Contestant No.1 - GU Jingdan

No.1 Chopin: Nocturne in C-sharp minor, Op.27 No.1

-Excellent performance of this very difficult work. You display lots of good qualities especially a wonderful ability of maintaining a long singing line in a slow tempo. This means that you are intensely listening to your sounds.

-The contrast between sections could be even more defined and striking.

-In section “A” you should strive for evenness of the left hand accompaniment, avoiding unnecessary quick moments or sudden jolts of loud dynamics. This evenness is essential in providing the haunting atmosphere of this nocturne.

In measure 20 make more distinction of the two voices in the right hand by using not only dynamic differences but also in character.

-In measure 26 the “ritenuto” is for 3 measures and should be more consistent in order to build up tension and expectation. You play slower and then play faster and slower again.

-The middle section has a long continuous crescendo – use the bass line as a guide while voicing the right hand

-Make more characterization in measure 45 “appassionato” and in measure 49 “sostenuto”. In fact, the wide leaps in the left hand and the full legato sound of the right hand demand an expansion on the tempo.

-From measure 65 the full harmonic writing demands careful use of tempo and balance of hands. Make sure you accelerate only from measure 78 and not before.

-After all the tension leading up to it, the “con forza” character together with its drama is unfortunately missing in your cadenza.

-Your approach to the C-sharp major change toward the end is nicely and sensitively done.

-Please observe the “Adagio” in the last three measures, which should be slower and more deliberate, allowing the natural timing of the release of the f-sharp in the right hand to the E-sharp as a conclusion.

No.2 Chopin: Etude in F major, Op.10 No.8

-Again an excellent performance, if somewhat “measured” in tempo. I like very much you treatment of the left hand as a source for melodic character while the clarity of your right hand runs is very commendable.

-You should be more aware of the structure of A A B A Coda. Understanding the form would allow you to make some difference when you repeat the A section.

-Notice the accents that Chopin places on every beat. It means that he wants groups of four notes pulsing and consistently moving forward, generating a sense of direction.

-Strive for the climax in measure 71 which is usually reserved for just before the coda in most of his etudes.

-The polar opposite of this climax is the PP in measure 57 which is prepared by “diminuendo” and “poco rallentando” - this part was the least successful of your performance.

-Your slowing down right before the cascading final seven measures does not work if you also wish to slow down and make a diminuendo at the very end. You have to make a decision and choose only one.

No.3 Chopin: Polonaise, Op.44

-This is a wonderful, powerful performance. You have given serious thoughts to the work and have created a personal statement. There are numerous positive reactions to your playing from the strong sense of pulse to the clarity of the melodic line. I enjoyed your interpretation of the middle section which due to its constant repetition can become tedious. And the ending was successfully brought to a final conclusion with a careful diminuendo and long melodic line.

-The main problem is your use of the pedal. While I do admire your strong sense of phrasing in the right hand, the overall effect is not of an energetic, rhythmic dance but of a rather blurred and lethargic background that is due to your lack of careful consideration of the pedal. I would advise you to make an effort to see if the pedal markings of Chopin can be used faithfully. Of course his piano was quite different from the instrument we are performing today, but it does give us some indication what he wanted. Further, the study of pedaling must be combined with the volume of the left hand together with the articulation used.

-Aim at bringing out the famous “polonaise rhythm” more clearly and with a sense of purpose and pride.

-Chopin’s use of repetition is based on the notion that we would make slight but important changes in sound and timing, and not just try to do the same thing every time.

-Your octave passages are rather vertical and it lacks a sense of flow.

-The middle section with its relentlessly repetitious pattern should be played with more crispiness, making a good contrast from the 1st section. One caution: you must revise the pattern to adhere to the basic rhythmic pulse in - the first beat should be more important and not the second beat. Also try the pedal marking of Chopin here, and keep the staccato eighth notes dry and clear of any overtones.

-For me the mazurka in the beautiful key of A major was slightly too “direct” and “present”. Its gentle nature requires such rubato and timing that give a sense of timelessness, while maintaining the subtle characteristic of a mazurka. This would create a sharp contrast to the other sections, where the forward motion is relentless and constant.

In general you are a very impressive performer. Your preparation and presentation is on a very high level. I sense that you and your teacher are working hard to search for solutions based on the score and that you are sincere and honest in your effort. I truly enjoyed your performance that has many strong positive qualities. I wish you well in all your endeavors.

GU Jingdan

In general  Ms. Gu had excellent control over the sound colour, balance, and dynamic range.  Her playing had confidence, calmness and authority.  Pedalling was careful and mostly subtle, and her legato playing was faultless.

The Nocturne Op.27 No.1 had a beautiful, liquid sound, with rhythmic elasticity ¨C and at the same time a wonderful simplicity and naturalness. The double thirds were balanced and stunningly expressive. The long line was always perfectly paced in terms of tension and release. The idea of playing the left hand slightly before the right hand became predictable and a little irritating after a while.

Op.10 No.8 was lively and clear, but slightly lacking in elegance and grace. The left hand could have more poise, with less clipped and ?°determined?± drive.  Right hand could have more colour and variety in articulation. Altogether it was a bit ?°study?±-like.

Polonaise Op.44 was solid and full of assuredness.  The middle section could have more harmonic revelation.  A major could be brighter, more sunny ¨C not always rich and dark.

A range of sound quality is important to the listener; too much of a good thing is not always the best decision!

GU Jingduan: 

Chopin Op 27/1 Nocturne: This is poised and in many ways immaculate playing, with a sense of space and beauty of sound. There is a slightly static feeling to this and - for all its “professionalism” it is curiously “studied” - missing something more “personal”.

Etude Op.10/8: Again abundant evidence of an extremely well-developed pianist. Fingerwork is alive, but not over-mechanical. Again, though - from playing of this level of ability, I would have hoped to hear something rather more either elegant or witty, and the final page or so could “melt”and show a rather more different character - though there one can hear that she senses something of this.  Somehow she could convey more sheer enjoyment at playing this! Just a shade dutiful.

Chopin F sharp minor Polonaise This was considerably less convincing, though it does show some impressive strength and authority. It is somewhat over-“set” and predictable, and does not yet convey the longer noble sweep of the music. Rhythm is too static and chording rather over vertical. A minor section rather solid, with the problems inherent in the repetitious nature of this music not yet addressed. More sense of where the real climax(es) are is needed.  The Mazurka lacks real elasticity of phrasing: this could be a waltz! Again a certain sense of being SO practised, and needing  a more intuitive and creative response to catch the more yielding contrasts of this section.

These criticisms are always in the context of a really impressive and extremely confident and polished performance. There is a sense (at least for me) of this being extremely well-tutored, but lacking some great degree of any personal “voice”, or of any musical “risk-taking”.

GU Jingdan

The general impression is immediately very positive. Here everything seems to be on the right way:
She plays con anima, she is phrasing very well, she is listening to herself, her technique is professional,
there is a real pianistic culture and a lot of discipline. The connection of hands, body and mind is excellent.

So, it’s not about correcting mistakes, but about suggesting different ideas, a different approach in certain places.
We have to think about the tempo relations in the Nocturne. The middle section is più mosso, but there should be a
connecting energy between the parts (the whole bars a little faster than the half bars before), which means a not too
slow tempo in the beginning. Pianissimo and quite flowing tempo (maybe not as fast as Chopin indicated, but still...)
can make a more melancholic expression, which I prefer to deep sadness.

In the Etude op. 10,8 I’m always very interested in the left hand. There are so many important melodic elements, syncopations,
off beat accents, interesting dynamics. And it’s also interesting to remember that we can find the same thing in many
other etudes. So, the left hand should be much more than accompanyment.

In the Polonaise just very few suggestions, most of them related to tempo, tempo relations, rhythm etc..
I understand the last beat in bar 8 as upbeat (anacrusis) to the real beginning of the Polonaise in bar 9. It can be poco sostenuto,
but connected. The transition from bar 79 to 83 should be “conducted” naturally (not too far from the tempo before and afterwards).
In the Mazurka part I hear beauty, a very well shaped melody with accompanyment. There could be more of a swinging dance with its typical accents (and a little faster), more happiness (between the dark and dramatic elements).

GU Jingdan, female, 16

Chopin: Nocturne, Op. 27, No. 1. 

You show a beautiful tone and a fine legato.  Everything sounds very smooth and musical.  The singing voice (melody) is rather monochromatic in conception.  You don’t seem to be aware of different shades of sound, particularly the ones “coming down” at the end of phrases.  An added diminuendo could make your playing more touching and poetic.  Those moments of intimacy can make a difference between a routine and a great performance.  You always take the music very seriously.  I advise you to listen to recordings of the great pianists of the so-called Golden Age (Rachmaninoff, Hoffman, Friedman, Moisiewitch, Cherkassky, etc.) in order to become familiar with an expressive style which is not “crying” all the time.  A smile once in a while can be welcome.  The middle section creates intensity by an increase in volume rather than by stressing the growing agitato character.  The left hand octaves start too slowly and are played too carefully.  I commend you for achieving a nostalgic feeling upon your return to the A section. 

Chopin: Etude in F Major, Op. 10, No. 8

The left hand should sing more.  The final result sounds more like an “etude” than a beautiful piece.  More color changes are needed in the right hand, from legato to non-legato, from a deeper to a lighter touch, etc.  The ending is rather routine.  I also find the performance a bit too slow. 

Chopin: Polonaise in F Sharp Minor, Op. 44

A great choice of piece for the competition.  Be careful with the pedal so that you do not erase the rhythmic feeling of the Polonaise.  The right hand octave scales going up should be more melodic rather than brilliant (Chopin, not Liszt!).  The pedal in the connecting section, between the Polonaise and the main Mazurka, should follow Chopin’s markings, which are more interesting and daring by the momentary blur achieved.  The Mazurka section is too square.  Smile! This is not such serious music!  Give a sense of improvisation!

In sum: you are talented and a serious student.  You need humor and personality.  Everything you do is predictable.  You seem to be following your teacher’s instructions.  They are excellent, but you must make the music come from yourself so that you can approach an artistic level instead of merely sounding like a very talented student. 

GU Jingdan
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
GU Jingdan,
Chopin Nocturne Op. 27#1
Chopin Etude Op. 10#8
Chopin Polonaise Op.44
Very nice Nocturne, good rubato, but sometimes dotte rithme in melody is not correct. Though there is a tradition to play sixteenth notes in this rithme together with last note of triple in left hand, I< FONT size=4 face="Times New Roman"> prefer to listen more expressive melody and flexible rubato. Of course not too short sixteen’s, it’s difficult to find right speaking
Etude Very good fingers. Sometimes too fast arpeggiato in left hand. Also please try to play right hand more melodically.
Polonaise good. Also in octaves in the main theme try do more “recitativo” Mazurka in the middle section was not quite impressive and also it needs little more developing.
Thanks a lot for playing. Very solid performance

GU Jingdan
A very musically sensitive performance. The nocturne shows a good sense of style. The fingers are strong and clear in the etude. You have a solid command of the instrument, which comes from a superb training.
On the other hand, I would like to see more changes of color, mood, and dynamics in your playing. It stays the same too much sometimes. The nocturne is a little too slow for me. Maybe if you let the phrases flow more or have better directions, it would sound more natural and not stagnant. The etude is quite brilliant. But if you can hold back the tempo a little, the right hand might become more articulate and the music more lively. The polonaise is well performed. I would like to see more of the emotional range to bring out Chopin’s poetic temperament.
Overall a very solid performance. My advice is to be more daring and imaginative in your interpretation and your music will become multi-faceted, and a joy to listen to.

Contestant No.2 – JI Yusen

No.1 Chopin: Etude in C major, Op.10 No.1

-I commend you for your technical ability. However, the difficulty of this Etude, which is often misunderstood, is not how fast and accurately one plays it but to portray a certain magical heroic vision through a magnificent gesture. It must not sound like an exercise but a progression of sweeping sounds that move through irreversible barriers.

-Listen carefully to your left hand octaves so that there is a balanced and supporting relationship between the left hand bass and the right hand arpeggios.

-Be more aware and sensitive of the structure especially when the “B” section starts (measure 25) and the return of section “A” (measure 49) 

No.2 Chopin: Nocturne in B-flat minor, Op.9 No.1

-Basically you have the making of a successful performance. I highly recommend that you also listen to other compositions of Chopin in the same key of B-flat minor to understand the special color and feeling that this great composer had for this key. The character should be much more brooding and often enigmatic. Its inspiration is totally dependent on the “bel canto” (beautiful singing) operas favored by Chopin.

-You should strive for greater flexibility. The melodic writing depends much on the rise and fall of the line. In the first phrase observe the forward movement of the three repeated notes (measure 1) while the last four notes ease off the momentum – thus these markings are not merely crescendo/diminuendo.

-Try to work harder in obtaining a more sinuous sound based on total legato and evenness in the left hand. Do not stop at the end of measure just because there is a bigger interval where your hand has to leap. This often results in disrupting the fluid quality of this nocturne.

-Find the freedom of the “melismatic” passages that are written in groups of 22, 11, 18, 7 and 20 notes above established bass figure

-Try to observe and understand the meaning and the function of accents placed in various places by the composer. Make an effort to resolve these when necessary (measure 15 and 16) from the “D-flat” to the “C”

-The middle section is particularly problematic as it is based on repetition. That, when repeated without any creative involvement, can become rather tedious and monotonous.

-You must change colors through voicing as well as using enterprising “agogy” to allow the music to keep our attention. The most problematic example of this in measures 23 to 25 where the “rallentando” continues for three measures. Building up intensity is essentially the reason for the melodic resolution that follows.  

No.3 Debussy: Pour le Piano

I.  Prelude:

-It is always best to look closely at the indications given by composers. “Anim?#8221; should be translated as lively, vigorous, perhaps excited, but never panic and or in haste. Furthermore, Debussy adds ”very rhythmically” which clearly demands attention to the three beats in every measure.

-I find your playing of this piece rather crude, lacking the finesse and beauty that is the hallmark of this French composer. You would be advised to try to play more horizontally and reduce your attack of the keyboard

-There are wide contrasting passages in this movement from the fast sixteen notes to the repeated chords. Articulation is extremely important as this gives the necessary variety and brings the “anim?#8221; to life.

-Constant care should be taken in how you group the continuous sixteen notes as well as the clear dynamic indications. Debussy always insists that performers follow his instructions.

-Measure 6 is the first clear suggestion for a longer pedal which then becomes even longer in measure 8. To accomplish this effect, you need to be aware of the transparency of the right hand with the slight melodic line in the left hand. You should notice in these long pedaled passages that there are no accents. There is a need for careful balance between the melody and harmonic accompaniment

-Voice carefully the chordal passages that mark the climax, do not just play them without some effort to make a special sound.

-The final six measures are not only harmonic but also some hint of melodic writing.

II. Sarabande:

-The reason why this movement is called the “sarabande” is because Debussy wants to emulate the rhythm that is specifically associated with the dance. The emphasis is always on the second beat while the third beat often flows to the next measure, thus giving a combination of the feeling of sustaining and then moving forward. It is important to note that flexibility is essential yet a strong sense of the dance must be constant.

-I did not hear in your performance the “sarabande” characteristic. Furthermore, it is unacceptable that you do not make sufficient effort to observe and follow Debussy’s instructions. He indicates a “solemn elegance” performed slowly. Your playing had a lot of momentary increase in tempos with a great deal of fluctuation in dynamics. This is not the kind of “romantic” interpretation that Debussy would welcome.

-A few times, however, you do produce some beautiful chordal sounds. Therefore I strongly urge you to make every effort to apply this throughout the movement. French music is all about control, controlling in sound, tempo, dynamics, and articulation. And all these elements strive for an unmistakable unification within each movement.

