0:00-0:18 Entry

• The form begins with recorded quiet, so the first structural fact is waiting.
• Around 0:12, the quartet enters as a shared line rather than an announcement. The movement's frame is already clear: a hymnlike idea carried slowly enough for each phrase ending to matter.

0:18-1:30 Theme as frame

• The early structure is not built from contrast. It is built from a melody returning to its own poise.
• By 1:00, repeated endings have become the grammar: lift, settle, reset, continue. The lower voices hold the floor while the upper line gives the listener the path.

1:30-2:47 Variation by altered support

• The second pass keeps the line recognizable and changes the weight underneath it.
• The movement becomes a chamber of coordinated attention: one voice carries, the others shade, answer, and thicken the same public shape.

2:47-5:00 Continuation

• The brief silence and re-entry near 2:46 do not break the form. They make continuation audible.
• After that seam, the same structure keeps gathering small differences. The ear follows stronger bow contact, denser inner motion, and cadences that release without closing the argument.

5:00-7:26 Release

• Around 5:00, the structure feels more interlocked. The quartet has not changed the premise; it has made the premise carry more consequence.
• By 7:12, the final release is already visible. The movement ends by lowering the held line back into quiet, not by escaping the frame.