I am particularly interested in the area highlighted in the red box. The score for this work can make this quite deceptive. Like many works, the strings are highlighted as the voice to pay most attention too. That is magnified in this score because the harp is not a prominent voice, and the organ is supposed to be out in the distance. In the score I'm studying from, I don't even have the bass part written in.
So naturally, an easy mistake to make is to focus on the string line throughout this section. Without any analysis of this piece, the goal would be to get a sense of longing through articulation and beat placement throughout these measures. This might be the sound in one's ears:
However, you cannot ignore the harmonies underneath this melody. The harmonic rhythm is clearly laid out in the organ part:
Cleverly, the F is present in all three chords in this highlighted section (the I, vi, and IV, and even the ii7). Dissonance is created in the descending bass line with the organ harmonies. Otherwise, the only dissonance between the F and the bass line is the second right at the beginning of the section. With the awareness of the harmonies created in the organ part, this should inform the strings on how to play their line, with stress on the second eighth note of the figure over the dissonance, and will inform the bass line how to treat the dissonant C under the dotted quarter at the beginning of the bar. Dissonant beats are highlighted below.
Now listening again, do you hear a different sound in this passage:
