Mendelssohn started it in 1828 when he was 18 and finished it in June 1830 when he was 20. The earlier version had little to do with the final version.

Or was it 13?🤔

Que humilde el Mendelssohn 😅

Wow, that's very inspirational. I'm a teen currently and I have been given this to learn for my performance diploma!

I love this thought! I relate! I’m revisiting this years after first learning it too, and also appreciating it much more now. It’s already given me hours of joy relearning it in lockdown.

Same here.. I practiced this note when I was a middle schooler..Now I am 27 years old..and my life is so busy..yes..being an adult means a different thing. Enjoy your day..!

@@vitamc1213 how did learning the piece go? i’m learning it now myself!

@@donaldmacgregor2628 Well, I ended up playing it for my Associate Diploma, and the examiner was very impressed, as it was a major work! (I had played the Appassipnata before this in the exam) It's a really fun piece to play, but quite difficult. Since then, i have learnt Waldstein and a 3rd Brahms sonata. Enjoy the piece, because it is such a blast to play 🙂

I got a jump scare

It's a great moment to get all your anger out xD

felpel 102 true

Mendessohn wants you to be scared. It worked!

Like in chopin's op. 25 no. 11 etude

@@emperorjimmu9941 i just do whatever.

@@pianosbloxworld4460 what

My daughter is working on it now and she’s 10

despite some mistakes, he plays very well.

LPC games I’m not sure despite is the best word to use here, but I certainly agree! :)

Jimmy Alderson What I meant was that the mistakes don’t take away from his great playing.

Alicja Bagińska No

Certainly a great performance! I quite liked how Lisiecki voiced some of the chordal drama throughout. I think I currently prefer the excitement and momentum of Alpin Hong's interpretation, though. Check it out! kzfaq.info/get/bejne/pJipeLupy6-0h6M.html

I also like it

i love that F#7 to B passage the most😍

Yatharth Patil why? That doesn't work you dumb idiot. This is a PRERECORDED video. Dumbass!

@@MildSatire omg, u didn't get the joke, i'm so sry for you🤦🏽‍♂️🤦🏽‍♂️

unwichtige Nebenrolle 01 r/wooooosh lmao. I feel sorry you fell into my trap :)

@@MildSatire u rly got me hahaha, wasn't expecting that lmao

Mild Satire bro it’s a joke

My version took 2 hours.

I’m just waiting for my sheet music to arrive.

im too!

What book was it?

It is not. It is a sonata allegro without development form.

@@RusskyVoyennyKorablIdiNakhui This is not in contradiction with the rondo structure. Read for instance Charles ROSEN, "sonata forms"

@@gerardbegni2806 My dear fellow, Charles Rosen was not a specialist in musical forms; I am. You are talking to someone who knows the difference between a rondo, rondo-sonata, and sonata allegro form way better than Charles Rosen, whose degree was in literature, and who sometimes wrote truly idiotic things, such as that Chopin was one of the least pianistic of composers. Just so that you know, a rondo is ABACADAE etc. This is what a "classical rondo," to which you referred, is. It is absolutely not the case here. You can argue (and you still will be wrong) that you have here a rondo-sonata, which is normally ABACABA, where B functions as a subordinate theme, first in dominant (either V or III), and then in tonic (I). But here you have AB(III)AB(I). ABAB is not a rondo, period. It is, in fact, a sonata allegro form without a development (a la Rossini overtures), with an introduction and a coda.

@@RusskyVoyennyKorablIdiNakhui Read Rosen more carefully

@@gerardbegni2806 Listen to Mendelssohn more carefully. Or better yet, look in the score.

