<p>Li Yuemeng<br />Beethoven: Sonata No. 17 in D minor, Op.31 No.2 (Largo – Allegro) (16:25)<br />You give a spirited version of this movement. There are many sides to what we consider the “D minor” drama of Beethoven. I do not concur with your interpretation of panic and constant agitation. This is drama that is built on large waves of tension, constantly moving to a culmination and again starting towards another conclusion. For example starting from the second Allegro (measure 9) there is a persistent motion till measure 21 – this being extremely important as the resolution is to the tonic, D minor. Here Beethoven starts another relentless transformation process (based on the first measure of the work) utilizing chords that follow one another gradually building up tension – this is released in measure 41 where we reach the dominant of the second subject. The Largo sections are placed in important structural places, at the beginning of the Exposition, Development and the Recapitulation. How you react to the different Largo depends on your understanding of Beethoven’s intensions. For example the Largo in the Development section moves from the second inversion of the D major chord to a diminished seventh chord landing on the F-sharp major second inversion.  This progression is resolved to F sharp minor, probably the most conflicting key that Beethoven can select to highlight the surprising climax of the first movement. As performers we must retain the same Allegro when it appears, we should not change this tempo. Unfortunately you have many tempi throughout the movement and you should avoid this mistake. <br />Debussy: “Reflets dans l'eau” from Image (Book 1) (23:06)<br />You are well on the way in understanding how Debussy revolutionized the sounds of our instrument. In his hands the piano was transformed into delicate tone colors, the harmony became a dimension of melody instead of accompaniment, fragmented melodies used more often and ambiguous harmonies and tonal centers gave the music a constant motion that reminds us of water. You should be more aware of the beautiful and sensuous harmonies that constantly change, however, I commend you for trying your very best to use legato as often as possible. Closeness to the keyboard will result in better Debussy sound and you should work on this more. Unfortunately, it is your rhythm that lets you down. You constantly stop, stretch and accelerate within measures according your momentary intuition. Debussy does not sound good if played in a “romantic manner”. He is extremely strict and works out in great detail the complex and non-metrical rhythms that his music depends on. It is said that his fluid and asymmetrical organization of meter, rhythm, accent, and phrase is the result of special and subtle inflections of the French language and poetry. <br />Chopin: Ballade No.1 in G minor, Op.23  (28:36)<br />An excellent performance with wonderful potential in the future. This is a very complicated work full of emotional and passionate feelings brought together with pianistic demands that in its day was never heard before – not bad for a 25 year old. You need to have a complete vision of the work before you perform – make a mental picture of the first and second subject as each of them appear three different times. This continuous development of the themes is the strength of the composition. The first time the second theme played in “pp” must sound more like a faraway vision, innocent and sensitive – the next time the theme is presented in more victorious atmosphere, possibly full of pride, joy and elation while the last time it is passionate, fanatical and ardent. Use these and other words to create within yourself a mood to interpret the essence of the music. In all the Ballades the first few pages are the most difficult. All the Ballades are written in 6/8 or 6/4 time signatures that by nature require two beats in a measure with a subdivision of three plus three. Thus there is a certain amount of swing involved, perhaps even a <br />dance-like feeling. Also the genius of Chopin must be more respected regarding his uncanny understanding of tempo relationships. How does Largo relate to Moderato and then to Meno mosso, the composer always avoids excessive tempo changes so that all tempi merge into each other in a most natural way. The ending has to also sound natural– there is no new tempo indication for the last 15 measures of the work – there are three ritardandos and accelerandos and these make no sense if you do not have an underlying tempo tght allows us to hear the forward and backward motions that Chopin has indicated. <br />General Observations:<br />I like your performances very much. You are on the right path in your search to communicate to your listeners. This takes time and much effort, but you seem to be adventurous and demand much from yourself. Try to learn a great deal of repertoire, listen to music not only piano but opera and symphonic works and read as much literature as possible – the great composers were all well read and lovers of the fine arts.</p>