The Anschlag In Beethoven's Tempest Sonata - CPE Bach, On The Anschlag (pt.1.3)

Regarding what I said in connection to the Mephisto Waltz, I would imagine that it could be better appreciated on a bigger screen.

In the video entitled, Beethoven's Broken Octaves, I introduce the concept of left hand phrasing in the first movement of the Pathetique Sonata where all Dr John O'Conor talks of is doorknob jiggling. That video stood out in how many dislikes it got. I am sure they came from the Roll of Honour, and those Roll of Honour people connected to the TU in Dublin. Who else would be so invested? That is how the Roll of Honour behave when new information is presented. I'm not going to call it cowardly, despicable, or two-faced, but that is the Roll of Honour for you. Again, I would refer to the Semmelweis reflex. One can see how those, who did what they did to Ignaz Semmelweis, who behaved as they did in the face of his discoveries, were not your friend. They rather sent people to hell, than give Ignaz Semmelweis his due credit.

In demanding pieces like the Mephisto Waltz, or the Reminiscences of Robert the Devil, it can be seen how stationary my hands are. That is one of the things AC Fingering does. It reduces hand movement. The true relationship, the true interplay between the fingers, hand, and arm can be observed; and that of the hand as a link in that chain. The arms serve the hands, and the hands serve the fingers. When the hands are changing position to facilitate the fingers, as they are constantly forced to do with normal fingering, they are doing the work of the arms. They are serving the arms. If they are serving the arms, it means they are not serving the fingers, which means the fingers, through compensation, have to serve the hands. The hands should not be doing any of the work of the arms, the fingers should not be doing any of the work of the hands, the hands should not be doing any of the work of the fingers and the fingers should not be doing any of the work of the arms.