(piano music)
(audience applauds)
- Well done.
It's a very hard piece,
and you did it admirably.
I know the difficulties of it.
I'm going to urge you to go beyond
even your limits, even your borders.
I want it wilder, and to try it,
at the thing, and let me talk a little bit
about it before we play it again.
The motives in this piece
carry throughout that first movement.
For instance, let's see.
The first motive, sorry,
(makes interpretive musical sounds)
that third, D to F.
We'll sort it out, but that's the motive.
It's not (makes interpretive musical sounds).
That's not it.
It's the connection between them.
(makes interpretive musical sounds)
Because, and I don't understand it,
everybody does this, or I hear it very often.
They slow the tempo.
(makes interpretive musical sounds)
And what is he do?
He adds a passing tone, between the D and the F.
He adds an E flat.
The C flat.
You see, so it urges forward.
And the same, woodwinds.
(makes interpretive musical sounds)
Up to there is one statement,
so it's one statement till, again,
that whole motive actually unifies it.
I find it's wild.
There's something wild about this piece.
First of all, the metronome marking.
Not that one can do it.
I mean, it's way too fast, 138,
but the message that it gives you
is that it's a rocket.
It's a comet from another world.
(makes interpretive musical sounds)
It used to be played
(makes interpretive musical sounds).
But that ignored that motive.
The F.
(makes interpretive musical sounds)
Now there's another motive
that's very, very important.
That semitone.
(makes interpretive musical sounds)
And I will show you, for instance,
(makes interpretive musical sounds)
you see, those two together.
And I think it should sound like a fountain.
(makes interpretive musical sounds)
Sorry.
(makes interpretive musical sounds)
Sorry.
And now here.
(makes interpretive musical sounds)
Sorry.
Am I in the wrong place?
Yeah, I don't think I'm in the right place.
I did from the second time.
(makes interpretive musical sounds)
To the E.
E, D, as opposed to E flat.
It will go in G major now.
And (makes interpretive musical sounds).
You hear the E going to the D, right?
This is very unusual for him to choose the key
of G major for the second subject.
It usually would be on the dominant,
or maybe in certain cases in minor
it would be, let's say, a third higher.
D flat, in this case maybe D major or something.
It's very unusual to take the key of G major.
But it allows him to do this.
So that when you have this
(makes interpretive musical sounds),
they're contradicting each other.
This is the way it's in the theme,
and then.
Do you know where this figure comes from?
Where is that?
(mumbles)
Yeah, it's the arpeggios.
That (makes interpretive musical sounds).
And now the one oasis of any time,
but it has to have relation
to the rest of the piece.
You hear that?
E flat to D.
(makes interpretive musical sounds)
And then it goes back.
Now, in the fugue where it goes forward,
I didn't understand
why you slowed the tempo such here.
Did you have a reason,
or it just happened like that?
- Oh, I didn't realize.
- You didn't realize.
Yeah, it got bit slow,
because this passage actually
is gonna come again.
Do you know where?
It's gonna come again,
but not with the same melody exactly.
I'll show you in the course of the fugue.
So, but anyway, what's the main voice leading?
(makes interpretive musical sounds)
Sorry.
So it goes (makes interpretive musical sounds)
and then.
So it will be this.
(makes interpretive musical sounds)
That's (makes interpretive musical sounds).
Okay, now we do this little fughetta,
and the most important parts
are this rising third.
That will connect it back together,
because there's a very strange marking.
There's a very unusual marking.
Which edition are you using, by the way?
(mumbles)
Uh huh.
That's not (mumbles) or the other,
take some new editions like the Barry Cooper,
is a good edition.
Schenker on the whole is a good edition,
but not in this place.
Why?
Beethoven has a very strange marking.
Where is it?
It's also wrong here.
Here, which is a quarter note, actually.
He writes piu, and that's not piu crescendo.
Let me demonstrate what it is
and why I think it's there.
E flat,
F,
G,
and now A flat is a neighbor.
That's the top voice.
Now, the top voice gets to something else.
And he writes piu here.
(makes interpretive musical sounds)
And I think it's to stress the same motive
of E flat, F, G,
with the neighbor note of A flat.
(makes interpretive musical sounds)
Sorry.
(makes interpretive musical sounds)
Now the bass has the same motive.
So we had from the top voice,
the middle voice, and now the bass.
With this motive of E flat, F, G.
Now (makes interpretive musical sounds).
Now, it's in C minor,
and it's still the same motive.
E flat, F, sorry.
F, G (makes interpretive musical sounds).
