Extended Analysis C

m33: I64, V7
m34: iii6, I64
m35: I6, vi, I64
m36: ii65, I43
m37: IV6, IV
m38: II6, iii6
m39: V, iii, III7
m40: vi, IV, vii65
m41: vi, vi6, I7
m42: I, IV, It6, Fr6
m43: I64, I7
m44: I, vi7, iv, bVI
m45: N6
m46: V7
m47: V7
m48: I7
m49: I7
m50: I7, vi6
m51: ii42, I

The climax of this piece is in measure 41 on the high F sharp, supported harmonically with a vi into a I7. This has already happened once in the piece, but unlike before where it ended into a whole bar of rest plus a fermata, this time it continues on to come to the piece's end. Also, just before this, we see a root position chord on the downbeat for the first time in this section- a V chord on beat one of Measure 39. As a performer, I would probably play this very strongly, as it is a very firm chord that starts a climb to the climax.
In most of this section, there are really no strong cadences. Although there appear to be some from looking at the text, like "Morgenrot" in measure 35, the harmonies never really form cadences- this spot ends on a I vi I64. Also, in measure 44, the text looks like there should be a cadence, but there is just a iv to a bVI. At these spots, I would probably try to sing almost through the words, as if leading into the next word, even though there is a rest in between.
Finally, there is the piano postlude. While it isn't the strongest version of a cadence, it does still cadence with a vi-ii-I, bringing the piece to a definite end. Instead of using a nice major IV-V-I, it proceeds mostly in minor, showing the emotion of the text-sad and lonely. I would make sure to bring out this factors by emphasizing the ritardando and slowing almost excessively to the end.