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It’s in the allegretto third movement that No. 8’s Russian colors begin to show.

Even Elham, her W’s no longer sounding like V’s, and her tempo improved from largo to allegretto, is eventually able to pose a challenge to Omid’s fluency.

A spiritual, harmonically inventive composition, it climaxes with an allegretto apparently modelled after the African-American "juba" dance once practised on US plantations.

The aria-like allegretto offered an opportunity for Fejervari to show off his technique in layers with bass staccato notes popping against creamy treble thirds and lyrical lines.

The tapping of Sara's pen against her glasses became so rhythmic that it sounded like a metronome set to allegretto.