a:18:{s:22:"field_ypa_comment_gb_1";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_2";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_3";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_4";a:1:{i:0;a:1:{s:5:"value";s:974:"<p>徐子昂</p><p>    他具备一个真正的钢琴炫技大师的才能， 在夜曲中显示出了他的更多面。但肖邦练习曲应该像一首乐曲， 如小的叙事曲、谐谑曲， 而你只弹成练习曲。我认为，它应该是一首非常诗意的乐曲， 左手句子要非常连贯，要有非常自然的呼吸，和大量柔和的句尾。 <br />    夜曲组织得很好， 显示了成熟性， 声音好像非常有表情， 但有点太厚重了。每一段的速度很好。八度的旋律也很好。真正的高潮在速度快一倍的那一段。<br />    李斯特的狂想曲弹得有激情和辉煌。 有时候可以更随想、典雅和欢快。有些地方声音和表情太硬太锐利， 让我想起了很辣的菜。音符特别多的地方，很难避免音乐表情上的空白，演奏那些段落既要有完美的技巧又要有好听的音质。<br />    但无论如何， 演奏还是很有感染力的。</p>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:1792:"<p>徐子昂</p><p>肖邦：升g小调练习曲 作品25之6<br />    尽管你有令人印象深刻的手指表现和快速双音的弹奏能力，但你的演奏最终缺少了所需的轻松和优雅。我欣赏你的一些包含音色变化的精致细节和左手的歌唱。然而，你的三度在演奏中有练习的感觉。去听听Joseph Lhevinne 的演奏录音，感觉一下你应该努力达到的那种声音效果。<br />肖邦：c小调夜曲 作品48之1<br />    在这里，你的处理正好与前一首相反了。你在所有的地方都寻求音乐效果，而一些地方有效，许多地方则无效。最终的结果是，有点肤浅，就好象你要把音乐做得比音乐本身更“有音乐”。我欢迎你对所有这些可能性进行探索，但最终的效果必须是有好的品位，而在你的演奏中则存在一些并非总是真诚的东西。<br />李斯特/霍洛维茨：匈牙利狂想曲 第2首<br />    我可以看出，你花了很多时间去听霍洛维茨的录音，并试图效法他。尽管你的演奏表现了才华，但我担心你在追求错误的价值观念。有大量的钢琴演奏者都可以演奏得快而响亮。在你的情况里，你很费力地去求取这种效果。要知道，真正伟大的演奏大师们，听起来都是举重若轻的。而你却使重的听起来比它们原本更重了。不要去为大众而演奏，要为精英而演奏，他们欣赏的是美丽，而非夸大。也许选择一首不同的作品，就会挑战和激发你的音乐才华，而非你的身体力量。<br />总评：你的音乐表现有点过于讲究和过于回旋了。你似乎主要是在钢琴演奏的身体要素里发现快乐。无论如何，你是一个一流的钢琴天才！</p>";}}s:22:"field_ypa_comment_gb_6";a:1:{i:0;a:1:{s:5:"value";s:1751:"<p>    首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。<br />非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>徐子昂</p><p>    你的演奏给人印象很深，很放得开，非常有天赋！<br />    还是要给你一些建议，不是说你一定要按我或其他人说的去做，但你可以思考一下，别人为什么会指出这些问题。</p><p>练习曲<br />    很显然这是最难得练习曲之一，但最困难的是，把它演奏成一首好听的曲子而不是枯燥的练习曲。乐曲是悲哀的，怀旧的特性，左手不是跳跃的，也不是断奏，而是歌唱的音色，右手三指的音质要更准确。</p><p>夜曲<br />    有很多好的地方，我建议八度开始的地方，不要马上就响，为高潮的段落做准备，积蓄力量。你的坐姿也不是很自然，有时有点驼背。</p><p>李斯特<br />    非常激动人心，对我来说，你要使听众相信，之所以演奏这个很难的版本，是因为你是“这样”理解这个曲子，而不是显示你“可以”弹得这么难。<br />    感谢你的演奏，祝福你。</p>";}}s:22:"field_ypa_comment_gb_7";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:18:"field_ypa_title_gb";a:1:{i:0;a:1:{s:5:"value";s:116:"7.  <strong>徐子昂</strong>：肖邦练习曲作品25之6  / <strong>XU Ziang</strong>：Chopin Etude Op.25, No.6";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:6442:"<p>Xu Ziang</p><p>No.1 Chopin: Etude in G-sharp minor, Op. 25 No.6</p><p>- You indeed have a fabulous technique for this difficult etude, with excellent control in bringing out subtle shades of colors throughout.</p><p>- Where you can still improve on is your left hand. With its melody quality, it should be treated with care and in balance to the right hand, as it best represents the character or of this work - elegance, subdued, and often introverted. Take a look at Chopin’s markings – “sotto voce”, with only five “fortes” strategically placed, but most of which are immediately followed by softer sounds. It is how you play these “fortes” that you create your understanding of the structure as well as the climax before the recapitulation. </p><p>- Measure 31 needs to be more dramatic and intense. I think some use of pedaling would help.</p><p>- Lots of legatos are indicated, and where it has staccato it’s an indication of lightness.</p><p>- The left hand phrases from measure 27 to 30 should be more legato, cantabile, and expressive.</p><p>- Chopin does not write “ritardando” in measure 34, but I agree that a slight easing of tempo is warranted before returning to the main theme. However, try not to overdo it, as it does not fit in this type of perpetual motion.</p><p>- In the coda, take care to make sure that your first beat of each measure is more important than the third beat. And tone down the feeling of urgency by avoiding any accents in the left hand. </p><p>- With the descending passage towards the end, Chopin brings down the curtain. So it is magical how he concludes with a sense of optimism only in the last two measures. I feel that the timing of the cadence in the “lento” should be more natural and more related to the tempo of the entire piece.