<p>Wang Xiaoxoia<br />Liszt: Concert Etude “Gnomenreigen”<br />Although written quite late in Liszt’s life, this 1862 work reflect back to the “Feux follets” published in the études d'exécution transcendante. The display of gnomes frolicking and the suggestion of spirited flights through darting playfulness make this work so very special. Your performance never leaves the ground and has a tendency to be heavy most of the time. You do not help matters with your constant accentuation of the beats and the heaviness of the appoggiaturas. Being an étude, it demands a great deal of technical ability and you seem to be struggling especially when Liszt demands an increase in tempo. In general after the repeat of the two contrasting sections, the tempo has to continually be quickened and leading to the climax when the only time you should reach a full but still fluid sound. </p><p>Mozart: Sonata in F major, KV 332<br />A principal compositional idea of the classical style was to find thematic materials that are of contrasting nature yet maintain the same tempo of a movement. Tempo was needed to unify while the themes were of contrasting nature. This movement is full of virtuosic elements with scales and arpeggios while the second subject totally resembles an operatic aria displaying strong human melancholic emotions. When Mozart writes in the major key, his development sections are usually quite adventurous and he travels to distant keys. These sonorities are so special in this sonata culminating in a melody resembling the second subject but placing it in ? in the right hand and 6/8 in the left hand. You constantly change tempos, often doubling the values of notes thus distorting the flow that is the essence of this finale. Revise your thoughts as you have quite nice sound and could produce a very satisfying ending to this great work. </p><p>Chopin: Polonaise in D minor, Op.70 No.1<br />Although it was published as Op.70, this rarely performed Polonaise is really an early work of Chopin. Probably written when he was still in Poland in 1827, the key to this work is the understanding of his other compositions like the Rondo Op.1 or the Variations brillantes, B-flat major, Op.12. The general aesthetic at the time was not particularly deep or profound — it was more about varied and pretty effects, called “style brillant”. By constantly changing tempos and using extreme “ritardandos” you make this music heavy, lacking delicacy and humor. Simplicity is the key with lots of variety of articulation, dynamic contrast and beautiful left hand accompaniment that supports and makes the music dance. If possible learn some of the early works of Chopin and gain from such experience and then come back and revise your ideas on this jewel of a piece.</p><p>Wang Xiaoxoia, you are obviously an excellent student who is working very hard and conscientiously to improve. My main suggestion for you is to hear as much music, not only piano, but opera, symphonies, ballet, songs and chamber music to expand your knowledge. You will always play the piano well, but you need to make a strong effort to communicate the music in a manner that is consistent with our traditional view of historical style.</p>