After the large central chorus scene, the music turns to duets: first, Daniel and Bettly (in n7: "Prêt à quitter ceux que l'on aime"), then Max and Daniel (in n8: "Il faut me céder ta maitresse"), and Daniel and Bettly (in n9: "Adieu vous que j'ai tant chérie").
Daniel announces to Bettly that he is going to join the army, but she enjoins him to stay, as she is worried about her safety while the company of soldiers are camped at the chalet. The duet follows; it is in three parts, all in D major: Andantino in 4/4 -- Allegro in 3/8 -- Allegro moderato in 4/4. In the Andantino Bettly continues her increasingly agitated request that Daniel stay, and in asides he says he cannot believe what he is hearing. In the Allegro, a full ternary form, Daniel confirms that he will stay as Bettly continues to implore him. In the Allegro moderato, the two alternate between expressions to each other and in interior monologue, Bettly thankful that Daniel will stay, he happy that she wants him to.
Max enters, feigning drunkenness, and argues with Bettly and Daniel. The duo that follows (n8) is really two separate pieces. In the first part, Max demands that Daniel give up Bettly to him (in case you've lost the thread of the plot, this is a ruse, as Max is actually Bettly's brother, whom she has failed to recognize), and the two agree to a duel. In the second part, they agree on time and place. The same combination of interaction and interior monologue as in n7 is evident throughout here.
The first part, "Il faut me céder ta maitresse," is a large binary form with parallel endings to the two sections. The second part, "Dans ce bois de sapins," is a two-part aria form, with Andante sostenuto (the cavatina), and Allegro (the cabaletta), the sections being in Gb major and Bb major, respectively.
Max sings the first half of the cavatina, which traces an arch-shaped pattern with a gradual ascent (circled notes below) balanced by a more rapid descent that becomes exaggerated in the cadence (arrow). (Note: As in earlier posts, I am using the German edition of 1835 for examples.)
Daniel responds anxiously. He repeats the figure below -- or a close variant -- several times before a cadenza interrupts (second example below). Note the density of the arpeggio frame in the figure.
The upper Gb of this frame moves to F over and over because of the repetitions of the figure. When the cadence (and two cadenzas) interrupt, F5 is over-leapt by Cb6 but the goal of the falling rapid notes is F4. When Daniel returns to F5 to close, the two singers together create the cadenza perfetta, 6-8.
