<p>YANG Shiyu</p><p>No.1 Chopin: Etude in G-flat major, Op. 10 No.5<br />- Within four pages, Chopin creates a world of magic and magicians. And it is a challenge for all of us to generate an atmosphere where such enchanting and captivating possibilities live.  </p><p>- You have a solid technique, and have worked hard to make the right hand even as well as listening well to keep a healthy balance between the hands.</p><p>- I very much enjoyed some parts especially the way you manage the left hand melodic progression from measure 24 and also the wonderful lift of the passage just before the coda (measure 65).</p><p>- I also commend you for not falling in the trap of playing the last 8 measures too bombastically. After all, this is not a large work and you should always keep in mind the perspective that the whole work presents. Such overview of any work is indispensible in any artistic creation. </p><p>- This large vision is also important in the tempo and especially when adhering to Chopin’s markings – for example “poco rallentando” should not be over exaggerated to such a point that it sounds as if you put on the brake. It is also important to construct any “ritardando” not just with the idea of slowing down but with an understanding that it is essential in the musical context. In measure 48, your slowing down really allows all the tension that you build up on the dominant pedal point to escape. In this case while the idea is good if done with timing and flowing naturally, the entry of the main subject was not at all satisfying.</p><p>- A word about the dynamics that Chopin so carefully indicates. Observing this is very important. And achieving much greater contrast should be your aim. Look at all the “crescendos”, they so often indicate a forward motion and intensification rather than just increasing the volume.</p><p>No.2 Chopin: Nocturne in F-sharp major, Op.15 No.2<br />- You are indeed a very good pianist and you take care of searching for solutions in the music. You also take care of how you use the pedal, and this is an exceptionally difficult task in the music of Chopin.</p><p>- You need to work out the bigger architecture of the phrases – where does the momentum take us, to find that note and move towards and then away from it. All the phrases in the “A” section are 8 measures long and the point at which you should aim is always in the sixth bar. In the first two groups the note is F-sharp, which is used in dissonance above a G-sharp, displaying tension that is released in the next two measures. It is this rise and fall, tension and release that I am missing from your playing.</p><p>- Some parts your tone is rather bold and straight forward. Observe carefully the dynamic range. Not once is there a “forte”, which should be an indication of the overall gentle character that Chopin wants to display. The simplicity of the melody and the rippling flow in the middle section (note that it is “sotto voce”) all point to a friendly atmosphere of warmth and tranquility.  </p><p>- A word about tempo especially when interpreting “Doppio movimento” (Twice the speed).  Your tempo here creates a breathlessness that in my mind is foreign to the piece. Four measures before this section you start to accelerate, and as a result it prevents you from establishing a reference tempo for the “Doppio movimento”. Chopin did not indicate any accelerando here. In fact, the wide arpeggios in the left hand chords suggest a built-in “sostenuto”. So please try to find the best and most natural solution to unify the tempos.</p><p>No.3 Ginastera: Danzes Argentinas, Op.2<br />- This is such a great work, full of contrast and great energy. And being an excellent performer you demonstrate most of this.</p><p>- The first dance called “Dance of the Old Herdsman” is full of rhythmic surprises, jumping from 6/8 to 3/4. You must keep the pulse tight whenever possible and never let it go. The coda is a perfect example how important it is to keep the tempo – those silences are part of the music and the questions are only resolve in the last 3 measure. Watch the “rest” in the second last measure.</p><p>- The second dance is called “Dance of the Beautiful Maiden”. As the title suggests this is a solo aria and dance. The composer requests “cantando” in a singing style. It is one person dancing and singing, so you should take the opportunity to be freer, perhaps even giving the impression of improvising. The indication “soave” in the “B” section means “smoothly” and so please build up the tension and dynamics gradually and do not allow the left hand to dominate with detached notes. The return was very beautiful as was the ending.</p><p>- The last dance is the “Dance of the Arrogant Cowboy” with such indications as furiosamente (“furiously”), violente (“violent”), and salvaggio (“wild”). It is indeed a wild dance full of rhythmic changes and relentless tempo. You have a tendency to speed up in certain sections and as a result you lose the tautness and the tension you so skillfully build up. The “C” section has two pedal points built on a note – C and A-flat. This is probably the most energetic and loudest part and should be played with abandonment, yet and here you mistakenly play softly. Again, speeding up in the “C” section leads to problems in the coda. Never forget that a dance depends on clear indication of pulse to make it successful, and this is certainly the case in this work.</p><p>Yang Shiyu you are a very good pianist and well deserve to be amongst the best young artists studying in China. Your performance shows that you are a good student however moving from that level to artistry is a journey that is not simple, and it should not be. Listen to a great deal of music and analyze what are the elements that allow an artist to communicate. Once you understand more about this would probably advance you and use your wonderful technique in the service of great music.</p>