<p>Li Ying<br />Haydn: Sonata in E major, XVI/31<br />This is one of the most beautiful sonatas of Haydn very much appropriately written in the angelic key of E major. You are an extremely competent pianist and produce a very skilled performance. Haydn trusted that performers of his works would be familiar with rules of interpretation as he besides the tempo indication of “Moderato” did not indicate any dynamic and only a few articulation markings in his score. Allowing considerable leeway to the interpreter, Haydn requires from us a greater creative contribution to make his music come alive. This is the case with this E major Sonata. You need to find ways to shape and articulate passages especially when they are repeated, rests are often signs for breathing, often think of other instruments to color your imagination and try to find the most natural phrasing possible. At the same time one must find the appropriate way of “singing”, which in many ways imitated opera of the day. But arias in these operas clearly leaned towards the clarity of speech. You have learnt the notes well, but communicating their meaning will take you on a longer journey of discovery.</p><p>Liszt: Concert Etude “Un Sospiro”<br />It is admirable how you conquered the basic demands of this étude which is a study in crossing hands, playing a simple melody with alternating hands accompanied by extended arpeggios. Further, you control the melodic line extremely well not allowing for unnecessary accents that could occur when the hands are crossing each other at a certain speed. For me you present an overly dramatic picture. Liszt during his lifetime only mentioned this work as study in D-flat, but somehow the subtitle “Un Sospiro” was attached – the meaning in Italian is "a sigh”.  The simple melody is presented in different ways and you should explore the changing colors, often more impressionistic than just romantic, due to these variations. There is only one climax immediately after the theme is presented twice and the coda should move the ending into the distance. Try to revise your thoughts guided by the concept of the study, to make the arpeggios light and even, while shaping the ascending melody in a varied way. Of course there are numerous romantic moments that you can take advantage of and make it quite personal.</p><p>Albéniz: “Triana” from Iberia<br />Your program continues with a remarkable flow from Liszt to Albéniz. Iberia, after all, is a synthesis of several music styles, including the sophisticated compositional techniques that Albéniz learned in Paris, and the virtuosic piano writing he inherited from Liszt. “Triana” is the third piece of the second book of this monumental work that draws inspiration from Andalusian folk music achieving a stylization of Spanish traditional idioms. You have a wonderful flair for this music, you give an appealing impression of spontaneous improvisation. “Triana” is named after the famous Gypsy quarter of Seville and you seem to transport us into that atmosphere from the first note. There are two principle themes, the first is a two step dance the second is in triple meter in which Albéniz imitates the sound of castanets and heelwork of the dancers.  You have a natural ability of bringing all the elements of a strong “nationalistic” performance with some tender moments of reflection. I especially liked your treatment of the difficult passages when the two principal themes are brilliantly transformed and contrapuntally combined.  You really produced a wonderful performance.</p><p>Li Ying, you are a very talented pianist and have a natural way of playing the instrument. I wish you well for the future which should be very bright for you in the world of music.</p>