<p>Contestant No.1 - GU Jingdan</p><p>No.1 Chopin: Nocturne in C-sharp minor, Op.27 No.1</p><p>-Excellent performance of this very difficult work. You display lots of good qualities especially a wonderful ability of maintaining a long singing line in a slow tempo. This means that you are intensely listening to your sounds. </p><p>-The contrast between sections could be even more defined and striking.</p><p>-In section “A” you should strive for evenness of the left hand accompaniment, avoiding unnecessary quick moments or sudden jolts of loud dynamics. This evenness is essential in providing the haunting atmosphere of this nocturne.</p><p>In measure 20 make more distinction of the two voices in the right hand by using not only dynamic differences but also in character.</p><p>-In measure 26 the “ritenuto” is for 3 measures and should be more consistent in order to build up tension and expectation. You play slower and then play faster and slower again. </p><p>-The middle section has a long continuous crescendo – use the bass line as a guide while voicing the right hand</p><p>-Make more characterization in measure 45 “appassionato” and in measure 49 “sostenuto”. In fact, the wide leaps in the left hand and the full legato sound of the right hand demand an expansion on the tempo.</p><p>-From measure 65 the full harmonic writing demands careful use of tempo and balance of hands. Make sure you accelerate only from measure 78 and not before. </p><p>-After all the tension leading up to it, the “con forza” character together with its drama is unfortunately missing in your cadenza. </p><p>-Your approach to the C-sharp major change toward the end is nicely and sensitively done. </p><p>-Please observe the “Adagio” in the last three measures, which should be slower and more deliberate, allowing the natural timing of the release of the f-sharp in the right hand to the E-sharp as a conclusion.</p><p>No.2 Chopin: Etude in F major, Op.10 No.8</p><p>-Again an excellent performance, if somewhat “measured” in tempo. I like very much you treatment of the left hand as a source for melodic character while the clarity of your right hand runs is very commendable. </p><p>-You should be more aware of the structure of A A B A Coda. Understanding the form would allow you to make some difference when you repeat the A section.</p><p>-Notice the accents that Chopin places on every beat. It means that he wants groups of four notes pulsing and consistently moving forward, generating a sense of direction.</p><p>-Strive for the climax in measure 71 which is usually reserved for just before the coda in most of his etudes.</p><p>-The polar opposite of this climax is the PP in measure 57 which is prepared by “diminuendo” and “poco rallentando” - this part was the least successful of your performance.</p><p>-Your slowing down right before the cascading final seven measures does not work if you also wish to slow down and make a diminuendo at the very end. You have to make a decision and choose only one.</p><p>No.3 Chopin: Polonaise, Op.44</p><p>-This is a wonderful, powerful performance. You have given serious thoughts to the work and have created a personal statement. There are numerous positive reactions to your playing from the strong sense of pulse to the clarity of the melodic line. I enjoyed your interpretation of the middle section which due to its constant repetition can become tedious. And the ending was successfully brought to a final conclusion with a careful diminuendo and long melodic line.</p><p>-The main problem is your use of the pedal. While I do admire your strong sense of phrasing in the right hand, the overall effect is not of an energetic, rhythmic dance but of a rather blurred and lethargic background that is due to your lack of careful consideration of the pedal. I would advise you to make an effort to see if the pedal markings of Chopin can be used faithfully. Of course his piano was quite different from the instrument we are performing today, but it does give us some indication what he wanted. Further, the study of pedaling must be combined with the volume of the left hand together with the articulation used.</p><p>-Aim at bringing out the famous “polonaise rhythm” more clearly and with a sense of purpose and pride.</p><p>-Chopin’s use of repetition is based on the notion that we would make slight but important changes in sound and timing, and not just try to do the same thing every time. </p><p>-Your octave passages are rather vertical and it lacks a sense of flow.</p><p>-The middle section with its relentlessly repetitious pattern should be played with more crispiness, making a good contrast from the 1st section. One caution: you must revise the pattern to adhere to the basic rhythmic pulse in - the first beat should be more important and not the second beat. Also try the pedal marking of Chopin here, and keep the staccato eighth notes dry and clear of any overtones.</p><p>-For me the mazurka in the beautiful key of A major was slightly too “direct” and “present”. Its gentle nature requires such rubato and timing that give a sense of timelessness, while maintaining the subtle characteristic of a mazurka. This would create a sharp contrast to the other sections, where the forward motion is relentless and constant. </p><p>In general you are a very impressive performer. Your preparation and presentation is on a very high level. I sense that you and your teacher are working hard to search for solutions based on the score and that you are sincere and honest in your effort. I truly enjoyed your performance that has many strong positive qualities. I wish you well in all your endeavors.</p>