III. Toccata

-As you probably already know, “toccata” comes from the word “toccare” which means “to touch”. Debussy calls this light and often changing work “toccata” precisely because it requires multitude of fantastic touches resulting in a rainbow of colors. This rainbow is seriously lacking in your playing as a result of your very fast and hurried tempo. There is no opportunity for nuances, for variety and, most importantly, stylistically required beautiful and elegant sounds.

Ji Yusen, you have already a strong and solid technical foundation. I would advise that you put this in the background and use your artistic and imaginative ability to make music. A performer’s main task is to communicate to the audience the human feelings behind the notes. This should be your priority from now on. I believe that, with great deal of dedicated hard work and a constant critical set of ears, you would be able achieve this difficult task.

JI Yusen

Mr. Yusen has fleet and strong fingers, and a relaxed and reliable physical approach to the piano.  He is able to get a big sound, certainly understands the basic of technique.  There is still, however, a considerable distance to go in musicianship. I also found that he was not fully engaged in the music itself, but rather played at the pieces.  This is still a very unformed musical mind.

Op.10 No.1 was very impressive in its facility and accuracy, but it seemed to be almost entirely an athletic event.  The work can provide a wonderful architecture and is a stunning vehicle for the consonant and satisfying harmonic structure.  There is so much more to be done!

Nocturne Op.9 No.1: The sound was warm and the effort sincere, but often the phrases fell into short segments rather than long lines.  Dynamics were clear, but the character and colour did not change ¨C only the amount of sound. Rubati seemed worked out and taught, rather than resulting from the pianist?ˉs natural free sense of the line.  Legato was not good enough; overlapping with the fingers is necessary.

Debussy: This was a fluent but rather mechanical performance.  Pedalling was rigid and obvious, with no fine gradation. Harmonic revelation in this work is such an important part of the expression, yet there was little recognition in the playing.

JI Yusen

Chopin Op. 10/1

There is clear efficiency and capable pianism here, and this Etude does demand the kind of virtually 100% clean playing that you produce. But it is rather unpleasantly mechanical and over-relentless – bangy LH and brittle sound in RH. Even this Etude should not be totally mechanical.

Chopin Nocturne Op.9/1 (B flat minor): Clearly carefully prepared, but as yet little real sign of artistry or of musical sympathy for the image of the Nocturne. LH lacks fluidity and RH - especially when in octaves - is rather half barrish in segments. LH often too loud and notey, rather than fluid – esp in middle section. Little sign of real  for the music. Need to work on cantabile and legato. More delicacy and sensitivity to nuances needed. Best was probably the reprise, where some of the more embellished writing in RH was effectively presented and here you produced some genuine sense of intensity.

Debussy Pour le piano: 1. Again, one can commend his agility, but perhaps this was an unwise choice of repertoire - one that required far more musical sophistication - and (even at a basic level) far greater attention to the score. For example, the instruction to gradually return to opening tempo was ignored - as was the clear fact that the dynamic remains piano for well over a page after the opening few bars. This was, sadly, brash and insensitive playing, lacking both musical and pianistic refinement.  2. Some erratic and careless instabilities in pulse, but generally less misjudged, though the “elegance grave et lent” was not evident. Often unduly wooden. 3. SO fast - and so loud! Clearly able technique but musically simply a non-starter. Relentless.

It was at least for me, quite distressing to hear a young pianist with clear ability abusing the Debussy - especially the outer movements - in this way.
Undoubtedly this young man has talent, but unless he is encouraged - urgently - to take a really radically different approach to the way he thinks musically, it will be too late.

2 JI Yusen

Hard to believe that he is only 12 years old. Certainly a real talent! But we have to judge THIS performance of THESE pieces.

In the Etude there are excellent moments in the beginning, some of the most difficult places are even the best, then he seems to get a little tired, and so the performance isn’t as controlled as it should be. But I can already imagine, how well he will play this etude in a few years from now. My advice: he should listen better to the melodic connection of the bass octaves which sound a little seperate now and practise the piece reducing it to a simple choral. This would give him a better feeling and understanding for the harmonies. At this age it’s a good time to start studying theory of music and to do lot of ear training.

The Nocturne is a bit too “pesante”. This should be a more melancholic espressivo. The left hand should be more even, false accents should be avoided, we don’t want to feel the barlines. I think there is too much weight of the arm in single notes. Even in octaves I suggest to use more the energy of the fingers than of the arm, if the music is quite slow, not loud and molto cantibile.

Debussy is too virtuosic for my ears, too exciting, the Prelude too similar to the Toccata. We have to find a solution for the pedal point (la) in the beginning of the prelude. Actually it should be a longer pedal. The Sarabande starts too slowly. Grave, but with elegance, and the typical character of a Sarabande (the second beat!), this is what we have to keep in mind. The Toccata can be fast, although it’s only vif, not really presto. Here it’s too fast, just too difficult to control.

JI Yusen, male, 12

Chopin: Etude in C Major, Op. 10, No. 1

Your large hands make this an ideal etude for you.  You tried to have a variety of touches in the right hand but did not really succeed.  In the softest sections, you missed some notes or, at least, touched adjacent notes.  Furthermore, the light non legato (with a lighter pedal) needed for contrast was absent.  You should practice soft throughout without pedal in order to really hear yourself.  Your return to the beginning arpeggio needed more “preparation” in order to make the “return home” more meaningful.  Some of your dynamic decisions made no sense.  I would recommend that you listen to the recording by the Mexican-American pianist, Agustin Anievas, and pay attention to his variety of color and to his dynamic organization. 

Chopin: Nocturne in B Flat Minor, Op. 9, No. 1

This nocturne is problematic because of the rhythmic freedom needed for the long embellishments.  They must sound as if improvised by adding an inner rubato which you must learn to feel from within.  Become familiar with the playing of the old masters from the Golden Age, the ones who were performing during the decades between 1930 and 1950.  The octave section became repetitive and a bit boring.  It needs more variety and imagination. 

Debussy: Pour le Piano

Learning some preludes by Debussy would have been better for your artistic development, even though it might not be the best choice for this competition.  You played this music from a pianistic point of view, finding in it bravura and digital virtuosity.  More concentration on color and atmosphere would bring you closer to the style.  It sounds too much like Liszt.

In sum: you are very gifted and doing very well for your age.  Make sure your facility does not lead you into the wrong direction.  Seek to become a musician above all. 

JI Yusen
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
JI Yusen
I was impressed so much of 12 year old pianist. Very good and big potential for the future.
Chopin Etude op.10#1
Should be more legato in left hand as well as in the right. Good fingers, may be need more preciseness.
Nocturne. Also you tried to make rubato, try it < FONT size=4>more naturally. It sometimes sounds little metric. And also difficult to find good balance between long notes in right hand and left eight’s notes.
Debussy.
Need to be more exactly and precise. Not very accurate. And could be more refined in sound. Especially sarabande. But I am expecting too much of young boy. Good luck. I am sure in near future you will be good pianist.

JI Yusen
An energetic performance with a sound technique. The nocturne shows a good deal of musical sensitivity. The toccata is quite brilliant with a natural flow. A promising young talent.
The thing I would like to see more of in your playing is more emotional intensity. I believe it is this inner intensity that connects phrases, makes color changes, and gives breathes to the musical flow. In other words, it carries the music through a performance. So your Chopin etude would sound like endless ocean waves rather than just arpeggios, your nocturne would be portraying the aspiring dreams of a young Chopin rather than just a pretty tune, and the Debussy would be a painting with infinite shades of colors rather than an exercise of heavy touch. Think along these terms and let the music come from the heart. The audience will be moved by it then.

Contestant No.3 – LI Ying

No.1 Chopin: Nocturne in C-sharp minor, Op.27 No.1

-You are a natural pianist, displaying a wonderful command of the instrument. You demonstrate a great deal of understanding of the style as well as control of the numerous technical problems inherent in the work. You balance the left hand accompaniment well with the flow of the melodic line in your right hand which wonderfully produces a penetrating singing tone.

-The first section of this nocturne should be much more spacious and tranquil. Yours was more “agitato” not only because of a faster tempo, which is not advisable, but also because your left hand sometimes brought out notes in inappropriate places that inadvertently interrupted the inner tension.

-You should pay more attention to Chopin’s accents as these are more emotional than rhythmical.

-The three measures prior to “piu mosso” were not successful due to lack of patience on your part. Chopin in particularly wants “ritenuto” for these three measures to create an incredible atmosphere of foreboding stillness before something tragic.

-You produce an excellent “crescendo” in the middle section but somehow do not go all the way to the “appassionata” that has to be played with great satisfaction and fullness of sound.

-I found your playing from measure 65 rather hurried, lacking the space for the inherent dance that blossoms out of the previous chaos. Further, Chopin uses full harmonic progressions that gradually become more and more chromatic and dissonant demanding care and attention to enable the listeners to follow.

-Congratulations on the dramatic cadenza which was spun out from the huge climax that has been building up through the middle section.

-Your return to section “A” should be more of a reminiscence of the beginning section. It was again too “agitato”.

-The transformation to the major (measure 94) requires much more sensitivity and imagination in order allow the sun to come out from behind the clouds.

-The final “Adagio” must be slower, broader, and darker as if Chopin reminds us for the last time of the dark colors throughout the main portion of the work, yet ending with a moment of inner peace and reconciliation.

No.2 Chopin: Etude in A minor, Op. 10 No.2

-Wonderful performance of this very difficult etude. I like very much your tempo, your attention to shape the phrases, and control of the melodic line. You have an inherent singing tone, even during fast finger work passages, which is very admirable.

-You have conquered very successfully the intricate division of the fingers, and have made your 3rd, 4th, and 5th fingers independent in your right hand. You also have made the transition from a finger exercise to a superb character piece.

-Make the work come more alive and interesting by using a wider range of crescendo and diminuendo

-Your left hand staccatos were sometimes too heavy. Involve the left hands top voices into creating some interesting melodic lines that, if played with subtlety, can become quite surprising and satisfying.

-Make sure that you don’t become slower from measure 19 onward. It is one long crescendo through six measures, so keep the momentum and build it up with a sense of direction.

-Clarify your phrasing even more as this work often tends to just flow without any feeling for the structure.

No.3 Verdi/Liszt: Rigoletto – Concert-Paraphrase

-You played this piece with flair, a great sense of drama, and emotional involvement.

-The Preludio should be performed as an introduction. You must not make it more important than the ensuing aria.

-As pianists we do not often get a chance to sing such a fabulous melody as the Duke of Mantua sings in this case, and so enjoy the melodies. Learn to breathe as if you are really singing. And take more time as the accompaniment is constructed so well as to follow the whim of singers.

-You should learn about the other characters in the opera if you want to do justice to the Liszt’s intentions, something that you are not doing here. While there are interjections in the form of cadenzas showing Liszt uncanny technical abilities, he mainly focuses on portraying the tragedy through the characters. The coda is the only part that Liszt uses for his personal reaction to the story and completes Verdi’s “quartet” by musically representing the last moment of the opera before the curtain falls, which in this case is the falling octaves.

-I hope I have enticed you enough to research for yourself the story and the different characters of the opera. Only after such a study will you be able to bring to life through the piano one of the greatest operatic moments in history.

Li Ying, you have a natural ability to play the piano. You have an innate musical personality and a deep commitment to bring out the emotional meanings of the pieces. Keep up with your excellent work, while at the same time study the scores carefully and try to find ways to get to the heart of what the composers want to communicate.

LI Ying

A serious and well-taught young musician.  Every note, every phrase was carefully crafted and executed, and the playing had confidence and consistency.

The Nocturne Op.27 no.1 was extremely well thought out. The gorgeous sound, pacing, timing and shape of the whole piece was attractive and fluent.  I missed a sense of personal expression and spontaneity, which will no doubt come with more experience and more listening to music of all types (operas, symphonies, instrumental works, Lieder etc.)

Op.10 No 2 was an illustration of fabulous fingers ¨C equal, fleet, strong!  Bravo! Now this beautiful etude needs colour and imagination!

Liszt: The technical acumen in the Rigoletto Paraphrase was impressive indeed.  The sheer physical efficiency is something that many could learn from (no extraneous and interruptive motions).  Strength and stamina were in abundance!  Passagework not quite colourful enough ¨C it needed more variety in tension and release.  A sense of the whole vision was missing

LI Ying

Chopin Nocturne Op.27/1: Very much the right idea – quality of sound is somewhat over-direct and needs far more subtlety of tone quality and imaginative ear for nuances if this is to each real musical heights. There is nothing that is remotely unmusical here, but it is somewhat lacking ambition to explore the particular qualities of this wonderful Nocturne fully.

Chopin Op.10/2: Able playing of a demanding study. LH a bit over metronomic and routine. RH could be more legato and the whole study more delicious: this was efficient rather than Chopinesque, and the overall dynamic level was simply too loud.

Liszt: Rigoletto Paraphrase: Again much to admire in her pianism. The real rhetorical and emotional content of the aria eludes her – the pathos and expressive depth. (The aria sounds too “matter of fact” and not an outpouring of grief.)  But again one senses a fundamental musicality here, though there is once again too much of a sense of “efficiency” and not enough sheer enjoyment at the opportunities for subtlety. Perhaps it has not been easy for her to hear the operatic original inspiration for this work - or the orchestral colours possible. (For example the octave leaps are gestures of pain/anxiety like sobbing!

More focus on the RH passagework. Scope for greater delicacy, but there is some admirable virtuosity. The sobbing leaps are musically missing the point.

Some promise here from young player, and still certainly she has time to open her mind and ears to things that go far beyond mere “very capable” piano playing.

LI Ying

Li Ying is an already very advanced young pianist. I can hear a fabulous technical facility, but more than this:

Li Ying can play huge phrases, never gets lost in details. I can feel an energy that connects the first and the last note of a piece. She can keep the tension over whole pages, a most important part of the talent.

But details can be precious and are also important. In this field she could improve her performances.

An example:  I agree with her (fast) tempo in the Nocturne, as this seemed to be Chopin’s intention and doesn’t make the piece too “deep”, but the sound could be more distant, not “real”. Moonlight, twilight (minor/major!), shadows instead of sunshine – that’s what I’d like to see in this piece.

A lot of respect for the Etude!

Rigoletto:  Sounds a bit too “technical”, should more a capriccio. For example: The octaves in the beginning could be shaped with some rubato. This doesn’t work under the pressure of a too fast tempo. In general:  It’s the poetic side of the piece that should be developed, the leggiero places, the pianissimo, careful timing and natural breathing.

LI Ying, female, 13

Chopin: Nocturne Op. 27, No. 1

Quite a beautiful performance, with a flexible approach to the left hand (loose wrists) that connected the intervals as if the notes were close to each other rather than far away.  Your left hand was like a conductor accompanying a singer that does not let him/her have some freedom of expression.  A bit too rhythmic.  The left hand must follow the right hand and not vice versa.  There was color in the initial melody but soon I realized that you could have achieved more intimacy in certain moments with the use of una corda.  Towards the end, when trying to get gradually softer, your diminuendo affected not only the harmony, as desired, but also the melody, which lost its presence.  The una corda would have allowed you to still sing the melody more deeply while getting softer.  Your crescendo in the middle section was more related to intensity than to volume, and I liked that. 

Chopin: Etude in A Minor, Op. 10, No. 2

Impressive performance, but a bit too heavy.  Again, una corda in some places would have helped you to achieve more variety of sound, so that some of the ascending scales would sometimes sound pianissimo.  I somehow feel that you would make an audience sense that you are working too hard.  It should sound easy!  Try to find and listen to the live recording (at Carnegie Hall) of the Chilean pianist Rosita Renard, in the 1940's.  She flies over the keys!

