<p>Zhang Siying<br />The Mozart D major Sonata had spaciousness and warm lyricism in the melodic part.  However even more refinement, creativity and delicacy is possible in the lower parts.  The left hand figurations needed more delicacy and refinement throughout, and could be tackled with much more imagination and creativity.  Musical and accomplished playing nonetheless. <br />Mendelssohn’s Andante showed intensity and lyricism but did not stray from the constraints of the style in terms of dynamics and texture.  The rubato was imaginative, but could be a little more natural and more under-stated now.  Try for a little more subtlety. <br />The Rondo Capriccioso had delicacy and an excellent tempo which was fluent and exciting yet still managed to allow the music time to breathe.   There is still room and scope for lighter sounds, however, and also for more shading within the given dynamic range.  At times there was a need for more natural and effortless rubato in the phrasing.  Before the E major arpeggios the ritardandos sounded artificial and unconvincing.  Overall an exciting and idiomatic performance.<br />‘Gnomenreigen’ was played with fluency and character.  Pedalling was a little too heavy throughout which made articulation just a little less clear than it might have been. Overall it could have been a fraction faster and even lighter too.  There is room for even more subtlety and variety of sound within the given parameters set out on the score.  Try to sound as though you are composing as you play, so that there is always a sense of discovery and surprise in the dynamic range.   The climax became a little too solid and heavy, lacking real leggiero and a sense of transparency.  This is music that should always sound air born and free.  Extremely impressive playing overall, with some welcome natural and innate features that go well beyond what it is possible to teach.</p>