Yay! Although I effed up on my scales and arpeggios… Brain fart trying to figure out relative minor
S/A- be sure about the format on these juries!
Bach - Allemande was really good - continue to work on emphasizing the expressive quality of each voice throughout- Bourree had lots of energy and spirit, but articulation in r.h. was not always clear- remember, you always have as much time as you need to do everything!
Be careful about tension in your arms- noticed it in the Beethoven- you loosened up in the Liszt, and as a result, it was much better- I thought you also paced yourself quite well.
Debussy - very good start on this!
Congratulations to you and your teacher on the excellent progress you’ve made this year.
Ooops - didn’t practice scales?
Bach: Work on the fuller tone on the notes you want to bring out so that the audience doesn’t have to look for them, and guess your intention (which I know you have.)
Beethoven: Great opening! Excellent rhythmical pulse. Make sure to go to G#- the (?) note- quite important. Have clear directions all the time - sometimes, not clear to us.
Liszt: Oh. I love this piece. Thank you for playing. You don’t have problem playing most of the parts. Paractice zillion times (sic) several spots that give you that problem until you feel completely comfortable. Good job!!!
Debussy: Wow! You have challenging pieces from one to another. Good thing you have great fingers! Your finger technique is impressive. Now you need to let the audience hear the music, phrasing, and feelings instead of fingers. Keep working on these great pieces!
Scales and arpeegios - passed.
Bach- Beautifully played- your playing has taken on a more flexible and expressive quality that’s wonderful. Keep up the good work. Bourree. Try to make your running passage feel “slow” even in faster tempo- always be ahead in your preparation of sound both through inner listening and ease of physical motion. Some very nice articulate playing.
Beethoven- Solid playing. Be very careful with pedaling in fast passages with thicker texture- the pedaled sound can often be achieved with less right foot.
Liszt- You are gaining more command of this work on the keyboard. Bravo.
Debussy- Nicely done- good range of dynamics, colors, and character. An excellent jury showing fine progress!
Scales- review g# melodic minor. It’s important both pianistically and theoretically to be comfortable in all keys- especially a talent like you, playing the level of rep you are playing! :] Make all scales a regular part of your daily routine.
Bach- Allemande- be sure you begin with an immediate sense of direction, clarity of meter. Careful not to blur too many melodic moving voices in a row- you are using a bit more pedal than you actually need in places. Musical and lyrical! I love the ebb and flow to your pacing. At times though, you are over-using rubato in my opinion, verging on romanticism. A little too much of a great idea at times! That said, this beautifully conveys your sensitivity and musical talent.
Bourrees- excellent. Try to be “in character” every moment. Avoid ever letting anything just sound (or mostly) like passage work, patterns, etc. Be in there shaping, showing us your concept of character.
Beethoven- though light, need projection and clarity of shortest note values- work on flexibility in Right arm- you tend to “lock down” on sustained octaves, etc. What I love about this is that you really have a great sense over-view (sic), and you make it look easy! Continue to work on clarity (LH probablly too loud beneath ascending RH arpeggios) and technical refinement; freedom, flexibility.
Etude- this has improved! Much cleaner and more integrated technically. Pedal doesn’t always have to be as deep… Listen for a “brightness” and clarity to smallest note values, even when pedaling. In all technical passages, regardless of which “variation” you are in, keep your eye on the musical direction… the more you place your focus there, the more integrated it will become technically. Although tempting- avoid ever playing faster than you can hear, or succeed at hearing every detail. Try not to “skim over” anything- you have more time than you think to accomplish this. well done, it’s come a long way.
Debussy- you are playing this well- I want to challenge you to eliminate any movement where you are just negotiating a passage, a figure, a gesture; let it be all music, all the time. You have that wonderful musical gift… so keep it turned on 100% of the time. See if you can discover where (and why) it “turns off”…
Big talent- great to hear you as always.