Liszt: Paraphrase of the Opera “Rigoletto” by Verdi

Are you familiar with the story of Rigoletto and its main characters?  After you completed the introduction, your approach to the melody was too heavy and lacking in the sarcasm inherent in the bad intentions of the Duke, trying to make Gilda believe that he loves her when he actually is unwilling and incapable of loving any woman.  His attitude is hypocritical! Gilda answers with naive coquettishness which is also missing in your approach.  Your solid performance lacks the "salon" style required in the early virtuoso runs, which you always pedal for brilliance instead of looking for their inherent charm!  A lighter pedal will get you greater results.  Listen to Shura Cherkassky's recording which he did when he was too old to play as brilliantly as you do.  But he really captured the spirit!

In sum: there is something very engaging about your playing that makes me want to listen!

LI Ying
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
LI Ying
Nocturne 27#1
Nice played. Middle section seemed little too loud, may be rude. And remember not to play too much forte too early in developing crescendo.
Etude
Very good, very difficult but you succeed! Also try to find more interesting colures. Not loud etude! More nostalgic mood, sad, not too bright always.
“Rigoletto”
It is Fantasia. It needs improvising, more rubato. Recitatives means “speaking”
Also find more differences in sound.

LI Ying
A natural talent, gets through difficult pieces with relative ease. The etude is quite brilliant.
I would like to see a clearer musical picture in your playing. The nocturne to me is not just a lyrical piece. It is filled with yearning, suffering, passion, and in the middle, triumph. The inter-action between all those emotions is the beauty of this music. So one needs to have a very clear idea of what expression to bring out at a particular place and secure the technical means to bring that expression out. The same goes for Rigoletto. One needs to find the different voices sung by different character in this famous quartet Bella Figlia Dell'Amore, and bring them out in a clear fashion to the audience. Here I find the tempo little too fast. It could sing out more and be warmer in a slightly slower tempo. The music will be more interesting, and your audience will appreciate it more.

Contestant No.4 – LI Siqian

No.1 Chopin: Etude in C-sharp minor, Op.10 No.4

-Your performance is extremely competent and shows a well rounded command of the piano. Furthermore, I marvel at the execution of accuracy and precision you display. It came across as a very solid and well prepared performance.

-You should increase the tempo. At the moment it sounds terribly safe. You need to take chances. Often when there is a crescendo your forward momentum suffers.

-Search more for melodic progressions, for example the descending chords in the left hand (measures 1 to 4) as they keep the interest alive and draw our attention away from the idea of finger exercise. Also, pay attention to the bass line pattern in measure 3 which is echoed in measure 8.

-Make an effort to group the running notes as Chopin requests, e.g. in a unit of 16 as in measure 1, or in groups of four with slight accents as in measure 2. These articulations make the work come alive and interesting, often producing lots of surprising moments. Such explorations can have wonderful results.

No.2 Chopin: Nocturne in D-flat major, Op.27 No.2

-You have a clear understanding of the structure and I enjoyed how you changed the dynamic levels each time the main theme was used.

-This nocturne is essentially an operatic aria. Pay attention that your left hand accompaniment does not become too prominent. Make a bigger distance in dynamics between the soaring singing melodies and the gentle “whispering” bass.

-You must strive for different colors as the piece progresses. For example in the “B” section (measure 10) the B-flat minor is certainly much darker than the preceding D-flat major, while the following E-flat minor displays a lessening of tension. In section “C” the heroic A major must be subdued, and do wait for the first of many “crescendos”. The following passage must be constructed with great deal of care, lifting us into the triumphant return of theme “A”. It was unfortunate that you arrived at the capacity of the instrument well before this climax, so our waiting was not as satisfactory as Chopin indicated in the score.

-Again you misjudged the idea behind the “crescendo” in measure 57 as you were already quite loud, so that the ensuing measures were not as exalted as intended by the composer.

-The exquisite coda should be a duet (precursor by 35 year of the famous farewell duet of Verdi’s “Aida” at the conclusion of the opera). Try to separate the voices more by dynamics, articulations, as well as rubato.

No.3 Liszt: Fantasy on Themes from Mozart's Marriage of Figaro and Don Giovanni

-You are following a small number of incredible performers like Ferruccio Busoni, Egon Petri, Vladimir Horowitz, Grigory Ginzburg, Emil Gilels and more recently Stephen Hough, Jean-Yves Thibaudet and Leslie Howard who performed this little known work. In fact this was never published by Liszt and relatively recently it has come to life in the complete published works. I do admire you for learning this horrendously difficult work and I am sure you will have great success with it wherever you perform it.

-You display all the necessary ability to rise above the difficulties and present it with energy and uncanny accuracy. However, it must be stated that for Liszt such technical demands were not that difficult, and he placed equal, if not more, emphasis on the music on which he based his fantasy. In your performance the technique was a priority and again while it dazzles the listen, it gets too much at times.

-Further you need to explore more the character of Figaro and Cherubino. They are two opposing characters in the opera and their melodies represent this explicitly. Liszt, with his ingenuity, captures the essence taking their famous arias and moving to Don Giovanni in the coda. The idea is not that far from Mozart’s idea as he himself used the melodies borrowed from Figaro in Don Giovanni. Studying these operatic characters will lead you to a greater variety of dynamics, articulation and better timing. Often I wished that passages would be lighter and more “fun” as we all know The Marriage of Figaro is a comic opera.

-Again, congratulations on your brilliant performance!

In summary, LI Siqian you are a very talented and serious pianist. You showed in your chosen repertoire a great variety of sounds, a wide range of dynamics, and a wonderful spirit for performance. I hope you will continue to develop focusing primarily on music, and with hopes I will have the chance to hear you live in the not too distant future.

LI Siqian

In general the playing was fluent and accurate, with assuredness and poise.   Sound control was consistent, and every technical challenge was met with ease and seeming effortlessness.  Accuracy was almost 100%!

Op.10 No.4: This etude was musically rather drab and monochromatic.  The 16th notes, while brilliant in their evenness, were almost all exactly the same, with no real indication of the shape or function of the line.

Nocturne, op.27 No.2: A very calm and self-confident performance, but lacking in radiance and ecstasy in the climax, and real sorrow in the coda.  Personal involvement was not apparent.

Liszt: Many of the same qualities that have been mentioned above were in this performance.  The technical grasp was admirable, but musically it was fragmented and lacking a connecting dramatic concept.  The intensity level did not change throughout this long work.

LI Siqian

Chopin Op.10/4: a highly capable pianist: good clean playing - excellent fingerwork. Try not just to think of semiquavers. If chords are too clipped and vertical the performance can easily sound somewhat over-mechanical /metronomic and too “routine”.  Even if this is an “etude” it is still a remarkable musical composition. Immaculately clean.

Chopin Nocturne in D flat Op 27/2: I liked the sense of poise and space to your playing, which shows musical sensibility, even if it lacks any special magic. (Try to listen, if you can to some of the great pianists from music earlier generations playing this - or similar music.) I appreciate that you do not indulge in any undue rubato, but there can still be some greater flexibility of pulse / flow and of nuances. Lovely ending – something very pleasing here. In general, though, rather too predictable.

Liszt “Figaro” Fantasy: One senses that you felt very much at home in this work, and extremely comfortable and confident in your ability to master its technical challenges. A really enviable pianism here! Whether you succeed in conveying the essential character of the various Mozart arias is more questionable.  (For example, La ci darem is one of the most tender and gentle of love arias. You sound SO impressive and as if you really enjoyed playing much of this work. Can you find more scope for wit? Perhaps a slight sense that you were tiring a little
towards the end, which did not quite provide the kind of final flourish needed.

A gifted girl and I like the fact that her playing is essentially unfussy and natural.

LI Siqian

Li Siqian is a very professional young pianist. Her performance is impressive, obviously she doesn’t know real technical problems. And she seems to be totally conscious about what she is doing (I can imagine she will be an excellent piano professor in 20 years...!).

Her expression, her sound are always noble and well balanced – for my feeling even too well. I’d like to encourage her to be a little less “reasonable”, to take some risks (difficult in front of a microphone...), to be more spontaneous. Sometimes dolce isn’t enough, it has to be dolcissimo.

The Nocturne could be slightly faster, there should be a movement similar to a Barcarolle, swinging in 2 beats. I know that I’m almost alone with this idea, but I’m always hoping for the impressionistic echo (long pedal, mixed harmonies) from bar 66 (Henle edition). It’s more or less quiet music, but it should not really sound tranquillo.

Excellent finger work in the Etude, just some small hesitations in the left hand. Actually I don’t need this extremely clear non legato sound in this piece. This is an excellent way to practise, but in the real performance it sounds a bit too careful.  Can be more stormy. I think each piano is written to give us the space for the next crescendo, and it’s never lyrical. So, it’s a very dynamic piece – in both hands.

A lot of respect for her Liszt. The basic energy for this kind of music must be extremely high. We can go to limits. A few steps further in all directions: from the most poetic grazioso to molto drammatico. Don’t be afraid of contrasts and conflicts.

Li Siqian, female, 17

Chopin: Etude in C Sharp Minor, Op. 10, No. 4.

You have a steady approach with both hands in clarity and lightness.  To my taste, I hear the beats too much.  Maybe just a bit faster would erase that feeling.  It is a challenge for you to play this etude in a way that makes the audience forget that there are four beats in every measure. 

Chopin: Nocturne Op. 27, No. 2

I particularly enjoyed you "vocal" treatment of the melodic material, with special attention to large intervals and the "breathing" required to "reach" a high note, as well as your approach to the introduction of new harmonies.  I was disappointed with the fast run in the middle section as it was too carefully planned and rather disjointed in execution.  Listen to those measures in Josef Hoffman's live recording at the Metropolitan Opera House in New York from the 1930's.

Liszt: Fantasy on Themes from Mozart’s “The Marriage of Figaro”

This was a super virtuoso performance in terms of color, lightness, imagination, in addition to speed and volume.  In spite of this praise, it made me concerned as to your taste in selecting repertoire.  One piece like this is all  you need to show bravura playing.  I am sure that the audiences welcome it at this point in your formative years.  However, you need to develop a romantic repertoire based on the polyphonic writing of composers such as Chopin, Schumann and Brahms.  That will lead to mature artistry which is the only way to achieve recognition when you are older. 

In sum: you are obviously very gifted and have extraordinary pianistic resources at your disposal.

LI Siqian
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
LI Siqian
Very exiting performance! Thank you very much for playing. Difficult program.
Etude good “speaking” fingers.
Nocturne Good! Pay attention sometimes to phrasing slurs. Nice < /FONT>touch.
And Liszt good fantasy. All the very best for the future.

LI Siqian
An overall brilliant performance. The etude is in a nicely held back tempo, thus ensuring the runs are clearly articulated. The rhythmic pulse is felt throughout the piece. You have solid control of the keyboard and a good show of dynamic range. The nocturne is sensitive musically. But here I would like to see more of the emotional range of the piece. A nocturne in Chopin’s hands is no longer just a “night song”. From passionate outcry to intimate murmuring, it contains the full range of human emotion. More intensity is needed to carry out the task of bringing those emotions to life. The Figaro is one of the hardest pieces I have ever played, and you did a fabulous job on it. I feel that you understand the meaning of the arias and therefore portrayed the characters clearly. I would make the opening more fantasy-like, and be more emotionally charged at the end. But I am sure you will do all that with time. It is a brilliant performance of an incredibly difficult piece.

Contestant No.5 – PAN Linzi

No.1 Chopin: Nocturne in C minor, Op.48 No.1

- It is unmistakable that you are a very serious musician and have a wonderful instinct for drama. You play with great commitment and your ability on the piano is absolute, and I am sure you have the basis for a wonderful career in music.

- Throughout the piece, one important element of this work that has kept me questioning your decisions was your tempo and its relationship between the sections. Tempo is related to what you want to say which of course can be quite individual. Yet, with Chopin his indication and consistent clarity of the totality of the work makes a great deal of sense, and therefore dictates on how much liberties we can take.

- “Lento” does not directly translate as just plain slowness in Chopin. It is more of a certain character. Listen to the “Lento” 3rd movement of the Sonata No.2 in B-flat minor “Marche funebre”. You should never sacrifice the movement of the melodic line for an idealistic “slow” tempo that satisfies the normal conception of “Lento”.

- The theme here is flexible and has inbuilt suggestions for breathing, like a song. For me the first four measures are unified by one breath. Furthermore, in 4/4 the hierarchies of beats are 1 then 3 and then 2 and 4. So if you play all of them the same way and with the same intensity, the music has no power to move. At the same time you must explore the harmonic progression as this is also a key element in our decision of tempo.

- I would advise you try to somewhat unify the work through a well selected tempo. I am sure you will see the value in this when everything comes together with greater satisfaction.

No.2 Chopin: Etude in F major, Op. 10 No.8

- A superb performance, full of color and wonderful acknowledgement of the great harmonic power of Chopin’s music. I liked very much the lightness of your right hand and your “cantabile” playing the left hand.

- Your forward motion was excellent, although if you could only observe the small pulsating accents that Chopin places on so many notes, it would have been even more brilliant. Your consistent tempo throughout was exemplary and your observation of details was also very gratifying.

- On a personal note, I never liked the idea of playing the last chords as if they were not important. Your idea of making a diminuendo there lacked conviction. I would much rather follow Chopin’s suggestion of leading the work to a positive conclusion.

- Nevertheless, a great performance, and I truly hope you will play all the other 23 etudes.

No.3 Liszt: Ballade No.2 in B minor

- It is indeed rare to hear such mature understanding of Liszt’s music that you display through this performance. It is obvious that you have given a lot of thoughts for this piece as it is a very difficult work to hold together. There are numerous moments that are glorious and I congratulate you on having a warm and inviting sound.

- Relations within the different tempos should be more clearly defined. “Allegro moderato” to “Lento assai” and “Allegretto” must be related - the “Allegretto” should not sound faster than the “Allegro moderato” and “Lento assai” is not a complete stop.

- Shaping the “Allegretto” melody is important. In measure 25 you seem to move towards the last eighth note. Keep this very steady. F-sharp major in its most sunny disposition.

- The use of pedal requires great care. For me the passage at beginning (and similar passages) has a tendency to be over pedaled, resulting in a wash of sound as if underwater.

- The passage starting from measure 86 is much more polyphonic and should be voiced accordingly. Again the clarity of lines is more important than loud virtuoso playing. Notice how the “p” in measure 96 is maintained with only slight crescendos leading 16 measures later to “ff”. All of Liszt’s music is full of examples of his demand for such control. And indeed Liszt’s drama depends on this kind of dynamic control to a great extent.

- After the first climax, do not let the sound go so quickly – in measure 129 Liszt so wisely does not give a dynamic indication hoping that we keep the tension and prolong it to its resolution only in measure 135 where a completely different color in D major is sounded.

- Color becomes even more important in the next section when the “Allegretto” melody is in D major, then G major, and slightly in E-flat major/minor.

- This ingenious introduction of the E-flat color is even more recognizable when the main subject turns from B major to E-flat major in the next section. It is essential to define these coloring to understand how Liszt planned such a large work.

- The following climax reaches “fff” in measure 207 and indeed should be larger than the first one – again keep in mind the larger structure of the Ballade which obviously Liszt had in mind.

- In measure 215 Liszt refuses to indicate a slower tempo – take care not to allow yourself the luxury of slowing down here as it might lead you to sound somewhat sentimental. Keep the tempo moving and use dynamics and articulation to produce interesting changes.

- For me the most beautiful moment of the Ballade and indeed the best section for you is the glorious “Allegro moderato” in measure 254. You really capture the true majestic sound of Liszt that is as close to speaking to us about humanity as Beethoven in the final movement of his Ninth Symphony. Well done!

