<p>Wong Wai Yuen<br />Alert energy and extrovert intensity were immediately evident in the early Haydn E flat sonata movement.  Accents throughout were rather unsubtle and often misplaced.  Overall the articulation tended to be too heavy neededmore tonalvariety and application with the musical context more firmly in mind.   The left hand part needed more sensitivity andcare Overall poetry and cantabile was a little too direct and forward- with a little more reserve and wistful creativity to offset the energetic passages in the movement the whole performance will rise in stature.</p><p>Liszt’s ‘La Leggierezza’ showed admirable confidence and assertive power, but rather missed the point.  This is wistful, delicate and extraordinarily refined music that requires much more lightness and finesse than was evident here.  It is essential to eliminate all the accents.  At all dynamic levels it is vital to create a music that floats above the earth that does not ‘shout’ at the listener, but rather weaves a quasi celestial web of magically delicate sounds.</p><p>Ginastera’s punchy, percussive style showed much more authority and conviction here.  Excellent articulation and rhythmic vibrancy.  The quieter passages could have been even more enticing and spellbinding- an even quieter level would be possible.  In the second dance a more daringly slow tempo could have been adopted for even more expressive conviction.  The rubato was a little contrived and lacking in natural grace, though there was no doubting the impressive craftsmanship of the performance. The final had to be admired for the extraordinary velocity.  Very impressive on a mechanical level, but the character and projection of the phrasing and articulation was underplayed because of the sheer speed adopted.  Even the contrasts of dynamics were rather lost in the overall sweep and momentum.  Excitement and energetic abandon aplenty certainly.</p>