The second movement, the Aria, begins softly with a simple piano accompaniment part. There are few non-chord tones and, personally, I found it somewhat boring to listen to, maybe because the chord progressions were all relatively basic. A few dissonant chords come from the piano during a short crescendo before it resolves back to being soft like the very beginning of the movement. After a brief pause in both the flute and piano parts, the piece continues on with the previous theme. About halfway through the piece, there is a sudden change in the mood because for the first time there very noticably harsh dissonances (much more than the slight ones earlier) particularly in the piano part but accented by the flutist. This also appears to be the most complex piano part up to this point in the movement, which adds even more depth to this major turning point. However, this change lasts for only about 30 seconds before returning to the sweeter-sounding theme that was initially introduced. This then crescendos into a progression of tension-building chords, which then resolve and drop down to piano for the end of the movement.