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  • (piano music)

  • (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.