Chen Xuechong
Mozart: Sonata in C major, KV330 (Allegro)
A good effort for such a young pianist. The most important aspect of playing Mozart is to make it as natural as possible with the utmost control of every note. You produce some very nice nuances, but Mozart has a great deal of contrast and this simply did not come through in your performance. Contrasts are not only between the first and second theme, but within the themes. Mozart produces nuances that must be brought to life. His music has so many character changes and it is our duty to make them clear to the listeners.
One of the main problems for you is the control of individual sounds – you accent too many notes, like the beginning of runs or often second beats of measures. Listen carefully to your left hand, if the accompaniment is not even, both in articulation as well as timing, you draw our attention away from the melody. One blatant mistake is in measure 31 when the wonderful discord must resolve to the G major chord – please do not accent the resolution. My conception of Mozart and indeed of the classical period is much more vivid than yours.
Debussy: Prélude: “Feux d’atifice” Book II (4:40)
Of the three pieces the Feux d’atifice is the least successful. Certain concepts in performing Debussy must be considered – rhythm is very precise and needs to be carefully worked out and the change of tempo can only occur when the composer demands it. Equally important, pedaling together with a sensitive feeling for the quality of the sound that exposes the subtle dynamic effects give Debussy’s music a remarkable picturesque quality. Your performance has very little subtle variations, it is mostly used for immediate impression of technical ability. You need to look at the articulation that Debussy uses specifically to obtain certain sound effects, make an effort to understand the phrasing and last but not least, carefully go through the work for wrong notes. For me it is obvious that you need more time for this work.
Tchaikovsky: Dumka, Op.59 (8:54)
This is a heartfelt and quite powerful performance. You feel strongly about the characters and colors you bring out and I commend you for this. You have a wonderful contrasts and combine the drama with great deal of picturesque imagination. Having said the good things, it is necessary for me to say that your rhythm and counting are often very sloppy. For example the three measures before the first Con anima or the last five measures of the work were not correctly counted. L’istesso tempo means to keep the same tempo as the previous section, by increasing the speed you lessened the inner tension that you have so well built up. The ten measures before the cadenza was completely unnatural and uncomfortable, the music must settle down after the previous immense climax. I hope in time you will develop a vision for the totality of this and other works, composers clearly know and understand the progression of events that takes place in their works.  
General Observation:
You feel music and have a gift for performance. In our art we must be aware of the large as well as the small components of compositions we perform. Thus you are responsible for the simplest rhythms to the large phrases and sections, pay attention to all the details and only then allow your imagination to combine all that for a successful performance. 

Chen Xuehong
A real young talent. Extremely well taught and prepared with a well rounded program, showing perfect mastering, sense of style and personal expression in spite of his young age.

Chen Xuehong
He has a strong will of expression, which makes Mozart lifefull and Tchaikovsky expressive. Many reading mistakes in Mozart and Debussy as well as understanding mistakes (wrong colors in feux d´artifice) give the impression, that this program has not been prepared enough carefully.
Nowadays the reading mistakes should be easily avoided by listening to the pieces in Youtube.
Still the stage personality, particularly in Tchaikovsky is very good.

Chen Xuehong
Mozart, Sonata KV 333-1st m. -  Debussy, Feux d’artifice – Tchaikovsky, Dumka op. 59
Mozart. Pleasant general expression and natural phrasing, but no real contrast between p and f, even when requested, see Urtext. Many little notes not transparent enough or not well articulated. Some clear mistakes: bar 71, last 2 notes, legato! Bar 142 and 144, second chord left hand, G-H-F, not G-D-F!
Debussy. Beginning: not “equal” enough the fast notes and very dry. The indication “lointain” (far away) and the general idea of the piece should include some pedal! The piece seams often to be played “as fast as possible”, in spite of Debussy indication “modérément animé” (moderately lively). The important notes “incisive et rapide” are not well understandable. The section “eclatant” is not bright and great enough.
Tchaikovsky. Sincere feeling and personal sound. Lively middle part. Two wrong bass chords (reading mistake?) in the climax. Sensitive ending.
General remarks: a young pianist with good potential. Many things to go deeper inside.

Chen Xuehong
He plays unfailingly clear and articulated with an excellent rhytm. He gives Mozart charm, wit and yet cantabile. He has a very flexible musicality taking care of the smallest shades and details. Debussy also shows masterful playing. Bearing in mind the impressionistic character the prelude would benefit from more sophisticated use of pedal. Some chords are too sharp in sound, but all in all very enjoyable. Tchaikovsky renders real organic romanticism with a narrative character and grand style playing. I appreciated the Coda with a fine hinge of reminiscence. Chen is a deep and real musician.

Chan Xuehong
Mozart Sonata K.330 was played with good intention. However it was too well planned and needed more spontaneity and flexibility.
Debussy Feux d’artifice showed good pianist ability and temperament. It could have more refinement and imagination.
Tchaikovsky Dumka was played with drama and commitment. Might be it could be less exaggerated at times.
A talented performer with good potential.

Chen Xuehong
He is a very well-taught pianist but needs to develop a greater sense of musicianship. The Mozart had lovely style and crisp fingerwork but I wondered if he knows the operas at all. The Debussy was technically well controlled (apart from the odd wrong notes) but the sound all through was German rather than French. The Tchaikovsky needs a greater sense of flow. There were far too many little stops so that the phrases became fragmented. He also needs to develop his octave playing.

