 Beethoven Sonata Opus 31, number two, with the title Tempest. Beethoven once was asked what was his intention about composing this piece, and he just said, read the Tempest of Shakespeare. And in all the last decades there have been a lot of books and thinking about this title and what you really can find from the Shakespeare play here in this sonata. And I think it's not important to find connections between the text and a special bar in Beethoven, but it just creates this atmosphere. And in Tempest of Shakespeare, Ariel says, hell is empty and the devils are all here. And there are some passages where you could imagine this, and also Beethoven is supposed to have said, here must as ordentlich krachen, you have to do a lot of noise here. But we should always have in mind that there are some really loud passages with great expression, but they are still in forte. Fortissimo is not everywhere, so be careful not to destroy the piano. And the second movement is a wonderful, I think, dialogue between a kind of innocent Espresivo melody and chords in between, and also some kind of timpani's in between, which create an atmosphere kind of three-dimensional listening. And the last movement is one of the most famous movements of Beethoven, but it is written allegretto and not allegro con brio or even faster, like it is sometimes played. And you showed in your wonderful performance that it is possible to really make out a great interpretation and to look at the allegretto. You are 16 years old and you gave me such a pleasure in all the lessons and also my colleagues in different commissions listening to you. I would just like to ask you, what is important for the interpretation for first movement, second movement, third movement, what is in your mind playing? I think the most important thing for the first movement is you have to make the contrast between the forte and the piano, or the pianissimo, because the title of Sonata is the strong sonata. And it is quite so special because this piece is beginning with the dominant, the A major. So this thing never happened in his sonata before. And it is just kind of open. You don't know what happened. It's a question mark. And then the strong comes here. But nobody knows that this piece is in D minor. But they know when this passage arrives. It's like the first recognition that this piece is in D minor key. And also... What do you think about the development? We have always the same, but we have different chords and different keys. I think it has more intense than the D minor, I think. And the recitativo, with the famous pedal section. Just play it. Again, we have listened to the performance. I think this passage is a very special passage in this sonata. It is like a voice coming from heaven or from anywhere. And you can't identify what really happens. It sometimes reminds me of kind of recitativo and Mozart operas. When Tamino is asked and they don't know what will happen. And then it says it's not allowed to talk about what will happen. Or a recitativo in one of the Bach patients. Something like this. Well, how do you do the pedal there? It's just one pedal written. And it's always a discussion of what to do. I do with the one pedal, actually. And then I have some special thing you already told me. When I play this passage, I need to keep the bass. My left hand. And then you slightly can move the pedal. Yeah, I can move the pedal a bit. Because if I place my left hand on a keyboard, the sound will be sustained. Automatically sustained. It's a very interesting fact that I have an edition of Ignaz Mosulis. And Ignaz Mosulis was not only a very good composer and a fantastic pianist, but he was a friend of Beethoven. And they exchanged letters. So he did an edition of all the Beethoven sonatas. And I here have one print, which is sure before 1863. Because there is written a name of an owner, 1863. And Mosulis just writes, after the chord, he writes pedal end. Very strange, of course. And here at the end of the whole movement, he just writes one pedal in D minor. And of course we could say later all the checking of sources and tradition and thinking about, have created this moment where we have this pedal. But a friend of Beethoven who gave this edition, he really said, leave the pedal. Very interesting, but of course we cannot follow this anymore. Because behind us is the tradition of hundreds of years. And hundreds of great pianists who did something with the pedal. And we have such things also in a hide-and-seek major sonata, where there is this moment where it's written open pedal. And then it sounds maybe a little bit like this. But I think your pianissimo comes out really very, very good. I like this very much. What about the end of the first movement? So the music almost disappears. And the technical approach should be just doing nothing. Like cleaning the dust from the keyboard. And it's a little bit like in Opus 11 at the end. I think in this case it has some feeling of the strong feeling. Because it's not quite so peaceful ending. Yeah, this is a very good argument. I know you do it like this. Very good. Second movement, what is it? I think it's like the day after the strong in the second movement. And it has, as you say, it has so many characters. It has the sweet voice. Before the strong, but then after the strong. And what is this wonderful melody in the right hand? Which is in contrast... It's in contrast with the tremolo. It's kind of reminded that the strong happened in the first movement. Kind of an echo of this emotion. And do you think that one should have a big difference in sound between this melody and the harmony? Could you just play the first line again? If you have this sforzato, I would do it a little bit more. Yes, it's a kind of real pain. Can you do maybe a little bit before from here? I think one could discuss, really. And here we have the same situation we talked about in Opus 26. This kind of crescendo and then sad piano. Normally you would expect another accent, but then it goes back. It's like the surprise for the audience. Yes, yes, maybe. Or later here we have the crescendo and sforzato and piano and crescendo again. Can you show this? What is also a kind of moving of emotion like this? And very special is the end where we have this really... I think even written quite complicated. We have this crescendo and then piano. And it is a semi-semi-quaver, so it must be quite short. Two notes you play the C, but the one is in crescendo and the other is in piano. Can you show it? Well, maybe one could even discuss to make the rhythm sharper. It comes a little bit faster because it's a kind of double point. Yeah, but... And then piano. The music disappears. Maybe one would expect... This is just one note. What is your feeling for third movement? Would you like to take quite a big break that the audience can take out the program or coughing or whatever? Or would you like to do it with more attacker? It's not so attacker actually, but I don't want to take so long time between the second and third movements. Would you like to show your idea, maybe the last... Yes, yes. What do you think? Is it a kind of relax, quietness? Or is it in the sense of Schubert Gretchen am Spinnrad? No. Which is a quite... Meine Ruhe ist hin, mein Herz ist schwer, my quietness is disappeared, and my heart is full of sorrow. What do you think? What happens there? I think it's a bit so sorrow, a bit so painful here. And actually I think the tempo is a bit like the walls. It's in some very painful way. Yes, very painful way, which has later kind of break out here when the B flat major comes. So I think one of the most important passage in this movement is the moment when the B flat minor is coming. Yes. Sorry, B flat minor, of course. Can you show this moment here when it's really strong? And later we have some harmonic changes, which are kind of surprise. I think, for example, here. And we have also this surprising range of dynamics. We have a pianissimo, and then suddenly... Can you start a little bit before to show it? Now the end, which is really wonderful. And it is another sonata, like the sonata of Zaioko, which is almost 26, which just disappears and nowhere. It's like open window. It's quite a solitary feeling. Yes. And interesting that there is a triplet at the end. So it is so much pianissimo and piano that one cannot follow the rhythm. It just disappears. I want to show something. The passage I like the most in this movement is the passage when the B flat minor arrives. Yes. So that we can hear this change. So it is a sonata with the greatest, biggest and heaviest possible contrast from pianissimo to shouting for tissimo and very, very big chords, but also extremely sensitive pianissimo and handling of the pedal. Thank you very much. And this was a wonderful performance. And I'm happy that you really know what you do. Thank you. Thank you.