<p>Wu Junlin<br />Haydn: Sonata in E major, HOB.XVI/31<br />Your performance is very spirited and is full of enthusiasm. Indeed your playing has many wonderful characteristics. I like the immediate drama of the C-sharp minor in the development section, the clarity of your scales and triplet figure whether melodic or accompanying. At times you manage well the cadences that are so important in the classical style. However, you consistently make the second note of the first subject a staccato thus the melodic line of B-A-G#-F#-E is broken – it is important to note that in the classical period such a descending line was automatically interpreted with a diminuendo. At times you also break up the phrase for a momentary “romanticism” – this in itself is acceptable but allowing the phrases their natural progression should be your goal. Lastly make an effort to react to keys, for example the first subject ends with a strong conclusion in E major, then without any transition the second subject appears in C-sharp minor; you really need to make a big character difference and chose a more contrasting somber color.</p><p>Liszt: Concert Etude “La Leggierezza”<br />You have an extremely good technique and I am sure you have the ability to tackle most of the piano repertoire. But technique is only a tool and understanding of the piece and utilizing the technique is of the absolute importance. The word “La Leggierezza” means “Lightness”, and a careful study of the score will inform you that only in two places does the music rise to the passionate loud dynamics. The word that you should have in your mind is “elegance” when interpreting this work, quite close to the atmosphere that Chopin creates in his Impromptus. By slowing down so many times, you stop the flow of the music and the natural progression that is the basis of this composition – the simple melody is varied constantly by added voices and ornamentation. You do manage to produce wonderful light sounds at times and it is a joy to hear these moments. The improvisatory nature of the introduction which starts softly should also be at the end of the work, making it sound as if you concluding with a reference to the beginning. Do try to revise your ideas as this could be a very beautiful piece for you.</p><p>Prokofiev: Sonata No.3 in A minor, Op.28<br />Written in 1917, this Sonata is a dramatic departure from the humorous, sarcastic mood of the Second Sonata. The work is in one movement form, utilized by many composers including Liszt, using three distinct thematic ideas with distinct sections of exposition, development, recapitulation and coda. While everyone agrees that it is one of the most brilliant, virtuosic works of Prokofiev, it is also full of lyricism and contrasts. One only has to look carefully the dynamic indications to bring to life all the varied colors that any successful performance of this Sonata requires. Although, I prefer the tempo a little on the slower side, it is in the area of dynamic discipline that your performance falls considerably short. It seems to me that you base your performance on the virtuoso character, while the fast tempo could be exhilarating, if it does not embrace all the details, the numerous secondary melodies and rhythmic motives the whole effect is not satisfying. My initial suggestion for you is to make sure that all the dynamic markings are exactly observed, this would immediately lift you performance on a higher level.<br /> <br />Wu Junlin, you have selected excellent repertoire and have considerable technique to deal with its difficulties. I sense also that you are talented and have a genuine personal way to communicate your ideas. But you need to understand that we, performers and teachers are but messengers of the great composers, we need to primarily serve their wishes. </p>