<p>LI Ying</p><p>Chopin: Nocturne Op. 27, No. 1</p><p>Quite a beautiful performance, with a flexible approach to the left hand (loose wrists) that connected the intervals as if the notes were close to each other rather than far away. Your left hand was like a conductor accompanying a singer that does not let him/her have some freedom of expression. A bit too rhythmic. The left hand must follow the right hand and not vice versa. There was color in the initial melody but soon I realized that you could have achieved more intimacy in certain moments with the use of una corda. Towards the end, when trying to get gradually softer, your diminuendo affected not only the harmony, as desired, but also the melody, which lost its presence. The una corda would have allowed you to still sing the melody more deeply while getting softer. Your crescendo in the middle section was more related to intensity than to volume, and I liked that. </p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>Impressive performance, but a bit too heavy. Again, una corda in some places would have helped you to achieve more variety of sound, so that some of the ascending scales would sometimes sound pianissimo. I somehow feel that you would make an audience sense that you are working too hard. It should sound easy! Try to find and listen to the live recording (at Carnegie Hall) of the Chilean pianist Rosita Renard, in the 1940's. She flies over the keys!</p><p>Liszt: Paraphrase of the Opera “Rigoletto” by Verdi</p><p>Are you familiar with the story of Rigoletto and its main characters? After you completed the introduction, your approach to the melody was too heavy and lacking in the sarcasm inherent in the bad intentions of the Duke, trying to make Gilda believe that he loves her when he actually is unwilling and incapable of loving any woman. His attitude is hypocritical! Gilda answers with naive coquettishness which is also missing in your approach. Your solid performance lacks the "salon" style required in the early virtuoso runs, which you always pedal for brilliance instead of looking for their inherent charm! A lighter pedal will get you greater results. Listen to Shura Cherkassky's recording which he did when he was too old to play as brilliantly as you do. But he really captured the spirit!</p><p>In sum: there is something very engaging about your playing that makes me want to listen!</p>