Feng Wentao
Schubert: Sonata in A major, D.664 - Op.120 (Allegro moderato) (17:25)
I congratulate you for the attempt and for including this Sonata in your repertoire. Schubert is often neglected and there is much that can be gained by the intense study of this remarkable composer. An important aspect of piano playing is cantabile – as early as 1720, Bach requested the study of cantabile in the introduction of his Two Part Inventions. Schubert’s cantabile not only depends on legato but also on the understanding of his songs and how breathing influences phrasings. At the moment this escapes you. Your interpretation is also hindered by the monotone and overpowering left hand accompaniment. The dynamic range of this movement is between “ppp” and “f” which should immediately give you the atmosphere that Schubert had in mind. Your performance is rather monochromatic; you need to explore more and more colors that Schubert produces through the direction of his melodies, his chord structures and of equal importance the use of modulations and keys.
While I find natural fluctuation of tempos extremely useful and stylistically pleasing in Schubert, extremes are not advisable – for example the sudden tempo change of the octaves in the development section results in limiting the dramatic moment while the extreme slow tempo of the following 2nd subject made the resolution and indeed important balance between tension and relaxation totally unsuccessful.
Debussy: “Reflets dans l'eau” from Image (Book 1) (22:36)
Although Debussy vehemently objected that his music was labeled “impressionistic”, water was a very important common theme for him and the Impressionist painters during his lifetime. Reflets dans l’eau is a perfect example of the master’s image of water, in particular, light reflecting off its surface. The music is full of ambiguous and fast changing harmonies, use of several brief melody statements and climaxes that are more glimpses rather than full ideas. As performers one of our main challenges is to accept the notion that Debussy felt the necessity of breaking away from the strong German Romantic movement. His use of ritardando or au Mouvement (often written in French) is quite different from the emotionally charged use of these indications by the romantics. Debussy is much more subtle and full of gradual changes. In many ways it has to be completely natural. Your water often stops or gives an erratic feeling (not natural). Look at the text, it is full of legato markings evoking a picture of calm and tranquility. Your performance has many note mistakes, it is hard to tell if you have learnt them or they are the product of the moment. The Coda (Lent) is totally miscounted, some measures have two notes others have triplets within the basic 2/4. In the last four measures the rests are eight-note long, you cannot take just as much time as you wish, Debussy had different ideas.
Chopin: Ballade No.4 in F minor, Op.52  (28:11)
You have a closer affinity to romantic music than to the other repertoire you performed. There are many good things in your playing. The natural flow of the theme, the clarity of your counterpoint (often too clean and domineering), a good understanding of the sections as the work progresses towards its final conclusion. Although there are several technical problems to be solved, you are well on the way to many successful performances.
A few comments are necessary and hopefully they are of some value. By the Fourth Ballade, Chopin has developed the art of variation to its highest level. His subtle variations everywhere makes the piece sound like a spontaneous improvisation. Probably improvisation was the initial impulse of this work. You need to develop this be as natural as possible. Make the introductory seven measures as a long upbeat  resolving to the theme. As you move from F minor to A-flat major in the theme, change colors. The first “PP” in measure 38 should be magical and sing it with your left hand. The section after the “Sicilian” segment should be more natural, do not use excessive tempo changes, it is not necessary as allowing the music to move is much more pleasing. Just before the cadenza, there is a modulation that could be the most beautiful in our piano repertoire – from A major to C-sharp major and back to A major within 6 measures. The passages moving towards the Coda should be more flowing, use more legato and carful pedal and please count the number of beats Chopin waits before embarking on the Coda. It is utterly perfect in its intensions. This Ballade is the essence of beauty, keep working on it, it takes a lifetime of study and a lifetime of experience to perform such an inspired creation of Chopin.
General Observation:
I like very much that you do not shy away from performing extremely difficult repertoire. At this stage in your life you need to learn as many pieces in different styles as possible. You need to be more careful in covering the fundamentals of music, rhythm, correct notes and to observe the indications of the composer. There is no substitute for the discipline in doing all these and only after when you have conquered them you can infuse your ideas and feelings. I feel confident that you will be able to do so.

Feng Wentao
Intelligent and professional, excellent taste, sometimes slightly passive.

Feng Wentao
Schubert: Harmonies are uncomplete, melody not carefully listened to. It makes no sense to play the octaves in the development double as fast. The grazioso of Schubert is for him still foreign language.
In Debussy very bad reading mistakes, the big ballade of Chopin has big weaknesses in expression and virtuosity.
He seems a bit phlegmatic, but it is perhaps because the pieces are too difficult for him.

Feng Wentao
Schubert, Sonata op.120-1st m. – Debussy, Reflets dans l’eau – Chopin, Ballade op.52 Schubert. Pleasant sound and lyric atmosphere, but the melody and the phrasing are too stiff. The left hand is played with a general mf, not refined enough. Some very important contrasts are missed: sudden pp in bar 10 and triple ppp in bar 45. The 2 chords in bar 56 are to be played not legato! The rhythmic at the beginning of the development (3+2) is too approximately!
Debussy. Pleasant sound, but no real pp. Mistake in bar 14, last chord has C flat and F flat! Rhythmical mistake in bar 50, last note is a sixteenth, not a thirty-second! The general interpretation is a little bit too distant, not involving enough.
Chopin. Serious and well balanced phrasing, good sound in the right hand, but I miss great contrasts like the pp in bar 38, the leggiero in bar 112 and the pp in bar 129. Bar 124: much better to play C flat instead of C. Respectable performance, needs often more personal feelings, ideas and creative sound.
General remarks: a serious pianist, who could show more personal feelings and go deeper into music.

Feng Wentao
Schubert is quite musical but might need even more sensitivity in phrasing and melodic poise. In Debussy the opening could describe more the element of water with the character of waves. The virtuoso passages would benefit form a finer technique of the wrist. In Chopin Ballade please work on the refined notations by the composer In respect of the beautiful details of articulation, subtle syncopations and endings during the first 3 pages. You have the technique to interpret the ballade even better.

Feng Wentao
Schubert Sonata Op.120 was neatly played, it needed more definite direction and delicacy.
Debussy Reflect dan l’eau was fluent but the playing could have more sensitivity and imagination.
Chopin Ballade No.4 showed good ability but needed more careful planning and direction. It could be less fragmentated and have better sense of development.

Feng Wentao
The Schubert was a disappointing opening showing little understanding of the style required for this composer. It was all prosaic rather than poetic. The Debussy needs much more imagination and there were too many inaccuracies in notes and rhythm for comfort. The Chopin was a brave choice and though it showed some flair from time to time it needs to develop much more before it will become a really good performance.
I hope all of this is clear. If you need more information I will be happy to supply it.

Gao Ke
Beethoven: Sonata No.23 in C major, Op.53 “Waldstein” (Allegro con brio) (38:20)
You obviously have the technique to do justice to this incredibly difficult work. There is strength in your playing together with an undeniable surge that moves the music to its conclusion. Many positive things are achieved not only in displaying the strong character of the first subject but also kindness of the second subject and the singing quality of the codetta. You observe most of Beethoven’s indications, but that is not enough, you must do more contrast with articulation and dynamics. However, the most important criticism I have is the tempo – not the speed but what you do with it. For example the sudden fastening in the Coda totally destroys the structure of Beethoven’s vision. You must have the tempo within you so that you can rely on it. Of course I am not advocating a machine-like performance, but for Beethoven the form and character are infused in the tempo so it is of importance for you to understand and execute them in the best possible way.
Debussy: “Reflets dans l'eau” from Image (Book 1)  (46:22)
In order to help you I would like to quote from Marguerite Long’s book “At the piano with Claude Debussy “. This had a great influence on my approach to his music: “Debussy was an incomparable pianist. How could one forget his suppleness, the caress of his touch? While floating over the keys with a curiously penetrating gentleness, he could achieve an extraordinary power of expression. There lay Debussy's individual technique; gentleness in a continuous pressure gave the color that only he could get from his piano.” You need to make your approach different, stay closer to the keys, in fact try to do the first two measures legato – it is possible. Look at the detailed instructions of the composer – measure 25 he has “pp” and you play ”f”. So many misreading and wrong rhythms – for Debussy rhythm was extremely important and precise. Last four measures – the rest is an eighth-note value, thus producing a different sound to your performance. To me the atmosphere is of gentle slow moving water that gathers speed in the middle and settles back again into its tranquil journey. You are painting an immense drama that lands us in the middle of an ocean storm and this is quite different to the traditions handed down for the past 100 years.
Liszt: Hungarian Rhapsody No.2  (50:51)
Your excellent technique shows well in this music. One must ask at what stage is there a separation between music and technique even in the Liszt Hungarian Rhapsodies. When the music suffers under so many missed notes and the rhythm which is the backbone of the dance is completely distorted, your effort becomes less entertaining, perhaps endurance test for both you and your audience. Why play so fast? You completely misjudge the meaning of the Tempo giusto – vivace – play in strict or suitable time but make the character vivace meaning full of life. How could this be so fast when Liszt requests in a few measure Piu mosso and later accelerando and then stringendo con strepito indicating his wish for us to get faster and faster. In these eight pages he only twice indicates a slight sostenuto – hold back. Your interpretation is to go as fast as possible and then when you cannot go faster you slow down. Can you imagine dancing to your music? A fast tempo is only an illusion and can be gained through a thorough use of pulse, phrasing and careful pedalling.
General Observation:
You are a talented pianists well-endowed by excellent technique. You must at all cost change your outlook on performing. You are the servant of the composer and his creation. If you continue to serve yourself through music, your path will very soon lead to a dead-end.

