Within these frames, Pärt divides the ten stanzas into four groups, separated by instrumental interludes of a vastly different musical character. The four groups are stanzas 1–2, 3–5, 6–8, and 9–10. This grouping of 2+3+3+2 and its surrounding frame creates a perfectly symmetrical structure.
Pärt organizes the ten stanzas into four distinct parts, separated by instrumental interludes that have a vastly different musical quality. The groups are stanzas 1–2, 3–5, 6–8, and 9–10. This division of 2+3+3+2, along with its surrounding framework, results in a perfectly symmetrical composition.