the second nachtmusik, this one is in f major, and gives much more the impression of a romantic evening; with the addition of classical guitar and a mandolin and unique writing for the harp, the movement takes on a leisurely songful serenading mood full of atmosphere.
this was apparently schoenberg's favorite movement, the one he went to in his defense of the symphony.
note the trills by the mandolin, sustained notes that pop out from the texture.
about 5:20 the music takes a sudden drop, adding undercurrents of dissatisfaction and a lot more dissonance until suddenly, the graceful music of the nocturne bursts out again.
the second theme is given by a solo cello at about 6:26. it's more song than dance, lyrical instead of lilting. later on, it alternates with snatches of the more playful music, which is usually accompanied by the plucking of the mandolin. but gradually becoming more saturated with heavy emotion until it hits a stride.
there are a few moments of stillness; everyone sighs in relief and repose. but then the violins burst in with the emotionally-laden recap.
2:22 is a hardcore throwback to one of the climaxes in mahler 5 adagietto, if you know that movement well.
almost immediately he steps back and begins a climb to a frenzied sort of buildup which is more active than any of the music we've heard in this movement so far. he seems to change his mind almost immediately, though, returning to the initial mood.
4:08 coda; we hit a glistening fmajor chord in the strings, and the high f seems to stutter for a moment, throwing in a bit of uncertainty to the wind utterances, in terms of key and tonality. with some hesitation, the music gradually revolves around the right center, and comes to a gentle halt.
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