WEBVTT 00:00:00.000 --> 00:00:04.000 It is rare actually, to have someone of 00:00:04.000 --> 00:00:08.000 Paul's caliber in the performance realm, be just 00:00:08.000 --> 00:00:12.000 as amazing in the teaching realm. It is hard to come by that, 00:00:12.000 --> 00:00:16.000 you often get one or the other. In Paul's case, 00:00:16.000 --> 00:00:21.000 we have both. A true artist performer, and a true artist teacher. 00:00:21.000 --> 00:00:24.000 piano music 00:00:24.000 --> 00:00:28.000 piano music 00:00:28.000 --> 00:00:32.000 piano music 00:00:32.000 --> 00:00:36.000 piano music 00:00:36.000 --> 00:00:40.000 piano music 00:00:40.000 --> 00:00:44.000 piano music 00:00:44.000 --> 00:00:48.000 piano music 00:00:48.000 --> 00:00:52.000 piano music 00:00:52.000 --> 00:00:56.000 piano music 00:00:56.000 --> 00:00:60.000 piano music 00:01:00.000 --> 00:01:04.000 piano music 00:01:04.000 --> 00:01:08.000 piano music 00:01:08.000 --> 00:01:12.000 piano music 00:01:12.000 --> 00:01:16.000 piano music 00:01:16.000 --> 00:01:20.000 piano music 00:01:20.000 --> 00:01:24.000 piano music 00:01:24.000 --> 00:01:28.000 piano music 00:01:28.000 --> 00:01:32.000 piano music 00:01:32.000 --> 00:01:36.000 piano music 00:01:36.000 --> 00:01:40.000 piano music 00:01:40.000 --> 00:01:44.000 piano music 00:01:44.000 --> 00:01:48.000 piano music 00:01:48.000 --> 00:01:52.000 piano music 00:01:52.000 --> 00:01:56.000 piano music 00:01:56.000 --> 00:01:60.000 piano music 00:02:00.000 --> 00:02:04.000 piano music 00:02:04.000 --> 00:02:08.000 piano music 00:02:08.000 --> 00:02:12.000 piano music 00:02:12.000 --> 00:02:16.000 piano music 00:02:16.000 --> 00:02:20.000 piano music 00:02:20.000 --> 00:02:24.000 piano music 00:02:24.000 --> 00:02:28.000 piano music 00:02:28.000 --> 00:02:32.000 piano music 00:02:32.000 --> 00:02:36.000 piano music 00:02:36.000 --> 00:02:40.000 piano music 00:02:40.000 --> 00:02:44.000 piano music 00:02:44.000 --> 00:02:48.000 piano music 00:02:48.000 --> 00:02:52.000 piano music 00:02:52.000 --> 00:02:56.000 piano music 00:02:56.000 --> 00:02:60.000 piano music 00:03:00.000 --> 00:03:04.000 piano music 00:03:04.000 --> 00:03:08.000 piano music 00:03:08.000 --> 00:03:12.000 piano music 00:03:12.000 --> 00:03:16.000 piano music 00:03:16.000 --> 00:03:20.000 piano music 00:03:20.000 --> 00:03:24.000 piano music 00:03:24.000 --> 00:03:28.000 piano music 00:03:28.000 --> 00:03:32.000 piano music 00:03:32.000 --> 00:03:36.000 piano music 00:03:36.000 --> 00:03:40.000 piano music 00:03:40.000 --> 00:03:44.000 piano music 00:03:44.000 --> 00:03:48.000 piano music 00:03:48.000 --> 00:03:52.000 piano music 00:03:52.000 --> 00:03:56.000 I liked her very much. I thought there was 00:03:56.000 --> 00:03:60.000 a lot of extremely well thought out 00:04:00.000 --> 00:04:04.000 very musical playing, very confident, I think 00:04:04.000 --> 00:04:08.000 Do you understand me, are you nervous? 00:04:08.000 --> 00:04:12.000 Well, she did fantastic 00:04:12.000 --> 00:04:16.000 because we did not know. I assumed she would be, 00:04:16.000 --> 00:04:20.000 because we all are all the time. 00:04:20.000 --> 00:04:24.000 And I thought you did excellently well, well done. 00:04:24.000 --> 00:04:28.000 Ok so, 00:04:28.000 --> 00:04:32.000 piano music 00:04:32.000 --> 00:04:36.000 piano music 00:04:36.000 --> 00:04:40.000 piano music 00:04:40.000 --> 00:04:44.000 So its, tick tick tick 00:04:44.000 --> 00:04:48.000 the bow on a string. A violin, a violin 00:04:48.000 --> 00:04:52.000 so you 00:04:52.000 --> 00:04:56.000 have got a light but not necessarily 00:04:56.000 --> 00:04:60.000 dry. It is a very 00:05:00.000 --> 00:05:04.000 interesting concept the peddle on a piano. We 00:05:04.000 --> 00:05:08.000 can peddle staccato, piano music 00:05:08.000 --> 00:05:12.000 piano music 00:05:12.000 --> 00:05:16.000 or you can mix it up, you can go 00:05:16.000 --> 00:05:20.000 piano music 00:05:20.000 --> 00:05:24.000 piano music 00:05:24.000 --> 00:05:28.000 piano music 00:05:28.000 --> 00:05:32.000 piano music 00:05:32.000 --> 00:05:36.000 piano music 00:05:36.000 --> 00:05:40.000 piano music 00:05:40.000 --> 00:05:44.000 piano music 00:05:44.000 --> 00:05:48.000 piano music 00:05:48.000 --> 00:05:52.000 Ok, so 00:05:52.000 --> 00:05:56.000 just a little bit more of that. 00:05:56.000 --> 00:05:60.000 Changing a little, and 00:06:00.000 --> 00:06:04.000 a little faster. Yeah, she understands that yeah. 00:06:04.000 --> 00:06:08.000 piano music 00:06:08.000 --> 00:06:12.000 piano music 00:06:12.000 --> 00:06:16.000 piano music 00:06:16.000 --> 00:06:20.000 piano music 00:06:20.000 --> 00:06:24.000 piano music 00:06:24.000 --> 00:06:28.000 piano music 00:06:28.000 --> 00:06:32.000 Ok, its very interesting. Once the 00:06:32.000 --> 00:06:36.000 ear hears the staccato in the left hand, 00:06:36.000 --> 00:06:40.000 we except that as the 00:06:40.000 --> 00:06:44.000 sound. And when you then have to peddle 00:06:44.000 --> 00:06:48.000 it, because of certain things you are doing in the right hand, 00:06:48.000 --> 00:06:52.000 we can carry on hearing it as staccato, even though it isn't. 00:06:52.000 --> 00:06:56.000 But it is crucial that the left hand is never 00:06:56.000 --> 00:06:60.000 to loud, because if the left hand is to 00:07:00.000 --> 00:07:04.000 loud, when we are peddling it, the ear suddenly picks up the peddle 00:07:04.000 --> 00:07:08.000 and says, oh thats not what you where doing before. But if you keep 00:07:08.000 --> 00:07:12.000 it very very soft, let me demonstrate it, 00:07:12.000 --> 00:07:16.000 piano music 00:07:16.000 --> 00:07:20.000 piano music and I was, I was 00:07:20.000 --> 00:07:24.000 actually peddling 00:07:24.000 --> 00:07:28.000 but we do not notice, piano music 00:07:28.000 --> 00:07:32.000 piano music - and it is crucial that the right 00:07:32.000 --> 00:07:36.000 hand, the upper strings, are leading 00:07:36.000 --> 00:07:40.000 the way, and the lower strings are very very quiet 00:07:40.000 --> 00:07:44.000 in the background. And interestingly the bit I have just demonstrated 00:07:44.000 --> 00:07:48.000 Plateve implies that kind 00:07:48.000 --> 00:07:52.000 of texture, by the instruction in the score. He writes 00:07:52.000 --> 00:07:56.000 crescendo. Now we think crescendo just 00:07:56.000 --> 00:07:60.000 means get louder, but it means far more than that. 00:08:00.000 --> 00:08:04.000 At this moment, it means really, it means the way 00:08:04.000 --> 00:08:08.000 I played it. It means enrich the sounds, peddle, 00:08:08.000 --> 00:08:12.000 espressivo. It means all those three things that crescendo, 00:08:12.000 --> 00:08:16.000 Enrich the sound, get louder, 00:08:16.000 --> 00:08:20.000 therefore, peddle, therefore, 00:08:20.000 --> 00:08:24.000 espressivo. So you can ask her to 00:08:24.000 --> 00:08:28.000 exaggerate the crescendo a little bit more, 00:08:28.000 --> 00:08:32.000 piano music 00:08:32.000 --> 00:08:36.000 piano music 00:08:36.000 --> 00:08:40.000 piano music 00:08:40.000 --> 00:08:44.000 Good, excellent. Carry on. 00:08:44.000 --> 00:08:48.000 piano music 00:08:48.000 --> 00:08:52.000 piano music 00:08:52.000 --> 00:08:56.000 piano music 00:08:56.000 --> 00:08:60.000 Let me say one, important thing, this 00:09:00.000 --> 00:09:04.000 piece is more difficult to play technically, 00:09:04.000 --> 00:09:08.000 when you play it faster, for obvious reasons. 