1 The dot indicators on each line of the staves give the position of each semi-quaver in a time signature of 4/4.

2 Similarly, at bar 74 the semiquaver upbeat to the third beat should probably be executed as a triplet upbeat to those that follow in the right hand.

3 A barely audible ff septuplet of semiquaver chords and two rabid glissandi are thrown in by the soloist, before piano and bass section end the movement in five different Gs.

4 The rapid bowed quavers of the former become the rapid staccato semiquavers of the latter.

5 The piano puts a momentary end to its own fury with a barely feasible manoeuvre, both hands jumping up three or four octaves simultaneously and fortissimo in the time of a semiquaver.

6 Quiet redirection subsequently issues from the bassoons, which take up the wandering piano-theme, while the piano itself goes over into a pp semiquaver accompaniment.