The key then changes from A♭ minor to A♭ major, and the piece goes into a long and winding section of free-flowing sixteenth notes alternating by groups of two in the right and left hand.
The second theme is in D major (the relative key to B minor), and features sweeps for the left hand while the right performs the melody in octaves (quoting the Allegretto of Beethoven's Seventh Symphony) with tremolos played within.
The piece is the longest of the three, and features difficult, dense chord passages, sixths, trills, tremolos and repeated notes.
In part of the piece, there is a constant tolling of a B♭ in a very similar way as Ravel's "Le Gibet" from Gaspard de la nuit, composed over 70 years later.
Near the end, there is a very passionate and intense buildup that leads to quick short chords similar to the final part of Chopin's Ballade No.
The piece ends by quoting the "Aime-moi" theme, some chromatic scales very similar to those in "Le vent" and finally concludes very abruptly with a long trill and two short 16th note chords.
Sorabji considered this the most remarkable number of the set ... a moving and tragic elegy or dirge ... full of astonishing hardiesses, both technical, pianistic and harmonic, and its ending is as weirdly uncanny as it is original and daring.