<p>Xie Tianjian<br />Haydn’s ‘English’ Sonata was played with rhythmic focus and secure fingers. Overall it was a little too unyielding and uncompromising today.  There was a need for much more charm, spaciousness, humour, variety of texture and delicacy.  Accents tended to be over-projected.  There are more possibilities with the left hand part here- try for real variety of sound and also for less heaviness in the louder passages. The music needed to breathe a lot more within the (correctly sustained) rhythmic pulse.  <br />Liszt’s ‘La leggierezza’ was also impressively secure and well ordered- especially from a technical-mechanical perspective.  The sound overall needs to be more delicate and enticing.  At present the tone was very full at times- too full- and consequently the etude emerged in rather a common place manner rather than as the extraordinary extended whisper that it is.  Much more variety of colour and subtlety at a quieter dynamic level would be most welcome now in order to raise the overall quality of the interpretation<br />Chopin’s fourth scherzo showed an excellent sense of structure and also admirable finger work to a most impressive level.  There is so much more to discover now in terms of colour and magical articulation.  Moving forward by approaching the passagework with a much quieter overall dynamic level would be extremely helpful.   The central section needed more natural and effortless phrasing with less accentuation on individual melodic notes and more care for the overall and seamless melodic line as it unfolds in its never-ending journey.  Many beautiful colours nonetheless.  The return of the opening section- final third of the work- became a little less refined. It is important to retain the poetic lyricism of this unique scherzo from beginning to end.  Retaining the delicacy and refinement without becoming driven is essential. </p>