<p>Liu Tianyuan<br />Liszt’s ‘Waldestrauschen’ showed subtlety of phrasing and delicate, exquisite sounds in the shimmering right hand double note figurations.  The rubato was natural, subtle and sensitively judged. A huge and exciting climax, made all the more impressive because of the quiet dynamics at the beginning.  Just be careful to sustain  the highest level of control in tone and pulse at the climax.<br />Mozart’s B flat sonata K281 showed lots of admirable contrasts and ideas. |Try for a little more serenity and poise in order to be completely convincing.  At times the left hand needed a little more lightness.  There was an appropriate orchestral sense of drama to the performance as a whole, along with an impressive range of dynamics.   Keep your neck relaxed.  A slightly lower stool position could make you play with even greater ease, allowing your sounds to lift up out of the piano.<br />Shchedrin: The F minor 2 Part invention was played with confidence and rhythmic control.  There could be even more charm and humour- especially with regard to the subsidiary voice throughout.  Experiment a little more with touch.  Bring out the jazz-inspired quality of the music.  Basso ostinato had real vibrancy, authority, conviction and intensity.  Excellent variety of sound and rhythmic control.  Bravo! A wonderful achievement.  Overall admirable contrasts of approach between the three styles of music presented.  Many laudable and ‘unteachable’ qualities in the playing that brought a most welcome freshness and creative spirit to the music.</p>