Here are my notes on the continuation of the Charlotte saga.
Charlotte is at loose ends, distraught by the conflicting pressures
to return to Aletheia and to forswear Aletheia. While she is
trying to regain an equilibrium by cleaning house, her admirer,
Moritz Schwiegel knocks on the door with the ostensible purpose
of discussing with Jonathan Mengs the rational and sociological 
basis of music as propounded by Max Weber. Schwiegels disappointment
at not encountering Mengs, who happens to be away for the day,
is outweighed by the satisfaction of a colloquy with Charlotte.

Schwiegels prior acquaintance with Charlotte is limited a) to his
attendance of the memorial concert for Mengs' significant other
Susanna Freudenberg, at which Charlotte, a student of Susanna's
plays Beethoven's "Für Elise" as a tribute to her former teacher.
Charlotte's performance is savaged in a newspaper review by the
popular critic Vladimir Schaunewski, a disparagement which Schwiegel 
rebutted, if only privately, with his spirited endorsement of 
Charlotte's musical talents, and b) by his visit to Charlotte at 
Aletheia, an embarrassment for all participants, which Schwiegel 
is loath even to mention.

The obvious introductory topic of conversation between the two
is Charlotte's historic performance of Für Elise. She is pleased
to comply with Schwiegel's request to play it for him again, and
indeed, this time Charlotte, having practiced assiduously in the
interval, displays genuine virtuosity. One musical memory leads
to another. Schwiegel inquires about Beethoven's Lied "Ich liebe
dich so wie du mich, am Abend und am Morgen", and, yes, Charlotte
remembers it as the opening piece of that memorable memorial
concert; she finds the score, starts to play, accompanying Schwiegel
who sings and who discovers the song to be the vehicle that conveys
his feelings for Charlotte. At its conclusion, Charlotte rebuffs
Schwiegels feelings for her by stigmatizing the song as sentimental
and mushy.

At this juncture Joachim appears, having unexpectedly come home early.
He is drawn into a discussion of the literary merits of the text,
regarding which Charlotte, relying on what she has learned at Aletheia 
declares to be inherently untruthful. Joachim asks Charlotte to
select the song which best expresses her own feelings, and she
cites "Who is Silvia" as the love song which is most meaningful
to her. She searches for and finds the score, and accompanies herself
as she sings the song. Both Joachim and Moritz are appreciative.
Charlotte then asks Joachim what song concerning love is his favorite.
After momentary reflection he selects "Willst Du dein Herz mir schenken,
so fang es heimlich an." Charlotte finds the score to this song also,
she plays it and requires Joachim to sing along with her playing.
Next she asks Moritz, about his preferences, and he admits Zärtliche
Liebe to be his favorite, even though Charlotte rejects it, just as
she rejects him. Nonetheless she asks him to sing it once more, and
accompanies him as before. At this juncture Mengs returns prematurely
and is invited and urged to join in the vocal competition. Mengs'
choice is "Bist du bei mir, geh ich mit Freuden," and he is coaxed
and persuaded to sing it. Joachim remarks on the social and musical
harmony engendered by the music, giving Schwiegel an opening to
broach Weber's thesis about the logical and social basis of music.
Mengs points out it's artificiality, its remoteness from reality,
Erleben - notes the similarity between Kants and Webers rationalizations,
an proceeds to expound his theory about Scholasticism and academic
philosophy.