Supplementary notes:

• Measures 1–4: The structural voice-leading of the opening is essentially parallel tenths, masked by doublings and the implication of the bass. Ironically, the more definite texture appears with the arrival of the contra-structural motive in measure 4.
• Measure 5: The vocal E of measure 5 originates as a passing tone from an implied F; leaping into this passing tone allows the contra-structural motive to take shape.
• Measures 9–12: The shape of the contra-structural motive more naturally belongs to C minor, toward which the music drives. The use of the Neapolitan in measure 11, however, allows Brahms to replicate the exact pitches of the original motive.
• Measures 13–7: The maintenance of D and B even as the music turns toward prolonging the relative major in measure 15 allows the continuation of the C minor version of the motive; this creates a linkage between phrases.

Supplementary notes:

• Measures 19–22: The low bass A, like the vocal A two octaves higher, is essentially an inner voice, as confirmed by the lower D in measure 22.
• Measures 23–7: The interpretation as a parenthesis is suggested by the voice-leading—one can jump from measure 22 to measure 28—and by the design—the half-note melody is an augmentation of the chromatic descent of measure 21.
• Measures 28–36: Compare the more complete 8-bar unit (with tonic cadence falling on the first bar of the next unit) with the more short-breathed 4-bar units of the opening (and the 8 bars left hanging in measures 15–22). This closing 8-bar unit also reinterprets the opening by placing it entirely within dominant harmony.