- The final climax is the highest of them all, and again you must have the perspective to achieve this – the fullness of the chords with the urgency and large gestures of the upward swing of the scales must be much more fulfilling than what you displayed – but it will come in time.

- Leading to the coda is difficult to realize and you must work on this, especially try to gradually lead the “ritardando” from the fast passages to the “Andantino”. In your performance the “Andantino” seems to be faster as if you want to bring back the “Allegretto” tempo – Liszt is wise, he wants to conclude in a tranquil mode and sets a tempo that without any further slowing down gives us peace and finality.

Pan Linzi, you are a very talented pianist, and already in many ways mature and with personal ideas and convictions. You use your prodigious technique to enable the music to speak in a most natural way. You also pay careful attention to the text and take it seriously as it guides you through the composer’s intentions. You have a special gift and I do hope you will continue to develop and intensify your musical awareness.

PAN Linzi

This young pianist has a wonderful inner calm and steadiness combined with an intensity of architectural understanding that gives her playing a compelling communication. My attention did not wander for a moment!

The Nocturne Op.48 No.1 had an atmospheric and uninterrupted spaciousness to it which was convincing and spellbinding.  The middle section could be wilder ¨C it was a little too controlled and restrained, not in volume but in character.

Op.10 No. 8 was lively, charming and poised, beautifully shaped and absolutely accurate.  There was variety and harmonic revelation as a result of intelligence and inner understanding.

Liszt: This was a subtle, refreshingly UNbombastic performance of the Ballade, a warm lyricism and a strong sense of the whole work.

PAN Linzi

Chopin Nocturne Op.48/1: Please do not “try too hard”! The Nocturne was SO weighted to sound portentous – giving the impression that you were perhaps trying to seem extra mature! Of course you can play, but this came across as somewhat artificial. Somehow like someone who has heard and watched the great pianists and endeavours to make a great copy. But this is not a funeral march! Very good to hear some genuinely soft playing in the C major section- even if it was just a little too static. Once you get to the octaves you actually become so much more natural and gifted. Your pianistic ability and sense of natural performance suddenly become impressive. And it actually sounds fully engaged musically – and really talented.

EtudeOp.10/8: The Chopin Etude was really delightful. A lovely natural pianism and something that went well beyond the “normal” technical gloss one so often hears here.  Energy – but controlled within stylistic boundaries. The lovely change of character in last page could have been more enchanting and relaxed. But I really am captivated by the sheer sense of enjoyment that you convey as you play this!

Liszt B minor Ballade: Impressive sense of space and presentation.  Atmosphere well created and the start of the Allegro was well judged. One senses a real ear for sound and colour. Electric, without being too over the top. And there is real pathos / pain in some of the rhetorical utterances. Increasingly I am drawn to this playing and sense a real passionate musician who can convey - without any affectation or contrivance – the ability of music to convey emotion and something deep in concept. So often this work can sound brash and unappealing, but there is a sense here of this coming from “deep within” and penetrating far below the notes.  This is someone who plays with quite unusual intensity and a sense of having “been there and experienced” something special. Also one who can communicate. Curiously in the B major final section again I was somehow conscious initially of a certain less than natural impression that you were trying to be musically “mature” and less naturally yourself.  But once able to release through your fine pianism this slight artificiality disappears. The very end was not SO well controlled.

Overall, this is impressive and mature playing. There is a real sense of involvement and communication. One hears a committed and passionate musician as well as clearly an extremely capable pianist.

PAN Linzi

Excellent basic quality of piano playing. Very good taste, responsibility, discipline. Even more technical perfection will be possible, there is no reason to doubt about this.

The c-minor Nocturne is an enormous artistic challenge – not only for a 15 years old girl! It’s so difficult to get the transitions between the parts right. There is a natural tempo limit for the doppio movimento part, and this is also limiting the poco più lento part and its octaves. The Lento in the beginning can be faster, in order not to be too far from a human singing voice and to be able to follow the typical long phrasing signs by the composer. Here the Lento sounds a bit like Largo or Grave.

Good Etude. Again the advice to use the rhythmic inspirations that should be coming from the left hand, especially from the 4th beat
(like in op. 10,4).

Noble Liszt Ballade, serious and deep. A certain tendancy to relax too much in the slower parts. There are many dolce parts, but just
one dolce placido place. Also the pedal points (Allegretto) can help to keep the tension. Another advice would be, never to leave the
broken otaves alone, there is always something exciting in the other voices.

PAN Linzi, female, 15

Chopin: Nocturne in C Minor, Op. 48, No. 1

I was a bit disappointed with the opening section.  For my taste, it was too emotionally charged.  I prefer a more “distant” approach which gradually prepares the listener for the storm that is awaiting at the end.  I also feel that the octave middle section was a bit too brilliant, more appropriate for a Hungarian rhapsody by Liszt than for anything that Chopin ever wrote. 

Chopin: Etude in F Major, Op. 10, No. 8

Congratulations!  This was one of the most beautiful performances I have ever heard of this etude.  You have a special ear for nuance and variety of color and you have learned to use the right technical resources to achieve it.   Your playing reminded me of the “old fashioned” style of the great pianists of the past.  Your dry moments without pedal in the high register were particularly effective and showed a great degree of sophistication. 

Liszt: Ballade No. 2 in B Minor

When I noticed this piece in your listed repertoire, I wondered as to why you had chosen such a repetitive work which usually loses the attention of the audiences in public performance.  You proved me wrong!  You made this work sound more important than it actually is.  It gave you the opportunity to caress the keys and to use the floating technique that produced some of the most beautiful sounds a piano is capable of. 

In sum: there is artistry everywhere in your playing.  I must commend your teacher for having been able to produce such wonderful results and, at the same time, allow you to give the impression that everything is coming from you.

PAN Linzi
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
PAN Linzi
Very nice performance.
Nocturne. Nice, dramatic, good feeling. Little too equal phrasing and touch in the beginning.
Etude Very nice, elegant playing. Could I suggest to find more interesting touch sometimes, not too< /FONT> loud.
Liszt Ballade h-moll
Also very thoughtful performance. Good balance and contrast of different episodes.
Best wishes for the future and good luck.

PAN Linzi
This is a talented young pianist with a thoughtful musicality and masterful keyboard skills. With that technique, I feel the etude could be more expressive. I think the sign that someone has a great technique is that she can make an etude sound like a piece of music. Chopin Op. 10, No.8 is certainly full of charm and elegance. With a little extra attention, it could be all brought out. The nocturne seems slow to me. It makes it hard to play the mid-section “Poco piu lento”. Additionally, I always think it is easier to make rubato in a tempo that is flowing rather than in one that is stagnant. I like the way you played the Liszt Ballade. It is well thought out and well organized. Perhaps if the phrases have more direction, the music could be more intense. Overall an excellent performance, the future is full of promises for you. 

Contestant No.6 – PAN Yumeng

No.1 Chopin: Nocturne in B major, Op.32 No.1

-I am very impressed by the great range of sincere emotions you display in your performance of this Nocturne. You possess a natural and noble feeling for the melodic line and this flexibility in Chopin’s melodies is generally very difficult to understand. I like very much your treatment of the different sections and in general your approach to this style.

-Try to keep the left hand as supple and legato as possible. These are harmonic progressions and must be heard as such. If you play each note separately the constancy of the eighth notes can become tiring.

-Chopin repeats often with slight variations of embellishments, and it is our task to make each repetition different and interesting by using much more variety in timing and dynamics.

-You have musical ears and are very sensitive to particular beautiful moments, and you have the tendency to use a lot of “rallentando” to bring to attention these moments. Doing it too often would diminish their value. So chose carefully where to use it and use it less so these moments would come across as really special.

-The middles section could have more sound as it becomes much more contrapuntal, but be careful to make sure that the voice leadings are clear and can be followed.

-Make sure that the forte in measure 63 is clear. I like your approach to the ending cadenza. However, you should try to maintain the tension created by the succession of “sf” chords while reacting to their powerful interjection – much like a recitative.

No.2 Chopin: Etude in E minor, Op. 25 No.5

-You have good ears, and obviously have a wonderful command of the piano. Your reaction to the E minor color is rather leaning toward the heavy and brooding mood. However, the character is “scherzo” which elicits a much lighter response. With your seriousness I think it is still possible to incorporate a little light heartedness. Try to find a natural approach that is based on elegance and charm, and avoid complex sudden “rallentandos” that often sound heavy and stop the motion.

-The middle section is nothing more than just a beautiful operatic aria, and therefore could flow with much more ease and less heaviness. Try a much lighter touch in your right hand so that it does not overwhelm the left hand. Your left hand melody sounds altogether too serious and profound, not matching or reacting to the optimistic shimmering of the right hand writing.

-In the coda, I also think reducing the thickness of the chords and a swifter approach would be more appropriate without losing the drama and the nobility.

No.3 Liszt: Hungarian Rhapsody No.12

-You have ample ability and well-equipped facilities to bring this off marvelously and there are hardly any technical problems that should be in your way. Perhaps a better understanding of the structure would improve your performance. The basic structures of the Hungarian Rhapsodies owe a great deal to the “verbunkos”, a Hungarian recruiting dance in several parts. The unique feature of this form is the use of extremes of tempos reflecting the extremes of emotions so prevalent in the Hungarian psyche. Further, Liszt kept two main elements of the typical Gypsy style — the “lassan” (slow) and the “friska” (fast) sections.

-Lovely “lassan”. I love your deep and dramatic emotional intensity. You could afford to be even freer, like real improvisation. Here it is advisable to make great dynamic changes between the sections. You need to pace this more deliberately, taking full advantage of the silence to magnify the unexpected.

-The arrival of the “Vivace” heralds the final dance, and here you could be more spirited and bring out the dance element more distinctly. The most important aspect of dance is the dependable pulse. At the same time Liszt follows the basic “verbunkos” element of getting faster and more involved, thus he has indications like “sempre vivamente”, “brioso”, “accelerando” and “il pi presto possible” which of course indicate a gradual quickening of the tempo. This only lets up when we get to the coda – Adagio. For you to follow Liszt’s advice of increasing the tempo should pose no difficulty. However, to do it gradually and without slowing down requires utmost control and determination, and this is something that you should work on for your future performance of this piece.

Pan Yumeng, You already display a great deal of maturity and I am sure you will develop into a wonderful musician. Continue your work, learn a great deal of repertoire as the next few years are most important to acquire the material that you will use for the rest of your life. At the same time listen to other works besides written for the piano as this will lead you to find the individual style of each composer. I look forward to hearing perform again soon.

PAN Yumeng

This young pianist projected passion and total engagement with the music.  She has large and capable hands and a fine musical mind.  A very promising performer!

Nocturne Op.32 No.1:  This was a colourful and well-paced performance, full of variety and conviction.  The sound was warm and rich, but there was always room for diversity and a change of character when needed.

Etude Op.25 No.5: The outer sections of this etude were accurate and lively, although the voicing aspect was a little heavy-handed and exaggerated. The middle section seemed fragmented and too active, both physically and musically, and the pianist relied a little too much on the pedal for a legato melody.  The climactic leaps toward the end were very careful and lacked the exciting dramatic thrill that they should provide.

Liszt: On the whole a fine performance up to the final section, which unfortunately slowed down suddenly, and from here to the end the piece had no real dramatic line ¨C no inner direction and force.  I was disappointed after such an auspicious start.

PAN Yumeng

Chopin B major Nocturne Op.32/1: Pleasingly natural, musical playing, with some unusual and individual touches. There is a sense of tenderness and nostalgia in the playing that is apt. Somehow - it could just be allowed to flow with more fluidity at times, but she catches the emotional turns in the music well.  LH occasionally a little too notey and heavy. The extraordinary twist at the end, and the B minor ending were convincingly conveyed.

Etude Op.25 / 5 (E minor): The voicing here sometimes seemed somewhat overdone to be really natural.  E major section tended to be rather over-weighty - more sense of “free flow” and less effort is possible here. Don’t try to make this too “important”! It is such really such wonderful, natural Chopinesque writing. But again much to admire in the playing.

Liszt Hungarian Rhapsody No.12: I love your confidence and the directness of your playing. At times you produce quite a remarkably rich and deep sound. Of course there is scope for more musical subtlety, and quixotic twists in mood, but what you do is natural and conveys very considerable pleasure. Any little technical blemishes were never unduly serious.

PAN Yumeng

A very musical young pianist, everything sounds authentic. Her fingers are well connected to her soul and her imagination.
This Chopin Nocturne is a good a choice for her. Flexible timing of the melody, already a good sense for rubato in this piece.

In the Etude we can hear the difference between the variations very clearly, one of the challenges of this piece.
The sound seems to be a little too early too intense, especially in the “cello part” and the last part. Chopin wrote forte just in very few places. The idea of a cello can really help us:  There is a bow and there are strings, no action would be vertical in any way. We want to hear a beautiful legato and cantabile, a continuously developing sound.

The leggiero and the leggierissimo accompaniments should give space for the melodies. A bit more dancing scherzando would certainly be possible.

In the 3 bars before the middle section there should be only one fermata between the last 3 chords (the 2nd and the 3rd).

In the Liszt Rhapsody it’s always interesting to listen to her, never boring. She is playing with a warm heart, with courage and temperament. But I would like to advise that she should work on basing any expression on an even higher pianistic culture and general musical responsibility. Especially in the field of rhythm she is too free. There are several rubati in her performance that can’t be conducted (one of my criteria for a good rubato). I noticed that especially dotted rhythms are sometimes “suffering”.

PAN Yumeng, female, 14

Chopin: Nocturne in B Major, Op. 32, No. 1

Quite a beautiful performance.  From the start, I sense that you take good advantage of Chopin’s momentary interruptions to the flow although you fail to add the little accelerando he requests,  This can be done effectively and the end result is more unique.  I would have welcomed bringing out a bit more counterpoint in the left hand and a few charming touches to what is otherwise, a consistently “expressive” interpretation. 

Chopin: Etude in E Minor, Op. 25, No. 5

The idea of bringing out the lower voice of the right hand at the very beginning was interesting.  Pianists usually delineate the melody at the top.  Your idea also makes sense.  I found your performance on the slow side, a bit heavy and lacking the ultimate elegance.  I wonder why musical students are so able to convey the expressive elements in music but have such a hard time projecting charm and lightness of character. 

Liszt, Hungarian Rhapsody No. 12

I have no quarrels with the quality of your performance as you are technically on top of the piece and you do infuse each section with the proper character.  I, however, see no real challenge to you in working hours and hours in mastering the pianistic demands of this work and not having to deal with music that is more demanding of your maturity and musicianship. 

In sum: very gifted, musical playing, beautiful sound, a bit heavy, and always intense without respite. Have more fun!

PAN Yumeng
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
PAN Yumeng
Nice playing. Though I would give some advise.
Nocturne.
Little too much metric, counting, needs more flexible and natural rubato. And the way you sit at the piano- try not to lean to much backward from the piano. Sit more naturally, it will also make more naturally sound.
Etude At the first appearance of theme you are formally right, but still it is Chopin, romantic music. There is a melody played by 5th finger, it should be singed and expressively.
The middle section is too loud, too much pressing, also try to sing more and naturally.
Liszt Rhapsody
Tremolo is impressive powerful, but in your performance little too much.
Good piano and when you play piano, you make better and more natural rubato, try to play forte with same breathing. And in difficult passages find more freedom.
Thanks for playing, all the best.

Contestant No.7 – Xu Ziang

No.1 Chopin: Etude in G-sharp minor, Op. 25 No.6

-You indeed have a fabulous technique for this difficult etude, with excellent control in bringing out subtle shades of colors throughout.

