 Technique like in the other productions. We want to talk about some things and in the patek We have Well, we have a sonata, which is completely easy. There is no difficulty and So you don't have to practice out. No, this is not true. It is very difficult and Well, please Tell your experience. What do you think? Where do I the difficulties for you? Where do you have to practice? Well, I would say one thing to keep in mind is not to overplay the almost tremolo bass like tremolo It's about not trying to work too hard With the fingers With a slight rotation and never quite leaving the keys So Profit profit from the Wonderful Steinway which still sounds when you only left you half up and And this by the way is a wonderful Bösendorfer and here it works too. Yeah, and What do you do there? Do you take pedal to help for the sound or would you like to have a clear? Tremolo where one can hear every note You should be able to hear every note, but it has to be it should that's not the main Source of the excitement. It's the right hand. That's Going straight up. Yeah flashes of lightning. There's left hand is integral, but not the absolute main element And so obviously it should be light and As even as possible But also there's a danger to get too fixated and then it becomes Yeah, and to keep it quiet for the entire first Four bars before it says crescendo because it's so tempting with this it would seem like it should go Yes, do this big crescendo when he only writes it four bars later would disturb the right hand. Absolutely. How about the right hand? How which movement of the arm you use are you doing it with the wrist? Are you doing it with the? Part of the arm are you doing from the fingers or you change during the crescendo? Well, it's mostly from the arm Because it's a bit dangerous to go Yes See, but if you try and prepare As I say Lay the carpet. Yes, I should prepare and then And the touch you what you think one could practice it for example like this Yes, I've done that a few times at the beginning when I started in different maybe in different intervals To have it and to practice it maybe with the crescendo Yes, and this for Tato like it is written to bring it out. Yes, and also to do the voices Separately I think was very helpful because there's quite a lot of thumb movement going Yeah So that has to be completely relaxed so one one could for example practice a scale only with a thumb Yes like this Yes, yes, and well at the end of the second page it is some Must look it up which bar it is it is some bar 50 60 49 50 this is almost something which is really on the first side it is Unplayable and you you get your you get your arms and and and you can't go on How do you do it? Well, it's very important to have this very quick lateral movement and so I think quite a useful way to practice it is if you just hold the left hand and practice this movement Very quick and then maybe and prepare and then try And maybe even just even just only the jump With for one or something like this and they're very interesting Mario Pereira the editor of the new edition he made a proposal for changing the hand there so that you You hear already take the left hand so then you can go into the new position with the right hand And you can keep the tempo. Yes, can you can you show this? Yes, so nevertheless of the very first jump is okay. Yeah, but after this you can't do it in this way so you just have to practice and Yeah, also challenging I think is to get the clarity of these Mordents The fingering is very important. Of course that completely depends on your hand and yes, what's kind of tool for you? But again one thing we talked about a lot was not to do too much movement Yes, with your arm more from the fingers and very loose and light and Especially for myself. I found out that changing fingers can be a help for example if you have one and Then three and then two Yes, that's what I did Then you can't stuck You can't stuck and I think This works. Can you show? Yeah This works wonderful and Very interesting these works in every combination of black and white keys When when you would think it this is un-possible for example two white keys and A black key at the end you can do one three one three two one And you can really rely that you don't stuck Could you just play this again? Yeah, yeah, and very important is just to do it from the fingers. Otherwise It is rhythmically not Clear and maybe it's even also too loud. Yeah, it's a lot. What about the chords? The opening gravity are how do you do it with a with a extra accent? Are you just let the arm fall? Well, I mean arm weight is really essential for these big chords Because you don't want to play from the elbow down and go because then you get a harsh sense and So a good way is to always try and Connect the arm to the shoulder and then to the back that you feel like you're playing these chords with your Entire body and the aim is really to get this Round sound. Yeah, there isn't again like a hammer and to try and really Feel the weight of your arms and completely relaxed is essential Yeah, but you just fall down and let the weight of the arm do the sound Exactly Second movement mmm difficulty what's What do you think what what what is the problem? Where do you yourself have to? be attended mostly Well, there's again completely different set of difficulties to the first movement the primary one being Mostly phrasing and quality of sound And it's easiest that then done to just say you should sing here. It's about how do you Physically do it and how do you listen? and The useful way perhaps possibly is thinking about again