<p>Zhang Ruixue<br />Beethoven: Sonata No.18 in E-flat major, Op.31 No.3 (Allegro) (17:45)<br />This Sonata is extremely popular with young pianists, but I often wonder would it be so if only they knew how difficult it can be. You make a valiant effort, play all the right notes and most of the time you adhere to Beethoven’s indications. But this is not good enough and you must get better. This sonata, especially the first movement is quite deceptive. It needs a special sense of humor and huge contrasts in character between thematic motives. The tempo must be established in the first two measures. Unfortunately you foreshadow the ritardando already in the second measure which sound like a lazy relative of the first measure. The passage in measure 8 appears three times and only in the Coda does Beethoven indicate a crescendo. In fact not having a crescendo here increases the humor of the first subject. The modulatory unison passage in staccato should not be so harsh and martial, perhaps you could draw a dance out of it and make the contours that skirt different harmonies more interesting.  The second subject should be a celebration that finally we have a “real” melody. Even the melody feels the overwhelming happiness and burst forth into a cadenza-like bubbly passage before singing it again with even more joy. In the next subject Beethoven utilizes the resolution of discord (highlighted by ornament) and making us feel the power of tension and resolution before progressing towards the more melancholic Codetta. You should make more of the surprises of the Development Section not only the first 12 measure, but also how the Recapitulation is approached and suddenly reached. I hope in time you will not only feel all these wonderful nuances behind the notes but also transmit them to your listeners. You certainly have the ability to do so.<br />Debussy: Prélude: “Bruyères”, Book II (23:56)<br />You understand and feel this work much better than the Beethoven Sonata. Bruyères means heaths, one of the fascinations of Debussy with nature and in particular the English landscape. You have great command of the technical demands of the piece especially the balance between melodic passages and accompanying harmonies. You manage to depict the sun peeking through thick clouds for a short moment and the small brilliant flowers undulating in the slight breeze. The only negative moment for me was the non-legato and in a way unmusical playing of the sixteenth notes in measures 22 to 26. But the rest was simply beautiful. <br />Ravel: “Scarbo” from Gaspard de la nuit (27:20)<br />Scarbo is a little fiend or goblin, moving fast, disappearing and reappearing, frightening us and totally unpredictable. Ravel music is a perfect illustration of Aloysius Bertrand’s poem. The whole movement must create a nightmarish scene of hitting and scratching wall, flying in and out of the darkness, casting a growing shadow in the moonlight and relentlessly terrifying. I admire your technical ability, your playing is absolutely clean and your use of the pedal with care. Your colors and rich sounds are also fabulous and you bring out the climaxes to their natural apex. A wonderful performance indeed. However, I found myself asking the simple question “am I frightened, is there a mischievous ghost here? And I must say, “no” – you make the music nice and easy to listen, you prepare your contrasts, there is no feeling of relentlessness as you often slow down and there are no real surprises. For you the first step should be to play the whole movement in one tempo and then select a few places to allow the stop to create a surprise. Next, measure the what level you can want to play “ppp” and “pp” and “p” making each dynamic change a clear step and when Ravel demands this use it step by step. I am certain your interpretation will change in time, and that you have a real possibility of making this one of your signature pieces in the future.<br />General Observation:<br />You have already reached a very high level both musically and technically. Open you mind and read a great deal and make an effort to hear a lots of music in particular opera and orchestral compositions. I am sure you will have a wonderful career in music.</p>