00:09:08.000 --> 00:09:12.000 But it is much easier to play musically, 00:09:12.000 --> 00:09:16.000 when it is faster. And I think it is 00:09:16.000 --> 00:09:20.000 to slow, and I think andante does not mean slow, 00:09:20.000 --> 00:09:24.000 andante means move. 00:09:24.000 --> 00:09:28.000 piano music 00:09:28.000 --> 00:09:32.000 piano music 00:09:32.000 --> 00:09:36.000 piano music 00:09:36.000 --> 00:09:40.000 piano music 00:09:40.000 --> 00:09:44.000 piano music 00:09:44.000 --> 00:09:48.000 piano music 00:09:48.000 --> 00:09:52.000 piano music 00:09:52.000 --> 00:09:56.000 piano music 00:10:00.000 --> 00:10:04.000 piano music 00:10:04.000 --> 00:10:08.000 piano music 00:10:08.000 --> 00:10:11.000 piano music 00:10:11.000 --> 00:10:16.000 Good, good. Immediately it becomes 00:10:16.000 --> 00:10:20.000 musical entertainment. All this movement 00:10:20.000 --> 00:10:24.000 this dynamic changes, the crescendos 00:10:24.000 --> 00:10:28.000 the wonderful exaggeration 00:10:28.000 --> 00:10:32.000 of the 00:10:32.000 --> 00:10:36.000 piano music 00:10:36.000 --> 00:10:40.000 piano music 00:10:40.000 --> 00:10:44.000 piano music - It is all wonderfully 00:10:44.000 --> 00:10:48.000 projected, and it needs a great sense of 00:10:48.000 --> 00:10:52.000 drama in it. Absolutely, typically 00:10:52.000 --> 00:10:56.000 of Beethoven at this period, is that he manipulates his 00:10:56.000 --> 00:10:60.000 material. Which is very straightforward material, 00:11:00.000 --> 00:11:04.000 We understand all these chords and the dadadada, its very 00:11:04.000 --> 00:11:08.000 approachable music, and he manipulates it 00:11:08.000 --> 00:11:12.000 to entertain us really, and 00:11:12.000 --> 00:11:16.000 the entertainment value tips over 00:11:16.000 --> 00:11:19.000 into wit. Theres a sense in which he is saying aren't I being clever. 00:11:19.000 --> 00:11:24.000 Who else, but Beethoven would repeat a dissonance three times, 00:11:24.000 --> 00:11:28.000 piano music 00:11:28.000 --> 00:11:32.000 piano music 00:11:32.000 --> 00:11:36.000 piano music - Now that is an extreme dissonance, major 00:11:36.000 --> 00:11:40.000 and all the time he keeps hitting it at you, and he says 00:11:40.000 --> 00:11:44.000 come on, what do you think of this. And then, 00:11:44.000 --> 00:11:48.000 suddenly, he takes it all away. There is no harmony, 00:11:48.000 --> 00:11:52.000 and the note just hangs, and then he 00:11:52.000 --> 00:11:56.000 starts again. And we go, huh, involuntarily we 00:11:56.000 --> 00:11:60.000 chuckle, or we smile. It is not belly laughter it is sort of 00:12:00.000 --> 00:12:04.000 we just appreciate what he is doing. It is really 00:12:04.000 --> 00:12:08.000 clever. Right, lets go from here. 00:12:08.000 --> 00:12:12.000 piano music 00:12:12.000 --> 00:12:16.000 piano music 00:12:16.000 --> 00:12:20.000 piano music 00:12:20.000 --> 00:12:24.000 piano music 00:12:24.000 --> 00:12:28.000 piano music - Its funny, its witty, 00:12:28.000 --> 00:12:32.000 piano music 00:12:32.000 --> 00:12:36.000 piano music 00:12:36.000 --> 00:12:40.000 piano music 00:12:40.000 --> 00:12:44.000 piano music 00:12:44.000 --> 00:12:48.000 piano music 00:12:48.000 --> 00:12:52.000 piano music 00:12:52.000 --> 00:12:56.000 piano music 00:12:56.000 --> 00:12:60.000 piano music 00:13:00.000 --> 00:13:04.000 piano music 00:13:04.000 --> 00:13:08.000 piano music 00:13:08.000 --> 00:13:12.000 piano music 00:13:12.000 --> 00:13:16.000 Is Beethoven is improvising. He was 00:13:16.000 --> 00:13:20.000 a very very fine pianist, and when he went to Vienna, 00:13:20.000 --> 00:13:24.000 as a young man, he went as a pianist not as a composer. 