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