<p>ZHANG Chuhan</p><p>No.1 Chopin: Nocturne in E-flat major, Op.9 No.2<br />- My first favorable impression is that you really enjoy playing this beautiful piece. You have a lovely tone and I like very much your attempts at observing all the dynamics and tempo markings. </p><p>- There are many positive aspects to your performance – wonderful lyrical sound due to the flexible movements in your arms and hands. You have a fine sense of balance, with your left hand providing beautiful harmonic progressions in support of the soaring and elegant melodic line in the right hand. Only once in a while the last of the three-note group is being accented. Watch out for this as it is a common trap especially when you have to leap for the next note. </p><p>- On the issue of the mood of the piece, I would like you to imagine this piece a little slower, more tranquil. Chopin indicates 12/8 and not 4/4 which means that each eighth note does have its value of existence. By holding the tempo back ever so slightly, you will be able to produce most natural ebb and flow that is intrinsically part of the Chopin’s style. </p><p>- The ornaments should reflect the mood of the piece and are very much part of the melody. Your ornaments give me the impression of an afterthought, that you put them there after you have learnt the piece. Remember that trills in this nocturne are best played evenly instead of fast as speeding up the trills poses the danger of making unnecessary and undesirable crescendo.</p><p>- There are many accent marks in the score and they have either rhythmic or emotional value. Please make every attempt at playing these. Your farewell at the end is very beautiful and a great finish – well done!</p><p>No.2 Chopin: Etude in A minor, Op. 10 No.2<br />- What a beautiful performance – light and fluid. You truly capture all the elements that make this piece so very special – “leggiero”, evenness of the running passages, and an understanding of the beginning and ending of phrases. You possess the rare quality to shape and phrase your left hand “staccato” as well, and your performance sound very natural, with all the ease and grace.</p><p>-The only advice I can give is for you to advance to an even faster tempo and to make much more of your dynamic range. Not all “crescendos” are the same. Some create intensity, leading to ‘forte” other times there is an arch created by crescendo and diminuendo, and then there is a crescendo that is abruptly ended by a sudden “piano”. Your attention to all these would eventually result in a superb performance from you.</p><p>- Also invest some time into the discovery of different colors, generated from your emotional response to various indications in the score. In contrast to your light and sparkling touch, you could play measure 19 with a darker shade. This change at the start of the development section is important as it allows for recognition of the structure.</p><p>No.3 :Liszt: Spanish Rhapsody<br />- If you look at many compositions of the romantic period there are numerous examples of introduction. This section should somewhat establish the character of the piece while at the same time be absolutely free and improvised. I like your approach to this section. You have a natural uninhibited instinct, and indeed you do sound as if you are improvising. Just a little advice: try to color each harmony, make it contrasting and surprising.</p><p>- The “Folies d’Espagne” initiates a continuous set of variations on this ancient tune with a melancholy quality. The most important characteristic of all rhapsodies is contrast and you need to show this at every opportunity. Of the two themes this one is sad and perhaps grand in manner. The second one is energetic, bursting with happiness. You managed the differences in each variation extremely well. However, watch how you tackle the dynamic growth of this section. You actually reached, prematurely, a full “forte” at the “espressivo”, and then when Liszt finally puts his first “forte” at the “un poco animato” you have no room to grow. Understanding the dynamic structure in Liszt’s music is utmost essential. </p><p>- From the staccato section there is a gradual increase in tempo which is a trade mark of most Liszt’s compositions. The true art is to make this gradual increase of tempo imperceptible. Perhaps one can describe it as an increase in tension as we progress towards the final dance “Allegro animato”. You technique is wonderful and I marvel at your accuracy, but you need to surge towards the double forte. And please do not slow down, as the tempo you have reached is necessary for the success of this theme.</p><p>- The “Jota aragonesa” has simple structure of four lines, each being four measures. The beautiful melody owes a great deal to the fact that usually women dance this. You indeed make everything come to life and the vibrant, brilliant passages flow freely. What you can do much more is the contrast in all of the variations. Even though Liszt does not give dynamic directions, it is expected. In such works he normally leaves it to the creative freedom of the performer. So do take full advantage of it.</p><p>- This creative freedom is further demonstrated in the slow section prior the final summation of the Rhapsody. Again, Liszt does not provide dynamic markings but he requests that the character should be “dolce”, “grazioso”, espressivo, “cantando” - all directing us for a moment of tranquility before the ensuing storm. You need to allow yourself a little time of rest, and of course we, the listeners, also need it.</p><p>- The Finale shows what magnificent technique you possess. You only have to listen to his E-flat Concerto to understand how Liszt views this type of finales. The structure is based on the gradual intensification of both tempo and dynamic. There is a gradual increase in speed as he constantly writes “animato” and “stringendo”. And as you can see there are “crescendos”, reaching “fortississimo” only at the “molto vivace”. Hold back as much as you can, and you will find it to be much more satisfying and rewarding.</p><p>- The ending is superbly played. I like the triumphant D major section. However, you must keep to a stricter tempo, with minimum rubato, to hold the strength and the brilliance of this passage else it would weaken the structure and sound less convincing. Other than that, a great performance. </p><p>Zhang Chuhan, you have the promise of a great future. You have a natural approach to playing the piano through flexible writs and reducing the tension in your shoulders. This is elemental in many ways but seems to elude most young artists. You also listen to your sound and have the ability to control. I believe that you have with careful attention a bright future in music.</p>