00:13:24.000 --> 00:13:28.000 Well it was the same thing in those days. There were not any pianists, 00:13:28.000 --> 00:13:32.000 you were a composer and you played your own works. And this 00:13:32.000 --> 00:13:36.000 is exactly the kind of music that he would have improvised on, 00:13:36.000 --> 00:13:40.000 piano music 00:13:40.000 --> 00:13:44.000 piano music 00:13:44.000 --> 00:13:48.000 piano music 00:13:48.000 --> 00:13:52.000 piano music 00:13:52.000 --> 00:13:56.000 piano music 00:13:56.000 --> 00:13:60.000 piano music 00:14:00.000 --> 00:14:04.000 piano music 00:14:04.000 --> 00:14:08.000 piano music 00:14:08.000 --> 00:14:12.000 piano music 00:14:12.000 --> 00:14:16.000 piano music 00:14:16.000 --> 00:14:20.000 piano music 00:14:20.000 --> 00:14:24.000 piano music 00:14:24.000 --> 00:14:28.000 piano music 00:14:28.000 --> 00:14:32.000 piano music 00:14:32.000 --> 00:14:36.000 piano music 00:14:36.000 --> 00:14:40.000 piano music 00:14:40.000 --> 00:14:44.000 piano music 00:14:44.000 --> 00:14:48.000 piano music 00:14:48.000 --> 00:14:52.000 piano music 00:14:52.000 --> 00:14:56.000 piano music 00:14:56.000 --> 00:14:60.000 piano music 00:15:00.000 --> 00:15:04.000 piano music 00:15:04.000 --> 00:15:08.000 piano music 00:15:08.000 --> 00:15:12.000 piano music 00:15:12.000 --> 00:15:16.000 piano music 00:15:16.000 --> 00:15:20.000 piano music 00:15:20.000 --> 00:15:24.000 piano music 00:15:24.000 --> 00:15:28.000 piano music 00:15:28.000 --> 00:15:32.000 piano music 00:15:32.000 --> 00:15:36.000 piano music 00:15:36.000 --> 00:15:40.000 piano music 00:15:40.000 --> 00:15:44.000 piano music 00:15:44.000 --> 00:15:48.000 piano music 00:15:48.000 --> 00:15:52.000 piano music 00:15:52.000 --> 00:15:56.000 piano music 00:15:56.000 --> 00:15:60.000 piano music 00:16:00.000 --> 00:16:04.000 piano music 00:16:04.000 --> 00:16:08.000 piano music 00:16:08.000 --> 00:16:12.000 piano music 00:16:12.000 --> 00:16:16.000 piano music 00:16:16.000 --> 00:16:20.000 piano music 00:16:20.000 --> 00:16:24.000 piano music 00:16:24.000 --> 00:16:28.000 piano music 00:16:28.000 --> 00:16:32.000 piano music 00:16:32.000 --> 00:16:36.000 piano music 00:16:36.000 --> 00:16:40.000 finish! 00:16:40.000 --> 00:16:44.000 Yes. Ok, great! Good! 00:16:44.000 --> 00:16:48.000 This is a very difficult movement. 00:16:48.000 --> 00:16:52.000 And you are doing it well, very well. 00:16:52.000 --> 00:16:56.000 Good, this follows 00:16:56.000 --> 00:16:60.000 what I said earlier, this is full of humor, full of wit 00:17:00.000 --> 00:17:04.000 very very clever, deliberately 00:17:04.000 --> 00:17:08.000 humorous. This is not a subtle kind of humor this is 00:17:08.000 --> 00:17:12.000 straightforward. It, this 00:17:12.000 --> 00:17:16.000 could make you laugh. All the accents are in the 00:17:16.000 --> 00:17:20.000 wrong place, for instance. - piano music - 00:17:20.000 --> 00:17:24.000 piano music 00:17:24.000 --> 00:17:28.000 piano music - You know, everything, all the material 00:17:28.000 --> 00:17:32.000 is designed to make us feel happy, make us feel 00:17:32.000 --> 00:17:36.000 utterly intoxicated by the 00:17:36.000 --> 00:17:40.000 cleverness of the music. And its a pretty 00:17:40.000 --> 00:17:44.000 banal tune, as well. 00:17:44.000 --> 00:17:48.000 Rather straightforward, not rather uninterested 00:17:48.000 --> 00:17:52.000 piano music 00:17:52.000 --> 00:17:56.000 piano music - You know, thats the kind of tune 00:17:56.000 --> 00:17:60.000 we would be