<p>Zhang Siying<br />Mozart: Sonata in D major, KV 311<br />This is a very enthusiastic and energetic performance. The Sonata was written when Mozart was 22 years old for his first visit to Mannheim, a very important music center of the period. It is very orchestral in nature, ingeniously utilizing contrast between full orchestra and single instrument with accompaniment. I like very much how you make differences between the first and second subjects, the crispness of your sixteen note accompaniment and the way you finish your cadences. You still need to work on the language of the classic style: you should not “crescendo” into a “forte”, it should be a clear contrast, also do not “crescendo” the descending melodic lines, for example the descending quarter notes in the second subject or at the beginning of the development section. There are many surprises, understand these and use them to create interest for your listeners. Often you negate these, for example the interrupted cadence third measure before the end of the movement should be loud like a question and not soft, enabling the answer to be in a contrasting mood. However, it is obvious that you have a close affinity to this music and I hope you learn many, if not all the Mozart Sonatas.</p><p>Mendelssohn: Rondo Capriccioso, Op.14<br />A perfect composition such as this one creates many problems for interpretation and performance. Your performance is strong in one area, the quality of your sound is superb, you make a distinction between the E major “Andante” and the E minor “Presto” sections. The vocal quality of your melody especially at the beginning was superb as was the instrumental fugal entries launching the fast tempo, both were of the highest standard of performance.<br />However, much of this is negated by your personal interpretation of the work which is constantly plagued by the excessive use of stopping and slowing within phrases. Music must flow and one principal factor in romantic music is to move towards the first beat (especially in 6/8 time), seldom use the feeling of a final cadence and stretching the lines into long phrases. Further, use of different degree of “ritardando” or “calando” must be a natural outcome of the music and must be executed in a creative manner. </p><p>Liszt: Concert Etude “Gnomenreigen”<br />It is quite obvious that you have the technique to perform this or perhaps many other études of Franz Liszt. An important aspect of his method of composition is that he always needed inspiration from an external source. In this case it is the imaginary “Dance of Gnomes”, viewed from a romantic perspective meaning “little people” – energetic, light and full of mischief.  Liszt composes this work in two section, the first is a repeat of the introduction and main theme in A major the first time and B-flat major the second time. The second part is a gradual increase in tempo to the end moving from G minor to F-sharp major and then modulations and back to the F-sharp for the Coda.<br />Your tempo at the beginning did not give you any room to get faster and faster in the second section. You must try to give the main theme different feel of color as it is announced in three different keys. Lastly look at the dynamic markings of Liszt and the different levels of “piano”, once you do justice to these markings you will find your performance much more satisfying.</p><p>Zhang Siying, you are talented and endowed with excellent technique. You have a natural easy way of playing, perhaps too easy! However in time you need to demand of yourself to express with determination what is in the score. I wish you all the best in all of your endeavors.</p>