The transitional section of 42 bars (sempre pp) gives way to an eight-bar crescendo which introduces the famous 4th movement, a genuine triumphant march. This is one of music’s greatest moments. Remember the aged soldier of France’s First Empire who rose here to his feet during a Habeneck concert in Paris in the 1840s, waving his sabre and shouting : “It’s the Emperor ! Long life to the Emperor !”.

For this particular section, I have but one advice : please, put away your metronomes ! The last four bars of the crescendo under Furtwängler can sound like 6 or 8, or even 12 bars, on account of the huge rallentando he asks for, pushing his players to their limits before launching this great Allegro in its triumphant 4/4 rythm. This non-written molto ritardando – which sounds nothing less than a resurrection – may shock purists and throw off time-beaters (dixit Wagner), but it has always made enchanted music-lovers grip their arm-chairs or spring to their feet in excitement ! We have no doubt that the composer himself would have been overjoyed.

This Finale, in spite of what a layman would think, is not the most difficult movement to perform; but then again, it can sound boring if it is badly played (such as a mere processional affair, for instance). Furtwängler’s constants here are his broad pace, the tremendous energy he requires from the string section, as well as the noble golden sound of the brass instruments.

Another exclusive Furtwängler constant is the crescendo which he always requests (and gets), twelve bars before the end of the development, sweeping purposely from fortissimo to triple forte (ff to fff).

The recapitulation is taken at a slightly faster tempo than the initial Allegro. The margin is infinitesimal: only the most precise metronome (if you insist on producing it again) could single it out. The above practice, dating back to Haydn, and recommended again by Wagner, can thus avoid any impression of déjà vu. This has often been in use by the great German School in all da capo sections of classical scores in sonata form (A-B-A).

Finally we come to the coda : a presto of 82 bars, which Furtwängler builds up in a continuous accelerando until the last but five chords. This practice has always put the players to a severe test, although the Berliners invariably rise splendidly to the task. Thus, Furtwängler avoids thrashing or bumping the numerous chords in the way which so often sounds a bit tiring – after all, certain humorists did say that Beethoven never quite knew how to end a piece of music – and the whole Presto is played here as a long musical phrase which never loses sight of the melodic line.