Thank you for your beautiful comment! 💖

Thank you!! 💖

@@SophiaLiu_Pianist Cette femme est trop belle; sa beauté est évidente dans son jeu et dans son look ! Le Canada est fier ! C'est un vrai miracle qui a fait son apparence !

Thank you for your kind comment! 💖

Thank you so much! 💕

Let her have fun in the way she likes it :)

Playing accurately and precisely doesn’t necessarily take away “musicality” or “expression”. If she perfectly has the ability to play with such precision, so be it. I don’t think composers wrote music for people to play them with “wrong notes thrown in like a car chase in movies.”

The Volodos Turkish March is not a composition in the classical sense. It is the supreme contemporary virtuoso Arcadi Volodos having fun, in a long tradition of improvisation from Bach, to Mozart, Beethoven, Liszt and Rachmaninov. The latter was accused by the audience of playing wrong notes when he improvised in his own compositions. Horowitz has a Carmen variations in the same vein. All for fun and spur of the moment, like jazz, maybe. The usual classical virtues of premeditation, practice, preparation and precision do not, need not, and should not, apply.

There is quite a big difference between wrong notes and improvisation. Wrong notes are accidents caused by a lack of technique, precision, etc. while improvisation refers to intentional differences the musician makes during a performance for perhaps a better effect. Wrong notes are, well, “wrong,” and should never be encouraged, whether in classical, jazz, pop, you name it. And by the way, I believe that Sophia brings out a certain charm and elegance like none other and is clearly “having fun,” if you must put it that way. Just my two cents.

Your definition, and implied condemnation, of wrong notes is what made this 16-year old's performance so joyless. Think of the tension of world championship snooker, when one slip might cost you the championship, versus the fun of celebrity exhibition matches, when the champion might attempt a trick shot such as potting with the hands and cue behind the back. The notes in this jocular Volodos transcription are not sacred, unlike a Beethoven sonata. Besides, just like a Cortot or Schnabel performance, the wrong notes are just sun spots, essentials in any exciting performance living on the edge. In the present day, Pogorlich makes a point of playing Petrouchka and Feux Follets despite many slips, when he could have avoided them by programming easier pieces. Arrau occasionally played wrong notes not because his concentration faltered; rather, he was concentrating too much on the moment, thinking at the same as playing.