Sorry.
(makes interpretive musical sounds)
And now.
Because he's back at the G major.
It's not really a G major,
but this G chord has persisted,
even though the fugue was in E flat.
It went to C minor,
and it ends up
(makes interpretive musical sounds).
If you can imagine a D there.
D, E flat (makes interpretive musical sounds).
The same (makes interpretive musical sounds).
The dominant of G major.
We have not left G.
But now suddenly,
it's B,
but I'm not so concerned with, watch.
It's a G flat in the bass.
Sorry.
So this, with this G flat,
we start the return to the B now.
The return to the theme.
So we've gone from G, G flat,
and then we need to go to F,
so how do we go there?
We go through an inner voice.
So (makes interpretive musical sounds).
That's with that inner voice.
That note is why I wouldn't take so much time
on the G, because it's coming from a G flat.
And except for that G flat,
we've always returned to G.
And now, it goes step wise.
(makes interpretive musical sounds)
And that's why I'm against that D flat.
(makes interpretive musical sounds)
Because that doesn't follow the step wise,
and the five to six progression,
which will land you.
You played, I think, correctly
with an A natural.
But anyway, that's one motion,
from this G flat
(makes interpretive musical sounds)
to the B flat.
Now that G flat is gonna come back again
in a spectacular fashion.
By the way, this cantabile il legato.
Where's that in your edition?
No, where were we?
(mumbles)
Yeah, here.
It's not even here.
Ah, here.
Cantabile il legato.
In the first edition, it's in very big letters,
as if it's a different tempo.
It's like a different section.
And so, I play it like that.
Something a little bit out of this world.
Let's see.
That's also a point of contention,
this G flat, but I think the G flat
is so important in this piece,
as I said.
That's the turning point.
Here in this movement,
and in something that's gonna happen
right now, and also in the fugue,
at the end of the fugue.
(makes interpretive musical sounds)
That G flat, and that makes
for the (makes interpretive musical sounds).
That G flat is sort of a fly in the ointment.
Because it doesn't allow it to completely relax.
That G flat is always there.
Okay, but now.
Now this tempo change.
We're in the key of G flat major.
And it's idyllic.
It's like nothing before.
(makes interpretive musical sounds)
G flat major owns this, the recapitulation.
(makes interpretive musical sounds)
Just for a moment, G flat major comes back,
only as a dominant.
(makes interpretive musical sounds)
But that's a passing event.
Why?
Um, let's see.
It goes five to six, five to six,
five to six, and it goes back
to the B flat major.
Let's go (makes interpretive musical sounds).
Five to six.
(makes interpretive musical sounds)
And we're in the dominant of the main piece,
so it was really from G flat to F.
It's gonna go there directly.
(makes interpretive musical sounds)
Like that.
And then we're back in...
Okay, so now play it a little bit.
Let's see how we can affect it.
Will it be too difficult for you,
or, because you're not used to it?
To play in this fast tempo?
(mumbles)
You try it.
Good boy.
(audience laughs)
Sorry, that's the problem with this.
It took me a long time.
(makes interpretive musical sounds)
Now I want to hear
(makes interpretive musical sounds).
Yeah, that's a theme.
(makes interpretive musical sounds)
You can't take off
(makes interpretive musical sounds)
and go to sleep.
(makes interpretive musical sounds)
Between D and F is an active movement.
(makes interpretive musical sounds)
No, no.
It relaxes.
What's happening?
(makes interpretive musical sounds)
Don't relax.
(makes interpretive musical sounds)
yes, but all of that melodic, sorry, and legato.
(makes interpretive musical sounds)
Beautiful.
Woodwinds.
No, it's slowing down.
You see, sorry.
(makes interpretive musical sounds)
It needs to keep that motion.
Yes, go.
That's it.
(makes interpretive musical sounds)
Yeah, but the motive
(makes interpretive musical sounds).
You see, it's on the third and fourth beat
of the, this is in the...
That's the third, downwards,
instead of upwards.
(makes interpretive musical sounds)
So it's the two motives, the third
and the (makes interpretive musical sounds).
(makes interpretive musical sounds)
Tempo.
Great.
Great, no, that was very good.
It's, you think of an octave.
It's spanning an octave
from the beginning to the end of that passage.
That'll give you the motion to do it.
Just think of an octave.
(makes interpretive musical sounds)
Now less, less now.
(makes interpretive musical sounds)
Move, move.
(makes interpretive musical sounds)
That's it.
Great.
(makes interpretive musical sounds)
Good.
Tempo, tempo.
