The most contested point musicologists make is the location of the beginning of the recapitulation. Hepokoski points out this ambiguity early in his analysis as consequence of "sonata deformation". Abraham explains that the Scherzo repeat after the conclusion of the Trio in measure 298 also acts as the movement's recapitulation. This section is still very Scherzo-like but is based on transformed material of the A-group. In measure 274 (letter G), the key returns to E major. The texture also changes as the melody fades away and the strings begin a long rising tremolo figure as related to the woodwinds' sixteenth-note pattern of the second theme. In some ways this key change acts as a transition back to the main Scherzo section. Stedman adds to Abraham's analysis by explaining that this return to the Scherzo acts as a recapitulation to the overall sonata form structure. This can be seen in measure 324, with the rising perfect fourth motive in the violins, the A-group is stated once more in a new form in the home key of E. This material is increasingly passed around the orchestra and developed into a staccato quarter-note arpeggiated figure that by measure 401 (letter L) completely takes over the texture, leaving the previous material behind. In measure 471 (letter O) the second half of Abraham's recapitulation begins with the duple subdivision of the B-group theme still in E major.