Professor Thunemann works on articulation, tempo, and accuracy at the beginning of the piece. He also gives indications about dynamics and works on specific voices, such as the flute (which must take more time).
Other corrections are related to triplets, waltz rhythm, ways of facing the reprise, contrasts, character 'sforzando misterioso', pizzicato and tempo. The students should play with more flexibility, rather than being strict. They should also pay attention to the tuning and the rapport among the parts at the end.