<p>YANG Shiyu</p><p>Yang Shiyu is able to play the Etude quite easily. How to reach the next higher level? To my ears the performance sounds a bit too “physical” and could be more detailed. Some examples:  The echo in the beginning, the charming accent in bar 4 (left hand), the transition from bar 8 to 9 (timing without stopping), the accent in bar 18 (important for the phrasing), the long pedal also in bars 38/39, not such a big extra ritardando before bar 49, the rhythmic control of the triplets in bar 65 after the rubato on the first beat, a little faster octaves at the end (?). </p><p>My comment to the Nocturne would be similar. Everything is absolutely sympathetic , but could be more refined. Already the first 3 notes should be 3 different sounds (for rhythmic and harmonic reasons, and see the difference in bar 9!). Like in Mozart’s music the expression can change quite surprisingly. So, we have to be spontaneous. A dolcissimo is a reaction to an espressivo. The middle section more sotto voce in the beginning, we have to create an expectation before showing anything concrete.<br /> <br />In the Ginastera dances I hear a few rhythmic surprises. In the first dance I can’t accept any rubato besides the written ritardandos.<br />Also the rubato in the second piece is too obvious for me and too often the same (I mean the first and third bar of the melodic phrases). Here the last note is many times so late that I start to feel an extra beat in these bars (a seventh beat) or a dotted rhythm in the melody instead of 2 simple syncopations.</p>