thomas. good luck. it's very courageous. to perform the piece. it has these repetitive octaves in the right hand, it's literally just octaves for the whole thing. but different dynamics, different characters. it's extremely exciting. wow. bravohow do you feel? you're dead? i've just been sort of coming to terms with this piece, perfect. i do hear the different characters very clearly, like, it's already very concerning, you know? um, do this legato. i thinkjust a sense of, like, "what's going to happen?" yeah. i love that. yuja hums along. you know, you can use a pedal. do—da—do—dum—dum. try it. um, so da—da—da—da—da—da—dum, off, dum—bum—bum, like. yeah. sh, really soft. the thing with the kid is, like, um, the kid is stressed because the father does not believe him. can i try? this is the kid. da—da—da. i think whenever the kid comes, it has to be much more anxious. nice. i could exaggerate different characters much more. pizzicato. # come play with me...#. it was fine. it's like kind of almost comical. um, erlkonig, uh, could be more perverse. like, he's trying to seduce a kid, right? it's very seductive. erlkonig is like, "come to me. "i have toys for you to play." nice. piano volume increases. nice! and the end, i feel l