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Look, the entire atmosphere of the piece at the beginning starts out slow, heavy. That is why, that is why the very beginning should not start out with such emphasis. Instead you should take your time, get a feel for it, until the double basses join in, and then build up the accent, don't pound it out. Please! Wait a minute, take a deep breath…but I want to hear a bit more forte...
Please, I can't tell you often enough...how important these two first crescendi are...So, don't play them quickly, instead take time to prepare. And then don't play one after the other, but join the two. Please, could I just have this tiny detail right? ...You see, now it's completely different! ...And that's because of the legato. Could we start over, please?...
Come in here without a pause, please, when you're building up, stretch out the crescendo to the very last second and then move on into the next stress! (To the concert master:) And please take it so far away that you are the exact opposite of what we have here...here the atmosphere is depressed, cumbersome, but you are completely relaxed and light...three seconds of bright light.
Recording: Vienna, Rosenhügel-Filmstudios
Nov. / Dec. 1965 (English subtitles)
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