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