-Where you can still improve on is your left hand. With its melody quality, it should be treated with care and in balance to the right hand, as it best represents the character or of this work - elegance, subdued, and often introverted. Take a look at Chopin’s markings – “sotto voce”, with only five “fortes” strategically placed, but most of which are immediately followed by softer sounds. It is how you play these “fortes” that you create your understanding of the structure as well as the climax before the recapitulation.

-Measure 31 needs to be more dramatic and intense. I think some use of pedaling would help.

-Lots of legatos are indicated, and where it has staccato it’s an indication of lightness.

-The left hand phrases from measure 27 to 30 should be more legato, cantabile, and expressive.

-Chopin does not write “ritardando” in measure 34, but I agree that a slight easing of tempo is warranted before returning to the main theme. However, try not to overdo it, as it does not fit in this type of perpetual motion.

-In the coda, take care to make sure that your first beat of each measure is more important than the third beat. And tone down the feeling of urgency by avoiding any accents in the left hand.

-With the descending passage towards the end, Chopin brings down the curtain. So it is magical how he concludes with a sense of optimism only in the last two measures. I feel that the timing of the cadence in the “lento” should be more natural and more related to the tempo of the entire piece.

-One last suggestion: you look as if you are working very hard. Try to sit more upright. With your great facilities it is not necessary to look so vigilant and watchful of your fingers. Your vision of the piece will also be different when you play with a different body posture.

No.2 Chopin: Nocturne in C minor, Op.48 No.1

-You have a very deep expression, beautiful sound, and with great sensitivity for this majestic nocturne. At times, I do find your performance slightly mannered and over-controlled as if you do not trust Chopin to show you the way. The noble simplicity of the melody with its harmonic progression is the key to the first section of this Nocturne. Anything that is overly treated would make it come across as laborious.

-It is admirable that you want to make a personal statement, but do this with subtle nuance and proper phrasings. Avoid indulging too much in individual notes, as it poses the danger of stopping the flow.

-Phrasing is also important and often the key is the left hand. For example show how the descending line of the left hand in measures 9 and 10 is reversed by the ascending line in measures 11 and 12.

-Your “forte” in measure 23 and 24 comes across as too strong and out of proportion. For me this is not the “forte” that emerges later in the piece, but a poignant calling to attention of the coming chorale “sotto voce”.

-Your chorale needs to have a more recognizable tempo, as that is the heart of all chorales – a dependable beat that unifies the harmonic progression to important cadence points.

-Your musicianship comes through in how you manage the melodic chords and the growing double octave towards the first climax of the work. I like your passion and drama of the cadenza-like passage before the Doppio movimento.

-Watch the length of the trill in measure 45 – it is much too long. It is here that the intensity and the momentum build up, and you do not have time to pay attention to details and too much variety of nuances.

-Lastly, carefully pace the “crescendo” so there is a perceptible progression to the “fortissimo” climax in measure 72.

No.3 Liszt/Horowitz: Hungarian Rhapsody No.2

-The basic structures of the Hungarian Rhapsodies owe a great deal to the “verbunkos”,
-a Hungarian recruiting dance. The form is the contrast between the  the “lassan” (slow)     and the “friska” (fast) sections where the first is more improvised and full of character         changes while the second is more of a dance, relying on a more stricter pulse.

-You have a wonderful feeling for drama and contrasting characters which this first section depends on. And so I believe to a certain extent that you are successful in displaying the original intensions of Liszt. Your strength is your incredible technique. It seems that nothing is too difficult for you.

-Where you can improve on is the grandeur of sound and the touch, which is full of colors and shapes. You have, as in the Nocturne, a habit of placing “ritardandos” in unwarranted places, and waiting on notes without much logic to its content.

-In the second section you display a wonderful command of the instrument, and manage to cross all the hurdles that Liszt, plus Horowitz, places in front of you. There are many wonderful moments you produce especially in the first climax (measure 174 and onwards). You have a good sense of the “rubato” and delay the chords to great effects, as well as the clarity of the secondary melody in the left hand (composed by Horowitz) from measure 230. Bravo.

-Again, where you can get a better insight in the world of Liszt, through the experience of Horowitz, is on how to delay and wait for the “crescendos”, using a vast spectrum of colors and combination of touches to keep the interest in prolonged soft passages.

-In this section, you have the tendency to slow down and allow the tension to drop, where as the real intension of Liszt is to produce a dance that grows and moves to the final climax. If you carefully study the music there is only one time that you should make a moment of respite and that is just before the final coda. And I am sure with your technique you are able to do this fantastically.

Xu Ziang, you are a major talent, music flows through you. As yet your decisions on musical matters are fresh and untested but there is in you something that will eventually blossom and carry you forward into the music profession. I will watch your journey with great pleasure.

XU Ziang

A wonderful, personal young pianist!  I felt the energy, the strong concept of each work and most of all the willingness to take risks for the sake of the music?ˉs excitement and thrill ¨C this takes courage and confidence.  

Op.10 No.5 Etude: This performance was not only admirable technically, but full of life, character and variety.  It could have even more elegance if the lower voice of the thirds were softer, especially when the line descends.

Nocturne Op.27 No.2: The opening was beautiful, revealing harmonic colour and elasticity without being overdone.  In the chorale, Mr.Xu seemed to try and put across too many ideas, obscuring the simplicity and nobility of this part.  (Simplicity is often more difficult to achieve than complexity!)  In the triplet section the rubati was exaggerated, especially when he took time, causing the music to be choppy and a little calculated.

Liszt: This was splendid ¨C a spirited performance full of character, technical acumen, musical intelligence and maturity.  Bravo!

XU Zhiang: 

Chopin Etude Op.25.6: I have to be honest and say how distressed I was by this Chopin Etude. Such an able pianist but musically a travesty. A wonderful pre-impressionistic piece of piano writing of incredible delicacy was transformed into a horrible virtuoso display. Misjudged and tasteless. Machine-like finger brilliance (and not quite all impeccable either).

Nocturne Op.48/1:How this same pianist could give as serious and measured a performance (most of the time) of the great C minor Nocturne was hard to believe. This was SO much better, and at best it went beyond just good “reproductive” playing, with some individual effective touches.  The gravitas of the opening was well caught, though the C major section could have been more simple without so many long delays. The rhythm is not continuous enough. The final doppio movimento section  showed passion, though again the overall impulse / flow are interrupted far too often, and these delaying gestures become simply intrusive and no longer meaningful.

Liszt: Hungarian Rhapsody No.2: Here again there was much to admire both pianistically, and in terms of temperament. He has a “deep” sound and real richness of sonority and dark intensity. I like the way he makes the bass sound so significant. There is a mature ability to create space without losing musical tension. The occasional unrhythmic moment or small blemish. At times his playing could be lighter and more delicate and even wittier.

Overall, I find remarkable qualities in the playing, though there is a tendency for him not to adapt “his” style of piano playing with enough variety to the music he plays. But I warm to the expressive depth he shows and the sense of harmony. And I envy much of his technical prowess. A pity the Chopin Etude was so misjudged musically.

XU Ziang

Xu Ziang has the talent of a real virtuoso. But in the Nocturne he shows that he is more than this. A Chopin Etude should sound like a concert piece, a small Ballade or Scherzo. Here it sounds more like an Etude. I think it should be a very poetic piece with long legato phrases in the left hand, a good breathing, many soft endings.

The Nocturne is well built and shows maturity. The sound seems to be molto espressivo, a little too pesante. Very good his timing of the different parts, the melodic control of the octaves. The doppio movimento part is the real climax.

The Liszt Rhapsody is played with excitement and brilliance. Sometimes there could be more capriccioso moments, also elegance and joy. Sound and expression seem a bit too sharp in some places, remind me of too spicy food. And it’s quite difficult to avoid the impression of emptiness in certain places with many notes. Especially in these places we have to go for technical perfection and good sound quality.

But anyway, the performance is impressive.

XU Ziang, male, 18

Chopin: Etude in G Sharp Minor, Op. 25, No. 6

Although you have impressive fingers and the capability for high speed double notes, your performance ultimately lacks the lightness and elegance needed.  I admired some fine details involving color changes and a singing left hand.  The thirds, however, had an exercise-like feeling in their execution.  Listen to Joseph Lhevinne's recording for a sense of the sound you should strive for.

Chopin: Nocturne in C Minor, Op. 48, No. 1

Here your approach was just the opposite.  You are looking for musical effects everywhere and, while some of them work, many of them don’t.  The end result is a bit superficial as if you were trying to make the music more “musical” than it actually is.  I welcome your exploration of all these possibilities, but the end results must be in good taste, something that is not always true in your performance.

Liszt-Horowitz: Hungarian Rhapsody No. 2

I can see you spent a lot of time listening and trying to emulate Horowitz’s recording.  In spite of the brilliance in your execution, I am afraid you are seeking the wrong values.  There are plenty of piano players who can play fast and loud.  In your case, you work very hard for it.  Be aware that the truly great virtuosi made things sound easy.  You make them sound harder than they are.  Don’t play for the masses, play for the elite, the one that appreciates beauty above bombast.  Maybe a different choice of piece would challenge your musicianship rather than your physical power. 

In sum: your music making is a bit too fussy and convoluted.  You seem to find pleasure mostly in the physical elements  of piano playing.  Regardless, you are a major pianistic talent!

XU Ziang
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
XU Ziang
Very impressive performance. You have a nerve. Definitely very < /FONT>gifted.
But still some advice I would like to give, it does not mean you should do what I or somebody else suggest, but you should think why other people point such things.
Etude Obviously one of the most difficult etude. But the most difficult to make it as nice piece not study. The character is sad, nostalgic, not jumping left hand, not stccato, more singing tone. And with your finger the quality of thirds in right hand should be more precise.
Nocturne Many good things. I would suggest when octaves starts, they should not be loud immediate, save power for the climax.
And also about the way you sit at the piano, it’s not very natural, too much bow towards the keyboard sometimes.
Liszt Very exited! And also for me if you play such a difficult version, it should convince listeners that it is because you understand music THIS way but not to show how difficult passages you CAN play.
Thanks for playing and all the best.

Contestant No.8 – YANG Shiyu

No.1 Chopin: Etude in G-flat major, Op. 10 No.5

-Within four pages, Chopin creates a world of magic and magicians. And it is a challenge for all of us to generate an atmosphere where such enchanting and captivating possibilities live. 

-You have a solid technique, and have worked hard to make the right hand even as well as listening well to keep a healthy balance between the hands.

-I very much enjoyed some parts especially the way you manage the left hand melodic progression from measure 24 and also the wonderful lift of the passage just before the coda (measure 65).

-I also commend you for not falling in the trap of playing the last 8 measures too bombastically. After all, this is not a large work and you should always keep in mind the perspective that the whole work presents. Such overview of any work is indispensible in any artistic creation.

-This large vision is also important in the tempo and especially when adhering to Chopin’s markings – for example “poco rallentando” should not be over exaggerated to such a point that it sounds as if you put on the brake. It is also important to construct any “ritardando” not just with the idea of slowing down but with an understanding that it is essential in the musical context. In measure 48, your slowing down really allows all the tension that you build up on the dominant pedal point to escape. In this case while the idea is good if done with timing and flowing naturally, the entry of the main subject was not at all satisfying.

A word about the dynamics that Chopin so carefully indicates. Observing this is very important. And achieving much greater contrast should be your aim. Look at all the “crescendos”, they so often indicate a forward motion and intensification rather than just increasing the volume.

No.2 Chopin: Nocturne in F-sharp major, Op.15 No.2

-You are indeed a very good pianist and you take care of searching for solutions in the music. You also take care of how you use the pedal, and this is an exceptionally difficult task in the music of Chopin.

-You need to work out the bigger architecture of the phrases – where does the momentum take us, to find that note and move towards and then away from it. All the phrases in the “A” section are 8 measures long and the point at which you should aim is always in the sixth bar. In the first two groups the note is F-sharp, which is used in dissonance above a G-sharp, displaying tension that is released in the next two measures. It is this rise and fall, tension and release that I am missing from your playing.

-Some parts your tone is rather bold and straight forward. Observe carefully the dynamic range. Not once is there a “forte”, which should be an indication of the overall gentle character that Chopin wants to display. The simplicity of the melody and the rippling flow in the middle section (note that it is “sotto voce”) all point to a friendly atmosphere of warmth and tranquility. 

-A word about tempo especially when interpreting “Doppio movimento” (Twice the speed).  Your tempo here creates a breathlessness that in my mind is foreign to the piece. Four measures before this section you start to accelerate, and as a result it prevents you from establishing a reference tempo for the “Doppio movimento”. Chopin did not indicate any accelerando here. In fact, the wide arpeggios in the left hand chords suggest a built-in “sostenuto”. So please try to find the best and most natural solution to unify the tempos.

No.3 Ginastera: Danzes Argentinas, Op.2

-This is such a great work, full of contrast and great energy. And being an excellent performer you demonstrate most of this.

-The first dance called “Dance of the Old Herdsman” is full of rhythmic surprises, jumping from 6/8 to 3/4. You must keep the pulse tight whenever possible and never let it go. The coda is a perfect example how important it is to keep the tempo – those silences are part of the music and the questions are only resolve in the last 3 measure. Watch the “rest” in the second last measure.

-The second dance is called “Dance of the Beautiful Maiden”. As the title suggests this is a solo aria and dance. The composer requests “cantando” in a singing style. It is one person dancing and singing, so you should take the opportunity to be freer, perhaps even giving the impression of improvising. The indication “soave” in the “B” section means “smoothly” and so please build up the tension and dynamics gradually and do not allow the left hand to dominate with detached notes. The return was very beautiful as was the ending.

-The last dance is the “Dance of the Arrogant Cowboy” with such indications as furiosamente (“furiously”), violente (“violent”), and salvaggio (“wild”). It is indeed a wild dance full of rhythmic changes and relentless tempo. You have a tendency to speed up in certain sections and as a result you lose the tautness and the tension you so skillfully build up. The “C” section has two pedal points built on a note – C and A-flat. This is probably the most energetic and loudest part and should be played with abandonment, yet and here you mistakenly play softly. Again, speeding up in the “C” section leads to problems in the coda. Never forget that a dance depends on clear indication of pulse to make it successful, and this is certainly the case in this work.

Yang Shiyu you are a very good pianist and well deserve to be amongst the best young artists studying in China. Your performance shows that you are a good student however moving from that level to artistry is a journey that is not simple, and it should not be. Listen to a great deal of music and analyze what are the elements that allow an artist to communicate. Once you understand more about this would probably advance you and use your wonderful technique in the service of great music.

YANG Shiyu

This pianist has a fine technical security, with fleet fingers and a good sound.  I found that his playing needs much more imagination and variety in general, and a sense that he ?°owns?± the music himself ¨C not just being a responsible and good student.  He should be encouraged to think for himself and to come up with ideas for his playing that-even if they are not particularly appropriate or tasteful-come from an inner conviction.

The Op.10 No.5 Etude was solid and accurate, but not particularly nimble or effervescent.  If one is to play any of these etudes, one needs not only good fingers, but an inspired artistic sense of the piece. Pedalling was not subtle and helpful in creating character.

Nocturne Op.9 No.2: The playing is sincere and honest, but needs so much more in the way of range in intensity (even in the shortest melodic motive), in articulation, in harmonic colour.  But most of all there must be a sense of spontaneity ¨C real emotional last-minute decision making, which comes from practicing different ways of approaching the material.  Everything seemed almost stale musically.

Ginastera: Altogether very fluent and articulate.  All the technical elements were in place ¨C now the idea is to let go and give some real fire and looseness to the performance.  They are dances, after all!

YANG Shiyu

Op.10/5; Nocturne Op.15/2; Ginastera Danzas Argentinas

Chopin Etude Op.10/5: was clean at a somewhat modest tempo, but generally unremarkable. It is somewhat heavy-handed and wooden. There is so much more scope for wit and charm in this piece.