Did you get accepted? What were the other pieces? You don't have to answer the second question but I'm really curious about the first one

+melissa james Hi Melissa!. I have a story to tell you. I was in my senior year in High School, when one day my choral director handed me a sealed letter addressed to me at my H.S. from Julliard. I thought it was a joke. I had played all throughout school whenever I could. I was currently playing the piano for two choral groups, but I never considered myself to be a piano player. I started playing the piano at 7 years old, and only had 6 months of piano lessons. The goal, for my mother was that I be able to accompany her while she practiced operas. I learned the rest myself. Learning the piano for 6 months, was enough to give me an insatiable desire to continue. I was never allowed to practice when other family members were present, so I took to staying home from school just so I could spend the day playing. My grades never suffered. I made sure of that. By the time I was in High School, I had achieved a high level of expertise that was different from other piano players. People were drawn to my playing and I didn't know why. When I opened the letter from Julliard, it congratulated me for being selected from the initial audition tapes sent in, to receive a live audition. Information followed as to date, time and music to learn. The first piece I was to learn was the second Bach Fugue. The other piece, as you know was Mendelssohn's Rhondo. I practiced the pieces relentlessly on the school pianos, and when the day came, I was nervous and ready. It was a dream to be sure. I had no idea how I would explain this to my family, if I got accepted, but I focused instead on the honor it was to be playing for this college. There were a modest amount of people waiting to audition, and all of us were clutching the music with white knuckles. About a dozen people auditioned before me, and I knew instantly that something was wrong. Although my pieces were technically the same as what I was hearing, my music sounded different. I worried over this, but gave into the feeling of being able to just play at Julliard. Most of the auditions were pretty short. All of the Fugue was played before stopped by the judges, but only about 4 pages of the Rondo were played before stopped. It was my turn, and I approached the piano lovingly. I spent the time running my fingers softly down the keys, and playing with the feel of the pedals. I began to play. I flew through the Fugue quickly and accurately, and then took the time to breathe before I started the Rondo. I did what I always did when I played my music and didn't let what others had played influence me. I started slow and soft and then I let my fingers take over the details while my emotions controlled the sound. I again was lost in this piece as I always will be when I play it. Every time I play it, it is a little different because my emotions are too. I was totally lost in my music that day until I played the last chord. I sat there for a moment letting the sounds of the final strings played resonate inside of me. Then I realized what I had done, and grabbing my music, I stood up and faced the judges. They said nothing at first. They hadn't stopped me. One woman cleared her throat after awhile and said, "Yes, thank you, you may return to your chair, we will notify you by mail." I quickly made my way off the stage, and the other applicant's eyes followed me all the way back to my seat. I listened to the rest, but none of the applicants got a chance to play the music all the way through. I was happy and delighted when I left. I didn't care if I got accepted or not. I left a part of me on that stage that day, in the piano, and I would always be part of Julliard no matter what happened. I will leave it to you to figure out whether I was accepted or not. I will tell you though, no matter what art you devote yourself to, it is crucial that you bring your emotions into it. It is the difference between showing up and going through the motions, or really living in every way possible. Thank you for your question, and I hope I have given what you wanted to know. Good luck to you.

+Joan Maccarrone Fantastic story, Joan. Although I practiced for hours and hours every week from the age of 5 until 17, I never felt as though I was as technically proficient as some other pianists my age. But I always poured my emotion into every piece I played, and from what audience members and my teacher would tell me, people could feel it. That was always more important to me than hitting every note perfectly (not to say that I didn't try, though). Every time I performed, I would be happy if I just made a single person feel something. That's what music is all about anyway. I played this piece for my Stanford audition tape as well as my graduation recital. It will always be one of my favorites.

+PrecursorLegend Not because I am an Asian, I'm learning this song at grade 5 and I started playing piano at 3 lol

Sounds like a yes to me

Yup, same but you shouldn't listen the piece you are playing too much when you are in the developmental stage because then you will probably add other people's interpretations into your own.

It's a piece

⁠@@zachg9746 sometimes adding other pianists interpretations helps grow a wide mindset of other players feel for the music it will also help you find your own in the the midst of the said pianist that is how I see it 😊❤

Cause hater would say its fake :D

There’s always haters in the world

Because of envy????

because from the second movement and on is challenging, they can’t play it haha

Mentally challenged I should say or to put it harshly, they're retards!! There!! I said it!!

Mendelssohn composed it when he was a child!

Started practicing this about a month and a half ago and I still can't play about a third of it

calm down man speed is the least important

Yeah I covered the whole song in 5 months but of course I can play as well lol

And he closes his eyes throughout. ._.

How are you doing now?

Every note

Every second

every note, every second, and every breath

He is from Canada, he's half Poland. Btw i'm from Poland too :)