expected to write for ourselves in our 00:18:00.000 --> 00:18:04.000 composition exercises. Please write a two bar phrase 00:18:04.000 --> 00:18:08.000 followed by another two bars that repeat the first two bars and 00:18:08.000 --> 00:18:12.000 end on the tonic. And thats what you do you know? I could do 00:18:12.000 --> 00:18:16.000 I could two, yum pa pa, yum pa pa pa pa pa, 00:18:16.000 --> 00:18:20.000 bum bu, be, bu bum bum bum, you know I 00:18:20.000 --> 00:18:24.000 wasn't very in tune, and it wasn't a very good tune, but at least 00:18:24.000 --> 00:18:28.000 its what Beethoven is doing. Just a very straight forward 00:18:28.000 --> 00:18:32.000 rather square tune. 00:18:32.000 --> 00:18:36.000 And, harmonically, 00:18:36.000 --> 00:18:40.000 to, its very straightforward, - piano music - 00:18:40.000 --> 00:18:44.000 piano music 00:18:44.000 --> 00:18:48.000 piano music 00:18:48.000 --> 00:18:52.000 piano music - And then, if you have not got 00:18:52.000 --> 00:18:56.000 the message, - piano music - 00:18:56.000 --> 00:18:60.000 and then this really silly bit - piano music - 00:19:00.000 --> 00:19:04.000 piano music 00:19:04.000 --> 00:19:08.000 piano music 00:19:08.000 --> 00:19:12.000 I mean thats so banal, 00:19:12.000 --> 00:19:16.000 piano music 00:19:16.000 --> 00:19:20.000 piano music - and then 00:19:20.000 --> 00:19:24.000 hold on, - piano music 00:19:24.000 --> 00:19:28.000 piano music 00:19:28.000 --> 00:19:32.000 and then all he can do is do it again. 00:19:32.000 --> 00:19:36.000 piano music 00:19:36.000 --> 00:19:40.000 Ok good, so, just enjoy it. 00:19:40.000 --> 00:19:44.000 Really enjoy it. So this is an interesting 00:19:44.000 --> 00:19:48.000 point about teaching 00:19:48.000 --> 00:19:52.000 and performing. Is that no matter how much 00:19:52.000 --> 00:19:56.000 we know what the music means, its very straightforward here, 00:19:56.000 --> 00:19:60.000 its very witty, its clever, its deliberately banal, we have to 00:20:00.000 --> 00:20:04.000 have a technique that enables us to show that, 00:20:04.000 --> 00:20:08.000 The music won't do it by itself if we are not very 00:20:08.000 --> 00:20:12.000 rhythmically in control. The whole piece depends 00:20:12.000 --> 00:20:14.000 on the tightness of that rhythm. 00:20:14.000 --> 00:20:20.000 piano music 00:20:20.000 --> 00:20:24.000 piano music 00:20:24.000 --> 00:20:28.000 piano music 00:20:28.000 --> 00:20:32.000 piano music 00:20:32.000 --> 00:20:36.000 piano music 00:20:36.000 --> 00:20:40.000 piano music 00:20:40.000 --> 00:20:44.000 piano music 00:20:44.000 --> 00:20:48.000 piano music 00:20:48.000 --> 00:20:52.000 piano music 00:20:52.000 --> 00:20:56.000 piano music 00:20:56.000 --> 00:20:60.000 piano music 00:21:00.000 --> 00:21:04.000 piano music 00:21:04.000 --> 00:21:08.000 piano music 00:21:08.000 --> 00:21:12.000 piano music 00:21:12.000 --> 00:21:16.000 piano music 00:21:16.000 --> 00:21:20.000 piano music 00:21:20.000 --> 00:21:24.000 piano music 00:21:24.000 --> 00:21:28.000 piano music 00:21:28.000 --> 00:21:32.000 piano music 00:21:32.000 --> 00:21:36.000 piano music 00:21:36.000 --> 00:21:40.000 piano music 00:21:40.000 --> 00:21:44.000 piano music 00:21:44.000 --> 00:21:48.000 piano music 00:21:48.000 --> 00:21:52.000 piano music 00:21:52.000 --> 00:21:56.000 piano music 00:21:56.000 --> 00:21:60.000 piano music 00:22:00.000 --> 00:22:04.000 piano music 00:22:04.000 --> 00:22:08.000 piano music 00:22:08.000 --> 00:22:12.000 piano music 00:22:12.000 --> 00:22:16.000 piano music 00:22:16.000 --> 00:22:20.000 piano music 00:22:20.000 --> 00:22:24.000 piano music 00:22:24.000 --> 00:22:28.000 