Supplementary notes:
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Measures 1–3: The auxiliary cadence involves three harmonies, but compressed to displace the
IV7 above the V. The effect is that of a suspended harmony, although the bass B in m. 1 is arguably an anticipation of its normative time span. -
Measures 2–5: The fifth progression in the upper voice is divided between two paired subphrases, in the manner of a free interruption. The double Bassbrechung becomes structural in the repetition in measures 11–5.
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Measure 6: This free-standing upbeat measure parallels the curtain in the first bar and effectively sets apart the quotation of spoken text within the poem.
Supplementary notes:
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Measure 16: The omission of the upbeat measure makes the recall of the spoken text sounds more emphatic, in spite of the subdued dynamics.
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Measures 16–9: The upper voice divides into two parts, the contra-structural E reasserting its highpoint, the C resuming its structural role as neighbor to
, reinforcing the effect of a voice distant from our present reality. The neighbor is supported by a plagal motion, identified here as a lower fifth divider, a term which Schenker abandoned but which may be relevant here.