Gao Ke
Great hands and a real virtuoso potential. Excellently prepared. Could be more involved and engaged.

Gao Ke
He is a real talent, but his preparation and performance is partly unprofessional.
In Liszt-Rhapsody he does some marvelous effects, but he takes often a tempo, where he can even not  t r y  to play the notes. There must be a whole performance, not some nice effects.
Debussy has big reading mistakes and a declamation by hazard.
Beethoven is without any vision and the stretto-final is , sorry, nonsense.

Gao Ke
Beethoven, Sonata op.53-1st m. – Debussy, Reflets dans l’eau – Liszt, Hungarian Rhapsody No.2
Beethoven. Good sound balance, clear and lively. Excellent pianistic qualities. Quite in a hurry in some situations, like in the recapitulation. I miss many sound contrast, specially the sudden p or pp, so typical for Beethoven! More tempo unity would be requested, as well as more intensive legato and singing (second theme).
Debussy. Nice rubato at the beginning, but there is no real pp, especially in bar 9. Wrong notes in bar 14, last chord has C flat and F flat! There is no difference between p and pp in bar 18-19, not to speak about the triple ppp in bar  24 (Mesuré), which would need a sudden contrast and a completely new atmosphere of sound. I miss a similar sound contrast in bar 50. At the end, Lent, wrong notes in the first chord, twice.
Liszt. Charming performance, genuine and very lively. In the Lassan I miss a deeper nostalgia and some more refined sound nuances. In the Friska there are some overheated tempos and some unclean passages, but the virtuoso style is remarkable and shows great technical possibilities. It is a pity not to play a cadenza on the last fermata before the end.
General remarks: a gifted pianist, with excellent possibilities. Tempo feeling and sound nuances must be improved.

Gao Ke
I like your playing very much. Beethoven Waldstein has a fine opening. Later it would be necessary to bring in the side theme more cantabile and to change colures and sonority in the many modulations. Gao ke s technique is rapid but not always entirely clear. This applies to Debussy although Reflects dens l eau had a very fine and organic rubato. Liszt Rhapsody shows a young and dynamic temperament. In the fast part she takes an imposing speed, but actually a bit too fast for the rhythmic effects and too speedy to keep the technique clear.

Gao Ke
Beethoven Sonata Op.53 was played with fluency and control. Perhaps could have more interpretative details and contrasts.
Debussy Reflect dan l’eau was sensibly played with flair and imagination. Could have even more contrasts and delicacy.
Liszt Hungarian Rhapsody No.2 showed control, assurance,  temperament and personality.

Gao Ke
The best piece in this recital was the Liszt Hungarian Rhapsody - even if it was very careless technically at times. He has a real sense of performance and some of the fingerwork was really brilliant. When it has better technical control it will be very exciting but there were far too many inaccuracies for comfort in this. The Beethoven also had strange wrong notes and needs far greater imagination and attention to the dynamic markings of the composer. There were moments in the Debussy when there was no difference between his piano and forte dynamics. The rhythm at the end was also inaccurate.

Hu Xiaonan
Mozart: Sonata in F major, KV280 (Allegro assai)
What a joyful rendition of this movement. And F major always brings out the happy side of composers. You display freedom and a wonderful way of displaying the dynamic contract that is so necessary for Mozart. He is such a master in generating tension and relaxation, moving the music and then slowing it down in a most natural way. And to your credit, you react to these in a wonderful way. I would suggest not making a diminuendo in the first measure. These measures define a certain character while the next two measures descend chromatically in the right hand and ascend in the left hand. First holding and then moving forward. In the transition section I would bring out the articulation more, much like the bowing if played by the violin. The second subject is really the ascending motion of the first subject’s left hand, this borrowing between subjects was a common practice of Haydn as well. Be careful not to get too bombastic in these left hand notes, the sound should be generous but still full of round string sounds. Till the conclusion of the exposition I would recommend a more detailed study of the articulation which Mozart so meticulously demands from us. 
Debussy: La plus que lente  (3:22)
You perform this work excellently. Perhaps it is of value to translate the title: “The even slower waltz” or ”The more than slow”. The actual tempo is not really that slow Debussy’s Lent marking is indication of a certain style of waltzes that were so prevalent in the salons of Paris. It is a masterpiece of nostalgia and while you do play it so well, you have to come back to it later in life to fully understand this underlying atmosphere so extraordinarily portrayed by the composer. You should bring out more the amazing hemiolas, the differences between ¾ and 6/8 as these rhythmic subtleties make the piece so unique. Further while I commend that you are so superbly leading the melodic lines, at times you should pay attention to the remarkable harmonies and chord progressions and change your color in the F-sharp minor middle section that gradually leads us back to the recapitulation. 
Schumann: Abegg Variations, Op.1 (8:05)
Well presented and your piano performance is on a very high level.
Yet I am not convinced by your interpretation. It is too predictable, it is too much trying to be a good student, obeying all the directions but not interpreting them. Around the 1830 there were numerous compositions that reflected a fresh interest in the piano as it became more and more the prominent household instrument. These compositions include Mendelssohn’s Song without Words, Chopin’s Rondos Op.1 and 16, the numerous Rondos and Variations of Carl Czerny, Friedrich Kalkbrenner and Ignaz Moscheles. These light hearted, easy flowing yet emotionally charged compositions were the first romantic pieces that eventually blossomed into the piano’s most important and productive period - the romantic era.
Some suggestions: make the theme more gracious, flowing and full of charm. The first variation needs to be more playful with sudden changes of direction. Make the dynamic contrasts much more vivid and interesting. The second variation should be more poetic as if you are telling a story. The repeat gives you the opportunity to change colors and balance the voices differently. The third variation is far too serious in your interpretation. Make the runs more refined and elegant while the theme comes through gently. The Cantabile fourth variation is really an introduction to the Finale and as such should be more calm and full of expectation of things to come. And the finale is a youthful fun, full of life - after all he indicates Vivace in the tempo marking. You should not have any difficulty in making this or the other variations come to life from the perspective a young person looking forward to life’s adventures.
General Observations:
You are an excellent student and have a bright future ahead of you. I very much like the way you listen and move easily between styles. Everything you played was well prepared, conscientiously looking at all the composers’ indications. You need to be adventurous and interpret the works more and more according to your feelings, after all we are interested in how you bring those notes alive and communicate them to us.

