There are occasional points where vocal semiquavers contrast with instrumental triplets and sextuplets.
After a short introduction from the solo violin the movement is dominated by material built on semiquaver runs and ostinati.
This introduction of semiquavers lends urgency to the speaker's desire in line 5 to go with her lover.
At this seemingly stable point, however, all four voices suddenly break out in semiquavers; this motion recurs in bars 34-35, completely inundating the texture of the whole passage.
The various forms of the semiquaver figure serve to divide bars 1-108 into three sections.
The piano has the same groupings but starting a semiquaver later.
The accompaniment soon gives way to a semiquaver wheedling figure, painting the epidermal 'worm' that belies the serene countenance (bars 20-21).
The vocalist has to give the lead here, and much depends on the clarity of the opening two semiquavers.
