0:00-1:12 Establishes the suspended song-field

• A brief opening hush gives way to harp and strings, setting the movement’s contract without percussion or vocal entry.
• Around 0:17–0:20 the main line settles into place: the melody enters gently, the pulse becomes legible, and the music begins its long held paragraph rather than a sequence of sharp sectional cuts.
• The first span proves the basic grammar: phrase lift, soft fallback, renewed lift, then a release near 1:12.

1:12-3:35 Broadens the first statement

• After the early release, the music regathers in connected waves.
• Repeated phrase returns do not reset the form; they extend the opening idea, giving the melody more reach and density.
• The line swells through the 2-minute region, thins briefly, then pushes toward a stronger crest around 3:03–3:35 before easing back.

3:35-5:26 Opens a contrasting middle reach

• The texture lightens after the previous crest, making room for a more searching continuation rather than a clean new movement.
• Around 4:03 the music settles into another stable pocket; by 4:22–5:04 it gathers weight again.
• This section functions as expansion: not a break from the contract, but a wider proving of it, with the harp-and-string frame carrying larger phrase pressure.

5:26-8:23 Reloads the same frame through repetition

• A fresh long span begins near 5:26, returning the music to sustained continuity after the earlier release.
• The phrases keep cycling through lift and subsiding motion; several small drops act as breath marks, not sectional stops.
• From about 7:14 onward the line steadies again, preparing the later return by showing that repetition itself remains the movement’s formal engine.

8:23-10:15 Returns and concentrates

• The music re-enters a settled pocket at 8:23, then another at 8:43, tightening the sense of reprise.
• Releases near 9:17 and 9:56 do not close the movement; they clear space for one more gathering.
• By 10:15 the form has narrowed from broad expansion into cadential preparation.

10:15-11:53 Withholds final closure, then lets the sound leave

• The final held span carries the last long pressure forward until the phrase lift around 11:20.
• At 11:23 the release begins; by 11:33 the pattern loses its hold, and the bodily sense of pulse recedes.
• Silence arrives around 11:40 and remains to the end, making the close a terminal decay rather than a renewed entrance.