Hu Xiaonan
Beautiful Mozart, says a lot wonderful teaching. Sensitive Debussy, free and most responsible Schumann, but sometimes lacking flight and magic and fascination.

Hu Xiaonan
Very good Mozart-playing in combination of freedom in characterizing and tempo-strictness.
Debussy: this waltz should have harmonic and rhythmic refinement, a kind of nostalgic farewell to the waltz.
Schumann is well-played, but theme needs more grazioso, 2. Variation more poetry, 3. Variation more elegance and finale more enthusiasm and expression.
The long fermata notes are wonderful.

Hu Xiaonan
Mozart, Sonata KV 280-1st m. – Debussy, le plus que lente – Schumann, ABEGG Variations
Mozart. Lively, good tempo and genuine spirit. Harry on the trills at the end of the exposition. Two wrong bass octaves. Actually, the 3 bass octaves should be always played “non legato”, like the strings  in the “Tutti” of a Symphony.
Debussy. Very sensitive, almost sensual piano playing. Certainly not the correct impressionistic style for Debussy, who would have never accepted to be considered as a “late romantic” or a “decadent” composer, even in this very special and somehow nostalgic piece.
Schumann. Nice poetic sound, but it would be much better to avoid the permanent “arpeggiato” between melody and bass notes, in order to give to this piece a more genuine and not sentimental atmosphere (op.1!). The 1st repetition in Var. 1 is not original. Variation 2: beautiful legato! Var. 3: many wrong notes in the left hand. It would be better to stay closer to the keys! The Finale should have already a new tempo (“vivace”). Bar 171, legato, not staccato. The vivacissimo in bar 203 requests much more courage and virtuosity.
General remarks: a young pianist with sensitive touch, some technical and stylistic problems.

Hu Xiaonan
Mozart comes out a bit heavy touch. It is a bit loud and lacks some of the Light elegance. In Debussy we lack the same light elegance in rubato and Articulation from the finger. Schumann Abegg is her best interpretation - however the theme could be more sensitive. Fast variations tend to get etude-like lacking charm and Phrasing. Through listening careful to herself you will develop more Imagination in sound.

Hu Xiaonan
Mozart Sonata K.280 was musically played with well directed phrases.
Debussy La plus que lente was sensitivity played with commitment. Perhaps it could have a stronger sense of Valse character. Hands tended to be not together at times.
Schumann Abegg Variations was well prepared and presented. Might be it could have more flexibility and humour.

Hu Xiaonan
She is a fine performer with many wonderful attributes. Her Mozart Sonata had lovely style and a real feeling for colour with real wit too. It was very musical and she has excellent fingers - even if there were a few stumbles in the performance. The Schumann Abegg Variations showed natural musicianship. It was not technically totally clean but there is a verve in her playing that is very attractive and she produces a really lovely sound at times. There were special moments - none better than the "silent" statement of the theme in the finale. But it was her performance of the Debussy which really won me over. It was by far the best performance of any piece in the competition and a performance of which any professional would be proud. Wonderful sounds, superb pedalling and a lovely natural rubato. She made me smile with pleasure ! This is a real talent.

Li Yuemeng
Beethoven: Sonata No. 17 in D minor, Op.31 No.2 (Largo – Allegro) (16:25)
You give a spirited version of this movement. There are many sides to what we consider the “D minor” drama of Beethoven. I do not concur with your interpretation of panic and constant agitation. This is drama that is built on large waves of tension, constantly moving to a culmination and again starting towards another conclusion. For example starting from the second Allegro (measure 9) there is a persistent motion till measure 21 – this being extremely important as the resolution is to the tonic, D minor. Here Beethoven starts another relentless transformation process (based on the first measure of the work) utilizing chords that follow one another gradually building up tension – this is released in measure 41 where we reach the dominant of the second subject. The Largo sections are placed in important structural places, at the beginning of the Exposition, Development and the Recapitulation. How you react to the different Largo depends on your understanding of Beethoven’s intensions. For example the Largo in the Development section moves from the second inversion of the D major chord to a diminished seventh chord landing on the F-sharp major second inversion.  This progression is resolved to F sharp minor, probably the most conflicting key that Beethoven can select to highlight the surprising climax of the first movement. As performers we must retain the same Allegro when it appears, we should not change this tempo. Unfortunately you have many tempi throughout the movement and you should avoid this mistake.
Debussy: “Reflets dans l'eau” from Image (Book 1) (23:06)
You are well on the way in understanding how Debussy revolutionized the sounds of our instrument. In his hands the piano was transformed into delicate tone colors, the harmony became a dimension of melody instead of accompaniment, fragmented melodies used more often and ambiguous harmonies and tonal centers gave the music a constant motion that reminds us of water. You should be more aware of the beautiful and sensuous harmonies that constantly change, however, I commend you for trying your very best to use legato as often as possible. Closeness to the keyboard will result in better Debussy sound and you should work on this more. Unfortunately, it is your rhythm that lets you down. You constantly stop, stretch and accelerate within measures according your momentary intuition. Debussy does not sound good if played in a “romantic manner”. He is extremely strict and works out in great detail the complex and non-metrical rhythms that his music depends on. It is said that his fluid and asymmetrical organization of meter, rhythm, accent, and phrase is the result of special and subtle inflections of the French language and poetry.
Chopin: Ballade No.1 in G minor, Op.23  (28:36)
An excellent performance with wonderful potential in the future. This is a very complicated work full of emotional and passionate feelings brought together with pianistic demands that in its day was never heard before – not bad for a 25 year old. You need to have a complete vision of the work before you perform – make a mental picture of the first and second subject as each of them appear three different times. This continuous development of the themes is the strength of the composition. The first time the second theme played in “pp” must sound more like a faraway vision, innocent and sensitive – the next time the theme is presented in more victorious atmosphere, possibly full of pride, joy and elation while the last time it is passionate, fanatical and ardent. Use these and other words to create within yourself a mood to interpret the essence of the music. In all the Ballades the first few pages are the most difficult. All the Ballades are written in 6/8 or 6/4 time signatures that by nature require two beats in a measure with a subdivision of three plus three. Thus there is a certain amount of swing involved, perhaps even a
dance-like feeling. Also the genius of Chopin must be more respected regarding his uncanny understanding of tempo relationships. How does Largo relate to Moderato and then to Meno mosso, the composer always avoids excessive tempo changes so that all tempi merge into each other in a most natural way. The ending has to also sound natural– there is no new tempo indication for the last 15 measures of the work – there are three ritardandos and accelerandos and these make no sense if you do not have an underlying tempo tght allows us to hear the forward and backward motions that Chopin has indicated.
General Observations:
I like your performances very much. You are on the right path in your search to communicate to your listeners. This takes time and much effort, but you seem to be adventurous and demand much from yourself. Try to learn a great deal of repertoire, listen to music not only piano but opera and symphonic works and read as much literature as possible – the great composers were all well read and lovers of the fine arts.

