Supplementary notes:

• Measures 1–2: A reading from is possible but the choice of 3 maps better onto the downbeat-emphasized descending third in the first four bars, and sets off the melodic conflict more clearly.
• Measures 3–4: The inversion of the expected descending third E–C into an ascending sixth displaces the arrival D an octave higher, and motivates the following register transfer of both D and E.
• Measures 6–7: The unison texture is not merely the result of doubling but rather a rare instance of genuine parallel octaves between outer voices, employed for the rhetorical effect of hyperbole, exaggerating the upward motion.

Supplementary notes:

• Measures 20–24: The ascending register transfer in measures 5–6 is initially rescinded here by the descending motions in the first violin, only to be reinstated in measures 39–40 as a last laugh (also a rhetorical effect!).

Supplementary notes:

• Measures 27–29: The foreshortening of the motive produces a hemiola, indicated in the sketch by special barlines.
• Measures 41–42: Compare to measures 21–22. (Really the last laugh?)