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:1832:"<p>古静丹</p><p>    总的印象马上就很肯定，所有的表现都在正确的轨道上。她的演奏有活力， 分句好，善于倾听自己， 有专业化的技术， 具备真正的钢琴修养和专业训练。手、身体和头脑之间的配合非常默契。<br />    所以， 我认为不存在改毛病的问题，而是给你一些不同的建议， 比如在某些地方可以用一些别的方法来演奏。<br />    我们需要考虑夜曲中的速度关系。 中段是piu mosso (稍快)， 但是段落之间应有一种联系的力量（中段的一个小节要比前面的半个小节快一些）， 也就是说乐曲的开始不能太慢。 pp （很弱）及比较流动的速度（也许不像肖邦标的那么快， 但还是应该快一点）。曲子可以营造一种忧郁的气氛，我倾向于渲染更加深沉的悲伤情绪。<br />    在作品10之8这首练习曲中，我总是对左手有兴趣。这里包含着许多重要的旋律因素，切分音， 弱拍重音及有意思的力度变化。而且更有趣的是，我们要记住， 其他练习曲中也都有类似的问题。所以左手绝对不仅仅是伴奏。<br />    对波兰舞曲我只有很少的几点建议。主要是有关速度、速度关系、节奏等等。<br />    如第8小节的最后一拍，我理解是作为第9小节波兰舞曲真正的开始的起拍。这拍可以稍微抻长一些， 但要跟后面连起来。第79到83小节的过渡需要处理得很自然（跟前后两段的速度不能差得太多）。 在马祖卡的部分里，我听到很美的旋律线条和伴奏。 在节奏方面可以更具有活跃的舞蹈性，伴随着马祖卡特有的重音（速度可稍快一点），音乐感觉更加幸福（在阴暗性和戏剧性基础上）。</p>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:2434:"<p>古静丹</p><p>肖邦：夜曲 作品27之1<br />    你表现了优美的音调和细腻的连音。一切听起来都很流畅，具有音乐性。你的歌唱（旋律）在构思上色调有点单一，你似乎没有注意到声音不同的色度，特别是在乐句末尾“下收”的地方。如果加一个渐弱，就可以使你的演奏更加动人，更有诗意。这些亲切感人的瞬间，可以把平淡的的演奏和伟大的演奏区分开来。你总是把音乐做得太严肃认真了。我建议你去听一下所谓“黄金时代”的那些伟大钢琴家（拉赫玛尼诺夫、霍夫曼、佛里德曼、莫瓦西维奇、彻卡斯基等人）的演奏录音，去熟悉一种富有表现力的音乐风格，它不是总在“叫喊”的。不时地微笑一下，是会受到欢迎的。作品的中间部分，你以音量的增强表现了感情的强烈，而没有注重激情性的增长。左手的八度音起得太慢，做得太谨慎了。我赞赏你在回到A段的时候，所表达出来的怀旧的乡愁感。<br />肖邦：F大调练习曲 作品10之8<br />    左手应该多些歌唱。演奏最终的结果，听起来更像一首“练习曲”，而不是一首优美的作品。右手部分需要有更多的色彩变化，从连音变化到不连，从比较深的触键变化到比较轻快的触键，等等。结尾有点平淡。我还感到演奏有点太慢了。<br />肖邦：升f小调波兰舞曲 作品44<br />    对于本次比赛，这首作品是非常好的选择。要谨慎使用踏板，就不会抹掉了波兰舞曲的节奏感。右手的八度音阶上行，应该是更有旋律的，而不是辉煌的（是肖邦，不是李斯特！）。在波罗乃兹和主要玛祖卡之间的连接段落中，踏板的使用应按照肖邦所做的标记，其更有趣味，更加大胆，这一效果是通过瞬间产生的模糊音而达到的。玛祖卡部分弹得太方正古板了。要微笑！这不是一首需要如此严肃认真的音乐作品！要给出一点即兴演奏的感觉！<br />总评：你有才华，是个认真的学生。你需要幽默和个性。你所做的一切都是合乎预料的。你也许是在遵循你老师的指导。这些指导是很好的，但你必须让音乐发自你自己的内心，这样，你才能迈向艺术的高度，而不仅仅是听起来像一个非常有才的学生。</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:24:"<p>   敬请期待</p>";}}s:18:"field_ypa_title_gb";a:1:{i:0;a:1:{s:5:"value";s:119:"1. <strong>古静丹</strong>：肖邦波兰舞曲  作品44 / <strong> GU Jingdan </strong>：: Chopin:Polonaise Op.44";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:5738:"<p>GU Jingdan</p><p>No.1 Chopin: Nocturne in C-sharp minor, Op.27 No.1</p><p>- Excellent performance of this very difficult work. You display lots of good qualities especially a wonderful ability of maintaining a long singing line in a slow tempo. This means that you are intensely listening to your sounds. </p><p>- The contrast between sections could be even more defined and striking.</p><p>- In section “A” you should strive for evenness of the left hand accompaniment, avoiding unnecessary quick moments or sudden jolts of loud dynamics. This evenness is essential in providing the haunting atmosphere of this nocturne.</p><p>In measure 20 make more distinction of the two voices in the right hand by using not only dynamic differences but also in character.</p><p>- In measure 26 the “ritenuto” is for 3 measures and should be more consistent in order to build up tension and expectation. You play slower and then play faster and slower again. </p><p>- The middle section has a long continuous crescendo – use the bass line as a guide while voicing the right hand</p><p>- Make more characterization in measure 45 “appassionato” and in measure 49 “sostenuto”. In fact, the wide leaps in the left hand and the full legato sound of the right hand demand an expansion on the tempo.</p><p>- From measure 65 the full harmonic writing demands careful use of tempo and balance of hands. Make sure you accelerate only from measure 78 and not before. </p><p>- After all the tension leading up to it, the “con forza” character together with its drama is unfortunately missing in your cadenza. </p><p>- Your approach to the C-sharp major change toward the end is nicely and sensitively done. </p><p>- Please observe the “Adagio” in the last three measures, which should be slower and more deliberate, allowing the natural timing of the release of the f-sharp in the right hand to the E-sharp as a conclusion.</p><p>No.2 Chopin: Etude in F major, Op.10 No.8</p><p>- Again an excellent performance, if somewhat “measured” in tempo. I like very much you treatment of the left hand as a source for melodic character while the clarity of your right hand runs is very commendable. </p><p>- You should be more aware of the structure of A A B A Coda. Understanding the form would allow you to make some difference when you repeat the A section.</p><p>- Notice the accents that Chopin places on every beat. It means that he wants groups of four notes pulsing and consistently moving forward, generating a sense of direction.</p><p>- Strive for the climax in measure 71 which is usually reserved for just before the coda in most of his etudes.</p><p>- The polar opposite of this climax is the PP in measure 57 which is prepared by “diminuendo” and “poco rallentando” - this part was the least successful of your performance.</p><p>- Your slowing down right before the cascading final seven measures does not work if you also wish to slow down and make a diminuendo at the very end. You have to make a decision and choose only one.<br /> <br />No.3 Chopin: Polonaise, Op.44</p><p>- This is a wonderful, powerful performance. You have given serious thoughts to the work and have created a personal statement. There are numerous positive reactions to your playing from the strong sense of pulse to the clarity of the melodic line. I enjoyed your interpretation of the middle section which due to its constant repetition can become tedious. And the ending was successfully brought to a final conclusion with a careful diminuendo and long melodic line.</p><p>- The main problem is your use of the pedal. While I do admire your strong sense of phrasing in the right hand, the overall effect is not of an energetic, rhythmic dance but of a rather blurred and lethargic background that is due to your lack of careful consideration of the pedal. I would advise you to make an effort to see if the pedal markings of Chopin can be used faithfully. Of course his piano was quite different from the instrument we are performing today, but it does give us some indication what he wanted. Further, the study of pedaling must be combined with the volume of the left hand together with the articulation used.</p><p>- Aim at bringing out the famous “polonaise rhythm” more clearly and with a sense of purpose and pride.</p><p>- Chopin’s use of repetition is based on the notion that we would make slight but important changes in sound and timing, and not just try to do the same thing every time. </p><p>- Your octave passages are rather vertical and it lacks a sense of flow.</p><p>- The middle section with its relentlessly repetitious pattern should be played with more crispiness, making a good contrast from the 1st section. One caution: you must revise the pattern to adhere to the basic rhythmic pulse in - the first beat should be more important and not the second beat. Also try the pedal marking of Chopin here, and keep the staccato eighth notes dry and clear of any overtones.</p><p>- For me the mazurka in the beautiful key of A major was slightly too “direct” and “present”. Its gentle nature requires such rubato and timing that give a sense of timelessness, while maintaining the subtle characteristic of a mazurka. This would create a sharp contrast to the other sections, where the forward motion is relentless and constant. </p><p>In general you are a very impressive performer. Your preparation and presentation is on a very high level. I sense that you and your teacher are working hard to search for solutions based on the score and that you are sincere and honest in your effort. I truly enjoyed your performance that has many strong positive qualities. I wish you well in all your endeavors.</p>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:1235:"<p>GU Jingdan</p><p>In general  Ms. Gu had excellent control over the sound colour, balance, and dynamic range.  Her playing had confidence, calmness and authority.  Pedalling was careful and mostly subtle, and her legato playing was faultless.</p><p>The Nocturne Op.27 No.1 had a beautiful, liquid sound, with rhythmic elasticity – and at the same time a wonderful simplicity and naturalness. The double thirds were balanced and stunningly expressive. The long line was always perfectly paced in terms of tension and release. The idea of playing the left hand slightly before the right hand became predictable and a little irritating after a while.</p><p>Op.10 No.8 was lively and clear, but slightly lacking in elegance and grace. The left hand could have more poise, with less clipped and “determined” drive.  Right hand could have more colour and variety in articulation. Altogether it was a bit “study”-like.</p><p>Polonaise Op.44 was solid and full of assuredness.  The middle section could have more harmonic revelation.  A major could be brighter, more sunny – not always rich and dark. <br />A range of sound quality is important to the listener; too much of a good thing is not always the best decision!</p>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:1782:"<p>GU Jingduan:  </p><p>Chopin Op 27/1 Nocturne: This is poised and in many ways immaculate playing, with a sense of space and beauty of sound. There is a slightly static feeling to this and - for all its “professionalism” it is curiously “studied” - missing something more “personal”.</p><p>Etude Op.10/8: Again abundant evidence of an extremely well-developed pianist. Fingerwork is alive, but not over-mechanical. Again, though - from playing of this level of ability, I would have hoped to hear something rather more either elegant or witty, and the final page or so could “melt”and show a rather more different character - though there one can hear that she senses something of this.  Somehow she could convey more sheer enjoyment at playing this! Just a shade dutiful.</p><p>Chopin F sharp minor Polonaise This was considerably less convincing, though it does show some impressive strength and authority. It is somewhat over-“set” and predictable, and does not yet convey the longer noble sweep of the music. Rhythm is too static and chording rather over vertical. A minor section rather solid, with the problems inherent in the repetitious nature of this music not yet addressed. More sense of where the real climax(es) are is needed.  The Mazurka lacks real elasticity of phrasing: this could be a waltz! Again a certain sense of being SO practised, and needing  a more intuitive and creative response to catch the more yielding contrasts of this section.</p><p>These criticisms are always in the context of a really impressive and extremely confident and polished performance. There is a sense (at least for me) of this being extremely well-tutored, but lacking some great degree of any personal “voice”, or of any musical “risk-taking”.</p>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1887:"<p>GU Jingdan</p><p>The general impression is immediately very positive. Here everything seems to be on the right way: <br />She plays con anima, she is phrasing very well, she is listening to herself, her technique is professional,<br />there is a real pianistic culture and a lot of discipline. The connection of hands, body and mind is excellent.</p><p>So, it’s not about correcting mistakes, but about suggesting different ideas, a different approach in certain places.<br />We have to think about the tempo relations in the Nocturne. The middle section is più mosso, but there should be a <br />connecting energy between the parts (the whole bars a little faster than the half bars before), which means a not too <br />slow tempo in the beginning. Pianissimo and quite flowing tempo (maybe not as fast as Chopin indicated, but still...) <br />can make a more melancholic expression, which I prefer to deep sadness.</p><p>In the Etude op. 10,8 I’m always very interested in the left hand. There are so many important melodic elements, syncopations, <br />off beat accents, interesting dynamics. And it’s also interesting to remember that we can find the same thing in many <br />other etudes. So, the left hand should be much more than accompanyment. </p><p>In the Polonaise just very few suggestions, most of them related to tempo, tempo relations, rhythm etc..<br />I understand the last beat in bar 8 as upbeat (anacrusis) to the real beginning of the Polonaise in bar 9. It can be poco sostenuto,<br />but connected. The transition from bar 79 to 83 should be “conducted” naturally (not too far from the tempo before and afterwards).<br />In the Mazurka part I hear beauty, a very well shaped melody with accompanyment. There could be more of a swinging dance with its typical accents (and a little faster), more happiness (between the dark and dramatic elements).