piano music 00:22:28.000 --> 00:22:32.000 piano music 00:22:32.000 --> 00:22:36.000 piano music 00:22:36.000 --> 00:22:40.000 piano music 00:22:40.000 --> 00:22:44.000 piano music 00:22:44.000 --> 00:22:48.000 piano music 00:22:48.000 --> 00:22:52.000 piano music 00:22:52.000 --> 00:22:56.000 piano music 00:22:56.000 --> 00:22:60.000 piano music 00:23:00.000 --> 00:23:04.000 piano music 00:23:04.000 --> 00:23:08.000 piano music 00:23:08.000 --> 00:23:12.000 piano music 00:23:12.000 --> 00:23:16.000 piano music 00:23:16.000 --> 00:23:20.000 piano music 00:23:20.000 --> 00:23:24.000 piano music 00:23:24.000 --> 00:23:28.000 piano music 00:23:28.000 --> 00:23:32.000 piano music 00:23:32.000 --> 00:23:36.000 piano music 00:23:36.000 --> 00:23:40.000 piano music 00:23:40.000 --> 00:23:44.000 piano music 00:23:44.000 --> 00:23:48.000 piano music 00:23:48.000 --> 00:23:52.000 piano music 00:23:52.000 --> 00:23:56.000 piano music 00:23:56.000 --> 00:23:60.000 piano music 00:24:00.000 --> 00:24:04.000 piano music 00:24:04.000 --> 00:24:08.000 piano music 00:24:08.000 --> 00:24:12.000 piano music 00:24:12.000 --> 00:24:16.000 piano music 00:24:16.000 --> 00:24:20.000 piano music 00:24:20.000 --> 00:24:24.000 piano music 00:24:24.000 --> 00:24:28.000 piano music 00:24:28.000 --> 00:24:32.000 Well, i would like you to say that 00:24:32.000 --> 00:24:36.000 I thought that was extremely fine. 00:24:36.000 --> 00:24:40.000 Thank you. 00:24:40.000 --> 00:24:44.000 And it is very gratifying 00:24:44.000 --> 00:24:48.000 to hear someone playing 00:24:48.000 --> 00:24:52.000 this very great work who can actually play 00:24:52.000 --> 00:24:56.000 it. Great fingers. But, not only 00:24:56.000 --> 00:24:60.000 great fingers, great temperament to. This is 00:25:00.000 --> 00:25:04.000 a very important 00:25:04.000 --> 00:25:08.000 historical moment in piano music, 00:25:08.000 --> 00:25:12.000 no body had ever written anything on the piano 00:25:12.000 --> 00:25:16.000 that sounded like this. Beethoven 00:25:16.000 --> 00:25:20.000 is using the piano in a completely new 00:25:20.000 --> 00:25:24.000 way, to create an orchestral sound. 00:25:24.000 --> 00:25:28.000 And you will remember what I said earlier, was that he was imitating strings 00:25:28.000 --> 00:25:32.000 now he is imitating the whole, huge 00:25:32.000 --> 00:25:36.000 sound of an orchestra. 00:25:36.000 --> 00:25:40.000 piano music - that sound is 00:25:40.000 --> 00:25:44.000 a new sound. And even this, piano music 00:25:44.000 --> 00:25:48.000 piano music - I mean just think of the boldness of that, 00:25:48.000 --> 00:25:52.000 I mean I think there are about 17 repeated C major chords 00:25:52.000 --> 00:25:56.000 In that opening, in fact there are 14 00:25:56.000 --> 00:25:60.000 and then there are two, and then he moves 00:26:00.000 --> 00:26:04.000 piano music 00:26:04.000 --> 00:26:08.000 piano music 00:26:08.000 --> 00:26:12.000 piano music 00:26:12.000 --> 00:26:16.000 piano music 00:26:16.000 --> 00:26:20.000 piano music - except, 00:26:20.000 --> 00:26:24.000 we have to do it pianism. 00:26:24.000 --> 00:26:28.000 Ok, right before 00:26:28.000 --> 00:26:32.000 we begin, there are 00:26:32.000 --> 00:26:36.000 two very obvious elements in this 00:26:36.000 --> 00:26:40.000 movement. I think this player is extremely 00:26:40.000 --> 00:26:44.000 good on one of them, but not so good on the other. 00:26:44.000 --> 00:26:48.000 One element is the rhythmic drive, the other element 00:26:48.000 --> 00:26:52.000 is the lyricism, the melodic shaping which 00:26:52.000 --> 00:26:56.000 I think hers is a little bit to excitable. 