Li Yuemeng
Intelligent and professional. Sometimes too delicate. Sometimes weakens Psychologically at the end of the Ballade

Li Yuemeng
Beethoven is not that d-minor tragedy, Beethoven had in mind, the short articulation becomes elegant instead of agitato, the lamento,  bar 75 is missing, the tremolo must be absolutely strict, not free to get a consequent deciso-character. I recommend not to play such a big piece in this young age.
Debussy is much better, good technic, good architecture, not enough feeling for sound sensuality.
Chopin has the seriousness and tragedy, which was missing in Beethoven, but 2. Theme should sound in pp more like a vision in ff like a triumph, then some heavy reading mistakes and wrong notes towards the end.
The famous “Tristan-chord” bar 124 she plays d instead of d-sharp! And others…

Li Yuemeng
Beethoven, Sonata op.31 No.2-1st m. – Debussy, Reflets dans l’eau – Chopin, Ballade op.23
Beethoven. Not convincing tempo unity. The opening Allegro is much faster than the main theme in bar 21. The Largo is always definitely too slow, it should be counted in 2/2. Nevertheless, nice sound and good dynamic.
Debussy. Nice and poetic sound, pleasant rubato and phrasing. Wrong notes in the cadenza. Wrong rhythmic in bar 24-25 (Mesuré): the left hand has sixteenths, not thirty-seconds! Beautiful atmosphere at the end and correct pulsation, not too slow.
Chopin. Convincing beginning. The sound has quality, nuances and sincere expression. Natural phrasing, pathos and courage. The general rubato and the strong arpeggiato between right and left hand is quite acceptable in the meno mosso section (bar 68), less appropriate in the ff section (bar 106), where it gives to the interpretation an unpleasant rhetorical character. Bar 131-132: C flat would be definitely better than C, which is harmonically impossible. Presto con fuoco: many wrong notes.
General remarks: very sensitive pianist, musically interesting. Some problems.

Li Yuemeng
Beethoven Tempest has fine and atmospheric interpretation. Debussy Reflets is played very smooth and imaginative in sound. There is a very small, unimportant unclarity at one point. In Chopin’s Ballade the opening and the theme could be smoother in phrasing also following the fantastic markings by Chopin closer. Some parts later would need more artistic forming, but she feels her playing in a deep and musical sense. The coda has some unclarities in texture.
 

Li Yuemeng
Beethoven Sonata Op.31 No.2 was played with musical intention and drama. It could have even more direction and greater articulation.
Debussy Reflet dans l’eau was musically and sensitively controlled. Chopin Ballade No.1 showed capability and pianism but it could have longer line and stronger pulse.
Musical and enjoyable performance.

Li Yuemeng
She is a very fine performer but needs to "let go" a bit more. Her playing comes across as well controlled but lacking spontaneity and imagination. The Beethoven had many good things - and I was delighted that she observed the Beethoven pedalling in the recitatives. Now it should be a little more stormy at times. The Debussy opened well but lacking in atmosphere (which was much better at the reprise) and it all needs a little more French colour and sound. There were some rhythmic problems towards the end and strangely she did an accelerando to the end rather than the ritardando that Debussy asks for. The Chopin had some lovely sensitive moments (more please!!) alternating with moments that were dull (like the opening) and the Coda needs greater technical control.

Pan Yumeng
Beethoven: Sonata No.26 in E-flat major, Op.81a “Les Adieu” (Adagio – Allegro) (38:00)
I congratulate you for performing this Sonata very well and for observing most of Beethoven’s indications. With time you will gain a deeper understanding so I hope you will continue your voyage of discovery. To help you, here are some thoughts: Of all the Sonatas, this is one of the most programmatic that allows us a clearer understanding of the music – Le-be-wohl! in German means Farewell and you should say it as you play the beginning notes. It refers to the Archduke Rudolf’s (the most important patron of the composer) departure from Vienna and the profound sadness and resignation to fate that follows. Notice that Beethoven indicates espressivo for the first three notes and again the four times when these same three notes appear. In many ways this determines the atmosphere of the movement – a feeling of warmth, friendship, appreciation and passion. Use this as a guide so that you may avoid the sound of harshness, of panic and disarray. Carefully balance the voices when contrapuntal writing is involved, especially in the Coda. The tempo must be carefully considered to allow you to clearly communicate the underlying atmosphere of the movement and there must be a strong relationship between the beginning Adagio and the ensuing Allegro. Tempo was extremely important for Beethoven and our search for their deep meaning is a continuous learning experience throughout our lives.
Debussy: “Clair de lune” from Suite bergamasque (44:10)
The tile Clair de lune, meaning "moonlight" in French comes from Paul Verlaine's poem of the same name. Not only is the amazing rhythmic flow of the French language in Verlain’s poem is expressed through the music, but also the picturesque nature of moonlight over the lake. I often advise students to take the scores away from the piano and go through it with their ears rather than constantly practicing the notes. Let’s do it: The first phrase is 8 measures long followed by a shortened (6 measures) repetition of the theme, this time using octaves for color. For all this Debussy requests a “pp” dynamic. The next section is 12 measures long, although using six notes chord progressions Debussy reminds us that we are still under the spell of “pp”.  In the fourth measure of this phrase there is an indication to little by little get louder and animated (lively). This cannot be too much as after five measures he requests us to decrease the volume back to “pp”. The next section is built on three phrases – Un poco mosso (a little faster) for 10 measures using “pp” for 4 and “p” for another 4 measures with two measures of crescendo: En animant (in or with motion) for 6 measures uses piu crescendo which extends to the only forte for one measure before descending to Calmo (calm) in “pp” for 8 measures. The recapitulation repeats the thematic material of the opening with slight changes, 8 measures with “ppp” and 7 measures with “pp” and moves to the Coda of 7 measures with the indication of “pp gradually dying away till the end”.
It is obvious that “Clair de lune” is a study how to play softly in different hues. Even the only one measure “forte” must be played in perspective of its surrounding. I hope you will revise your thoughts about this extraordinary work! 
Liszt: Après une Lecture de Dante: Fantasia quasi Sonata (49:00)
You have made a wonderful effort to study and perform this massive work. It is a good start and “Dante” will be a wonderful piece for your recitals in the future. Of course you do many good things, you have the technique and the power that the work demands. Liszt composed the “Dante Sonata in the early 1830s and published it in 1858. It is certain that during those 28 years the master made many revisions some based on performances he gave and ultimately the Dante Sonata stands out as one of the greatest creations of the romantic era. In the limited space I have here perhaps I should concentrate on TEMPO as a tool that enhances the music towards its natural climaxes. It is important to find the right tempo especially after the introduction as a very large section starts at Presto agitato assai (measure 35). From this point there is no change of tempo until measure 89 as we approach the first of the big climaxes - the immense thematic chords with downward cascading octaves (measure 103). In all of this section Liszt increases the tension by allowing the performer to use as much dynamic imagination and not slowing and fastening momentarily the tempo due to different technical difficulties. In another section the tempo used to build up tension: this starts at Allegro moderato (measure 181) and you took this far too fast. The next phrase is indicated as agitato but this is not a tempo marking but a character change! Only in measure 209 Liszt requests stringendo which leads to the Piu mosso (measure 211). This is the tempo that must be reached and for the rest of the section continued. Unfortunately you played the passages  leading up to measure 211 much too fast so when you reached this important moment you had to slow down, totally contrary to the intensions of the composer. You must try to rely on his indication as ultimately they will serve you well in performance. The same thing can be said for the section leading up to the Coda, everything is worked out by the composer to enhance our ability to transmit the musical message to our listeners.
General Observation:
You are a very talented pianist and with careful study will improve and make music your career. You must listen to a great deal of music, not only piano music but opera, orchestra and chamber music, and read a lot of literature so that you can understand the different periods in our music history. Essentially you really need to be aware of all the different creative arts in order to be well-rounded – this will be of more value to you exclusively practicing 10 hours a day.

