The opening and closing sections should be played at a tempo which will allow the performers to use the greatest amount of tenuto on all notes. The sustaining quality of the original piano work should always be in the mind of the conductor and performers. The tempo at measure 29 will depend on the flexibility of the clarinets and saxophones; however, the tempo is not as important as the gradual dynamic build needed from measure 29 to the climax of the work at measure 60. I would suggest the conductor and performers listen to the original piano version to match tone, dynamic contrasts and balance. Throughout the piece, tempo should take a backseat to style and dark, rich textures.