Along the same line of thought, the Romanze in F Major (no. 5) should then be the recapitulation. In fact, the themes from no. 1 and no. 2 are both restated simultaneously here. The upper voice takes on a similar rhythm as in no. 1 (see ex. 2), albeit that it starts on the first beat. The lower voice starts with a rising sixth in upbeat, then follow three statements of motif a2, in inversion here but still evoking the theme of no. 2, also including the theme of the dramatic outburst in no. 4 mentioned above (d of ex. 3). Follows a bar based on the motif c: the rising fourth followed by a descent.
Remains the motif b, which may be seen in the three repeated c’s in bar 4. Already, the repetition of the single-note motif was introduced in the initial canon of no. 4, and even if the rests are omitted here, the articulation produces much the same effect. After a varied statement of the double theme, the situation is reversed in bar 9, with the upper voice becoming lower and vice versa. This use of reversible counterpoint is remarkable in such a lyrical piece, whose D major middle section brings us even further into euphoria. But something strange happens here: in bar 24, then in bar 32, a strange voice enters in the tenor: E-D-C#, the latter forming major seventh on the resolving D major triad, coming from a Lydian second degree harmony. The explanation lies in another flashback to no. 2, where the same pitches are heard in the bass, bar 47-48, and restated in the end of the piece. Here, they quite logically fit into an A major cadence, but they find their origin in bar 1-2 of the piece: c#-b-a, whose inversion has here been retrograded. The inversion had already been used at bar 35-36 (see ex. 2 for details).
With all this, the Romanze provides a relief from the drama of no. 4, whereas in no. 6, an affect of intensified darkness returns.
The theme of no. 6 sums up all the combinations of three notes heard in the previous pieces, as if wanting to try out all of them, and ends with the descent a, this time placed rhythmically like in no. 1: upbeat – accent – resolution, as far from the tonality of A as possible. The three notes are now heard in their factual modal setting: minor second followed by major second, whereas in no. 1, the second note, normally a b natural, is made into Bb to suggest an F major tonality, which lasts four bars. In the opening of the eb minor Intermezzo therefore, we have the feeling of coming home, but to a shattered and burnt-out house. Only in the end, after having passed by Bb minor and Gb major, do we get the conclusive cadence in the main tonality: