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:1467:"<p>冀宇森</p><p>    很难想象他才12岁， 真是一个天才！当然我们还是需要对你的表演和这几首曲子给予评论。<br />    练习曲一开始有一些非常棒的瞬间， 甚至是一些最难的片段他弹得最好。后来他有一点累了， 以至于整个演奏就有些失控。但我现在已能想象出， 从现在起的几年后， 他会把这首练习曲弹得多么精彩！我建议， 他可以更好的倾听左手低音八度旋律的连接， 现在音跟音之间没有联系。而且要慢一点练， 把全曲缩成一个朴素的圣咏，才能更好地体会和感受和声的进行。在他这个年龄应该学乐理与和声，多练视唱练耳。<br />    夜曲太笨重一点了。这首曲子带有忧郁的表情。左手应轻一点， 还要避免弹错的重音。不需要感觉到每个小节线的分割。我认为，每个音的手臂重量太多了。哪怕弹八度也不需要那么多手臂， 如果音乐的性质是比较慢，轻柔如歌的话，用手指的力量就够了。<br />    对我的听觉而言， 德彪西太炫技，太激动了。 前奏曲与托卡塔太雷同了。 前奏曲中的低音延长踏板可以研究一下， 还应该长一点， 萨拉班德开始太慢，是庄严的，但要高贵一些， 另外不要忘记这种舞曲节奏上的特征， 重音在第二拍上。 托卡塔太快了，快板不是急板， 否则很难控制。</p>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:1949:"<p>冀宇森</p><p>肖邦：C大调练习曲 作品10之1<br />    你的大手使这首作品成为适合你的理想练习曲。你试图用右手表现多样化的触键，但并没有真正做到成功。在最弱的部分，你有一些漏音，或至少有碰错音。而且，用作对比所需的轻的非连音（需用较轻的踏板）没有做出来。你应该以轻弹从头到尾练习全曲，不要使用踏板，以便真正听到自己的所弹。当你回到开头的琶音时，你需要更多的“准备”，以使那“回家”的感觉更有意味。你决定发力的一些地方，没有什么意义。我建议你听一下美籍墨西哥钢琴家Agustin Anievas 的演奏录音，注意他色彩上的丰富多样和他对发力的组织安排。<br />肖邦：降b小调夜曲 作品9之1<br />    这首夜曲是有难点的，因为它的长装饰音要求节拍上的自由。这些长装饰音必须听起来像是即兴演奏的，需要添加一个内在的弹性速度（rubato）以达到这种效果，你必须学会从内心来感觉它。去熟悉一下“黄金时代”老牌大师们的演奏，他们的演奏年代在1930年到1950年之间。你的八度部分显得重复，有点乏味。它需要更加丰富多变，更具有想象力。<br />德彪西：《为钢琴而作》<br />    学习一些德彪西的前奏曲，其实对于你的艺术发展会有更大的好处，尽管它们对于这个比赛来说，可能并不是最好的选择。你从钢琴表现的角度演奏这首作品，从中领悟高难的技巧和指法的精湛。如果对色彩和氛围的表现能够更加集中，会使你越发接近作品的风格。你的演奏听起来过于像李斯特了。<br />总评：你很有天资，以你的年龄来说，你已经做得很好。一定注意不要让你的能力把你引到错误的方向。最重要的是，努力使自己成为一个音乐家。</p>";}}s:22:"field_ypa_comment_gb_6";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_7";a:1:{i:0;a:1:{s:5:"value";s:33:"<p>   敬请期待</p><p> </p>";}}s:18:"field_ypa_title_gb";a:1:{i:0;a:1:{s:5:"value";s:119:"2.  <strong>冀宇森</strong>：肖邦练习曲 作品10之1  / <strong>JI Yusen </strong>：Chopin: Etude Op.10 No.1 ";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:6575:"<p>JI Yusen</p><p>No.1 Chopin: Etude in C major, Op.10 No.1</p><p>- I commend you for your technical ability. However, the difficulty of this Etude, which is often misunderstood, is not how fast and accurately one plays it but to portray a certain magical heroic vision through a magnificent gesture. It must not sound like an exercise but a progression of sweeping sounds that move through irreversible barriers. </p><p>- Listen carefully to your left hand octaves so that there is a balanced and supporting relationship between the left hand bass and the right hand arpeggios.</p><p>- Be more aware and sensitive of the structure especially when the “B” section starts (measure 25) and the return of section “A” (measure 49)  </p><p>No.2 Chopin: Nocturne in B-flat minor, Op.9 No.1</p><p>- Basically you have the making of a successful performance. I highly recommend that you also listen to other compositions of Chopin in the same key of B-flat minor to understand the special color and feeling that this great composer had for this key. The character should be much more brooding and often enigmatic. Its inspiration is totally dependent on the “bel canto” (beautiful singing) operas favored by Chopin. </p><p>- You should strive for greater flexibility. The melodic writing depends much on the rise and fall of the line. In the first phrase observe the forward movement of the three repeated notes (measure 1) while the last four notes ease off the momentum – thus these markings are not merely crescendo/diminuendo.</p><p>- Try to work harder in obtaining a more sinuous sound based on total legato and evenness in the left hand. Do not stop at the end of measure just because there is a bigger interval where your hand has to leap. This often results in disrupting the fluid quality of this nocturne.</p><p>- Find the freedom of the “melismatic” passages that are written in groups of 22, 11, 18, 7 and 20 notes above established bass figure</p><p>- Try to observe and understand the meaning and the function of accents placed in various places by the composer. Make an effort to resolve these when necessary (measure 15 and 16) from the “D-flat” to the “C” </p><p>- The middle section is particularly problematic as it is based on repetition. That, when repeated without any creative involvement, can become rather tedious and monotonous.</p><p>- You must change colors through voicing as well as using enterprising “agogy” to allow the music to keep our attention. The most problematic example of this in measures 23 to 25 where the “rallentando” continues for three measures. Building up intensity is essentially the reason for the melodic resolution that follows.   </p><p>No.3 Debussy: Pour le Piano</p><p>I.  Prelude: </p><p>- It is always best to look closely at the indications given by composers. “Anim?#8221; should be translated as lively, vigorous, perhaps excited, but never panic and or in haste. Furthermore, Debussy adds ”very rhythmically” which clearly demands attention to the three beats in every measure. </p><p>- I find your playing of this piece rather crude, lacking the finesse and beauty that is the hallmark of this French composer. You would be advised to try to play more horizontally and reduce your attack of the keyboard</p><p>- There are wide contrasting passages in this movement from the fast sixteen notes to the repeated chords. Articulation is extremely important as this gives the necessary variety and brings the “anim?#8221; to life.</p><p>- Constant care should be taken in how you group the continuous sixteen notes as well as the clear dynamic indications. Debussy always insists that performers follow his instructions. </p><p>- Measure 6 is the first clear suggestion for a longer pedal which then becomes even longer in measure 8. To accomplish this effect, you need to be aware of the transparency of the right hand with the slight melodic line in the left hand. You should notice in these long pedaled passages that there are no accents. There is a need for careful balance between the melody and harmonic accompaniment </p><p>- Voice carefully the chordal passages that mark the climax, do not just play them without some effort to make a special sound.</p><p>- The final six measures are not only harmonic but also some hint of melodic writing.</p><p>II. Sarabande:</p><p>- The reason why this movement is called the “sarabande” is because Debussy wants to emulate the rhythm that is specifically associated with the dance. The emphasis is always on the second beat while the third beat often flows to the next measure, thus giving a combination of the feeling of sustaining and then moving forward. It is important to note that flexibility is essential yet a strong sense of the dance must be constant. </p><p>- I did not hear in your performance the “sarabande” characteristic. Furthermore, it is unacceptable that you do not make sufficient effort to observe and follow Debussy’s instructions. He indicates a “solemn elegance” performed slowly. Your playing had a lot of momentary increase in tempos with a great deal of fluctuation in dynamics. This is not the kind of “romantic” interpretation that Debussy would welcome. </p><p>- A few times, however, you do produce some beautiful chordal sounds. Therefore I strongly urge you to make every effort to apply this throughout the movement. French music is all about control, controlling in sound, tempo, dynamics, and articulation. And all these elements strive for an unmistakable unification within each movement.</p><p>III. Toccata</p><p>- As you probably already know, “toccata” comes from the word “toccare” which means “to touch”. Debussy calls this light and often changing work “toccata” precisely because it requires multitude of fantastic touches resulting in a rainbow of colors. This rainbow is seriously lacking in your playing as a result of your very fast and hurried tempo. There is no opportunity for nuances, for variety and, most importantly, stylistically required beautiful and elegant sounds.</p><p>Ji Yusen, you have already a strong and solid technical foundation. I would advise that you put this in the background and use your artistic and imaginative ability to make music. A performer’s main task is to communicate to the audience the human feelings behind the notes. This should be your priority from now on. I believe that, with great deal of dedicated hard work and a constant critical set of ears, you would be able achieve this difficult task.</p>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:1377:"<p>JI Yusen</p><p>Mr. Yusen has fleet and strong fingers, and a relaxed and reliable physical approach to the piano.  He is able to get a big sound, certainly understands the basic of technique.  There is still, however, a considerable distance to go in musicianship. I also found that he was not fully engaged in the music itself, but rather played at the pieces.  This is still a very unformed musical mind.</p><p>Op.10 No.1 was very impressive in its facility and accuracy, but it seemed to be almost entirely an athletic event.  The work can provide a wonderful architecture and is a stunning vehicle for the consonant and satisfying harmonic structure.  There is so much more to be done!</p><p>Nocturne Op.9 No.1: The sound was warm and the effort sincere, but often the phrases fell into short segments rather than long lines.  Dynamics were clear, but the character and colour did not change – only the amount of sound. Rubati seemed worked out and taught, rather than resulting from the pianist’s natural free sense of the line.  Legato was not good enough; overlapping with the fingers is necessary.</p><p>Debussy: This was a fluent but rather mechanical performance.  Pedalling was rigid and obvious, with no fine gradation. Harmonic revelation in this work is such an important part of the expression, yet there was little recognition in the playing.</p>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:2066:"<p>JI Yusen</p><p>Chopin Op. 10/1</p><p>There is clear efficiency and capable pianism here, and this Etude does demand the kind of virtually 100% clean playing that you produce. But it is rather unpleasantly mechanical and over-relentless – bangy LH and brittle sound in RH. Even this Etude should not be totally mechanical.</p><p>Chopin Nocturne Op.9/1 (B flat minor): Clearly carefully prepared, but as yet little real sign of artistry or of musical sympathy for the image of the Nocturne. LH lacks fluidity and RH - especially when in octaves - is rather half barrish in segments. LH often too loud and notey, rather than fluid – esp in middle section. Little sign of real  for the music. Need to work on cantabile and legato. More delicacy and sensitivity to nuances needed. Best was probably the reprise, where some of the more embellished writing in RH was effectively presented and here you produced some genuine sense of intensity.</p><p>Debussy Pour le piano: 1. Again, one can commend his agility, but perhaps this was an unwise choice of repertoire - one that required far more musical sophistication - and (even at a basic level) far greater attention to the score. For example, the instruction to gradually return to opening tempo was ignored - as was the clear fact that the dynamic remains piano for well over a page after the opening few bars. This was, sadly, brash and insensitive playing, lacking both musical and pianistic refinement.  2. Some erratic and careless instabilities in pulse, but generally less misjudged, though the “elegance grave et lent” was not evident. Often unduly wooden. 3. SO fast - and so loud! Clearly able technique but musically simply a non-starter. Relentless.</p><p>It was at least for me, quite distressing to hear a young pianist with clear ability abusing the Debussy - especially the outer movements - in this way.<br />Undoubtedly this young man has talent, but unless he is encouraged - urgently - to take a really radically different approach to the way he thinks musically, it will be too late.</p>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1689:"<p>JI Yusen</p><p>Hard to believe that he is only 12 years old. Certainly a real talent! But we have to judge THIS performance of THESE pieces.<br />In the Etude there are excellent moments in the beginning, some of the most difficult places are even the best, then he seems to get a little tired, and so the performance isn’t as controlled as it should be. But I can already imagine, how well he will play this etude in a few years from now. My advice: he should listen better to the melodic connection of the bass octaves which sound a little seperate now and practise the piece reducing it to a simple choral. This would give him a better feeling and understanding for the harmonies. At this age it’s a good time to start studying theory of music and to do lot of ear training.</p><p>The Nocturne is a bit too “pesante”. This should be a more melancholic espressivo. The left hand should be more even, false accents should be avoided, we don’t want to feel the barlines. I think there is too much weight of the arm in single notes. Even in octaves I suggest to use more the energy of the fingers than of the arm, if the music is quite slow, not loud and molto cantibile.</p><p>Debussy is too virtuosic for my ears, too exciting, the Prelude too similar to the Toccata. We have to find a solution for the pedal point (la) in the beginning of the prelude. Actually it should be a longer pedal. The Sarabande starts too slowly. Grave, but with elegance, and the typical character of a Sarabande (the second beat!), this is what we have to keep in mind. The Toccata can be fast, although it’s only vif, not really presto. Here it’s too fast, just too difficult to control.</p>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:1877:"<p>JI Yusen</p><p>Chopin: Etude in C Major, Op. 10, No. 1</p><p>Your large hands make this an ideal etude for you. You tried to have a variety of touches in the right hand but did not really succeed. In the softest sections, you missed some notes or, at least, touched adjacent notes. Furthermore, the light non legato (with a lighter pedal) needed for contrast was absent. You should practice soft throughout without pedal in order to really hear yourself. Your return to the beginning arpeggio needed more “preparation” in order to make the “return home” more meaningful. Some of your dynamic decisions made no sense. I would recommend that you listen to the recording by the Mexican-American pianist, Agustin Anievas, and pay attention to his variety of color and to his dynamic organization. </p><p>Chopin: Nocturne in B Flat Minor, Op. 9, No. 1</p><p>This nocturne is problematic because of the rhythmic freedom needed for the long embellishments. They must sound as if improvised by adding an inner rubato which you must learn to feel from within. Become familiar with the playing of the old masters from the Golden Age, the ones who were performing during the decades between 1930 and 1950. The octave section became repetitive and a bit boring. It needs more variety and imagination. </p><p>Debussy: Pour le Piano</p><p>Learning some preludes by Debussy would have been better for your artistic development, even though it might not be the best choice for this competition. You played this music from a pianistic point of view, finding in it bravura and digital virtuosity. More concentration on color and atmosphere would bring you closer to the style. It sounds too much like Liszt.</p><p>In sum: you are very gifted and doing very well for your age. Make sure your facility does not lead you into the wrong direction. Seek to become a musician above all.</p>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1434:"<p>JI Yusen</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>JI Yusen<br />I was impressed so much of 12 year old pianist. Very good and big potential for the future.<br />Chopin Etude op.10#1 <br />Should be more legato in left hand as well as in the right. Good fingers, may be need more preciseness.<br />Nocturne. Also you tried to make rubato, try it &lt; FONT size=4&gt;more naturally. It sometimes sounds little metric. And also difficult to find good balance between long notes in right hand and left eight’s notes.<br />Debussy.<br />Need to be more exactly and precise. Not very accurate. And could be more refined in sound. Especially sarabande. But I am expecting too much of young boy. Good luck. I am sure in near future you will be good pianist.</p>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:872:"<p>JI Yusen</p><p>An energetic performance with a sound technique. The nocturne shows a good deal of musical sensitivity. The toccata is quite brilliant with a natural flow. A promising young talent.</p><p>The thing I would like to see more of in your playing is more emotional intensity. I believe it is this inner intensity that connects phrases, makes color changes, and gives breathes to the musical flow. In other words, it carries the music through a performance. So your Chopin etude would sound like endless ocean waves rather than just arpeggios, your nocturne would be portraying the aspiring dreams of a young Chopin rather than just a pretty tune, and the Debussy would be a painting with infinite shades of colors rather than an exercise of heavy touch. Think along these terms and let the music come from the heart. The audience will be moved by it then.</p>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:55:"2. <strong>JI Yusen</strong> : Chopin Etude Op.10 No.1 ";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:8:"02_1.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}}