Gitlis explains that the parts that are repeated should not be played all the same, and rather be said differently, imagining some kind of echo. He later does some corrections on the phrasing and the distribution and quantity of bow.
Gitlis also advises that the sound should be more prepared and that the performance must be given with love -he mentions Shakespeare and Cervantes, more freely and feeling it: the student needs to free and relax her arm, using her body's own movement and natural weight. He finally adds a brief anecdote about Carl Flesch and adds that the character should be not so gentle or smooth.