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In contrast, Kennedy extends upon this widely accepted interpretation of allegro by taking the piece considerably quicker at 138 beats per minute. Furthermore, the traditional Mintz plays the majority of the piece without any tempo variation unlike Kennedy’s performance which contains frequent variations in tempo. In the solo passage which leads into the last phrase of the ritornello, bar 27, Kennedy has a slight ritardando whereas Mintz plays it straight through. As for most of Kennedy’s interpreted variations, there is no prescribed tempo variation in the score.
At bar 44, Kennedy reduces the tempo slightly during the slurred quavers, directly followed by an accelerando in the orchestra during the tied minims...
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