Pan Yumeng
Started with good Beethoven, deep and solid. Debussy was somewhat heavy and Liszt gradually lost precision and mastery.

Pan Yumeng
The famous mistake in “Les adieux” : Who says farewell to a beloved person in a martellato-way? Only some pianists including Miss Pan. The chain of chromatic sixth-chords in the opening of the Allegro must be espressivo, not deciso! The espressivo bar 50 to point out the “Lebewohl” and in the Coda as well as polyphonic thinking are missing.
Debussy is quite nice but the interesting harmonic “chemistry”, which already tells about the later Debussy could be more elegant and colorful.
Dante is partly good, but particularly in the end is missing virtuosity (jump passage has to much Pedal) and emphasis.

Pan Yumeng
Beethoven, Sonata op.81a-1st m. – Debussy, Clair de lune – Liszt, Aprés une lecture du Dante
Beethoven. Good sound in the Adagio, in spite of the extremely slow tempo. Beethoven indicated 2/4! Well balanced tempo in the Allegro, but I miss a more sensitive and differentiated polyphony. A stronger tempo feeling in the development would be necessary.
Debussy. The 1st page should have no real crescendo and is already too extroverted. The same in the “un poco mosso”, where the crescendo comes much too early! There is in the interpretation a general romantic feeling and expression, far away from the often static and visionary atmosphere of the piece and the impressionistic character of the texture.
Liszt. Well balanced Introduction. Not very clean the Presto, with many wrong notes. I miss the “lunga pausa” before the Andante, but the general expression is convincing, with singing sound and passionate phrasing. The triple ppp in bar 128 and 157 are played like a quite normal “piano”. There is a virtuoso potential in the fast passages, but the performance is never clean and transparent enough. Really too many wrong notes at the end.
General remarks: sensitive expression, but not enough control and pianistic discipline in the virtuoso literature. 

Pan Yumeng
In Beethoven op 81a you need to feel the music from your own inside Pleas listen for artistic lines. It should not sound instructed from your teacher. In the imitative parts tow qards the end your progression comes to a stand still. In Debussy take care to join each note to the next in order ro form phrases and avoid isolated tones. Listen to the atmosphere you create. The middle part gets dramatic for Clair de Lune. Liszt/Dante suits well to her heavy touch. From the deepest parts in this Work there are long connections to the highest climaxes. Between them, there are almost dangerous under-water-streams. Explore them more and You will avoid standstills in the quiet parts. My advice: Feel all the changes in Harmonies.

Pan Yumeng
Beethoven Sonata Op.81a was solid and fluently played with good intention. Ending of phrases needed more careful listening.
Debussy Clair de lune showed commitment and personality in the playing. However it was rather heavy in texture at times. “un poco mosso and En animant” sections needed more control in clarity and poise. On the whole, pedaling needed more careful listening.  
Liszt Dante Sonata showed good command of keyboard facilities and sense of drama. Dynamic contrast and pedaling needed more imagination and planning.

Pan Yumeng
She is a real talent with wonderful qualities and shows great promise. The Liszt Dante Sonata is really beyond her technically as yet and still it showed an excellent sense of drama with some outstanding moments. It was a really courageous attempt at a very advanced piece. She shows natural musicianship of a very high order. The Beethoven was really excellent with great attention to detail and a range of emotions and moods that suited the piece so well. The Debussy was less satisfying. It was all technically very well played but rather too loud too much and missing the atmosphere of this magical creation. It also needs better pedalling.

Wang Yinuo
Mozart: Sonata in C major, KV330 (Allegro)
I love the youthful, energetic way you perform this happy movement. It seems to have resonated well with your personality. Only two comments need to be made to make it better. The tempo of your performance is more like Allegro con  spirito much like the Sonata in D major, KV311. But that is in 4/4 and in this Sonata it is in 2/4, there is a difference. In the C major Sonata you need to hold the tempo back a little in order to allow your articulation to “speak” and at the same time to allow for more personal artistic expression. Secondly try to make a greater difference between the themes, in Mozart the dynamics are used for contrasts but you need to find different characteristics of the thematic materials although I realize that they are all within the “p” dynamic range.
Debussy: Prélude: “Feux d’atifice” Book II (4:13)
An excellent performance throughout the work.  You manage to display the fireworks in all it magnificence and excitement. Watching fireworks can be also a waiting game as next rocket goes up, so especially I liked the moments when you held still and then burst forward. You have lots of colors and different articulation and I congratulate you for keeping very close to the indication of the composer. Perhaps my only hesitation in endorsing your performance totally is use of pedal when you have lots of activity in the lower bass range of the piano. These thirty-second repeated notes (a few measures before the Coda) must sound like rumblings anticipating a flare taking off towards the sky. And I must commend you on your excellent counting and honest performance of all the rhythmic variations that in fact sounds as if you are improvising and have all the freedom in the world to follow your musical intuition.  
Prokofiev: Sonata No.7 in B-flat major, Op.83 (8:42)
This is a remarkable performance for such a young pianist. It has all the markings that will make tremendous impression on all who will hear you. I liked very much how you controlled the phrases and made the melodic line so well balanced with the accompaniment. You seem to understand the music and not only obey the indications extremely faithfully but also have your own ideas. For me the most successful moment is the beginning of the Development Section as you merge out of the Andantino and move towards the Allegro. The only comment I have regarding improving your interpretation is to make the atmosphere much more restless, uneasy, and agitated. In fact one could say, you control the tempo too much. While I agree that the tension in Prokofiev depends on the tight control of tempo, at the same time if simply doing this like a metronome is out of the question. Much depends on the inner pulse in this case two beats in a measure and how you can move the down and upbeats. But I strongly believe that with time you will experience this and have the ability to show it with great success.
General Observation:
You presented three excellent performances and I enjoyed them very much. Your playing shows signs that you already developed a distinction between the three styles and have started to make them your own. This is very much part of maturation that all musicians must go through. For you to start this process so young is an excellent sign music will be your profession – and I wholeheartedly wish you all the very best.

Wang Yinuo
Wang played an enjoyable Mozart, but her Prokofiev was too careful and responsible, missing some spirits of this war spirit.

