FEEDBACK BELOW
Reviewer A
I really enjoyed listening to you, Stan. You sound great!
The character you achieve in the Kovacs is really excellent and I love all of the contrast in style and dynamic that you achieve in that selection.
Similarly, the excerpts show a lot of variation in style which is really important in an audition.
I thought Beethoven 8 was particularly beautifully played. The legato and dolce that you achieve is excellent.
Bravo!
Watch the pitch of the descending 4th in the second movement of Shostakovich. So A-flat to E-flat and E-flat to B-flat. Just double-check that they are really accurate. Often times there is a tendency to let the air support die a little bit in these moments as we are descending and doing a diminuendo. Just be really tuned in to that pitch as you do that. Also be careful that you don't slow down toward the end of this excerpt.
In the third movement, try to get an even bigger crescendo and then huge diminuendo in the middle. That is very effective when we achieve that.In Mendelssohn, try to get more of an immediate character/dynamic change right at the forte after the opening statements. This helps the listener really feel like the whole orchestra is coming in at this place. Bolero sounds really great! Try to do more espressivo accents and watch your pitch in the throat tones towards the end. It seems a little unstable.
Reviewer B
I enjoyed the colors and contrast you created in the Kovacs, and your interpretation was very soloistic. The 2nd movement of the Shostakovich was very legato and in-tune, and the 3rd movement was very clean and energetic. Beethoven's 8th Symphony had a nice character to it, and your attention to the subito piano dynamics was excellent. The Mendelssohn was very bold and snappy. Beethoven's 6th Symphony was very singing and legato. You have an excellent E-flat clarinet tone, and the rhythm was very good in Bolero.
In the Kovacs, play with the time and rubato even more, and be sure all altissimo notes are round and full. Some of your crescendos and decrescendos in the 2nd movement of Shostakovich were too extroverted for this excerpt - be sure to phrase within a piano dynamic and soundscape. In the 3rd movement of the Shostakovich, exaggerate the dynamic contrast and play the second forte even more. Take even more risk with the ending of Beethoven's 8th Symphony and be sure to count all rests precisely. Maintain the core in your sound in the opening of the Mendelssohn, exaggerate the dynamic changes, and be sure the last note is not too long. Be careful to maintain the tempo precisely in Beethoven's 6th Symphony. In Bolero, be careful that the pitch does not change within the notes with accents - open up even more at the start of the note so that the attack is not sharp.
Thank you again for your involvement in NYO-USA. We look forward to staying in touch with you and wish you all the best in your musical pursuits!