<p>PAN Yumeng</p><p>A very musical young pianist, everything sounds authentic. Her fingers are well connected to her soul and her imagination.<br />This Chopin Nocturne is a good a choice for her. Flexible timing of the melody, already a good sense for rubato in this piece. </p><p>In the Etude we can hear the difference between the variations very clearly, one of the challenges of this piece. <br />The sound seems to be a little too early too intense, especially in the “cello part” and the last part. Chopin wrote forte just in very few places. The idea of a cello can really help us:  There is a bow and there are strings, no action would be vertical in any way. We want to hear a beautiful legato and cantabile, a continuously developing sound.</p><p>The leggiero and the leggierissimo accompaniments should give space for the melodies. A bit more dancing scherzando would certainly be possible. </p><p>In the 3 bars before the middle section there should be only one fermata between the last 3 chords (the 2nd and the 3rd).</p><p>In the Liszt Rhapsody it’s always interesting to listen to her, never boring. She is playing with a warm heart, with courage and temperament. But I would like to advise that she should work on basing any expression on an even higher pianistic culture and general musical responsibility. Especially in the field of rhythm she is too free. There are several rubati in her performance that can’t be conducted (one of my criteria for a good rubato). I noticed that especially dotted rhythms are sometimes “suffering”.</p>