Wang Yinuo
Her Mozart is rich in Character, full of color and life. All this would come out in this
“singing allegro” even better with a more moderate tempo.
Debussy is clean, refined, virtuos, and again full of character and the will for expression. Very good stage personality.
Prokofieff has a very well controlled tempo, the understanding of harmony-colors and architecture is astonishing for this age. A Sonata movement full of melodic and harmonic richness, not only a loud virtuoso piece.

Wang Yinuo
Mozart, Sonata KV 330-1st m. – Debussy, Feux d’artifice – Prokofiev, Sonata op.83-1st m.
Mozart. Brilliant and joyful interpretation, clear and transparent, with spirit and sensitive sound nuances.
Debussy. Easy but convincing interpretation, professional piano playing with good sense of sound and pedal. Clean and extroverted performance, with respect for all details and requested colors.
Prokofiev. The nice espressivo-portato sound in the opening is not suitable for this so rough and dramatic beginning. The same happen later, in bar 45: “secco” (dry!). This “war-Sonata” needs much more direct and fanatic rhythmical playing and an extremely strong character. The sound is more appropriate in the first and second Andantino. But here I would prefer a more steady and not so flexible phrasing, in order to avoid any sentimental feeling. The Allegro is not restless and anxious enough (“inquieto”!)
General remarks: a serious and sensitive pianist, with professional pianistic control.

Wang Yinuo
Mozart 330 has very musical and charming phrasing but at times overdone. This results in a flow with too much rubato for the Mozart style. Debussy is basically very well played with fine imagination and impressionistic style. There are some slips in technical perfection, And this is something to work on. Prokofiev nr 7 needs a lot of barbaric force and push. You play a bit too slow and romantic and there is too much contration on slow parts. Give it at times a more Wild character.

Wang Yinuo
Mozart Sonata K.330 was clear and fluent, might be a little rush for details. Needed more imagination.
Debussy Feux d’artifice showed intention and ability. Could have more flexibility.
Prokofiev Sonata No.7 was carefully played. It needed stronger sense of rhythm energy and horizontal lines. 2nd subject was rather too sentimental for my taste.

Wang Yinuo
The Mozart was delightful and charming. She plays with wit and real musical imagination. I feel that Mozart would have loved this ! The Debussy was well played but there were very strange arpeggios at the climax which spoiled the moment somewhat. I was disappointed in the Prokofiev. The tempo seemed far too "careful" and the piece often sounded pedantic rather than exciting as a result. The Andantino sections also needed far greater cantabile tone and intensity. It also seemed beyond her technically at present. Be careful too of overpedalling.

Zhang Ruixue
Beethoven: Sonata No.18 in E-flat major, Op.31 No.3 (Allegro) (17:45)
This Sonata is extremely popular with young pianists, but I often wonder would it be so if only they knew how difficult it can be. You make a valiant effort, play all the right notes and most of the time you adhere to Beethoven’s indications. But this is not good enough and you must get better. This sonata, especially the first movement is quite deceptive. It needs a special sense of humor and huge contrasts in character between thematic motives. The tempo must be established in the first two measures. Unfortunately you foreshadow the ritardando already in the second measure which sound like a lazy relative of the first measure. The passage in measure 8 appears three times and only in the Coda does Beethoven indicate a crescendo. In fact not having a crescendo here increases the humor of the first subject. The modulatory unison passage in staccato should not be so harsh and martial, perhaps you could draw a dance out of it and make the contours that skirt different harmonies more interesting.  The second subject should be a celebration that finally we have a “real” melody. Even the melody feels the overwhelming happiness and burst forth into a cadenza-like bubbly passage before singing it again with even more joy. In the next subject Beethoven utilizes the resolution of discord (highlighted by ornament) and making us feel the power of tension and resolution before progressing towards the more melancholic Codetta. You should make more of the surprises of the Development Section not only the first 12 measure, but also how the Recapitulation is approached and suddenly reached. I hope in time you will not only feel all these wonderful nuances behind the notes but also transmit them to your listeners. You certainly have the ability to do so.
Debussy: Prélude: “Bruyères”, Book II (23:56)
You understand and feel this work much better than the Beethoven Sonata. Bruyères means heaths, one of the fascinations of Debussy with nature and in particular the English landscape. You have great command of the technical demands of the piece especially the balance between melodic passages and accompanying harmonies. You manage to depict the sun peeking through thick clouds for a short moment and the small brilliant flowers undulating in the slight breeze. The only negative moment for me was the non-legato and in a way unmusical playing of the sixteenth notes in measures 22 to 26. But the rest was simply beautiful.
Ravel: “Scarbo” from Gaspard de la nuit (27:20)
Scarbo is a little fiend or goblin, moving fast, disappearing and reappearing, frightening us and totally unpredictable. Ravel music is a perfect illustration of Aloysius Bertrand’s poem. The whole movement must create a nightmarish scene of hitting and scratching wall, flying in and out of the darkness, casting a growing shadow in the moonlight and relentlessly terrifying. I admire your technical ability, your playing is absolutely clean and your use of the pedal with care. Your colors and rich sounds are also fabulous and you bring out the climaxes to their natural apex. A wonderful performance indeed. However, I found myself asking the simple question “am I frightened, is there a mischievous ghost here? And I must say, “no” – you make the music nice and easy to listen, you prepare your contrasts, there is no feeling of relentlessness as you often slow down and there are no real surprises. For you the first step should be to play the whole movement in one tempo and then select a few places to allow the stop to create a surprise. Next, measure the what level you can want to play “ppp” and “pp” and “p” making each dynamic change a clear step and when Ravel demands this use it step by step. I am certain your interpretation will change in time, and that you have a real possibility of making this one of your signature pieces in the future.
General Observation:
You have already reached a very high level both musically and technically. Open you mind and read a great deal and make an effort to hear a lots of music in particular opera and orchestral compositions. I am sure you will have a wonderful career in music.

Zhang Ruixue
Very professional and experienced. Excellent fingers and warm heart. Precision at challenging repertoire.

Zhang Ruixue
Her Scarbo is magnificent, rich in colors, suggestive, but in the same time her strictness in tempo gives this great Sonata-movement his appropriate architecture.
I highly admire virtuosity and cleanness of this performance.
Beethoven is a big deception. His Sonatas should not be played less, but m o r e expressive than the virtuoso literature. Here is missing the grazioso of the first motif, particularly from bar 18 onwards it sounds nearly military-like. The spirit of dance and humor is also missing. The mystery of strange harmonies in contradiction to the unisono and the simply harmonized aria of the 2. Theme are not made clear, it is just well played, for Beethoven by far not enough.
Debussy is good, not as refined and sensual as Scarbo, but all high-level-pianistic.

Zhang Ruixue
Beethoven, Sonata op.31 No.3-1st m. – Debussy, Bruyères – Ravel, Scarbo
Beethoven. Perfectly balanced tempo and rhythmical character, excellent control and stile.
Debussy. Simply beautiful! Excellent phrasing, free but natural, and many poetic sound nuances.
Ravel. One of the best performances I have heard recently of this piece. Great rhythmical and technical control, excellent pianistic quality, transparence and musical tension.
General remarks: excellent pianist, with clean and professional piano technique, clever understanding of the text and interesting musical personality.

