(audience applauds)

- Well done.

It's a very hard piece,

and you did it admirably.

I know the difficulties of it.

I'm going to urge you to go beyond

even your limits, even your borders.

I want it wilder, and to try it,

at the thing, and let me talk a little bit

about it before we play it again.

The motives in this piece

carry throughout that first movement.

For instance, let's see.

The first motive, sorry,

(makes interpretive musical sounds)

that third, D to F.

We'll sort it out, but that's the motive.

It's not (makes interpretive musical sounds).

That's not it.

It's the connection between them.

(makes interpretive musical sounds)

Because, and I don't understand it,

everybody does this, or I hear it very often.

They slow the tempo.

(makes interpretive musical sounds)

And what is he do?

He adds a passing tone, between the D and the F.

He adds an E flat.

The C flat.

You see, so it urges forward.

And the same, woodwinds.

(makes interpretive musical sounds)

Up to there is one statement,

so it's one statement till, again,

that whole motive actually unifies it.

I find it's wild.

There's something wild about this piece.

First of all, the metronome marking.

Not that one can do it.

I mean, it's way too fast, 138,

but the message that it gives you

is that it's a rocket.

It's a comet from another world.

(makes interpretive musical sounds)

It used to be played

(makes interpretive musical sounds).

But that ignored that motive.

The F.

(makes interpretive musical sounds)

Now there's another motive

that's very, very important.

That semitone.

(makes interpretive musical sounds)

And I will show you, for instance,

(makes interpretive musical sounds)

you see, those two together.

And I think it should sound like a fountain.

(makes interpretive musical sounds)

Sorry.

(makes interpretive musical sounds)

Sorry.

And now here.

(makes interpretive musical sounds)

Sorry.

Am I in the wrong place?

Yeah, I don't think I'm in the right place.

I did from the second time.

(makes interpretive musical sounds)

To the E.

E, D, as opposed to E flat.

It will go in G major now.

And (makes interpretive musical sounds).

You hear the E going to the D, right?

This is very unusual for him to choose the key

of G major for the second subject.

It usually would be on the dominant,

or maybe in certain cases in minor

it would be, let's say, a third higher.

D flat, in this case maybe D major or something.

It's very unusual to take the key of G major.

But it allows him to do this.

So that when you have this

(makes interpretive musical sounds),

they're contradicting each other.

This is the way it's in the theme,

and then.

Do you know where this figure comes from?

Where is that?

(mumbles)

Yeah, it's the arpeggios.

That (makes interpretive musical sounds).

And now the one oasis of any time,

but it has to have relation

to the rest of the piece.

You hear that?

E flat to D.

(makes interpretive musical sounds)

And then it goes back.

Now, in the fugue where it goes forward,

I didn't understand

why you slowed the tempo such here.

Did you have a reason,

or it just happened like that?

- Oh, I didn't realize.

- You didn't realize.

Yeah, it got bit slow,

because this passage actually

is gonna come again.

Do you know where?

It's gonna come again,

but not with the same melody exactly.

I'll show you in the course of the fugue.

So, but anyway, what's the main voice leading?

(makes interpretive musical sounds)

Sorry.

So it goes (makes interpretive musical sounds)

and then.

So it will be this.

(makes interpretive musical sounds)

That's (makes interpretive musical sounds).

Okay, now we do this little fughetta,

and the most important parts

are this rising third.

That will connect it back together,

because there's a very strange marking.

There's a very unusual marking.

Which edition are you using, by the way?

(mumbles)

Uh huh.

That's not (mumbles) or the other,

take some new editions like the Barry Cooper,

is a good edition.

Schenker on the whole is a good edition,

but not in this place.

Why?

Beethoven has a very strange marking.

Where is it?

It's also wrong here.

Here, which is a quarter note, actually.

He writes piu, and that's not piu crescendo.

Let me demonstrate what it is

and why I think it's there.

