Has anybody been able to perceive C-D- F sharp- E as a one variation of S-motif? Even Andrew doesn`t mention that in his book.

For me, it is the only way. There is nothing difficult in the 1st mvm and in most of the piece after this perception.

A bit hard to do so without the first note of the motif - but it (the motif) is certainly present later - such as the glockenspiel [sic!] in the finale.

"The motif ... is the germ of the famous tritone motif in the Fourth Symphony, the two halves of the motif being separated by a whole tone. "

All notes are there. S-motif is varied in countless ways. This variation seems to be difficult to see. "Normal" form would here be C-D-E-D. Step up( first half)=C-D, step down(second half)=E-D.

Now the second half is one whole tone higher(E-D becomes F sharp-E)

So, result C-D(1st half)-F sharp-E(2nd half).