The musical material is distributed across four sections, of which the first two present contrasting ideas, in the form of an exposition, followed by a quasi-development section and a return to the initial motifs in a section that functions as a recapitulation. Song II (an atmospheric lullaby setting the text of Paul Verlaine’s Ariettes oubliées) is much simpler in texture and form. Based on the ABA’ model, it ‘substitutes’, so to speak, for the dance section of a sonata cycle. In the opening and closing segments, its accompaniment directly imitates ‘rocking’ sound (a monotonous triplet-based figure, drawing on an identical ostinato accompaniment figure in ‘O Rock, Cradle, Rock’ from Forty Polish Folksongs).

In late 1936 a score copy reached the acclaimed Bosnian soprano Bahrija Nuri Hadžić, who expressed an interest in this cycle. We know about this from Koffler's letter to Slavko Osterc dated December 16 of that year. The highlight of her career in the following year was the premiere of Alban Berg’s opera Lulu, whereas we have no further information concerning Koffler’s songs.