More recent musicologists disagree with this separation into two movements on the grounds that both sections are based on the same material and in combination allow for analysis in sonata form. Abraham cites as precedent the fusion of these sections in Sibelius's Symphony No. 2 and Symphony No. 3, where the Scherzo and Finale movements are combined into one. The fusion is reflected in the score as well. Though there is a change in meter at measure 114, the tempo and compound division of the beat do not change: four measures of the "Allegro moderato" correspond to one measure of the previous section. The gradual accelerando, which begins at the end (the climax) of the opening "Tempo molto moderato" and leads into the "Allegro moderato" Scherzo, continues uninterrupted to the end of the movement; indeed, without access to a score, it is difficult for the listener to identify exactly where the Scherzo section begins. Most importantly, the clear use and development of the same materials throughout indicate that this is indeed one movement. In fact, Sibelius himself most likely thought of it as one movement as he published and performed the first movement of his final 1919 version without break.