Nocturne Op.15/2 Diligent playing and here he showed some response to the needs for lyrical shaping. But LH sounds too static and each quaver too equally stressed. The decorative  embellishments in RH need much more delicate and Chopinesque treatment.  As yet there is only a limited finesse in sound and imagination to the playing, and there needs to be more subtlety of texture - for example at start of the middle section.

Ginastera Danzas Argentinas: Perhaps a disappointingly unadventurous choice of repertoire for a competition of this stature. But it was proficiently played. Scope for more zippy rhythmic vitality in outer movements (and more idiomatic Latin American character),. No.3 sounded too relentless. Aim for more genuine and touching tenderness in No. 2. (If you have not heard it, try to listen to Argerich playing this!!)

YANG Shiyu

Yang Shiyu is able to play the Etude quite easily. How to reach the next higher level? To my ears the performance sounds a bit too “physical” and could be more detailed. Some examples:  The echo in the beginning, the charming accent in bar 4 (left hand), the transition from bar 8 to 9 (timing without stopping), the accent in bar 18 (important for the phrasing), the long pedal also in bars 38/39, not such a big extra ritardando before bar 49, the rhythmic control of the triplets in bar 65 after the rubato on the first beat, a little faster octaves at the end (?).

My comment to the Nocturne would be similar. Everything is absolutely sympathetic , but could be more refined. Already the first 3 notes should be 3 different sounds (for rhythmic and harmonic reasons, and see the difference in bar 9!). Like in Mozart’s music the expression can change quite surprisingly. So, we have to be spontaneous. A dolcissimo is a reaction to an espressivo. The middle section more sotto voce in the beginning, we have to create an expectation before showing anything concrete.
 
In the Ginastera dances I hear a few rhythmic surprises. In the first dance I can’t accept any rubato besides the written ritardandos.
Also the rubato in the second piece is too obvious for me and too often the same (I mean the first and third bar of the melodic phrases). Here the last note is many times so late that I start to feel an extra beat in these bars (a seventh beat) or a dotted rhythm in the melody instead of 2 simple syncopations.

YANG Shiyu, male, 16

Chopin: Etude in G Flat Major, Op. 10, No. 5

I wish you would seek more variety of color and use more imagination.  Your performance is rather heavy handed.  The ritardando before the return to the opening material is exaggerated if one considers that this piece is short and moves quickly.  This is a good but routine performance.

Chopin: Nocturne, Op. 15, No. 2

You show some musicality but it seems to come more from your teacher than from you.  This beautiful piece gives you many opportunities for tenderness which you passed by. 

Ginastera: Danzas Argentinas, Op. 2

I admired Ginastera’s talent and he made a particular contribution as a nationalistic composer.  This particular set is very attractive and is often a first twentieth century work for many students.  Unfortunately, it is really not challenging for someone who is already 16 years old.  The choice of this piece for this competition prevents you from demonstrating whether you are a real musician or not.  The first piece is too simple, the second one has a nice melody which almost sings by itself, and the last piece is a bangy bangy motto perpetuo which is more effective than substantial.  If you were 10-11 years old, I would welcome your offering.  At your age, you should be way beyond this superficial music. 

In sum: talented and serious student who needs to focus on his development as a musician. 

YANG Shiyu
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
YANG Shiyu
EtudeNice performance. Unfortunately there is not enough exact touch, intonation. In the left hand w e have not only accompaniment but nice music piece. And right hand is absolutely nice melo dy, pianist should try to show this in performing.
Nocturne also quite nice, and for me it needs also more flexibility. In phrasing, sound, changing character in developing as well as movements of hand, wrist. It will help.
Ginastera. Also very bright playing. Also I would like < /FONT>to hear more flexibility. Forte should not be too hard, try more free hands. Good feeling of this music.
Thank you.

YANG Shiyu
It’s a very well played program. I like the energy and enthusiasm you brought forth in the etude and Ginastera. The etude is very solid with good control. The nocturne is also played sensitively. Perhaps there could be more breathes in the phrasing, so they don’t sound so tight. The hard thing about the nocturnes of Chopin is that they tend to be pretty but boring. Only if we set free our imagination, can we then explore the different colors, touches, and nuances that these masterpieces contain. And we become better musicians because of them. The “Danzas Argentinas” you played with precision and intensity. I would like to swing the rhythm more in the 2nd one so it sounds more like a dance. It might be too heavy at times for a dance of the maiden. But the outer movements are fabulous with abundant jubilance.

Contestant No.9 – Mozar Tsang

No.1 Chopin: Etude in A minor, Op. 10 No.2

-A very beautiful performance of this difficult etude. Except for a few places in the development section, your right hand proved to be reliable and secure. You managed to separate the active 3-4-5 fingers from the harmonic/melodic chords.

-I also commend you for approaching the work with intensity, yet within the boundaries of set by Chopin - only 3 “fortes” in the piece but lots of “crescendos”.

-My only criticism is that you do not go into details of the dynamic markings. Just two examples - it is not clear why you make an out of proportion “crescendo” in measure 8 after all it is the end of the phrase and clearly Chopin requests “diminuendo”.  Similarly in the coda the crescendo and ensuing “forte” in measures 42 – 43 are totally missing.

-Lastly, make a stronger effort to maintain the same articulation in the left hand for consistency – you have a tendency to vary the length as well as the touch. I would suggest that you practice hands separately.

No.2 Chopin: Nocturne in G major, Op.37 No.2

-What a perfect choice for you, this is such a wondrous piece. It requires exquisite musical taste and you have this.

-You manage to capture the atmosphere and the right amount of ebb and flow of the melodic line. You understand the limitations placed by Chopin on the dynamic range, yet within that you manage a great deal of variety.

-In measure 1 and 2 and similar passages throughout there is a “diminuendo” hairpin, yet you consistently play “crescendo”. In many ways this is a signature of Chopin - a personal trait that he often uses, for example in the Barcarolle to great effect. Since there are no dynamic markings, it is certain that Chopin’s detailed use of hairpins is a way to show flexibility both in dynamics and tempo.

-The other idea centers around the understanding how he uses harmonic movement as well as the major/minor key system. While Chopin was deeply rooted in the tonic-dominant system, his predilection for shifting the harmonies chromatically was clearly meant to be personal and surprising. After several measures of no harmonic motion from measure 1 to 7, Chopin suddenly moves rapidly utilizing enharmonic modulations. The reverse is also possible as the chromatic movements in measures 26 to 27 are followed by simple harmonies that sound exquisite.

-It is also important for you to be sensitive to the idea of serene modulations followed by active chromatic movement. This is especially true in the “B” section where the music passes from C major to E major and then suddenly moves chromatically to B-flat major and D major. It is important for you to be aware of the different colors these keys produce, there should not be any doubt that C major is different to E major, and while Chopin uses the same melody and harmony the difference should be quite clear.

-I do enjoy your lovely transparent sound in this nocturne. The middle section, in particular, is filled with sensitivity and imagination.

No.3 Prokofiev: Sonata No.3 in A minor, Op.28

-Subtitled “from Old Notebooks” this Sonata vies with the No.7 in popularity. Many pianists play it and often teachers introduce the Prokofiev style through this work. It seems to me that it is the virtuoso aspect of the work that captivates you, which you do with vigor and full conviction. While I respect the direction you have taken, for me you do so by sacrificing many aspects of Prokofiev that remain submerged in your playing.

-The most important characteristic of Prokofiev is color, and all of our focus should be to enable this to come through at all cost. A cursory look at the Prokofiev’s writing for the piano will reveal that he utilizes different articulation, detailed instruction of dynamics and careful use of tempo. From the percussive nature to the singing style and between, he has created a singular world that has to be studied and understood to make it come alive. The constant juxtaposition of ideas that dominated Prokofiev’s creativity between 1907 and 1917 perhaps can be more easily comprehended by viewing the paintings of Wassily Kandinsky and Franti?ek Kupka who were working at the same time. A clear example of this juxtaposition is how the first two measures are followed suddenly by four measures that are completely different. Another example is in measure 27 where the detached exchange between the right and left hand is interrupted by a legato passage, and he continues to do this seven times. Just simply understanding this perspective would make it imperative for you to take a slower tempo and concentrate on giving all your attention to the colors inherent in the details.

-I strongly believe that indications of composers should be taken very seriously. There are numerous passages that you ignore, such as the different dynamic markings. You play staccato when clearly legato is indicated, and you often take different tempos.

-For Prokofiev it is important to give tempo indications that are interrelated and provide a homogeneous whole for the Sonata. Thus the “Allegro” has to be tempered at the beginning to give the next indication “Moderato” some meaning. Do not be misled by “tempestoso” as this is instruction about the character, namely stormy or boisterous manner.

-The decision of your tempo in the recapitulation made it impossible for you to play some of the passage with absolute technical precision – see the ascending staccato right hand while the left hand has chords and the melody played by the thumb. It’s advisable that you establish a sense of pulse that is constant which is central to Prokofiev’s style – pulse that is controlled and intelligently used.

-I hope that you will try to revise your thoughts about this great work as I feel that with a more suitable tempo Prokofiev’s multilayer details that exemplifies his style would come through and that this would be more challenging and satisfying for you.

Mozar Tsang, you are a real musician and should develop into a wonderful artist. The fact that I do not agree with your performance of the Prokofiev Sonata is of little consequence. We often disagree with numerous major artists’ performances and yet we know that they are great musicians. What is important for you at the moment is to further develop your understanding of styles and ability to hear not only how music sounds but also how YOU sound. Good luck with all your endeavours and I am sure I will hear you often in the future.

TSANG Mozar

A polished and serene performer with lots of imagination!  I listened with fascination and admiration to this sophisticated young artist, and would like to hear more.

Op. No.2 was ravishing ¨C so radiant and elegant.  Absolute accuracy was perhaps sacrificed for artistic integrity, something that I applaud.

Nocturne Op.37 No.2: Elegant and spontaneous, with fabulous sound landscape and control.  I found this to be an utterly compelling performance which made the very best use of the beautiful Bechstein piano.

Prokofiev: This was the least successful, but still impressive.  Perhaps the fiery side of the pianist?ˉs musical personality needs a little more encouragement.  He should not always be concerned about a harsh sound; in this work it is not only allowed, but necessary!  Push the limits of dynamics, sound quality and tempo to their utmost extremity.

Mozar Tsang

Chopin Etude Op.10/2: A demanding choice and technically it is not without quite exposed little flaws.  Sounds a little over-fingery, and not quite legato enough. For me, the attempt at “interesting” voicing sounded somewhat contrived and “obvious”. This is one of those Etudes which demand such immaculate technical control, and the blemishes were noticeable!

Nocturne Op.37/2: Sensitive. Lilting rhythmic undercurrent. There is colour here and a feeling for Chopin. Spacious but never static. A good ear for harmony. At his best, in really soft playing, there is something very special - intimate and touching. At times it just sounded on the borderline of being too slow, but this was still a performance of very considerable quality.

Prokofiev 3rd Sonata: Fast and exciting – just a little too fast for clarity on occasion in ostinato passages (pages 2/3). 2nd subject is rather beautiful, but maybe a little too pale and listless-sounding for this music. (Almost too Chopinesque!) Just a little too black or white: fast and furious or sensitive and slightly small. Not without a number of technical blemishes / misses. Lovely return at recap, which then had excellent crisp articulate incisiveness.

Certainly one of the most interesting musicians and in general technically well on top of things. But, compared to some other entrants, there were more flaws and the Chopin Etude rather let you down.

Mozar Tsang

A pleasure to write a comment.  Very advanced playing. The basic elements of making music are strong:  I can feel an inner process
before the sound is being produced. He is always in touch with the music. The Etude is played with an impressive facility, there is even time for a middle voice that would have surprised the composer...
Good architecture in the Nocturne, feeling for the harmonies, for the polyphony, well shaped phrases, good tempo, a certain elegance.
He can keep the tension high for the whole piece. It isn’t easy to keep the thirds and sixths legato. If a real legato isn’t possible, we would be happy with the illusion. This can certainly be improved.

Prokofiev’s 3rd sonata is a perfect choice for a him. I hear a natural balance between spiritual and physical energy (both high), this is already quite mature. The good sense of polyphony is very obvious (and necessary!) also in this piece. If I don’t agree to all his ideas of voicing and rhythmic articulation (especially in the Coda), I can still listen with interest.

Mozar Tsang, male, 17

Chopin: Etude in A Minor, Op. 10, No. 2

I enjoyed your ability to achieve a certain degree of lightness while incorporating some changes in touch (deeper in one ascending scale, early on) that showed your search for variety and color.  I wish it would have sounded more "effortlessly" in order for the performance to be truly great.

Chopin: Nocturne in G Major, Op. 37, No. 2

I welcomed your selection as this nocturne is played less often than others in spite of its incredible beauty.  It is a challenge as it demands the sustainment of a cantilena melody in double notes.  Your performance was full of nuance and tenderness, with an appealing sense of rubato.
 

Prokofieff: Sonata No. 3, Op. 28

This was electrical playing which reminded me of Pogorelich’s performance of the Sonata No. 6.  Incisive when needed, dreamy in other places, full of details and attention to counterpoint, it kept me interested from beginning to end.  Bravo!

In sum: a major talent.  Try not give such a sense of hard work when you are playing.  You don't need to make such facial expressions to show the audience what the music is all about.  It speaks for itself!

Mozar TSANG
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
MOZAR Tsang
Etude-very interesting, good feeling of freedom in music.
Nocturne Very nice! Very good listening of himself and < /FONT>ood control. Beautiful music, not easy, and succeeded. May be sometimes sixteens double notes could be little slower speaking out. Good rubato, very sensitive feeling music.
Prokoffiev.
Very good. Good sense. As for Prokoffiev style, it require rubato only when you see author’s remark. Without it is not necessary and not makes better music. (it’s not for this style)
In general very exiting performance. Thanks!

TSANG Mozar
The Etude Op.10, No.2 is performed marvlously. The right hand is well articulated. The inner voice you brought out is very refreshing. An etude is performed the best when it becomes a piece of music in stead of just an exercise. And I enjoyed this piece of music very much. The nocturne has a nice atmosphere. It’s elegand yet intense, and unfolds in a natural flow. I like the fact you listen to yourself well when you play. Music is especially moving when it comes from the heart and with inner intensity. The Prokofiev is very enegetic, intense, and exciting. Perhaps a little too fast for my taste. While speed can certainly bring excitement, it is not nearly as powerful as a strong rhythmic pulse. Overall it’s a brilliant performance, and a joy to listen to.

Contestant No.10 – ZHANG Ruixue

No.1 Chopin: Nocturne in F major, Op.15 No.1

-This is a wonderful piece for you as it brings out your artistic possibilities. You have the ability to create big contrasts and communicate this with your audience. At the same time you are capable to spin the melodies with grace and clarity, this being a vital part of the Chopin style. Another important element is your security in performance. All these add up to a very enjoyable experience for the listeners.

-The balance between the hands in the “A” section needs more attention because your left hand triplets - the “motor”, are too prominent, hindering the right hand melodic line to soar.

-While it is natural to focus on the top line melodies, you should also be more aware of the bass line progression, and take advantage of Chopin’s writing to guide you towards the proper musical expressions and motions. The first eight measures are divided into two equal proportions, like question and answer. In the first three measures the melody is above a tonic pedal point, creating a feeling of hovering, holding back. However, the descending bass line from measure 4 produces a forward motion, a sense of direction. Notice how the harmonies help the ebb and flow of the music, allowing for contrasts between the phrases.

