<p>Contestant No.2 – JI Yusen</p><p>No.1 Chopin: Etude in C major, Op.10 No.1</p><p>-I commend you for your technical ability. However, the difficulty of this Etude, which is often misunderstood, is not how fast and accurately one plays it but to portray a certain magical heroic vision through a magnificent gesture. It must not sound like an exercise but a progression of sweeping sounds that move through irreversible barriers. </p><p>-Listen carefully to your left hand octaves so that there is a balanced and supporting relationship between the left hand bass and the right hand arpeggios.</p><p>-Be more aware and sensitive of the structure especially when the “B” section starts (measure 25) and the return of section “A” (measure 49)  </p><p>No.2 Chopin: Nocturne in B-flat minor, Op.9 No.1</p><p>-Basically you have the making of a successful performance. I highly recommend that you also listen to other compositions of Chopin in the same key of B-flat minor to understand the special color and feeling that this great composer had for this key. The character should be much more brooding and often enigmatic. Its inspiration is totally dependent on the “bel canto” (beautiful singing) operas favored by Chopin. </p><p>-You should strive for greater flexibility. The melodic writing depends much on the rise and fall of the line. In the first phrase observe the forward movement of the three repeated notes (measure 1) while the last four notes ease off the momentum – thus these markings are not merely crescendo/diminuendo.</p><p>-Try to work harder in obtaining a more sinuous sound based on total legato and evenness in the left hand. Do not stop at the end of measure just because there is a bigger interval where your hand has to leap. This often results in disrupting the fluid quality of this nocturne.</p><p>-Find the freedom of the “melismatic” passages that are written in groups of 22, 11, 18, 7 and 20 notes above established bass figure</p><p>-Try to observe and understand the meaning and the function of accents placed in various places by the composer. Make an effort to resolve these when necessary (measure 15 and 16) from the “D-flat” to the “C” </p><p>-The middle section is particularly problematic as it is based on repetition. That, when repeated without any creative involvement, can become rather tedious and monotonous.</p><p>-You must change colors through voicing as well as using enterprising “agogy” to allow the music to keep our attention. The most problematic example of this in measures 23 to 25 where the “rallentando” continues for three measures. Building up intensity is essentially the reason for the melodic resolution that follows.   </p><p>No.3 Debussy: Pour le Piano</p><p>I.  Prelude: </p><p>-It is always best to look closely at the indications given by composers. “Anim?#8221; should be translated as lively, vigorous, perhaps excited, but never panic and or in haste. Furthermore, Debussy adds ”very rhythmically” which clearly demands attention to the three beats in every measure. </p><p>-I find your playing of this piece rather crude, lacking the finesse and beauty that is the hallmark of this French composer. You would be advised to try to play more horizontally and reduce your attack of the keyboard</p><p>-There are wide contrasting passages in this movement from the fast sixteen notes to the repeated chords. Articulation is extremely important as this gives the necessary variety and brings the “anim?#8221; to life.</p><p>-Constant care should be taken in how you group the continuous sixteen notes as well as the clear dynamic indications. Debussy always insists that performers follow his instructions. </p><p>-Measure 6 is the first clear suggestion for a longer pedal which then becomes even longer in measure 8. To accomplish this effect, you need to be aware of the transparency of the right hand with the slight melodic line in the left hand. You should notice in these long pedaled passages that there are no accents. There is a need for careful balance between the melody and harmonic accompaniment </p><p>-Voice carefully the chordal passages that mark the climax, do not just play them without some effort to make a special sound.</p><p>-The final six measures are not only harmonic but also some hint of melodic writing.</p><p>II. Sarabande:</p><p>-The reason why this movement is called the “sarabande” is because Debussy wants to emulate the rhythm that is specifically associated with the dance. The emphasis is always on the second beat while the third beat often flows to the next measure, thus giving a combination of the feeling of sustaining and then moving forward. It is important to note that flexibility is essential yet a strong sense of the dance must be constant. </p><p>-I did not hear in your performance the “sarabande” characteristic. Furthermore, it is unacceptable that you do not make sufficient effort to observe and follow Debussy’s instructions. He indicates a “solemn elegance” performed slowly. Your playing had a lot of momentary increase in tempos with a great deal of fluctuation in dynamics. This is not the kind of “romantic” interpretation that Debussy would welcome. </p><p>-A few times, however, you do produce some beautiful chordal sounds. Therefore I strongly urge you to make every effort to apply this throughout the movement. French music is all about control, controlling in sound, tempo, dynamics, and articulation. And all these elements strive for an unmistakable unification within each movement.</p><p>III. Toccata</p><p>-As you probably already know, “toccata” comes from the word “toccare” which means “to touch”. Debussy calls this light and often changing work “toccata” precisely because it requires multitude of fantastic touches resulting in a rainbow of colors. This rainbow is seriously lacking in your playing as a result of your very fast and hurried tempo. There is no opportunity for nuances, for variety and, most importantly, stylistically required beautiful and elegant sounds.</p><p>Ji Yusen, you have already a strong and solid technical foundation. I would advise that you put this in the background and use your artistic and imaginative ability to make music. A performer’s main task is to communicate to the audience the human feelings behind the notes. This should be your priority from now on. I believe that, with great deal of dedicated hard work and a constant critical set of ears, you would be able achieve this difficult task.</p>