 Beethoven, Sonata, Ab, Opus 26, a special sonata because in the first movement we have not the classical first movement in Allegro or Allegro Conbrio or whatever, we have a variation movement and very interesting it's written andante con variazioni and not tema con variazioni. So one could think about maybe even the andante can be as a tempo in variation especially for the third and fourth movement variation it is very important. Andante walking, you walk different if you had a wonderful day before or if you had a sad day or if you walk dreaming and so there is a kind of possibility to change the tempo and to play it in different attitudes. Could you just play it like you did in your performance? And of course it would be also possible, well maybe you have done three concerts and this is the fourth one and you feel very good and you think ah the world is without problems and play like this, can you try? So here as the interpreter you are free just to choose the tempo which is an andante for you. Then we have the situation where the phrase ends and the syncope interrupts in a way. You can think about there is a kind of monologue and then somebody is saying something or you can think it's a dialogue and you talk and the other just want to save something and comes very early it could be like this. Can you try? Take more time. So then the situation is really completely different but only with a slight waiting. First variation this. Also here I think the situation like the beginning is the same so it's not a kind of virtuoso variation. You just should take time. Can you try? Very good. I like this very much but it would be also possible to hurry a little bit and to be in time. Can you try this? Quite fast. Like I read in a book that Sviatoslav Richter is playing this variation like a list etude. Maybe imaginable. Like the F minor etude of list. Can you try? Yes, very good. But of course you know you just demonstrated the possibility but you played it slowly on more characteristic. Can you do your interpretation? It depends how you see it and I think from the title Andante con variazioni we are really free here to play different. Next variation is a kind of I think preparation for the funeral march and if you take time here on the one it is really heavy so you feel sad and you hardly can't can walk. Can you try? If you are full of bitterness and sorrow maybe this Fazzato is even stronger like this. Can you try? Next variation I think this is a kind of well I always think they are on a ballet of girls, little girls dressed in white and who walk very smooth and dense and almost flying but then interrupted by crescendo legato and the strong Sforzato. Can you just show it? Edwin Fischer writes in his book that one has to be careful not to play it as a scherzo and not in double tempo of the variations of the tema and the other variations and this indicates that at his time sometime it was played in double tempo like a scherzo but can you just show it how it would be play very fast. Yeah I think this is even a possibility it sounds I think it sounds interesting but well in tempo of two-three I think. Good then let's turn to the scherzo. Allegro molto I think this is even a little bit arabiato maybe kind of inner fighting and I would point out the Sforzati very strong. Can you try? I think this is still very polite. I would do the thirds maybe even also very strong we have the forte we have Sforzati and I would play it almost martellato. Here we find this moment where we have forte and then followed by piano subito piano this is something I forgot to mention at the beginning and but it is very important because this is a kind of I would say the musical grammar of Beethoven very often you have a crescendo you think it goes on and then it goes back. Let's just show this from the beginning and I would always exaggerate this. Can you try this? Twice we have this crescendo subito piano crescendo in one bar and piano again and that we find even in the very early bit of Sonatas and I would really look on this and always demonstrate this kind of like this. Okay then funeral march in the literature about this sonata very often is written it has to be completely strict in rhythm because this is a kind of a funeral of a hero maybe a general or a king or whatever and I think this is right. There is one thing where it is different I think this is the moment when we have the major chord and I remember in preparation for this production I watched some funerals and a very moving is the funeral of Winston Churchill where his coffin is lit through the streets and you see the politicians the famous politicians of this time standing there and for a second you see Charles de Gaulle and he of course without any moving of his face but a tear is going down and I think this is the moment here this is the tear in a normal very controlled funeral but I would show and point it out by taking some pedal and waiting on the chord. Can you try? Maybe from here where it's good for you. This is again maybe some timpani's in the march. I would really play and with the help of the arm and a little weight of the arm to point out this crescendo. Can you show? But be careful not to do an accelerando. Yes, yes. There is also I read about different interpretation and I heard it myself. Sometimes there are pianists who do double punctuation. I wouldn't do it because even in the early sonatas Beethoven really has moments where he has just one point and where he has two points so he would have indicated. One interpretation I heard where it is in the normal rhythm but here double point. I would not do it. I would really stay in the rhythm. Last movement Edwin Fischer writes this kind of imagination. The funeral is over you go home and it starts to rain and the figure is really kind of raining. Can you show it? You are in Kaiser the famous critic who wrote a wonderful book about Beethoven's sonatas. He discusses whether this is a kind of maybe a harmless end of a very intensive funeral march but I think this is a best possibility to finish such a sonata because the funeral march is so serious and so strict so something must happen. Even if you have attended the funeral yourself something must happen and you must relax. But the relax is only at the beginning because then it comes out dramatic. Can you show this. That is from the from the partitique. I think this is the same figures and when the tempo is the same it starts in piano. Very important is to point it out non legato with pedal. Can you try? And so for the end we have surprising sforzates on the beginning of a phrase. Normally one should not do it except it's indicated and here is it indicated so you should really point it out. Can I see? It could be even stronger. In the sonata opus 28 which will be also part of this production. There is a similar part but there are no sforzates so that is important not to do it. But here it's strong but so this is the last drama in the sonata. At the end the music disappears and it's like open a window and the music flies away. So you should really try out the most possible pianissimo so that one really cannot hear what you are really doing. It is disappearing. Can you try? Yes. So kind of farewell and when you talk about interpretation what could one do? At the end if you are on stage you could do and then or you could do well but this is an interesting end but this kind of end a bit of use is also in the D major sonata opus 10 number 3 and I think if you go back to the theme it's a wonderful connection and a flat with the most beautiful sound which is possible. Thank you. Thank you.