</p><p>- One last suggestion: you look as if you are working very hard. Try to sit more upright. With your great facilities it is not necessary to look so vigilant and watchful of your fingers. Your vision of the piece will also be different when you play with a different body posture.</p><p>No.2 Chopin: Nocturne in C minor, Op.48 No.1</p><p>- You have a very deep expression, beautiful sound, and with great sensitivity for this majestic nocturne. At times, I do find your performance slightly mannered and over-controlled as if you do not trust Chopin to show you the way. The noble simplicity of the melody with its harmonic progression is the key to the first section of this Nocturne. Anything that is overly treated would make it come across as laborious.</p><p>- It is admirable that you want to make a personal statement, but do this with subtle nuance and proper phrasings. Avoid indulging too much in individual notes, as it poses the danger of stopping the flow. </p><p>- Phrasing is also important and often the key is the left hand. For example show how the descending line of the left hand in measures 9 and 10 is reversed by the ascending line in measures 11 and 12. </p><p>- Your “forte” in measure 23 and 24 comes across as too strong and out of proportion. For me this is not the “forte” that emerges later in the piece, but a poignant calling to attention of the coming chorale “sotto voce”.</p><p>- Your chorale needs to have a more recognizable tempo, as that is the heart of all chorales – a dependable beat that unifies the harmonic progression to important cadence points.</p><p>- Your musicianship comes through in how you manage the melodic chords and the growing double octave towards the first climax of the work. I like your passion and drama of the cadenza-like passage before the Doppio movimento.</p><p>- Watch the length of the trill in measure 45 – it is much too long. It is here that the intensity and the momentum build up, and you do not have time to pay attention to details and too much variety of nuances. </p><p>- Lastly, carefully pace the “crescendo” so there is a perceptible progression to the “fortissimo” climax in measure 72.</p><p>No.3 Liszt/Horowitz: Hungarian Rhapsody No.2</p><p>- The basic structures of the Hungarian Rhapsodies owe a great deal to the “verbunkos”, a Hungarian recruiting dance. The form is the contrast between the  the “lassan” (slow)     and the “friska” (fast) sections where the first is more improvised and full of character         changes while the second is more of a dance, relying on a more stricter pulse. </p><p>- You have a wonderful feeling for drama and contrasting characters which this first section depends on. And so I believe to a certain extent that you are successful in displaying the original intensions of Liszt. Your strength is your incredible technique. It seems that nothing is too difficult for you.</p><p>- Where you can improve on is the grandeur of sound and the touch, which is full of colors and shapes. You have, as in the Nocturne, a habit of placing “ritardandos” in unwarranted places, and waiting on notes without much logic to its content. </p><p>- In the second section you display a wonderful command of the instrument, and manage to cross all the hurdles that Liszt, plus Horowitz, places in front of you. There are many wonderful moments you produce especially in the first climax (measure 174 and onwards). You have a good sense of the “rubato” and delay the chords to great effects, as well as the clarity of the secondary melody in the left hand (composed by Horowitz) from measure 230. Bravo.</p><p>- Again, where you can get a better insight in the world of Liszt, through the experience of Horowitz, is on how to delay and wait for the “crescendos”, using a vast spectrum of colors and combination of touches to keep the interest in prolonged soft passages.