 Ludwig van Beethoven, Sonata Op. 27 No. 2, Moonlight. In the new edition of this sonata, done by Mario Pereira, he points out a lot of very new things. His thesis is that Beethoven was inspired by an old Greek instrument, the so-called Aeolian harp. And he proves in his foreword, which is really very, very interesting, that at the time Beethoven composed this sonata, he was especially interested in this instrument. And this is an instrument which has some strings, like a guitar or a lying cello, which is played by the wind, and not by somebody who can play it. But it is just reacting to the progress of the wind. And there was a book about this Aeolian harp, and it was published in 1881, and Beethoven read this book, and he also wrote down some ideas about it. And so Mario Pereira says, this proves that the atmosphere of this first movement has something to do with this. And I think it is obvious and one can follow this idea. And I just want to read a poem, a piece. It is from Johann Friedrich Hugo von Dahlberg. And the book is The Aeol's Harfe, An Allegorischer Traum. Allegorie is just a kind of symbolic dream. And here it is written, Beethoven copied down the title of the essay, as reviewed in the Allgemeine Musikalische Zeitung, together with the information regarding where this instrument could be purchased. On the same sheet is Beethoven's copy of a musical citation from one of Jean-Paul Gilles Martinis operas. That, in its compositional structure, may reveal connections with the first movement of the sonata. And this extract from Dahlberg in the Allgemeine Musikalische Zeitung may certainly have supplied the stimulation for a bit of a sonata in C sharp minor. And now it is what is written there. In the blue ever cheerful air, which no mortal eye can penetrate, floats an island of clouds, inhabited by ethereal spirits, no burning ray of sunshine pierces its hazy circle, only the moon's pale silvery rays illuminate it. Well, we all know it as a moonlight sonata, and so this text will not change our approach or thinking about it, but I think it creates an atmosphere for playing this. And the pale face of the moon, Bleiche Gestalt, which we find also in some Schubert songs, the moon zeigt mir seine Bleiche Gestalt. I think it can be an indication that we have to keep the rhythm really very good in order without any kind of rubato or whatever. And it has to be quite strictly and maybe even very cold. And then we have this notation of... So there are two different rhythms, and at this time it was not quite sure if one should combine it really with the triplets, like it was done in Bach's music and also sometimes in Schubert's music. But Beethoven wrote it really down that you can see it should become afterwards, and also not double, like a point and then in triplets. I think you do it very well and please show it again how it works. We can just start with the theme. And then when we think about this pale picture of the moon, of course, if we have passages like this, it should be played without any movements, without any weight of the arm and just completely plain. Later we have some indications of crescendo and decrescendo. Of course, this you must bring out and you did. We could hear it in your performance. But here it should be completely plain. Can you try it? And also here, something like this. I always feel the words wo bistu. Where are you? Maybe where are you? The kind of unanswered question which suddenly occurs and also later in diminished chords. Can you just show this passage? Let's just start here. Without any expression, just completely cold and pale. My proposal would be even this is very equal and it is very pale. You really have a pale sound there. But I even wouldn't move with the body or just like a statue. Remain and don't do anything. But well, this is just a thing in the moment. There may be some parts where one could do a slight change of rhythm or tempo here. When the D is coming. So because this is a surprise. We have twice we have the D sharp and then it's a D. Can you show it? So nobody can say you do a retardando or whatever. You just point it out. Like if you have a wonderful ring and you just show it a little bit. Here's my ring. And I would also do it here when the harmony changes. Then you stay just a moment on the E to show now it's minor. Very good. But these kind of very, very few moments where you wait a little bit. They really should be only two or three. So that the rest is not disturbed. And concerning tempo of the whole sonata of the whole movement. Marie Pereira writes that one should count just in one. And also have in mind bar by bar. I think this is a very good idea. And when we worked on the production and prepared it. You remember we heard a lot of different recordings. And still the recording of Brenda is for me the best because it really flows. And well I remember when we heard it together. You're playing of the first movement completely changed it. And well I think this is really special. Everybody should listen to it. Maybe it is a little bit faster than you demonstrated at the beginning. Can you do again? With minor? No, it doesn't matter. We just demonstrate. We know that you can do it. One can follow this rhythm like a slow beat of the heart. And from the point of technique. We will do this in the next session. I will show you and discuss something. Okay, second movement. The whole thing is the whole sonata is like three steps. It starts in this sorrow and pale atmosphere. And now it's moving a little bit and it turns to major. And with a very exquisite trio with some articulations we really have to follow. And then agitato presto. So this is except the prestissimo in sonata opus 109. It's the fastest tempo Beethoven writes. So it deserves really to play with full emotion. And it is a catastrophe in a way which happens and which ends as a catastrophe. Could you just play the beginning of the second movement? These moments where we, like in the other sonatas, have a crescendo in a very short moment. Just two bars and then a sforzato. I would do more. Here in the second part. Try this. Because I think this sforzati, they are a sign that there is not just quietness and relax, but it is something behind the face. And then later in the trio. This is quite strong. And then it turns to pianissimo. And a lot of pedal and a big legato. So kind of a memory of the Aeolian harp. Can you do the trio? Quite strong with the sforzati. So the second movement is written by Beethoven atacca. So there is no pausa, no chance to put out the program or to cough or to talk with your neighbor in the concert. The atmosphere changes from C sharp minor to D flat major. Just a kind of innocent cantabile at the beginning, but still this sforzati. And the third movement I would let follow quite fast. And important is that you start really with the piano. Later we have a forte. Well, could you do this beginning? From here? Maybe, yeah, it's good. Maybe from here from the trio. And no, excuse me. The alegretto is coming again. Just start with the presto. A little crescendo if possible. And one can of course discuss, maybe one could take a little pedal for the beginning. Try a little bit. I think you still play so wonderfully clear that you can do this with the pedal. So it should not sound like easy skelattis or not. Okay, and then we have a lot of contrasts later with this and the piano. And then I think... So try to do this kind of differences between piano crescendo forte and piano. From here? Now in the forte you did this... One cannot call it an accelerando. But you go a little bit forward. And I would do this also in the piano. So that it is not like this. It's too relaxed. And accelerando would be too much. But think of an accelerando. Can you try? Main in this gesture of going forward. And here we have the forte. This is very good. And then let's turn to the... Maybe we can already go to the D major. To the fortissimo passage. There. And with very clear chords in the left hand fighting against this scale. Do the crescendo. Do also in the left hand. When the syncopes come... This is also somebody who is locked in and he wants to come out and try the door. So I would exaggerate the crescendo in the left hand. Can you try the version with the syncopes again? Very good. And then these arpeggios which are really very strange we find them later also in a passionata. And this should be really very very strong. Maybe you can play from here. F. Yeah. F sharp. I think this is a kind of sheer violence. And one can... And also this... The end very strong. Can you try? Next one should have a long formata because it's a big question mark what is happening. And then it comes back in piano and in C sharp minor. And well, the end we find very often in a passionata which you already played wonderful. We have this in F minor and here we have it in C sharp minor and it is really a catastrophe. It ends with a blow up of the piano. And maybe you can start just the coda. And even with the gesture I'm sure that you do a crescendo when you go down. Can you do it again? Yes. I would not do... But this is nobody cares for the rhythm it must be in tempo. Thank you very much.