Kocsis states that the rhythm should not be changed from one passage to the other. He also mentions some aspects related to the articulation, dynamics and sound, among others. The crescendo must be performed in accordance with the phrasing: following a question-answer pattern.
Kocsis also points out the attack on staccato, the accents, and on the use of the pedal in a particular passage, looking for a similarity of sound with a bassoon.