E flat,

F,

G,

and now A flat is a neighbor.

That's the top voice.

Now, the top voice gets to something else.

And he writes piu here.

(makes interpretive musical sounds)

And I think it's to stress the same motive

of E flat, F, G,

with the neighbor note of A flat.

(makes interpretive musical sounds)

Sorry.

(makes interpretive musical sounds)

Now the bass has the same motive.

So we had from the top voice,

the middle voice, and now the bass.

With this motive of E flat, F, G.

Now (makes interpretive musical sounds).

Now, it's in C minor,

and it's still the same motive.

E flat, F, sorry.

F, G (makes interpretive musical sounds).

Sorry.

(makes interpretive musical sounds)

And now.

Because he's back at the G major.

It's not really a G major,

but this G chord has persisted,

even though the fugue was in E flat.

It went to C minor,

and it ends up

(makes interpretive musical sounds).

If you can imagine a D there.

D, E flat (makes interpretive musical sounds).

The same (makes interpretive musical sounds).

The dominant of G major.

We have not left G.

But now suddenly,

it's B,

but I'm not so concerned with, watch.

It's a G flat in the bass.

Sorry.

So this, with this G flat,

we start the return to the B now.

The return to the theme.

So we've gone from G, G flat,

and then we need to go to F,

so how do we go there?

We go through an inner voice.

So (makes interpretive musical sounds).

That's with that inner voice.

That note is why I wouldn't take so much time

on the G, because it's coming from a G flat.

And except for that G flat,

we've always returned to G.

And now, it goes step wise.

(makes interpretive musical sounds)

And that's why I'm against that D flat.

(makes interpretive musical sounds)

Because that doesn't follow the step wise,

and the five to six progression,

which will land you.

You played, I think, correctly

with an A natural.

But anyway, that's one motion,

from this G flat

(makes interpretive musical sounds)

to the B flat.

Now that G flat is gonna come back again

in a spectacular fashion.

By the way, this cantabile il legato.

Where's that in your edition?

No, where were we?

(mumbles)

Yeah, here.

It's not even here.

Ah, here.

Cantabile il legato.

In the first edition, it's in very big letters,

as if it's a different tempo.

It's like a different section.

And so, I play it like that.

Something a little bit out of this world.

Let's see.

That's also a point of contention,

this G flat, but I think the G flat

is so important in this piece,

as I said.

That's the turning point.

Here in this movement,

and in something that's gonna happen

right now, and also in the fugue,

at the end of the fugue.

(makes interpretive musical sounds)

That G flat, and that makes

for the (makes interpretive musical sounds).

That G flat is sort of a fly in the ointment.

Because it doesn't allow it to completely relax.

That G flat is always there.

Okay, but now.

Now this tempo change.

We're in the key of G flat major.

And it's idyllic.

It's like nothing before.

(makes interpretive musical sounds)

G flat major owns this, the recapitulation.

(makes interpretive musical sounds)

Just for a moment, G flat major comes back,

only as a dominant.

(makes interpretive musical sounds)

But that's a passing event.

Why?

Um, let's see.

It goes five to six, five to six,

five to six, and it goes back

to the B flat major.

Let's go (makes interpretive musical sounds).

Five to six.

(makes interpretive musical sounds)

And we're in the dominant of the main piece,

so it was really from G flat to F.

It's gonna go there directly.

(makes interpretive musical sounds)

Like that.

And then we're back in...

Okay, so now play it a little bit.

Let's see how we can affect it.

Will it be too difficult for you,

or, because you're not used to it?

To play in this fast tempo?

(mumbles)

You try it.

Good boy.

(audience laughs)

Sorry, that's the problem with this.

It took me a long time.

(makes interpretive musical sounds)

Now I want to hear

(makes interpretive musical sounds).

Yeah, that's a theme.

(makes interpretive musical sounds)

You can't take off

(makes interpretive musical sounds)