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The musical seed for all this couldn’t be simpler: not the theme for the main titles, but a lumbering, eight-chord motif that appears within it, and at the start of the “Strings Con Fuoco” cue.

Yankovskaya managed to restore some of the thunder in the triumphant fourth movement, “Allegro con fuoco.”

Unusual in its structure, the striking piece begins with a fiery and highly rhythmic presto con fuoco, a notation directing the musicians to play “fast, with passion.”

In “Malina,” some of the narrator’s talk is embellished with musical notation—rubato, con fuoco, forte, fortissimo, and so on.

Andsnes’s pianissimo ending of the scherzo, his delicate articulation of the rising chord figures in the trio of the minuet, and his speed and clarity in the final presto con fuoco made this an entirely satisfying performance.