<p>Wang Yiqun<br />Haydn: Sonata in D major, Hob.XVI/24<br />This very special sonata, dedicated to Nikolaus Esterházy with three contrasting movements is unfortunately seldom performed. Your performance of the first movement has freshness and energy. I very much like your tempo that has a natural sweep of the whole movement. But there is something missing; Haydn relied considerably on the performer’s personal creative talent and he trusted that players would understand the style as well as the spirit of his compositions. In most “urtext” editions of this sonata there are no dynamic or articulation marks, but this means an invitation for your creative ideas. Generally sonatas written in the major key lend themselves to more dramatic contrasting sections in the minor keys and wonderfully adventurous modulations. You should make your phrasing clearer like sentences in conversations and explore the wonderful way for rhythmic variety Haydn changes often to 6/8 from ? or uses hemiola. <br />While you have a wonderful sound for Haydn you should try to make it more interesting, surprising and ultimately personal.</p><p>Liszt: Concert Etude “La Leggierezza”<br />There are many good points to your performance of this étude. Based on a single melodic idea, <br />you make it sound like a continuous improvisation. The initial cadenza like introduction is paced well and moves well into the theme which is later becomes more and more polyphonic in nature. This Liszt work is quite close in spirit and atmosphere to some of Chopin’s Impromptus and at times you could make it lighter and transparent as suggested by the title “lightness”. The two climaxes are well balanced and show your understanding of the work’s structure. Another way you could improve your performance is to aim for simplicity, at times you are exaggerate the melodic contour. However you control extremely well the left hand melodic line with the right hand double thirds and in fact after that your performance improves significantly. The work’s conclusion is well performed with sincere elegance and suitable effortlessness.  </p><p>Brahms: Scherzo in E-flat minor, Op.4<br />Excellent choice of repertoire for you, this is a very effective concert work, full of youthful energy and contrasts. The basic structure of two intervening Trios in E-flat major and B major, leading from and to the main Scherzo theme. I am sure you also realize how much this resembles the Scherzo No.2 in B-flat minor, Op.31 of Chopin. <br />Your best effort is in the main scherzo section where your strength and vitality clearly shows. Perhaps feeling the long lines would extend the phrases, stretching Brahms is always the best approach. Your sound could also be deeper, try to stay in the piano and move downwards instead of upwards. But on the whole, your approach of this section was satisfying. Less so the two Trios; in the first trio use the rests for breathing, yet make longer phrases, make an effort to show the difference between “espressivo”, “dolce” and “teneramente”, obviously Brahms tried to convey different sounds and expression. The second trio needs more attention from you regarding balance between accompanying left hand and melodic right hand. Again try to spin longer phrases and while here Brahms wants forte, this cannot be the same as the “forte” of the main theme. Lastly be careful of the rhythm at cadences, the eighth notes are played too fast. </p><p>Wang Yiqun, you are very talented and already performing in a serious manner. I like many things you already accomplish, your sound and understanding of styles are excellent for your age. Keep improving and learn a great deal of repertoire.</p>