That's from the motive.
Tempo.
(makes interpretive musical sounds)
And then (makes interpretive musical sounds).
Here, one (makes interpretive musical sounds).
(makes interpretive musical sounds)
That's great.
Now, your attention to be
to the C, E, D, C, E, D.
No, but in tempo.
Yeah.
The image, I don't want it to be finger work.
Sorry.
An image of fountains.
(makes interpretive musical sounds)
Because, you know he wasn't able to work.
He didn't write a piece for a year
before this, with such a depression.
And then he was determined to create
and do something new,
and this was a fresh inspiration,
and that inspiration is in the piece.
(makes interpretive musical sounds)
Yeah, it's too weak.
(makes interpretive musical sounds)
Yeah, you're gonna have to work.
You're gonna work, because it's,
it's too fingery,
it's too (makes interpretive musical sounds).
- More legato?
- Yeah, more legato, and more in one motion.
Rather than (makes interpretive musical sounds).
Sorry, and then
(makes interpretive musical sounds).
Because that's going...
That's gonna come back later.
That's better.
(makes interpretive musical sounds)
More, sorry.
This would be more.
(makes interpretive musical sounds)
No, you see I don't hear that it goes
from E to D, you see.
Where is that?
This E to this D.
(makes interpretive musical sounds)
- Yeah, then it goes up?
- Yeah, it doesn't matter where it is.
- Okay.
- It's not, I don't know.
It's hard to verbalize what's wrong with it.
It doesn't flow.
(makes interpretive musical sounds)
Sorry.
I don't know where that...
Play it for me.
That's better.
More, more E.
More.
Less, less, less.
Crescendo, now the E, the E
is the important note to go into.
(makes interpretive musical sounds)
That's right.
It's exaggerated, but that's right.
And now the E, and that.
To the E.
That's tension.
(makes interpretive musical sounds)
Less and less, less.
At that point, you remember these, fountain.
(makes interpretive musical sounds)
Take time to, yeah.
(makes interpretive musical sounds)
Back in tempo.
Good.
The bass too.
(makes interpretive musical sounds)
Tempo, tempo.
Left hand, left hand.
(makes interpretive musical sounds)
G flat coming back again.
Yeah now, connect.
(makes interpretive musical sounds).
Not too slow.
It has to have some connection.
It is, I agree with you,
it's a little bit slower.
But it still has to have some connection
to the rest of the movement.
Now tempo, getting back.
(makes interpretive musical sounds)
Shh, shh, shh, shh.
(makes interpretive musical sounds)
Okay, go the second time.
(makes interpretive musical sounds)
Now same tempo.
No, it's slow.
You see.
That's slow.
(makes interpretive musical sounds)
It's the same tempo, but I wanna hear...
(makes interpretive musical sounds)
That's good.
(makes interpretive musical sounds)
Great.
Now with the fugue.
No, not (makes interpretive musical sounds).
A kind of half staccato,
(makes interpretive musical sounds).
Now F, yeah, E flat, now F, G.
Bring the A flat.
Now, sorry, and then, sorry.
(makes interpretive musical sounds)
He writes piu for that voice.
I think it's a quarter note.
That's in the English edition that they put
(makes interpretive musical sounds).
Yes, but I play it with the left hand.
Yeah, that's right.
Yes.
Follow the middle voice.
G, that's right.
(makes interpretive musical sounds)
Now, it's lower voice, lower voice.
Sorry.
Lower voice, not the top.
(makes interpretive musical sounds)
Tempo.
Sorry.
I just hear accents all over the place.
I wanna hear E flat and G.
Mainly those notes.
And then soft.
Now F.
G.
Subito, tempo.
(makes interpretive musical sounds)
Now it's C minor.
Don't hit.
(makes interpretive musical sounds)
F.
G.
(makes interpretive musical sounds)
Sorry.
Follow me in the voice after this.
(makes interpretive musical sounds)
And then.
So, then it goes in one voice.
Do you know what I mean?
(mumbles)
Yeah, no.
Here's the top voice.
(makes interpretive musical sounds)
Right.
Good.
(makes interpretive musical sounds)
Now, as if, where are you?
Yes, as if you were going to go back.
Yes, that's it.
Because it's the same.
Imagine a D there, and it will fit.
This D to the E flat,
to the F to the G.
(makes interpretive musical sounds)
It's the same...
(makes interpretive musical sounds)
Tempo, tempo.
(makes interpretive musical sounds)
Piu, piu, piu,
not (makes interpretive musical sounds).
Piu.