totally relaxed arm and Thinking into the keys I was always taught when I was younger from my wonderful teacher in England Dina Parakina To like a parachute Yeah, never yes exactly exactly and this is really essential Not just for this movement, but for all piano playing. We're always trying to sing And also to think about the phrasing. How would you sing it? You don't want to go You want to try and connect I won't sing now because I've got a cold But that's always a really useful way to go And you go there and then you go on yeah And with the Christian or to the next yes, and I think if you're at home, just it's always useful to try Singing and how would you phrase it and if you try and sing it in one breath? You realize that you need to take breaths. Yeah, and it's in this way that it will help you Try at least and get a natural and Singing and for pianissimo chords like this It is bar 44 I Think there also is this situation where you don't let the key come up completely You profit from the possibility of repeating. Yeah, can you show it? I? Even would do it even with a little bit more fingers, but of course as you said it is personal personal taste and personal also capacity and There are a lot of different possibilities, but Of course move the arm a little bit and the wrist and also the finger and like to use it in her comment Trying this in different keys to change between white and black keys and the combination of them I think this would be also very helpful That movement Scales one should practice scales with the also was changing from From normal semi quavers to semi quavers and triplets and also with quintals and all this Yeah, there's really there's a lot of scales in this final movement and With all scales the really key element is the mobility of the thumb to pass under because otherwise you'd get Yes, and so it has to be is Especially when you go up you must prepare the thumb when the other things fingers are playing Now it must be already here And here too, and I think this is really essential for preparation the new position and also to practice this slowly and to listen not to do accents and Yeah, and also practice it in different Dynamics because here we have even fortissimo. Oh, yes, and yeah, sometimes how about left-hand in this third movement? Well, there's the two sections with triplets which need to be he's written piano and they need to be light and elegant And there's many different fingerings that you could do You could either do three two one Yeah, and In the right hand Again completely personal But I think it's very important to practice it of course slowly and really you know when you're Thinking about this think about each note and at the very beginning at least to think about each physical and Always listening. Yes. I think that's really quite vital in different editions I have seen a lot of proposals and Marie Pereira writes some three two one just Which I also for me it would be the best but there are four three two Yeah, and also four three one and then Three again. Well one I think one has to try it out and if it works you could even play with your nose But the fingering here from from Pereira I really admire very much and it helps very much, but I think Doing fingerings. It's never like I'm behaving like a guru because a guru is always right and but it's just a proposal and I think here are these are decent proposals and I liked very much to see it and to follow it What do you think in such a passage Should it be completely leggero almost non legato or maybe even with a small pedal to give a sound The way I think it can sound there's so many different ways Perhaps with a slight pedal because we have a minimum and so you want to have a connection in the right hand And then in the left turn It should be very light and Again elegant. It's all about the technique is always it's never a separate element Yeah, it's always connected with the mood and What you want to do exactly? Yeah, and and just for the final scale. What's what is about them pedal and scale? Difficult question because of course we have this big chord It would it would be maybe sacrilegious to go This would be too much, but if it's too clear, but then it also can't be Yeah, it's for this emotion, but one could play it in this articulation. I think this would be too too clean Yes, it has to have a bit of The the emotion there I was thinking we are here in a studio in the monster term two floors behind Sea level and with a lot of stairs and we prepared all the books and the this course and Went down the stairs and imagine you fall All the books follow you and you are on the ground And I think this is such a situation without control and very strong And even if possible in fortissimo even a crescendo to the last chord. Yes, I think one could Use a little bit of pedal off of course. Yes, especially for the court. I would use a lot of pedal Maybe you can just do the the wonderful ending there. We also have Yeah, this change we have a Firmata then suddenly a flat major we talked about already and Decrescendo pianissimo and you think it's like a big question mark and then somebody throws the door or something like this Yeah, can you show it? Yeah, like this and Yeah, so somebody says no, it's now it's over. No, it's okay and Yes, and I also want to thank you and So in the way now it's over and I regret that very much because this hasn't been a wonderful discussion And for me here at the Mozart him when we work together. I always have a good lesson in English English pronunciation and the right words and the right grammar. Thank you very much. Thank you very much