins abruptly, in which the melody in the descant intertwines with the widely spanned accompaniment over bass and tenor. The theme repeats itself, first in piano, then in mezzoforte, and finally in fortissimo, a threefold increase that is also reflected in the ornamentation of the melody and the expansion of the accompanying arpeggio.

A long middle section follows, beginning in E minor. Two independent voices develop above the harmonic foundation in the left hand. Contemplatively circling each other, both voices find themselves in a tight crowd after an abrupt continuation. The resulting pull leads into a fast, feverish sixteenth-note movement in the right hand. A flitting in the upper voice, becoming increasingly nervous, unfolds above the slowly passing chords in the bass.
The eighth notes ending in triplets in the right hand create space for a new motif in the bass. Diatonically descending from the fifth, a five-note motif establishes itself in C-sharp minor. In the further course, this is shortened to four notes by omitting the root. Together with the recurring melodic cascades, the part spirals in a strongly modulating fashion towards the significantly brighter E major. But these impressions are also only of short duration. A short, admonishing intermezzo introduces the next section, again in E minor. This is followed by a return to the very first theme, but now all hints of loveliness seem to have vanished. It sounds powerfully and wildly in octaves in the bass, while masses of sound pile up threateningly above it, only to immediately collapse again. The activity culminates in a chorale-like cadence. Breaking the previous meter and supported by the organ point "e" in the bass, it unfolds an intensifying and elaborating effect on the one hand.

The last part before the finale begins. In the bass voice, the opening theme is continued in a motivic as well as harmonic way. Thus, the theme moves gradually through all registers until it finally arrives in the usual manner in the original register and key of F-sharp major. The part ends playfully lovely in piano.

The Appasionato begins abruptly with full force. The initial theme is taken up again, but in the superlative, in the form of an embellished octave tremolo. The theme is spun out in a brilliant style to complete ecstasy. Introduced by detached chords, there is a final flare-up, which finds its brilliant conclusion in exuberant broken chords in F-sharp major.

The piece for piano was written in 2020.