 Yeah, let's talk about some technical features and how we practice it while we talked already about that it is necessary to have a really plain and quiet touch in the first movement and with a different melody sound and Here is one problem in bar number eight where you have to reach a ninth and Which is really difficult and the proposal of Mario Pereira is to take the A with the left hand. Can you show this? Very good. And it's not written, but you do it wonderfully. I think you play the Octave and then you do a silent change Yes, and then it works On the third beat of this bar Don't need two thumbs. You could just play one one two three, but you did. Yeah, and it works very well Then for practicing the different touch of both voices. Yeah You could do such things and maybe also in other Constructions of the chord. Can you try this? This is exactly what is required. I think and what one could also do is Keep a little bit the third finger to go in the next position And then you have a Kind of perfectly got it. No, this sounds wonderful and for the beginning to create this kind of silence and relax under but Kind of relax under tension. It's a paradox on but it must be some some thing in between I would be always in contact with the key and Think about that the keys play with your hands and with your fingers and not you with the keys So when you put down the key and you leave it then it comes up because it has a special Certain energy and this energy puts your finger up and I would Use this for the beginning and having this part of the hand on the keyboard. Can you try? Wonderful. Yeah, very good and later when we have this Moments where we have a voice vubistu And you give a little bit weight on to the thumb. Can you try? And to create this atmosphere of complete equalness and kind of Dead valley or whatever Out all the weight of your arm like a have your arm hold like a marionette and you play with Fingers, can you try? Yes, yes, wonderful wonderful and so I'm there the amount of Material should disappear completely so that One thinks what is this? What instruments place this and it comes out really very very good? second movement we have these problems with the Legato in the left hand and the articulation in the right hand I think this is one of the most difficult passage in this second movement. Can you just show it? To practice it I would just Also return to C major like we did in the other productions and The phrasing here is about you really get a complete independent articulations and left and right hand and Then it will work and it works very good with you. Can you show it again? Yes, very good. And then in the trio with the pianissimo I would play as legato as possible Be even with some finger changes for the octaves, can you try this? Yes I think there is also this is a moment of four bars of pianissimo where it should be completely sound immaterial and Ging the pedal quite late so that for a moment You have the sound which is Overlapping this would be wonderful because this is only just a moment of four Bars of pianissimo, but it's a completely different new sound good last movement With the arpeggios, could you start again just to show it? so When we practice it, we did it also in other keys And we play that and the minor and then if that may a minor I would do it in all 12 keys and then then also please like Super V and the other sonata just show how you practice it I practice in group sometimes like this Slowly and sometimes I play like Yeah, yeah More I think this is really very important because we have these positions Yeah, but of course in between we always Have to close the This and so it is important also To play and to practice this change of positions which In the fourth Etude of Chopin you have it Just on one note and And can you try can you show again? And I also would play very fast, but only short passages And in this Bars, I would also Take some better Bigger sound and okay, so this would be important and maybe Practicing this arpeggios over the whole keyboard for octaves. Why not and then then there is the big difficulties which is the trail and You do it and your performance so easy. Nobody can think that is this is difficult. Could you show it to us? Maybe from here You do it in slow motion because it is really very very good and clear, but one should see what you do And one can see in this tempo even five notes are enough and It sounds like a really virtuos drill and of course your hands are not the biggest one, but they are perfect for this kind of music so With the pedal you can just leave the thumb and Hold the thumb with the pedal and then you are free with the other fingers. Can you try? And for this dramatic moment what what is really also important You have to start the octave And then a little bit less Inside this ornament you do a crescendo now do it again an original tempo From here So we have five notes in the right hand and we have four notes in the left hand So I would practice it first one to one and then three against two so like this And the other way is first three And then two and of course when you have done it slowly Forget it and play five notes and we have done it and you do it perfect, but this would be the way to get the coordination with the left hand and then then Next is the other jumps Here with Can you just show this moment? Yeah Here I also would propose like we did in the sonata of Super V Make it more difficult do a jump one octave more. So you have Can you just left hand very slowly and if you do this a little bit faster than the original will be very easy Then Yeah, we have this passage with the double chords and I think there is a very important put the weight out of the arm I think you are a marionette and let it just Without too much playing inside the keyboard Also this you can reduce to C major and Something like this, can you show it? Yes, and now do the original here With the left hand This works very well very well The end Also my proposal would be play this in all scales Let's maybe do this The very end Do this just like it's written B and D minor try Good and also here you can do the same which we did at the at the beginning and If you practice it in F minor you can already play the appassionata and with the trills also the tamer and the You can do this with four four and five Yeah, I'm very impressed what you have done And thank you very much and for your performing for performance and All you have worked and it was a pleasure. Thank you