00:26:56.000 --> 00:26:60.000 piano music 00:27:00.000 --> 00:27:04.000 piano music 00:27:04.000 --> 00:27:08.000 piano music 00:27:08.000 --> 00:27:12.000 piano music 00:27:12.000 --> 00:27:16.000 piano music 00:27:16.000 --> 00:27:20.000 So just play from 00:27:20.000 --> 00:27:24.000 no play from here. 00:27:24.000 --> 00:27:28.000 piano music 00:27:28.000 --> 00:27:32.000 piano music 00:27:32.000 --> 00:27:36.000 piano music 00:27:36.000 --> 00:27:40.000 piano music - Yes, good, good. And 00:27:40.000 --> 00:27:44.000 these are one of the typical Beethoven marks, 00:27:44.000 --> 00:27:48.000 which are very difficult to make sound natural. He writes 00:27:48.000 --> 00:27:52.000 a crescendo and then a sudden piano, 00:27:52.000 --> 00:27:56.000 so he goes 00:27:56.000 --> 00:27:60.000 and its very difficult 00:28:00.000 --> 00:28:04.000 to quite understand what he means. But what he actually 00:28:04.000 --> 00:28:08.000 means, because this is very early instructions, they 00:28:08.000 --> 00:28:12.000 hadn't quite worked out how to tell us what to do. 00:28:12.000 --> 00:28:16.000 What he really means is espressivo. He means this has got an enormous 00:28:16.000 --> 00:28:20.000 fluctuation of dynamics, moving 00:28:20.000 --> 00:28:24.000 backwards and forwards, backwards and forwards, to give that sense of 00:28:24.000 --> 00:28:28.000 espressivo, - piano music - 00:28:28.000 --> 00:28:32.000 piano music 00:28:32.000 --> 00:28:36.000 piano music 00:28:36.000 --> 00:28:40.000 piano music 00:28:40.000 --> 00:28:44.000 piano music 00:28:44.000 --> 00:28:48.000 piano music 00:28:48.000 --> 00:28:52.000 piano music 00:28:52.000 --> 00:28:56.000 piano music 00:28:56.000 --> 00:28:60.000 piano music - Good, ok now thats 00:29:00.000 --> 00:29:04.000 excellent. Now what is difficult now 00:29:04.000 --> 00:29:08.000 and now we will go back to the beginning and see what happens, 00:29:08.000 --> 00:29:12.000 is the change from one to the other. That is whats so 00:29:12.000 --> 00:29:16.000 thats what we have to control in this movement. This change in this 00:29:16.000 --> 00:29:20.000 pulsing rhythm, to this very sweet lyricism. But 00:29:20.000 --> 00:29:24.000 all at one tempo. And of course the obvious place 00:29:24.000 --> 00:29:28.000 piano music 00:29:28.000 --> 00:29:32.000 piano music 00:29:32.000 --> 00:29:36.000 piano music 00:29:36.000 --> 00:29:40.000 piano music 00:29:40.000 --> 00:29:44.000 piano music 00:29:44.000 --> 00:29:48.000 piano music 00:29:48.000 --> 00:29:52.000 piano music 00:29:52.000 --> 00:29:56.000 piano music 00:29:56.000 --> 00:29:60.000 piano music 00:30:00.000 --> 00:30:04.000 We can all hear, he has written 00:30:04.000 --> 00:30:08.000 piano music - and 00:30:08.000 --> 00:30:12.000 then the right hand he has written - piano music - 00:30:12.000 --> 00:30:16.000 piano music 00:30:16.000 --> 00:30:20.000 To my mind, the upperline 00:30:20.000 --> 00:30:24.000 is the more important one. We have already heard 00:30:24.000 --> 00:30:28.000 piano music - we have already heard that. 00:30:28.000 --> 00:30:32.000 Without any adornment, and now he adorns it with a 00:30:32.000 --> 00:30:36.000 beautiful improvisation on that melody. 