-In the “B” section you should aim for a darker sound. After all, we are in minor key. The turbulence is more likely to be demonstrated in the left hand, so make sure that you do not play the right hand too loudly.

-Please correct your left hand rhythm whenever you have dotted eighth note followed by a sixteenth note, for example in measure 29 and 30. You are playing a “tied triplet” rhythm instead.

-Your dynamics could be better observed and more precise. Utilize fully the “cresecendos” and pace them. Make differences between “forte” and “fortissmo”, and “pianissimo” and “sotto voce”. All of these are important indications that will help you better interpret his music.

No.2 Chopin: Etude in A minor, Op. 10 No.2

-Your performance is still what I would call good work in progress. Everything seems to be well on its way to give you a wonderful performance in the future when you will play this up to speed. You are careful to make sure that all the notes are even and clear, and there is an awareness of phrasing. I also like very much the quality of the “staccato” touch in your left hand throughout.

-You need to make more effort to bring to life all the dynamic markings of Chopin. He rarely reaches “forte” and when he does the music immediately withdraws. He aims for color all the time and you can make this happen with the numerous “crescendos” and “diminuendos” throughout. Allowing these to sound naturally and effortlessly (and in a faster tempo) would enable you to create a magical sensation.

No.3  Liszt: Spanish Rhapsody

-During the romantic period “Preluding” – meaning the improvised introduction was an integral part of most compositions. The idea was to give a hint of the piece’s character as well as to make the main theme more important by waiting for it to appear. Therefore, you should use much more individual approach to this improvised section. Be more sensitive to the differences in tensions as well as colors in the chords. On the whole, experiment and try to be more imaginative and creative.

-The “Folies d’Espagne” is a celebrated music theme used by numerous composers as basis for variation. Here Liszt ingeniously uses the eight-measure theme to show different styles as well as pianistic difficulties. While you do manage many aspects of the progression, you need to be more careful with your dynamic growth. Your theme is rhythmical but far too loud. As a result, the ensuing passages reach “forte” well before it actually appears on the score. Again, the “espressivo” variation should not be too loud, whereas the “un poco animato” finally has a “forte” building up to “fortissimo”. 

-The next staccato section should be lighter and a little agitated. The movement between the hands is more important, each shaping the contour of the passages. From here I congratulate you for progressing and never letting up the tempo as it moves to the “Allegro animato”. This, being the climax of the first section, should sound like a culmination, which you manage very well. In general, you need to make everything a little more flamboyant and virtuosic. At times, you look almost too serious.

-The “Jota aragonesa”, like other folk music, has a simple structure that is use the basis of another variation by Liszt. Here, he ingeniously keeps to the original character of the dance, which was danced by beautiful women. While your performance is very commendable and shows well your technical ability, I would recommend that you aim for much more lightness and shaping of the verses. In this section the “forte” is not as strong as in the “Folies”. Use the pedal not for the purpose of holding the harmonies but for brilliance and color.

-The slow section before the finale is a free improvisation on a theme by Liszt based on the free interpretation of the themes in the “Folies” section. Again this is in variation form, allowing four repetitions. You should aim to make each one different – they are in different keys, and these offer a great variety of colors.

-Truly bravo for your performance of the finale! This section is filled with horrendous technical difficulties yet you scale the mountain of technique brilliantly. I also admire the way you progress in tempo to the very end, always building up tension until the last dance in D major, where Liszt brings back the polonaise. Only one suggestion: you must bring out more colors and observe carefully the dynamic range that starts at “mezzo forte” going up to “fortissmo”. It is important that you find ways to use Liszt suggestions and build the dynamics gradually, waiting for the right moment to reach for the climax.

Zhang Ruixue, you are indeed very talented and have a wonderful gift for performance. The near accuracy of the Spanish Rhapsody is remarkable, yet once you attain such heights in the area of technique, you need to move on to work on what lies behind the notes. Most of the time I was asking “how does she do it” rather than feeling being drawn into your music. But this will come in time. Keep on working, I am certain that you have the ability to win our hearts with your music.

ZHANG Ruixue

A precise and meticulous young pianist, with impressive technique and attention to detail.  I found in particular the Nocturne Op.15 No.1 to be a wonderful vehicle for her carefully sculpted phrasing, her beautifully elastic mordents and turns, and her perfectly paced dramatic sense.  The sound was luxuriant and the legato wonderful.  Bravo!

Op.10 No.2 Etude had perfect accuracy, but was very disappointing musically.  With this kind of facility, she could easily have embraced much more variety in colour, dynamics and even articulation.  It could have been sensational, but stopped at the technical level.

Liszt: In general this performance was imbued with a full, rich sound, great confidence and about 99% accuracy!  There was a wonderful natural understanding of rubato, and the tempo organization throughout the piece was well thought out and implemented.  Trills were beautifully controlled.  My criticism lies in the fact that I could not perceive a real vision for this big work.  Each section seemed to be approached with the same intensity and the same character.  The performance did not carry me into another world at all; I was always drawn to the competence of the player, rather than the magic of Liszt?ˉs great image.

ZHANG Ruixue:

Nocturne Op 15/1:  This sounds somewhat syllabic and stilted, lacking a true bel canto feeling, though the basic tone quality is quite pleasing. It is very safely executed, but tends to sound slightly pedestrian and lacking tenderness or persuasive quality

Etude Op.10/2: A modest speed and somewhat careful and slightly plodding. (LH rather square.)  It is commendably immaculate in clarity and evenness, but sounds far too much like an exercise. No real feeling of fluidity and far too metronomic.

Liszt Spanish Rhapsody: She seems somewhat more in her element in this music. Much was pianistically remarkably impressive, but not yet played with sense of flair or sheer enjoyment needed. It has little idiomatic Spanish flavour, especially in the slower / lyrical passages, but when the faster writing comes, she sounds well able to catch more of the flavour.

Ideally she needs to be able to release the rhythm so that it does not sound so consciously held on a tight rein.

Overall, a young pianist of clear ability and a serious player, but the disappointment is the lack of any real sense that she gets actual pleasure out of the music she plays - it is somewhat “set” and over-predictable and “practised” sounding. An incredibly high level of sheer accuracy - and that is no small achievement.

10 ZHANG Ruixue

Also Zhang Ruixue is a very promising young pianist. The Nocturne is well played, with good taste, well phrased, concentrated, very musical, maybe even a bit too serious in the F major parts. These parts could sound a little “happier”, including real dolcissimo and delicatissimo. The deep pedal point (Fa, 4 times) in the middle section should be articulated as a separate note, and the melodic counterpoints could be part of the interpretation.

All my respect for the Etude. I hear that she has been studying this piece in a very responsible way. The 16th notes are quite equal,
the tempo is well controlled. On the next higher level she could start to see more than an Etude in this piece. Then the rhythmic elements will dominate a little less. Now, there a quite a few very similar accents (the syncopations). We should also develop a good feeling for the harmonies.

Taking into account that Zhang Ruixue is only 15, the Spanish Rhapsody is already very impressive. We can hear excellent technical possibilities, a very natural way of playing. After a while she seems to forget the camera and the microphone. These are the best parts! Longer phrases would be possible, the lots of dotted rhythms keeping the music swinging, not stopping.

ZHANG, Ruixue, female, 15

Chopin: Nocturne in F Major, Op. 15, No. 1

Quite a beautiful performance in spite of the balance between the left hand and the right hand, particularly at the beginning, which was not ideal.  You know how to handle a lyrical melody and you are aware of some of the many devices available to carry such a difficult task.  Your playing had authority and it also left room for some charming touches which supplemented the expressive quality of the music.

Chopin: Etude in A Minor, Op. 10, No. 2

Although the tempo was a bit on the slow side, it seemed judicious and it was constantly steady and consistent.  Your performance was quite convincing and devoid of tricks to facilitate the difficulty of the descending scales. 

Liszt: Spanish Rhapsody

A note-perfect performance, ready for a recording.  You show an infallible control, regardless of difficulties.  Ultimately, there is a lack of electricity.  Sections follow one another in a very predictable manner and the relentless drive does not give you room to do anything that shows real personality.  When I think of all the hours you spent to achieve such perfection, I wonder if it would not have been more useful to play something that really challenges you from a musical standpoint.

In sum: You play with a perfection that, somehow, does not "touch" me as much as I would like.  You win my admiration more than my heart.

ZHANG Ruixue
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
ZHANG Ruixue
Very well played. Formally is very correct and very good basis for future developing, progress. Try to make all music as you composed it, make it the part of your life, of yourself and perform as an actress in the theatre. Music is not notes only; it is something between, beyond. Nobody will explain correctly< FONT size=4 face="Times New Roman">, just you can feel it. So good luck for the future.
Nocturne might be little quieter.
Etude is very god, may be little too loud.
And Liszt SPANISH! More Spanish spirit! Make theatre!
Many thanks for playing and good luck!

ZHANG Ruixue
A solid performance with strong technical command. This nocturne is a piece of a gem, and it is well organized and played with sensitivity and style. The sound is warm and inviting. You could have more directions in phrasing to make it more flowing. More over, I seem to miss the nuances that manifest themselves in delicate turns, harmonic colors, and timely rubatos. With your incredible ability, you can let your imagination take this music to a fantastic world of sweet dreams and poetic aspirations. Otherwise, it is only pretty when it could be beautiful. The Spanish Rhapsody is solid and energetic. The sound is focused and clear. Perhaps one could expect more flair from this flashy piece. It might require a little emotional output from the performer. Take risks. And you will be rewarded.

Contestant No.11 – ZHANG Chuhan

No.1 Chopin: Nocturne in E-flat major, Op.9 No.2

-My first favorable impression is that you really enjoy playing this beautiful piece. You have a lovely tone and I like very much your attempts at observing all the dynamics and tempo markings.

-There are many positive aspects to your performance – wonderful lyrical sound due to the flexible movements in your arms and hands. You have a fine sense of balance, with your left hand providing beautiful harmonic progressions in support of the soaring and elegant melodic line in the right hand. Only once in a while the last of the three-note group is being accented. Watch out for this as it is a common trap especially when you have to leap for the next note.

-On the issue of the mood of the piece, I would like you to imagine this piece a little slower, more tranquil. Chopin indicates 12/8 and not 4/4 which means that each eighth note does have its value of existence. By holding the tempo back ever so slightly, you will be able to produce most natural ebb and flow that is intrinsically part of the Chopin’s style.

-The ornaments should reflect the mood of the piece and are very much part of the melody. Your ornaments give me the impression of an afterthought, that you put them there after you have learnt the piece. Remember that trills in this nocturne are best played evenly instead of fast as speeding up the trills poses the danger of making unnecessary and undesirable crescendo.

-There are many accent marks in the score and they have either rhythmic or emotional value. Please make every attempt at playing these. Your farewell at the end is very beautiful and a great finish – well done!

No.2 Chopin: Etude in A minor, Op. 10 No.2

-What a beautiful performance – light and fluid. You truly capture all the elements that make this piece so very special – “leggiero”, evenness of the running passages, and an understanding of the beginning and ending of phrases. You possess the rare quality to shape and phrase your left hand “staccato” as well, and your performance sound very natural, with all the ease and grace.

-The only advice I can give is for you to advance to an even faster tempo and to make much more of your dynamic range. Not all “crescendos” are the same. Some create intensity, leading to ‘forte” other times there is an arch created by crescendo and diminuendo, and then there is a crescendo that is abruptly ended by a sudden “piano”. Your attention to all these would eventually result in a superb performance from you.

-Also invest some time into the discovery of different colors, generated from your emotional response to various indications in the score. In contrast to your light and sparkling touch, you could play measure 19 with a darker shade. This change at the start of the development section is important as it allows for recognition of the structure.

No.3 :Liszt: Spanish Rhapsody

-If you look at many compositions of the romantic period there are numerous examples of introduction. This section should somewhat establish the character of the piece while at the same time be absolutely free and improvised. I like your approach to this section. You have a natural uninhibited instinct, and indeed you do sound as if you are improvising. Just a little advice: try to color each harmony, make it contrasting and surprising.

-The “Folies d’Espagne” initiates a continuous set of variations on this ancient tune with a melancholy quality. The most important characteristic of all rhapsodies is contrast and you need to show this at every opportunity. Of the two themes this one is sad and perhaps grand in manner. The second one is energetic, bursting with happiness. You managed the differences in each variation extremely well. However, watch how you tackle the dynamic growth of this section. You actually reached, prematurely, a full “forte” at the “espressivo”, and then when Liszt finally puts his first “forte” at the “un poco animato” you have no room to grow. Understanding the dynamic structure in Liszt’s music is utmost essential.

-From the staccato section there is a gradual increase in tempo which is a trade mark of most Liszt’s compositions. The true art is to make this gradual increase of tempo imperceptible. Perhaps one can describe it as an increase in tension as we progress towards the final dance “Allegro animato”. You technique is wonderful and I marvel at your accuracy, but you need to surge towards the double forte. And please do not slow down, as the tempo you have reached is necessary for the success of this theme.

-The “Jota aragonesa” has simple structure of four lines, each being four measures. The beautiful melody owes a great deal to the fact that usually women dance this. You indeed make everything come to life and the vibrant, brilliant passages flow freely. What you can do much more is the contrast in all of the variations. Even though Liszt does not give dynamic directions, it is expected. In such works he normally leaves it to the creative freedom of the performer. So do take full advantage of it.

-This creative freedom is further demonstrated in the slow section prior the final summation of the Rhapsody. Again, Liszt does not provide dynamic markings but he requests that the character should be “dolce”, “grazioso”, espressivo, “cantando” - all directing us for a moment of tranquility before the ensuing storm. You need to allow yourself a little time of rest, and of course we, the listeners, also need it.

-The Finale shows what magnificent technique you possess. You only have to listen to his E-flat Concerto to understand how Liszt views this type of finales. The structure is based on the gradual intensification of both tempo and dynamic. There is a gradual increase in speed as he constantly writes “animato” and “stringendo”. And as you can see there are “crescendos”, reaching “fortississimo” only at the “molto vivace”. Hold back as much as you can, and you will find it to be much more satisfying and rewarding.

-The ending is superbly played. I like the triumphant D major section. However, you must keep to a stricter tempo, with minimum rubato, to hold the strength and the brilliance of this passage else it would weaken the structure and sound less convincing. Other than that, a great performance.

Zhang Chuhan, you have the promise of a great future. You have a natural approach to playing the piano through flexible writs and reducing the tension in your shoulders. This is elemental in many ways but seems to elude most young artists. You also listen to your sound and have the ability to control. I believe that you have with careful attention a bright future in music.

ZHANG Chuhan

This performance had a lot to recommend it, although it was a little uneven in its success, depending on the particular piece on the DVD.  Ms. Zhang is clearly a highly gifted young musician, and is committed to her art.  Her playing is heartfelt and at its best is full of passion.  She needs to feel this intense connection to all the music she undertakes to play.

Nocturne Op.9 No.2: In the opening, each melody note was given a distinct wrist/arm pulse which created a slight visual and aural heaviness and predictability.  Ms. Zhang was listening carefully and responding with sensitivity to the sound, but the long, spun-out line eluded her.

Op.10 No.2: An impressively fleet and accurate performance, but not artistically engaged. This piece can portray real magic and effervescence, especially if the pianist has as agile a technique as this one has!  Give this gem its imaginative due.

Liszt: It was in this piece that Ms. Zhang showed her abilities on every front.  It was an excellent performance, full of verve, subtlety, authority and inspiration. The sense of architecture was always clearly evident, but not at the expense of excitement, variety and inventiveness.  There was a trust in her technical acumen that made the physical difficulties disappear for the listener.  I was enthralled!