</p><p>- In this section, you have the tendency to slow down and allow the tension to drop, where as the real intension of Liszt is to produce a dance that grows and moves to the final climax. If you carefully study the music there is only one time that you should make a moment of respite and that is just before the final coda. And I am sure with your technique you are able to do this fantastically. </p><p>Xu Ziang, you are a major talent, music flows through you. As yet your decisions on musical matters are fresh and untested but there is in you something that will eventually blossom and carry you forward into the music profession. I will watch your journey with great pleasure.</p>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:1072:"<p>XU Ziang</p><p>A wonderful, personal young pianist!  I felt the energy, the strong concept of each work and most of all the willingness to take risks for the sake of the music’s excitement and thrill – this takes courage and confidence.   </p><p>Op.25 No.6 Etude: This performance was not only admirable technically, but full of life, character and variety.  It could have even more elegance if the lower voice of the thirds were softer, especially when the line descends.</p><p>Nocturne Op.48 No.1: The opening was beautiful, revealing harmonic colour and elasticity without being overdone.  In the chorale, Mr.Xu seemed to try and put across too many ideas, obscuring the simplicity and nobility of this part.  (Simplicity is often more difficult to achieve than complexity!)  In the triplet section the rubati was exaggerated, especially when he took time, causing the music to be choppy and a little calculated.</p><p>Liszt: This was splendid – a spirited performance full of character, technical acumen, musical intelligence and maturity.  Bravo!</p>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:1854:"<p>XU Zhiang:  </p><p>Chopin Etude Op.25.6: I have to be honest and say how distressed I was by this Chopin Etude. Such an able pianist but musically a travesty. A wonderful pre-impressionistic piece of piano writing of incredible delicacy was transformed into a horrible virtuoso display. Misjudged and tasteless. Machine-like finger brilliance (and not quite all impeccable either).</p><p>Nocturne Op.48/1:How this same pianist could give as serious and measured a performance (most of the time) of the great C minor Nocturne was hard to believe. This was SO much better, and at best it went beyond just good “reproductive” playing, with some individual effective touches.  The gravitas of the opening was well caught, though the C major section could have been more simple without so many long delays. The rhythm is not continuous enough. The final doppio movimento section  showed passion, though again the overall impulse / flow are interrupted far too often, and these delaying gestures become simply intrusive and no longer meaningful.</p><p>Liszt: Hungarian Rhapsody No.2: Here again there was much to admire both pianistically, and in terms of temperament. He has a “deep” sound and real richness of sonority and dark intensity. I like the way he makes the bass sound so significant. There is a mature ability to create space without losing musical tension. The occasional unrhythmic moment or small blemish. At times his playing could be lighter and more delicate and even wittier. </p><p>Overall, I find remarkable qualities in the playing, though there is a tendency for him not to adapt “his” style of piano playing with enough variety to the music he plays. But I warm to the expressive depth he shows and the sense of harmony. And I envy much of his technical prowess. A pity the Chopin Etude was so misjudged musically.</p>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1063:"<p>XU Ziang</p><p>Xu Ziang has the talent of a real virtuoso. But in the Nocturne he shows that he is more than this. A Chopin Etude should sound like a concert piece, a small Ballade or Scherzo. Here it sounds more like an Etude. I think it should be a very poetic piece with long legato phrases in the left hand, a good breathing, many soft endings.