<p>Feng Wentao <br />Schubert: Sonata in A major, D.664 - Op.120 (Allegro moderato) (17:25) <br />I congratulate you for the attempt and for including this Sonata in your repertoire. Schubert is often neglected and there is much that can be gained by the intense study of this remarkable composer. An important aspect of piano playing is cantabile – as early as 1720, Bach requested the study of cantabile in the introduction of his Two Part Inventions. Schubert’s cantabile not only depends on legato but also on the understanding of his songs and how breathing influences phrasings. At the moment this escapes you. Your interpretation is also hindered by the monotone and overpowering left hand accompaniment. The dynamic range of this movement is between “ppp” and “f” which should immediately give you the atmosphere that Schubert had in mind. Your performance is rather monochromatic; you need to explore more and more colors that Schubert produces through the direction of his melodies, his chord structures and of equal importance the use of modulations and keys. <br />While I find natural fluctuation of tempos extremely useful and stylistically pleasing in Schubert, extremes are not advisable – for example the sudden tempo change of the octaves in the development section results in limiting the dramatic moment while the extreme slow tempo of the following 2nd subject made the resolution and indeed important balance between tension and relaxation totally unsuccessful.<br />Debussy: “Reflets dans l'eau” from Image (Book 1) (22:36)<br />Although Debussy vehemently objected that his music was labeled “impressionistic”, water was a very important common theme for him and the Impressionist painters during his lifetime. Reflets dans l’eau is a perfect example of the master’s image of water, in particular, light reflecting off its surface. The music is full of ambiguous and fast changing harmonies, use of several brief melody statements and climaxes that are more glimpses rather than full ideas. As performers one of our main challenges is to accept the notion that Debussy felt the necessity of breaking away from the strong German Romantic movement. His use of ritardando or au Mouvement (often written in French) is quite different from the emotionally charged use of these indications by the romantics. Debussy is much more subtle and full of gradual changes. In many ways it has to be completely natural. Your water often stops or gives an erratic feeling (not natural). Look at the text, it is full of legato markings evoking a picture of calm and tranquility. Your performance has many note mistakes, it is hard to tell if you have learnt them or they are the product of the moment. The Coda (Lent) is totally miscounted, some measures have two notes others have triplets within the basic 2/4. In the last four measures the rests are eight-note long, you cannot take just as much time as you wish, Debussy had different ideas.<br />Chopin: Ballade No.4 in F minor, Op.52  (28:11)<br />You have a closer affinity to romantic music than to the other repertoire you performed. There are many good things in your playing. The natural flow of the theme, the clarity of your counterpoint (often too clean and domineering), a good understanding of the sections as the work progresses towards its final conclusion. Although there are several technical problems to be solved, you are well on the way to many successful performances.<br />A few comments are necessary and hopefully they are of some value. By the Fourth Ballade, Chopin has developed the art of variation to its highest level. His subtle variations everywhere makes the piece sound like a spontaneous improvisation. Probably improvisation was the initial impulse of this work. You need to develop this be as natural as possible. Make the introductory seven measures as a long upbeat  resolving to the theme. As you move from F minor to A-flat major in the theme, change colors. The first “PP” in measure 38 should be magical and sing it with your left hand. The section after the “Sicilian” segment should be more natural, do not use excessive tempo changes, it is not necessary as allowing the music to move is much more pleasing. Just before the cadenza, there is a modulation that could be the most beautiful in our piano repertoire – from A major to C-sharp major and back to A major within 6 measures. The passages moving towards the Coda should be more flowing, use more legato and carful pedal and please count the number of beats Chopin waits before embarking on the Coda. It is utterly perfect in its intensions. This Ballade is the essence of beauty, keep working on it, it takes a lifetime of study and a lifetime of experience to perform such an inspired creation of Chopin.<br />General Observation: <br />I like very much that you do not shy away from performing extremely difficult repertoire. At this stage in your life you need to learn as many pieces in different styles as possible. You need to be more careful in covering the fundamentals of music, rhythm, correct notes and to observe the indications of the composer. There is no substitute for the discipline in doing all these and only after when you have conquered them you can infuse your ideas and feelings. I feel confident that you will be able to do so.</p>