It can certainly be considered the recitative section of an opera. The orchestra enters only minimally as accompaniment, while the singer performs improvisationally, freely, and at will. The themes are divided into three. The first appears in measure 1, the second in measure 4, and the third in measure 6, ascending to a higher pitch each time a theme appears. In measure 9, a Neapolitan sixth chord also appears, leading to a highly emotional and dramatic development.

Of the three aforementioned themes, the first, for example, begins piano, and the second is played sentimentally at approximately mezzo forte. The third is played emotionally at forte. In measure 6, where this third theme appears, the pitch reaches the highest note, B (on the upbeat of beat 4). Following this, a chaotic passage spans measures 7-8, culminating in a cadenza (cadential form) in measure 9.

Please consider this a very slow, sorrowful, dramatic, and improvisational piece.