</p><p>The Nocturne is well built and shows maturity. The sound seems to be molto espressivo, a little too pesante. Very good his timing of the different parts, the melodic control of the octaves. The doppio movimento part is the real climax.</p><p>The Liszt Rhapsody is played with excitement and brilliance. Sometimes there could be more capriccioso moments, also elegance and joy. Sound and expression seem a bit too sharp in some places, remind me of too spicy food. And it’s quite difficult to avoid the impression of emptiness in certain places with many notes. Especially in these places we have to go for technical perfection and good sound quality.</p><p>But anyway, the performance is impressive.</p>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:1755:"<p>XU Ziang</p><p>Chopin: Etude in G Sharp Minor, Op. 25, No. 6</p><p>Although you have impressive fingers and the capability for high speed double notes, your performance ultimately lacks the lightness and elegance needed. I admired some fine details involving color changes and a singing left hand. The thirds, however, had an exercise-like feeling in their execution. Listen to Joseph Lhevinne's recording for a sense of the sound you should strive for.</p><p>Chopin: Nocturne in C Minor, Op. 48, No. 1</p><p>Here your approach was just the opposite. You are looking for musical effects everywhere and, while some of them work, many of them don’t. The end result is a bit superficial as if you were trying to make the music more “musical” than it actually is. I welcome your exploration of all these possibilities, but the end results must be in good taste, something that is not always true in your performance.</p><p>Liszt-Horowitz: Hungarian Rhapsody No. 2</p><p>I can see you spent a lot of time listening and trying to emulate Horowitz’s recording. In spite of the brilliance in your execution, I am afraid you are seeking the wrong values. There are plenty of piano players who can play fast and loud. In your case, you work very hard for it. Be aware that the truly great virtuosi made things sound easy. You make them sound harder than they are. Don’t play for the masses, play for the elite, the one that appreciates beauty above bombast. Maybe a different choice of piece would challenge your musicianship rather than your physical power. </p><p>In sum: your music making is a bit too fussy and convoluted. You seem to find pleasure mostly in the physical elements of piano playing. Regardless, you are a major pianistic talent!</p>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1791:"<p>XU Ziang</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>XU Ziang<br />Very impressive performance. You have a nerve. Definitely very &lt; /FONT&gt;gifted.<br />But still some advice I would like to give, it does not mean you should do what I or somebody else suggest, but you should think why other people point such things.<br />Etude.<br />Obviously one of the most difficult etude. But the most difficult to make it as nice piece not study. The character is sad, nostalgic, not jumping left hand, not stccato, more singing tone. And with your finger the quality of thirds in right hand should be more precise.<br />Nocturne Many good things. I would suggest when octaves starts, they should not be loud immediate, save power for the climax.<br />And also about the way you sit at the piano, it’s not very natural, too much bow towards the keyboard sometimes.<br />Liszt Very exited! And also for me if you play such a difficult version, it should convince listeners that it is because you understand music THIS way but not to show how difficult passages you CAN play.<br />Thanks for playing and all the best.</p>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:26:"<p>   coming soon...</p>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:55:"7. <strong>XU Ziang</strong>：Chopin Etude Op.25, No.6";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:11:"07_1_v2.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}}