<p>An Tianxu<br />Tchaikovsky – Dumka, Op.59<br />The source of Tchaikovsky’s inspiration for this work was his solitary residence in the countryside far north of Moscow – he wrote: “"I love our Russian countryside more than any other, and for me the Russian landscape in winter has an incomparable charm…”<br />The dumka, a narrative Slavic folk song tests the ability of any performer to move abruptly from melancholy to excitement. I like your performance as you have the ability to communicate this contrast. At the same time your tone and pacing of the opening section is very good, indeed your opening chords establish an immediate mood of sadness and solitude. Also when these chords return, you are wonderful in capturing the mood (be careful of the rhythm in the second last measure, they are eighth notes). The high spirits of the middle section could be more colorful and while you keep advisedly the same tempo, within the pulse there are numerous possibilities of rhythmic variations. The excitement should continue even though the tempo slows slightly in “Poco meno mosso”, through the cadenza and the following “Andante” which is the ultimate climax of the work. Have this larger vision next time you perform this masterpiece.</p><p>Haydn: Sonata in C minor, Hob.XVI/20<br />This Haydn Sonata is a wonderful choice to follow the Tchaikovsky as in a way it has similar somber, melancholy mood. Works in the minor keys are fairly rare in the Classical period and Haydn displays deeper feelings and emotions in these keys. Your playing is very competent and you are successful in finding the volume of sound that is more suitable Classical style. My advice is for you explore carefully the variety of articulation which allows Haydn’s sonatas to speak clearly and rhythmically. Observe the different colors produced by the movement through the keys. For example at the beginning of the Development Section the music moves from E-flat major to F minor to A-flat major ending in D-flat major. Surprises are important in Haydn’s sonatas – in this section he speeds up the momentum then suddenly stops and quickly returns to the main subject. As you learn more and more Classical works try to find a deeper understanding within the music without imposing your personal feelings.</p><p>Liszt: Concert Etude “Gnomenreigen”<br />Your performance is very impressive and shows your technical ability. You have the necessary light touch, a wonderful sense for the rhythmic pulse throughout the work. Most etudes are constructed by way of repetition and here too, Liszt builds the work on two contrasting sections. Notice how the colors change when the material is repeated in a different key – the 9/8 section at first is in A major and next time in B-flat major. Further, performance tradition dictates that there is a gradually quickening of tempo as Liszt markings of “sempre presto” and “vivacissimo” and “il piu Presto possible” demand. In most of Liszt’s works, much depends on the performer to communicate in a more personal way, I suggest that you make your performance more convincing by playing the initial section slower and gradually accelerate towards the end.</p><p>An Tinaxu, you have a natural ability to play the piano. Keep up your excellent work, while at the same time study the scores carefully and try to find ways to get to the heart of what the composers want to communicate.</p>