</p>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:2374:"<p>GU Jingdan</p><p>Chopin: Nocturne, Op. 27, No. 1. </p><p>You show a beautiful tone and a fine legato. Everything sounds very smooth and musical. The singing voice (melody) is rather monochromatic in conception. You don’t seem to be aware of different shades of sound, particularly the ones “coming down” at the end of phrases. An added diminuendo could make your playing more touching and poetic. Those moments of intimacy can make a difference between a routine and a great performance. You always take the music very seriously. I advise you to listen to recordings of the great pianists of the so-called Golden Age (Rachmaninoff, Hoffman, Friedman, Moisiewitch, Cherkassky, etc.) in order to become familiar with an expressive style which is not “crying” all the time. A smile once in a while can be welcome. The middle section creates intensity by an increase in volume rather than by stressing the growing agitato character. The left hand octaves start too slowly and are played too carefully. I commend you for achieving a nostalgic feeling upon your return to the A section. </p><p>Chopin: Etude in F Major, Op. 10, No. 8</p><p>The left hand should sing more. The final result sounds more like an “etude” than a beautiful piece. More color changes are needed in the right hand, from legato to non-legato, from a deeper to a lighter touch, etc. The ending is rather routine. I also find the performance a bit too slow. </p><p>Chopin: Polonaise in F Sharp Minor, Op. 44</p><p>A great choice of piece for the competition. Be careful with the pedal so that you do not erase the rhythmic feeling of the Polonaise. The right hand octave scales going up should be more melodic rather than brilliant (Chopin, not Liszt!). The pedal in the connecting section, between the Polonaise and the main Mazurka, should follow Chopin’s markings, which are more interesting and daring by the momentary blur achieved. The Mazurka section is too square. Smile! This is not such serious music! Give a sense of improvisation!</p><p>In sum: you are talented and a serious student. You need humor and personality. Everything you do is predictable. You seem to be following your teacher’s instructions. They are excellent, but you must make the music come from yourself so that you can approach an artistic level instead of merely sounding like a very talented student.</p>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1585:"<p>GU Jingdan</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>GU Jingdan,<br />Chopin Nocturne Op. 27#1<br />Chopin Etude Op. 10#8<br />Chopin Polonaise Op.44<br />Very nice Nocturne, good rubato, but sometimes dotte rithme in melody is not correct. Though there is a tradition to play sixteenth notes in this rithme together with last note of triple in left hand, I&lt; FONT size=4 face="Times New Roman"&gt; prefer to listen more expressive melody and flexible rubato. Of course not too short sixteen’s, it’s difficult to find right speaking <br />Etude Very good fingers. Sometimes too fast arpeggiato in left hand. Also please try to play right hand more melodically. <br />Polonaise good. Also in octaves in the main theme try do more “recitativo” Mazurka in the middle section was not quite impressive and also it needs little more developing.<br />Thanks a lot for playing. Very solid performance.</p>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:976:"<p>GU Jingdan</p><p>A very musically sensitive performance. The nocturne shows a good sense of style. The fingers are strong and clear in the etude. You have a solid command of the instrument, which comes from a superb training.</p><p>On the other hand, I would like to see more changes of color, mood, and dynamics in your playing. It stays the same too much sometimes. The nocturne is a little too slow for me. Maybe if you let the phrases flow more or have better directions, it would sound more natural and not stagnant. The etude is quite brilliant. But if you can hold back the tempo a little, the right hand might become more articulate and the music more lively. The polonaise is well performed. I would like to see more of the emotional range to bring out Chopin’s poetic temperament. </p><p>Overall a very solid performance. My advice is to be more daring and imaginative in your interpretation and your music will become multi-faceted, and a joy to listen to.</p>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:57:"1.<strong> GU Jingdan </strong> :  Chopin:Polonaise Op.44";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:8:"01_3.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:58:"http://player.youku.com/player.php/sid/XMjIxMTg2ODY4/v.swf";}}}