This piece expresses strong, positive emotions, reminiscent of Scriabin's influence. While it may appear rambling at first glance, its structure becomes very clear upon analysis.

The phrase beginning in measure 1, including the anacrusis, reaches A-sharp on the second beat of measure 4, then gradually descends, settling on C-sharp in measure 9.

Therefore, the first phrase spans measures 1-9.

The phrase starting in measure 10 is merely a transposition of the phrase from measure 1, up a perfect fourth. Comparing measure 1 with measure 10, measure 2 with measure 11, and measure 3 with measure 12, it becomes clear that the entire structure from measure 10 onwards is an exact transposition of measures 1-9. Consequently, the second phrase spans measures 10-18.

Whereas the left-hand scale in measure 1, beat 2, is written as a single note, in measure 10, beat 3, the left hand plays in octaves. From such details, we can infer that measures 10-18 have a higher tension than measures 1-9.

Following this, from measure 19 onwards, numerous sequences appear, leading towards the next peak point at measure 30. The first sequence spans measures 19-22, and the second sequence spans measures 23-26. Naturally, the second of these two sequences has higher tension, so appropriate dynamics should be applied.

The subsequent sequences consist of three one-measure sequences: measures 27, 28, and 29. These three sequences further increase the tension, leading to measure 30.

The sequences are initially 9 measures long, then 4 measures long, and finally 1 measure long. Consider this as an expression of rapidly escalating emotion.

Structure

• 1: Measures 1-9
• 2: Measures 10-18
• 3: Measures 19-22
• 4: Measures 23-26
• 5: Measure 27
• 6: Measure 28
• 7: Measure 29
• 8: Coda, Measures 30-40