This paper attempts to synthesize the results of some of my earlier researches. Their aim was a detailed examination of the strategy of the slow movements of Bartók's compositions dealing with "the encounter of Man with Nature" (op.10 n. 1, In Flowers; op.12n. 1, Preludio; fourth Quartet, third movement, Non troppo lento; etc. With the help of these intertextual [comparative] analyses I examine here the Adagio of Music for Strings, Percussion and Celesta: namely its strategy (=form) in the specific use of topics ("intonations"). In the last part of the paper I compare the performance of six conductors at the key-moments of the fourth section of this palindromic structure (ABCB'A').