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which renews the movement, and so beautifully leads to the
cantilena in E flat, we had arrived at the very slight nuance of
the main tempo, which has been kept up all along. I arranged with
the excellent executants that they were to play this theme

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legato, and with an equable piano, i.e., without the customary
commonplace accentuation and NOT as follows:

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The good result was at once apparent, so that for the gradual
reanimation of the tempo with the pulsating

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I had only to give the slightest indication of the pace to find
the orchestra perfectly ready to attack the most energetic nuance
of the main tempo together with the following fortissimo. It was
not so easy on the return of the conflict of the two strongly
contrasted motives, to bring them out clearly without disturbing
the proper feeling for the predominant rate of speed. Here, when
the despairing energy of the allegro is concentrated in
successively shorter periods, and culminates in

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