ZHENG Chuchan

Op.10/2: A good tempo and technically pretty immaculate but too much of a metronomic ticking in LH with very clipped staccatos. But still impressive and the RH was never merely mechanical, though, (at least on the recording,) it sounds somewhat too articulate and fingery and not fluid enough.

Nocturne Op.9/2: This was somewhat unyielding and prosaic playing for such a tender and melting nocturne. LH sounds somewhat plodding. There were some moments that seemed to hint at better feeling for this music, but overall it was musically somewhat disappointingly routine. By some considerably way, your most disappointing piece.

Liszt Spanish Rhapsody: This was a very good performance. She plays with flair and some real Spanish flavour and verve. Strong playing – highly accomplished with clear temperament and some wit. Impressive and fearless. It somehow seemed just to “run out of steam” in final pages.

The Liszt was one of the outstanding individual performances of any work in this competition, but the two Chopin works were so much less persuasive musically.

11 ZHANG Chuhan

A great pleasure to listen and to watch. She has such a flexible wrist that never any bad tension arrives in the shoulder. This is excellent, something basic. A very relaxed way of playing and a most natural approach. In the Nocturne she should try to discover the secrets of long phrases, of playing a real cantabile on a piano. The sound seems to be very good, but the notes of the melody are too equal, the difference between suspensions and resolutions is too small. The dynamic weight of the notes should constantly be changing in nuances. In this case it might be useful to limit the big movements of the “breathing wrist”. Violinists can inspire us with their art of phrasing, the way they use the bow. The Etude is excellent. Not only the 16ths, but also the chords and and bass notes are very consciously played, and there is nothing artificial in it. In the Spanish Rhapsody I can already hear those qualities that could help to improve the performance of the Nocturne: The authentic and characteristic phrasing, the clear profile of the phrases. Impressive facility. 

ZHANG Chuhan, female, 15

Chopin: Nocturne in E Flat Major, Op. 9, No. 2

You have expressive qualities and a good singing tone.  However, you need to be more aware of the vocal elements needed to sustain a melody on a keyboard instrument, where each note is being struck by a different finger.  Long notes require more “breath” and new harmonies must be introduced in a less casual way.  Some of the embellishments were rough, too fast, and lacking in a sense of improvisation.  You also missed opportunities for contrasting intimacy.  A nocturne should give you an opportunity to “say” something quietly as if you were telling a secret to your best friend. 

Chopin: Etude in A Minor, Op. 10, No. 2

You have enough technical mastery to look for contrast in your ascending scales the second time around.  Hearing chromatic scales without color changes is no fun.

Liszt: Spanish Rhapsody

You have an impressive command for your age and you are able to achieve some personal touches in spite of the relentless nature of this music that does not seem to stop to allow you to breathe.  I strongly advise you to supplement this one virtuoso work full of octaves and skips with more thoughtful and polyphonic music that will better develop you as a musician rather than as a good piano player.

In sum: predictable playing, not much sense of discovery.  Maybe you practice the same pieces too much for too long until you lose the meaning and musical message.

ZHANG Chuhan
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
ZHANG Chuhan
Nocturne I think a tempo could be more quiet. You have good rubato, good touch but tempo makes piece little too mechanic.
Etude good tempo. This is difficult study but even more difficult make it beautiful music. Not too loud!
Liszt As for Spanish spirit please see previous Comments.
< /FONT> The entrance was little aggressive, though good feeling. Very free difficult places, but also I would ask more connecting passages with music sense.

ZHANG Chuhan
You created a nice atmosphere for the nocturne. It flows naturally with simplicity and a good sound. A little more intensity would make it more beautiful. Also, I find that it usually helps if one can find contrasts in music. Not just contrast of dynamics, but contrasts between vertical lines and horizontal ones, between tightening and easing of the tone, and between short and long phrases. I enjoyed the etude because it has a very nice sense of phrasing in addition to clear finger work. It also has a good rhythmic pulse. It is light and pleasant. The Liszt is quite enjoyable also. It is fluid with breathes in phrasing. I specially like the brightness of your treble notes. They have a nice ring to them. Over all, a very enjoyable performance.

Contestant No.12 – ZHANG Yunling

No.1 Chopin: Etude in C minor, Op.10 No.12

-Your performance sounds very secure and the work reflects your excellent technical ability. There are many commendable things to note – the wonderful clarity of the left hand, the decisive rhythm of the right hand, the forward motion without feeling the pressure of playing faster, and of course the close attention to the dynamics of Chopin.

-Although this is a very satisfying performance you could emphasize more the contrast between the fortes and pianos, and I do not mean just loud and soft. You should consider the character and color behind the notes. And try to show, however slightly, variety between repeated passages.

-At the beginning the repeated descending pattern must be more phrased to allow for it to give the urgency of something about to happen. At the same time, as these are only an introduction, you must not play them as more important than the theme.

-Do not ignore the “hairpin” crescendos and decrescendos in the left hand, however short and small they may appear on the score. They play an important role in giving this piece its character and its incredible tumultuous atmosphere.

No.2 Chopin: Nocturne in F major, Op.15 No.1

-A very beautiful performance. You have a fine feeling for Chopin. This Nocturne reveals if the pianist has absolute control of the instrument and can keep a long cantabile line. You do have the ability and are listening in the right way, so you are well on your way to achieve these lofty ideas.

-As in the Etude, I commend you on paying close attention to the details.

-Where you could improve on is the balance between the hands. In “A” and “B” sections the sound level in both the right and left hand is far too close to each other. Make the triplet accompaniment as gentle and as soft as possible. Not only would this allow your right hand melodic line to sing more effectively, it also paints a perfect backdrop for the left hand thumb to act as a duet partner to the right hand melody. Add to this in the fifth measure the beautiful descending bass line, and when all these are balanced you have the makings for a Chopin sound.

-The key to the flexile way of playing Chopin is best heard in the first eight measures of this Nocturne. The first three measures are held back slightly by the pedal point on the tonic allowing the melody to soar above the bass. In measure 4 the bass starts to descend thus creating movement and harmonic interest – this also moves the melody forward. The fact that the bass line starts to descend, with “crescendo”, in measure 4 indicates that Chopin wants a much longer concept of line than just four measures. Harmonically, in measure 8 Chopin resolves the cadence on an E major chord – this is the leading note to F major. He wants to indicate that we must make most of this surprise when he asks for “crescendo” and “ritardando”, and sudden drop to “piano”. All these magical moments are happening in measures 7 and 8. Therefore, to reserve for this moment, do not stop at the end of measure 4 but move on.

-Be careful not to over delay the top D note in measure 20 as this “special treatment” would over shadow what comes after – meaning the next four measures. The real calling to attention is actually the “smorzando” at the end of section “A” before the storm. You must try to make everything flow and as natural as possible. Momentary inspiration must be there in the heat of performance, but this must be based on a strong understanding of the form - this perspective will guide you on how much freedom you can take within the logical artistic boundary.

-The “B” section should have some tempo relationship to section “A”. Chopin already writes “Con fuoco” which indicates clearly the character and the mood. He does not write any new tempo marking. Thus your super fast tempo here is not necessary. Moreover, your left hand descending scales need time to speak in order to carry forth the dark and scary message. Play the right hand softer and in the background, allowing the left hand to take the main role.

-Be very vigilant with dynamics in this section, Chopin places these markings in nearly every measure so it proves that he is very intense in providing information for us. Note that in the repeat, Chopin purposefully avoids “fortissimo” and further has two “crescendos” leading to sudden “piano”. All these are waves, an essential element in adding to the drama and the emotion. Unfortunately, most of these are missing in your playing.

-Your transition back to the “A” section is nicely done.

-Your ending is excellent but please do not open up the sound in the second last measure. Simply let the final phrase die away - “smorzando”.

No.3 Chopin: Scherzo No.1 in B minor, Op.20

-You give a very compelling and powerful performance, full of contrasting emotions. I like your fearless and decisive approach to this piece. Drama does not intimidate you at all. And just as important, you have the flair of a real performer, possessing the ability to make large gestures.

-Pulse: the basic construction of all Chopin’s Scherzi is the four measure phrase. The recognition of this is imperative for any performance. In this Scherzo the tempo is already set by the first two chords at the beginning, therefore you do not have the luxury of playing the chords for as long as you want - the pulse already starts with your first chord.

-I feel that you could demonstrate more the intricate details of the rhythm inside the pulse. The Scherzo is in 3/4 time but the count is one beat per measure. Inside the measure there are different groupings – for example counting in three (as in 3/4 ) or in two (as in 6/8). So from measure 78 you should feel in two, then it changes back to three from measure 94 with the accent on the first beat, then from measure 101 the accent moves to the second beat. These intricate yet exciting subtle changes add interest, and serve as the substance to drive this first section with an “agitato” feeling.

-Look carefully at all the dynamic markings as there is an abundance of information originating from Chopin. Especially important are the “sf” followed by “p” and “crescendo”. If observed this gives a marvelous feeling of ascending sweep. While in the beginning this is on a small scale, later it grows into a larger form. Following these directions will make your playing filled with spectacular colors and infinitely more interesting, and it makes the repetition worth hearing.

-In the middle section, the feeling of ebb and flow of the gentle phrases could be better executed if you observe all Chopin’s dynamic markings. Here he quotes an old Polish Christmas song which is grouped in 2 +  2 + 4 measures, shown very clearly in his dynamic indications. You must try these hairpins as they provide wonderful flexibility to the phrases. Chopin phrase markings are even clearer from measure 320 but here he builds tension through continued crescendo, again giving us the possibility of endless variety which keeps the interest throughout the work, which I feel is lacking in your interpretation.

-Coda: do not hold the second last chord too long – it is not “fermata”. Nevertheless, your performance of the virtuosic coda is very commendable and shows your ability to communicate the tragic elements of this work.

Zhang Yunling, you are a born performer! It was a pleasure to see how intensely you are involved in your performance and how you draw us into your world. All this very commendable, however, at this moment the balance favors not the making of music but the sensation of actually performing – the physical side of such activity. I am sure with hard work you can correct this, the more you know about music the more you will want to communicate it to your listeners. And I shall be hopefully one of them.

ZHANG Yunling

A solid and impressive young musician, with considerable potential.  I found the choice of repertoire not particularly conducive to showing a wide range of expressive tools, but this did not really harm her in any major way.

Op.10 No.12 was accurate and strong.  But the work is a passionate outpouring of the most noble and aristocratic kind. The sweep and grandeur of the right hand should really be magnificent in its structure and dramatic design.  I felt that this performance was almost entirely centered on the left hand.  It need much more scope and range.

Nocturne Op.15 No.1: This was a sensitive performance, with care and thoughtful attention to sound and legato.  Perhaps a more imaginative and personal concept could be encouraged.

Scherzo: This work illustrated Ms. Zhang?ˉs splendid and reliable technique in the outer sections and a careful interpretation of the middle section, if not outstanding in its inventiveness and inspiration.  She needs to experiment with sound and flexibility in her lyrical-less muscular-playing.

ZHANG Yunling

Chopin Op/10/12: Nocturne Op. 15/1 (F major); 1st Scherzo

Etude was very assured and technically strong. RH strong – sounding just a little vertical, and needing better shape, though overall there is a strong sense of energy. Diminuendo on last page could have been much better handled, both in control of touch and pedal. LH can sound too marked on each beat (Especially at start and on final page. Accents should be more musically in context.)

Nocturne was very proficient playing, but lacks sympathetic treatment of the beauty in the melody, which was somewhat stilted and syllabic. Middle section had the right sense of drive - RH somewhat too prominent. Careful but not yet really idiomatic in style.

Scherzo was technically accomplished, and played with some temperament. With so many repetitions in this piece, try to do more to give some variety - there is scope for different voicing and for variation in pedalling. (And the delay on each of the three LH starts at beginning at the return to tempo (3rd page?) was so exactly the same every time.) Less good was the B major section, which tended to have misjudged - or unaware - small stops at end of most bars. This sounded very pedestrian, lacking a sense of long phase lines. Coda rather metronomical and stilted.

As yet, a capable pianist, but not yet one with a clear identity to her music making.

ZHANG Yunling

She is a well trained young pianist. In the Etude it’s quite unusual to show Chopin’s accents so clearly, but it is acceptabel this way. Some moments are very good: When she shows an important harmony with a special energy or when she starts a phrase in a such a convincing way that we just have to follow how it continues. In general there could be more sense of drama (when we are playing fortissimo, we should exactly know why). The way she is playing the melody in the Nocturne would be perfectly right in a bigger hall, when we can listen from a certain distance. Here (in the DVD recording) we are listening from very close, maybe that’s why the single notes of the melody seems to be more “sitting” than “flying”. The sound balance in the middle section is something to think about. The right hand tremolo sonds a bit too “busy” and active, later the melodic polyphony of the longer notes in both hands could be clearer. What about the timing of the first 2 and the last 2 chords in the Scherzo? How long should the fermatas be in the beginning? I think not quite as long, because it should still be possible to feel the harmonic/melodic connection between them (the motiv sol-fa), which is important for the whole piece. And the ritenuto in the end of the piece should be “conducted”, not in a different time space.  Conducting is the best way to learn more about timing – also in the ritenuto place on the 2nd page.  I have a little different ideas about the voicing and rhythmic articulation on the 3rd and 4th page (like thumbs instead of 5th fingers, dialogues , syncopations). It’s a bad tradition to play the middle section very slowly. So I was happy th hear a reasonable tempo in this recording. It can still be less static. Sometimes it’s the perfect tempo that helps us to discover magic sounds. I suggest to try the original pedal in the bars before the middle section (breathing rests).               

ZHANG Yunlin, female, 14

Chopin: Etude in C Minor, Op. 10, No. 12

This was a “heroic” conception, very much in the spirit of the music.  Your left hand was clear and still capable of many nuances, while your pedaling was able to support the dramatic chords of the right hand while still allowing for the texture of the left hand to be heard when needed.  Brava!

Chopin: Nocturne in F Major, Op. 15, No. 1

I liked your performance because it was very vocal in conception.  There were sensible inflections and the breathing needed to make the melody “sing” in the true sense of the word. 

Chopin: Scherzo No. 1, Op. 20

The selection of this work was a better choice than the many Liszt pieces selected by other contestants as it allowed you to make interpretive and rhythmic decisions that revealed whether you are a musician or not.  You are!  Ultimately, with so many repetitions of the same material throughout this piece, you were unable to achieve enough variety to make it sound great.  The seeds are there, however. 

In sum: Your playing gave me a lot of pleasure. 

ZHANG Yunling
First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. And I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.
And many thanks for participating, and for giving me a pleasure to listen for theirs interesting interpretations.
ZHANG Yunling
Etude Very good! I would suggest to try to make more legato both in the right and left hand.
Nocturne Also very nice. Middle section for me is little too fast. Though it is technically very good, the left hand should speak.
Scherzo Very good fingers. Nice feeling. But in such a quick tempo it is not possible to intonate every notes, it is still Chopin’s melody!
And middle section you should find natural moving, tempo. Consider that you make stop every 3rd quarter of each bar and prepare next bar which is separate it, and you otherwise should connect the whole phrase.
A all the very best, you have a very good equipment to make MUSIC!
Thank you!

ZHANG Yunling
I like the energy in the Chopin etude. There is passion and intensity in the playing. You might want to be careful with the sound so it doesn’t become harsh. It can also be phrased better and sing out more. It is always prudent to watch out for the tone quality while being passionate. The nocturne is musically sensitive. However, it seems to me a little too straight. The music should reflect the passions, hopes, and dreams of a young Chopin. A little more colors and rubato would make it more interesting. The scherzo is performed very solidly and strongly. The question that remains in my mind is that whether to play this piece forcefully, and etude-like, or to play it poetically, and let the runs glitter with pearl-like colors. I believe the latter is a more interesting approach for this piece.