At one o'clock Yesipova telephoned without warning and asked me to go over and play the whole programme through to her. She sat out of sight in an adjoining room, while Kalantarova and Poznyakovskaya ran in and out playing the part of emissaries coveying pronouncements from on high. For my part I was glad to have the chance to play it all to her, because I was still not completely sure about my gradations of tempo in the Beethoven sonata, also about my treatment of the semiquavers in the Bach fugue (the rhythm is maintained the whole time from start to finish). Were they perhaps too massive? To achieve the necesary weight and organ-like sonority I was playing the semiquavers quite heavily while at the same time trying not to overdo it. However my misgivings proved unfounded and there were no criticisms. The Chopin was pronounced by Poznyakovskaya, in a voice laden with emotion, 'very good'. Much encouraged, I played the Schumann sonata 'well' according to Kalantarova, who came into the room to pass on this judgement. The only response to my Etude was a call of 'next!' but the Tannhäuser got much praise and Kalantarova's personal opinion that my playing has improved out of all recognition.