Zhang Ruixue
Beethoven was played musically very good with sparkling clarity and fine phrasing. The Debussy prelude nr 5 was a bit heavy in cölour and could have had a more airy and lifted-up touch. The etheric parts could simply have been played more upwards. Ravel Scarbo was excellent, electric in rhytm and with an enormous command of control. 
 

Zhang Ruixue
Beethoven Sonata Op.31 No.3 was played with intelligence and flair. Might be it could have more imagination and contrast.
Debussy Bruyeres was carefully played. It could have more flexibity and creativity.
Ravel Scarbo was impressively played with technical competence. Perhaps it could have even more colours and personality.
Player with good ability and potential.

Zhang Ruixue
The highlight of this recital was a stunning performance of Ravel's Scarbo - quite outstanding for one so young. The other pieces were very well played but the Beethoven came across as solid rather than inspired and needed more inspiration and though the Debussy had flashes of magic it also needed more colour and imagination.

Zhang Yunling
Haydn: Sonata No.46 in E major, Hob.XVI/31 (37:16)
I like the fresh, exciting approach of your performance. This Sonata written around 1776 follows the overly expressive emotions employed in the Sturm und Drang period and here, Haydn turns in contrast a most charming key of E major and composes a happy delightful work. To make your performance more complete consider making the contrapuntal voices clearer to make us hear three voices at the beginning, and try to make more surprises by dynamic differences and allowing the music to breath after phrases.
Debussy: L'isle joyeuse (40:33)
You have a very natural way of playing the piano and as a result your sound is a pleasure to hear. You are indeed a real performer. Your performance of L’isle joyeuse is exciting with variety of colors and you have a wonderful command of the work. While listening to your performance I was constantly asking what advice can I give you to make it even better. Here are some thoughts: somehow you have to make the harmonies more sensuous, warm, inviting perhaps by more supple hands and slowing down the way you move into the keyboard. Make the triumphant parts more elated and euphoric. Too many times I feel you stop the momentum and sound like you are preparing the next phrase, this is certainly a valid tool in true romantic music, but here it becomes more like a habit and certainly it stops the buildup of joy and happiness. Allow the natural flow of the music and only stop where Debussy allows you to take a breath and move on again. Often we transfer what works in one style to another subconsciously, but do not forget, Debussy was consciously trying to separate his music from the strong currents of the German Romantic movement.
Chopin: Polonaise in F-sharp minor, Op.44 (46:36)
All the Polonaises written by Chopin are connected by the supreme idea of the polonaise - the most important Polish national dance. They are difficult to understand without an awareness of Chopin's patriotic feelings and the tragic situation of Poland during his lifetime. The Op.44 is an epic-dramatic gesture to the idea of the free Romantic fantasy "on a polonaise theme", and it is unusual in the appearance of a mazurka in its middle section, as a contrasting lyrical passage.
This is a very strong and convincing performance and I congratulate you. I am sure as with the Debussy the Polonaise will become a permanent repertoire in your future. The introduction should not be more important than the actual theme you are introducing, it should more like expectation of something to happen. You play the theme with nobility, but take care about accents, it is essential to have the dance in your mind and not to accent the third or sometimes the second beats in certain measures. This in itself causes a feeling of heaviness instead of forward movement. Moving from F-sharp minor to B-flat minor should be felt much more, do not forget the B-flat minor is the central key of Chopin’s Sonata No.2 – probably the darkest of all his music. Here there is a feeling of nobility and pride changing to tragedy and death. Your performance of the section prior the Mazurka (from measure 79) is excellent, these relentless passages have to have a hypnotic effect. Yet, it is still part of the dance and you need to take care of the importance of beats within the measures as wrong accents change the pattern for the dancers. Placing a mazurka in the middle of a polonaise is not so difficult to understand as both are extremely Polish in origin. In this work they have different meanings - while the polonaise is made of noble pride and tragedy the contrasting mazurka is melancholic and creates a feeling of beauty. The problem here is that really you need to make the key of A major help you, it is a key of smiles and kindness. You have to work on this contrast to make your performance really successful.
General Observation:
My congratulations on your wonderful performances. I am sure you will improve in time and will have a bright future. You must develop a more clear understanding of styles as after listening to you several times I felt that the three works you presented have too much in common and not like three distinct styles.

Zhang Yunling
Zhang Yunling was always free, vivid and perfectly prepared.

Zhang Yunling
Haydn is very spontaneous and livefull with good control of tempo and architecture.
Debussy combines high technical skills and sound sensuality, but both, the sensual as well as the triumphant parts could sound more “happy”,(L´isle joyeuse) all these many crescendo-subito piano indications would help for that.
The Polonaise has everything, virtuosity, proudness, tragedy, rhythm, the coda is really moving, but the Mazurka in between should have much more melancholy and elegance. Please find the A-major color!

Zhang Yunling
Haydn, Sonata Hob.XVI/31-1st m. – Debussy, L’isle joyeuse – Chopin, Polonaise op.44
Haydn. Perfect transparence and spirit. Clean, joyful and good test in all nuances.
Debussy. Accurate and clean, sometimes a little bit too dry. Not sensitive enough the slow theme, which should sound like a new vision, coming from far away. Brilliant ending.
Chopin. Theme: more singing tone and pathos would be requested.  I miss a different character in the “sostenuto” sections, bar 27 and 53: these are to be played more “espressivo”, sometimes quite intimate, and represent a contrast to the heroic character of the main theme. The first middle section is played with a general “forte”, while it should start “piano”.  The second middle section (“Mazurka”) should be played “sotto voce”, with much more sound and atmosphere contrast to the other sections and more poetic content. Nevertheless, a powerful performance with good pianistic quality.
General remarks: good and professional pianist, some deeper musical immersion would be interesting.

Zhang Yunling
Haydn is good and musical but basically you could use more leggiero. Try to make the phrases talk to each other and have fun! In Debussy. Remember it is a happy Island! it would be good with more smooth dolce and some pedal-effects could be more refined. Chopin Polonaise in f-sharp minor comes out too active in tone and mood. You have a romantic Temperament but some of the phrasing can be more melodic. The percussive middle part could Be softer and thereby more exciting. With some more experience you will definitely play this great piece even better, the comments are by Einar Steen-Nökleberg

Zhang Yunling
Haydn Sonata Hob.XVI/31 was played with great precision and sophistication.
Debussy I’sle joyeuse showed good control and judgement. Might be it could have even more subtlety and delicacy at places.
Chopin Polonaise Op.44 was played with great confidence and precision. Perhaps it could have more imagination with repetitive materials.
Very well prepared performance with dignity and poise.

Zhang Yunling
The Chopin Polonaise was a real surprise. I had been disappointed in a rather perfunctory Haydn lacking wit,inspiration or humour and Debussy that showed more clean, reliable playing but missing the joy and exhilaration that this work requires. But she caught the Polonaise really well and it was so advanced technically too. The Mazurka section could do with a greater sense of nuance - there were some lovely moments but it needs more. But this was a really impressive performance.