Allen Forte (1988, pp. 328) first identifies the chord as an atonal set, 4–27 (half-diminished seventh chord), then "elect to place that consideration in a secondary, even tertiary position compared to the most dynamic aspect of the opening music, which is clearly the large-scale ascending motion that develops in the upper voice, in its entirety a linear projection of the Tristan Chord transposed to level three, g♯′–b′–d′′–f♯′′."
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