(makes interpretive musical sounds)
Sorry.
(makes interpretive musical sounds)
Not.
(makes interpretive musical sounds)
That's it.
(makes interpretive musical sounds)
That's good.
Crescendo this time.
(makes interpretive musical sounds)
(claps)
(makes interpretive musical sounds)
Ah, no, that's heaven, that's heaven.
It's not really heaven.
(audience laughs)
No, it's too loud.
It's too loud.
Yeah, okay.
From the D.
Ah, yes.
(audience laughs)
You got it, you got it.
What's the matter?
Yes.
Not too slow.
Now we're on G flat in the bass.
No, no.
(makes interpretive musical sounds)
What is?
(makes interpretive musical sounds)
Shh, it's not too loud.
Even in forte, because it has a long way to go.
(makes interpretive musical sounds)
Shh, shh.
No, no, it's suddenly softer, isn't it?
Where are you?
Yeah, yeah, it's suddenly softer
in order to make that crescendo.
(makes interpretive musical sounds)
No, it's A sharp.
Yes.
Shh, no, no, don't do that.
Just follow the G, F, E, A.
In one thing.
Don't stop for the G.
You're in your mind, this is still active.
That low G flat.
Shh.
Anticipation.
And come on, anticipate.
(makes interpretive musical sounds)
(claps)
(mumbles)
Go on now.
It's still, yeah, no,
that G flat is very important.
(makes interpretive musical sounds)
Okay, without bringing in tension.
(makes interpretive musical sounds)
Where, where are you?
I would gradually get into that tempo,
cantabile il legato, I'd get into it.
So in other words, a little bit here,
a little bit less here, and nothing.
(makes interpretive musical sounds)
And open up, heaven, open up.
Back in tempo.
(makes interpretive musical sounds)
(claps)
(makes interpretive musical sounds)
Now for a moment, he looks at the dark side.
(makes interpretive musical sounds)
And that's finished.
(makes interpretive musical sounds)
Back to F.
So this.
Yes.
(makes interpretive musical sounds)
The fountain.
That's good.
You're gonna have to work on that,
because it's not, it's too notey.
And it doesn't have an atmosphere,
which is, it's a very beautiful theme,
but if it's too fingery, it doesn't sound right.
Okay, let's go.
Low E.
Which note corresponds to the E flat before?
It's the G.
Yeah, that's right.
(makes interpretive musical sounds)
Move, move, move.
No, no, relax that, relax, sorry.
Relax that.
Disappears.
(makes interpretive musical sounds)
Not fingers.
(makes interpretive musical sounds)
C.
Move, move.
(makes interpretive musical sounds)
(hits piano)
Don't hit, don't hit.
(makes interpretive musical sounds)
Now do it again.
Get into that better.
It's not a virtuoso thing.
It's (inhales) exhilaration, like that.
Well, you know where it is.
Yeah, don't hit.
Play legato.
Yes.
No hitting.
(makes interpretive musical sounds)
Now, exhilarating.
(makes interpretive musical sounds)
You can take time.
Now back in tempo.
(makes interpretive musical sounds)
No.
Don't take time.
(makes interpretive musical sounds)
(claps)
Shh.
Exhilarating.
Yeah, you're so loud
you're not gonna be able to get louder.
This...
(audience laughs)
Yeah, you have to crescendo all through this.
All through this.
- So I need to (mumbles)?
- No, no, don't get too loud, that's all.
Drop.
Yeah, but don't lose time there.
- Oh.
- No, without an accent.
That's it.
Shh.
That's it.
More now.
Every, more and more.
More.
(makes interpretive musical sounds)
There comes that G flat again.
Yeah, it's a motto of the piece.
Go on.
Tempo.
(makes interpretive musical sounds)
Now, it sounds too ordinary.
It sounds too ordinary.
It's a miracle.
(makes interpretive musical sounds)
That's nice.
Shh.
This trilling can go on forever.
Shh.
Okay.
Hey, can that be exhilarating?
(makes interpretive musical sounds)
That's it.
(makes interpretive musical sounds)
More each time.
Hold with the pedal.
Here.
(makes interpretive musical sounds)
Don't hit, relax.
Yes.
(makes interpretive musical sounds)
Hold with the pedal, and now very soft.
Shh.
It's too loud, too loud.
Now.
Yes.
No, like you've seen a ghost.
(makes interpretive musical sounds)
Spooked.
(makes interpretive musical sounds)
Shh, shh, shh.
Shh, shh, shh, shh.
(makes interpretive musical sounds)
(audience applauds)
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