This excerpt shows how, while leading the orchestra to the edge of a "break", Furtwängler prepares the beginning of a new section. The orchestra seems to "dilute" itself, but tension increases to the extreme before relaxing when the new theme starts.

One of the striking features of Furtwängler genius is his capacity of giving a double expression to the orchestra. In this sample, cords playing pizzicato make music go forward, while clarinets, despite owning the main theme in this opening, go backward.

The way Furtwängler conducts the slow and peaceful violins going downward is a perfect example of an artistry without equivalent. We find again the capacity of duality highlighted above: while giving a sense of suspended musical flow, the music does move forward..