 Beethoven Sonata Opus 31, number two, Tempest. We want to talk about some technical difficulties. And we all know the problem with the repetition at the beginning. If you see it from the technical point, you have just the adagio chord to warm up. And these are only two bars, so it's not enough to really be warmed up. And you have to do these repetitions. And very important, I think, is always have in mind it's allegro, it's not a presto. You don't have to rush, you have to play it really in an allegro tempo, and not molto allegro, and not allegro con brio, allegro. Just show the beginning. Yes, thank you, thank you. You would do the repetition with four, three. And well, I think in this special case we can be happy if it works. And so we don't have to care about the fingering, we have to find a solution that it works. And with your interpretation it works very well. Mare Pereira wrote three-two for the repetition, and we just tried it out. Can you just show how it looks and how it works with three-two? Slowly. Yes, if you can play it in tempo. This even works very well. If I am very, very critical I would think this was even better. But well, it's up to you. I think there is a moment where a fingering, it's just a proposal. And we are free to find a way to do it. If you play one note with your nose, it's possible. But please show the audience how you practice it. I practiced this passage very slowly at first. And then I made some rhythmical variations. And also like this. And I think it's very good for concentration because we have the jumps from here. It's one octave jumps. And if we just practice so fast, we will not have time to concentrate on the jumps here. What I like very much, you play slowly, but you play with emotion. And I think this is also very important. If you practice a technical moment, you should always have the music in mind. And try to include crescendo and preparation for a fermata or whatever. And this comes out very, very good. Okay, then this one. What is your approach technically to this? How do you do it? First, I had a problem in this passage so many times. Because when I play it in the forehand, I would make some mistakes. But I just asked Mr. Tansky and he just said to me, I can solve this problem by not connecting D and F together. And then put my hand out and then in that direction. Like this. Yes, and it works. And it works much better than this. And what is also important, I think you play the right hand really wonderfully. It's a kind of tremolo. And it should not sound like you hear this so much and you can't follow the melody. Especially when the piano comes with the overtaking hands. Can you show it again? And also here we should have in mind at the beginning it is forte, not fortissimo. And later in the development we have the fortissimo. And I think it is important to shape the different chords. It's like in a choral where some chords are more important than the others. And you have a solution and you have a tension. So in the development it should not be always the same loudness. And it would be this passage. You start with the fortissimo but then here is forte in brackets. And then it could be more and more and more but not always the same. Can you show it? Very good. For me I think like here in the first F sharp minor is the root position of the chord. And the second we have is the second inversion. And then we have again F sharp minor but it's in the first inversion. And then we have B minor. It's in the root position so it can be much more stronger. I think it comes out wonderful. So always and this is also my proposal for a lot of pianists don't play too loud. It is violent, it is strong but it should not destroy the piano. And well I once had a student in a master class and he really destroyed the F sharp. At least he had a key in his hand. This should not happen. Well could you show the lago, this expression again, how you touch this pianissimo with the pedal. You change the pedal very slightly and what are you doing that it is going through? I think for the pedal I hear the sound. I have to hear the sound very carefully. I don't have to make the sound. I don't want the sound to be like this. So I need to ration but just very little. Not the whole change but just very little. And the left hand? And then I put my left hand. I never take my left hand off. So I can sustain the sound of a major chord. It comes. I think it's very wonderful that you do it. I would always propose to when you practice this that you just take in this case this chord and then you improvise like this. Of course it depends on the piano. Maybe it's different from piano to piano. But this is a thing of trying out and listening. Very good. The end? The end. Because this is always a big problem. Because I want the sound like that. Just try to avoid an accent but it works. Good. Okay, second movement. I think if you have a wonderful cantabile and you have good chords then there is less technical problems. But this one where you go over with the left hand is really a problem. Can you just show some parts from the beginning? What are you doing? As soft as possible. And I try to concentrate on the melody on my right hand. If I concentrate on my left hand, my mind is going to be very busy on my mind. So I just try to follow the melody and everything is going to be fine. The rest works by itself. I think for me the most difficult passage is the tremolo in the left hand. Because sometimes it works, sometimes it's not so even and sometimes it's not so good. So I practice like this. And then just once. How about pedal in this tremolo? I don't use any pedal. Okay, and left pedal? Left pedal. I use my left pedal. This is really great. One can hear the timpani doing it. And also on my right hand is like some woodwinds or some brass. And it's contrast with my left hand. The most important thing is to play the legato as possible in the right hand. And not to be too shy to show expression. You do wonderful. So maybe it helps also to practice such things sometimes in metaphor. The melody. And also without pedal when I practice. And try to connect the melody. Yes, with silent finger change if possible. So then you have done an important step to be a good organist too. Okay, and a third movement? What would you think? The hardest thing is the jumps. There are so many jumps. Can you show this? And also on the left hand in this passage. What do you do to practice such a jump? Do you take time or do you speed up? What are you doing? I just practice slowly. I play like this. And also on my left hand in this passage. I practice something like this. So you play double chords instead of... Sometimes like this. And also something like this. And also the most trickiest thing in this movement I think is the chromatic in the end. Show us this. Because sometimes when I play I play so many mistakes. In the score it's written to do it with both hands. I think this is a big risk. I would take the first D with the left hand and then you play an octave. Actually I think like this. Also the left hand I think is quite so risky. So we have to practice handset play. And also maybe even if it's fortissimo leading with the right hand and not so much care for the left hand it should follow. Can you show? But I'm here. I think it should be strong at the beginning. And at the end of the sonata, remaining for a moment on the keyboard without moving or finish and get up and stand up and bowing. It depends on the feeling. I think we don't have to think so much because the performance will not come so very natural. Yes, this is right. This is one of your really great qualities. One can hear you have such a passion and a joy to play. This also gives me a lot of passion and joy for you. Thank you very much.