00:30:36.000 --> 00:30:40.000 sings - so I think 00:30:40.000 --> 00:30:44.000 the right hand could be the expressive one, 00:30:44.000 --> 00:30:48.000 piano music 00:30:48.000 --> 00:30:52.000 piano music - more right hand. 00:30:52.000 --> 00:30:56.000 translating 00:30:56.000 --> 00:30:58.000 translating 00:30:58.000 --> 00:30:64.000 piano music - ok, ok so now lets do the whole thing again 00:31:04.000 --> 00:31:08.000 piano music 00:31:08.000 --> 00:31:12.000 piano music 00:31:12.000 --> 00:31:16.000 piano music 00:31:16.000 --> 00:31:20.000 piano music 00:31:20.000 --> 00:31:24.000 piano music 00:31:24.000 --> 00:31:28.000 piano music 00:31:28.000 --> 00:31:32.000 piano music 00:31:32.000 --> 00:31:36.000 piano music 00:31:36.000 --> 00:31:40.000 One crucial thing, the next thing we have already mentioned is the 00:31:40.000 --> 00:31:44.000 sound of this piece. It sounds 00:31:44.000 --> 00:31:48.000 like no other piece that he had written. 00:31:48.000 --> 00:31:52.000 The sound is intimately related to the peddle. 00:31:52.000 --> 00:31:56.000 And I think this passage needs more 00:31:56.000 --> 00:31:60.000 careful peddling. Each chord 00:32:00.000 --> 00:32:04.000 we do not want 00:32:04.000 --> 00:32:08.000 piano music 00:32:08.000 --> 00:32:12.000 piano music 00:32:12.000 --> 00:32:16.000 We don't want that, but it is really easy to get that if we are not really 00:32:16.000 --> 00:32:20.000 concentrating, so we need to be very very precise with the 00:32:20.000 --> 00:32:24.000 foot. piano music 00:32:24.000 --> 00:32:28.000 piano music 00:32:28.000 --> 00:32:32.000 piano music - Its easy slow, not so easy fast. 00:32:32.000 --> 00:32:36.000 piano music 00:32:36.000 --> 00:32:40.000 piano music 00:32:40.000 --> 00:32:44.000 piano music 00:32:44.000 --> 00:32:48.000 piano music 00:32:48.000 --> 00:32:52.000 piano music 00:32:52.000 --> 00:32:56.000 And the tempo is intimately allied to at the beginning 00:32:56.000 --> 00:32:60.000 the thrust, the push of the 00:33:00.000 --> 00:33:04.000 harmonic structure. He begins on C major, 00:33:04.000 --> 00:33:08.000 but be immediately leaves it. 00:33:08.000 --> 00:33:12.000 So all he is doing to tell us he is in C major is 00:33:12.000 --> 00:33:16.000 he is repeating a C major chord. 00:33:16.000 --> 00:33:20.000 But we know from our composition lessons 00:33:20.000 --> 00:33:24.000 that doesn't create C major. We have to do a 00:33:24.000 --> 00:33:28.000 five one, we have to go 00:33:28.000 --> 00:33:32.000 we have to do that to create the key. He doesn't do that. He 00:33:32.000 --> 00:33:36.000 departs immediately from the C Major and he modulates at 00:33:36.000 --> 00:33:40.000 once. piano music 00:33:40.000 --> 00:33:44.000 piano music - So again we reach that point which 00:33:44.000 --> 00:33:48.000 I mentioned in the previous sonata was that everything only 00:33:48.000 --> 00:33:52.000 works if its incredibly tight. 00:33:52.000 --> 00:33:56.000 If we, I think I can begin to 00:33:56.000 --> 00:33:60.000 answer why we need that tightness, I think its to do with 00:34:00.000 --> 00:34:04.000 its to do with 00:34:04.000 --> 00:34:08.000 something being out of control. And if its 00:34:08.000 --> 00:34:12.000 not, if its not, and being out of control 00:34:12.000 --> 00:34:16.000 means you stray beyond the structure, the structure won't hold 00:34:16.000 --> 00:34:20.000 what you are trying to say, so it starts to break. I think 00:34:20.000 --> 00:34:24.000 we can imagine it like that, so we are talking aesthetics really. 00:34:24.000 --> 00:34:28.000 We are talking about how a painting works, or a poem works, 00:34:28.000 --> 00:34:32.000 or a piece of architecture works. Think of architecture, if the 00:34:32.000 --> 00:34:36.000 if the arches, if the pillars 00:34:36.000 --> 00:34:40.000 are not solid, the arch is going to collapse. 00:34:40.000 --> 00:34:44.000 And I think we have a parallel in music. The rhythm is not 00:34:44.000 --> 00:34:48.000 absolutely solid and tight, the shape 00:34:48.000 --> 00:34:56.000 music 00:34:56.000 --> 00:34:59.000 music