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