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:1073:"<p>曾宪逸<br /> <br />    为他写评语我感到很高兴，他有很深的程度，并强有力的掌握了演奏音乐的基本要素。我能感觉到他在发音前的内心走向。他的心总是跟音乐保持着联系。 练习曲弹得熟练，有感染力， 还挖掘出一条中声部，会使作曲家感到惊喜。<br />    夜曲构建的很好，和声感和复调感很棒，乐句很有造型感， 速度也很好， 听起来非常雅致。音乐自始至终都很有张力。 要把双三度双六度弹的真正连贯非常不容易。 如果手指无法连起来， 那就要制造一种错觉，使人听起来觉得很连贯。 这点上还可以改进。<br />    普罗科菲耶夫奏鸣曲对他来说是极佳的选择。 我听到了他精神上和体力上非常自然的平衡（两者都很高），已经很成熟了。 在这首乐曲中，良好的复调感很明显（也很必要）。虽然我不完全同意他（在尾声）的一些声部和节奏方面的处理， 我还是饶有兴趣地聆听他的演奏。</p>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:1268:"<p>曾憲逸</p><p>肖邦：a小调练习曲 作品10之2<br />    我欣赏你具有获得某种程度的轻松感的能力，同时又表现出触键中的一些变化（在上行音阶中触键逐步加深），这表明你是在追求多样性和色彩的不同。我希望你的演奏听起来更加“不费吹灰之力”，而变得真正伟大起来。<br />肖邦：G大调夜曲 作品37之2<br />    我欢迎你的曲目选择，因为这首夜曲尽管具有惊人的美感，却比其他夜曲演奏得少。它的演奏具有挑战性，因为它要求维持双音中的抒情旋律。你的演奏充满了色调的细微差别和亲切的柔情，具有节奏自由的动人感觉。<br />普罗科菲耶夫：钢琴奏鸣曲 第3号 作品28<br />    这是一个充满激情的演奏，它使我想起了Pogorelich 演奏的钢琴奏鸣曲第6号。在需要的地方锋芒犀利，在另一些地方又梦幻朦胧，充满了对细节的描绘和对对位旋律的注意，它使我自始至终都保持着兴趣。好极了！<br />总评：一流的天才。演奏的时候，尽量不要显出这样卖力工作的感觉。无须用这样的面部表情，向观众展示音乐所要表达的东西。音乐是由自身表达的！</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:159:"9.  <strong>曾憲逸</strong>：普罗科菲耶夫钢琴奏鸣曲第三号，作品二十八  /<strong>Mozar TSANG</strong>： Prokofiev Sonata No. 3, Op. 28 ";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:6685:"<p>Mozar TSANG</p><p>No.1 Chopin: Etude in A minor, Op. 10 No.2<br />- A very beautiful performance of this difficult etude. Except for a few places in the development section, your right hand proved to be reliable and secure. You managed to separate the active 3-4-5 fingers from the harmonic/melodic chords. </p><p>- I also commend you for approaching the work with intensity, yet within the boundaries of set by Chopin - only 3 “fortes” in the piece but lots of “crescendos”.</p><p>- My only criticism is that you do not go into details of the dynamic markings. Just two examples - it is not clear why you make an out of proportion “crescendo” in measure 8 after all it is the end of the phrase and clearly Chopin requests “diminuendo”.  Similarly in the coda the crescendo and ensuing “forte” in measures 42 – 43 are totally missing.</p><p>- Lastly, make a stronger effort to maintain the same articulation in the left hand for consistency – you have a tendency to vary the length as well as the touch. I would suggest that you practice hands separately.</p><p>No.2 Chopin: Nocturne in G major, Op.37 No.2<br />-  What a perfect choice for you, this is such a wondrous piece. It requires exquisite musical taste and you have this. </p><p>-  You manage to capture the atmosphere and the right amount of ebb and flow of the melodic line. You understand the limitations placed by Chopin on the dynamic range, yet within that you manage a great deal of variety.</p><p>- In measure 1 and 2 and similar passages throughout there is a “diminuendo” hairpin, yet you consistently play “crescendo”. In many ways this is a signature of Chopin - a personal trait that he often uses, for example in the Barcarolle to great effect. Since there are no dynamic markings, it is certain that Chopin’s detailed use of hairpins is a way to show flexibility both in dynamics and tempo. </p><p>- The other idea centers around the understanding how he uses harmonic movement as well as the major/minor key system. While Chopin was deeply rooted in the tonic-dominant system, his predilection for shifting the harmonies chromatically was clearly meant to be personal and surprising. After several measures of no harmonic motion from measure 1 to 7, Chopin suddenly moves rapidly utilizing enharmonic modulations. The reverse is also possible as the chromatic movements in measures 26 to 27 are followed by simple harmonies that sound exquisite. </p><p>- It is also important for you to be sensitive to the idea of serene modulations followed by active chromatic movement. This is especially true in the “B” section where the music passes from C major to E major and then suddenly moves chromatically to B-flat major and D major. It is important for you to be aware of the different colors these keys produce, there should not be any doubt that C major is different to E major, and while Chopin uses the same melody and harmony the difference should be quite clear. </p><p>- I do enjoy your lovely transparent sound in this nocturne. The middle section, in particular, is filled with sensitivity and imagination.</p><p>No.3 Prokofiev: Sonata No.3 in A minor, Op.28<br />- Subtitled “from Old Notebooks” this Sonata vies with the No.7 in popularity. Many pianists play it and often teachers introduce the Prokofiev style through this work. It seems to me that it is the virtuoso aspect of the work that captivates you, which you do with vigor and full conviction. While I respect the direction you have taken, for me you do so by sacrificing many aspects of Prokofiev that remain submerged in your playing.</p><p>- The most important characteristic of Prokofiev is color, and all of our focus should be to enable this to come through at all cost. A cursory look at the Prokofiev’s writing for the piano will reveal that he utilizes different articulation, detailed instruction of dynamics and careful use of tempo. From the percussive nature to the singing style and between, he has created a singular world that has to be studied and understood to make it come alive. The constant juxtaposition of ideas that dominated Prokofiev’s creativity between 1907 and 1917 perhaps can be more easily comprehended by viewing the paintings of Wassily Kandinsky and Franti?ek Kupka who were working at the same time. A clear example of this juxtaposition is how the first two measures are followed suddenly by four measures that are completely different. Another example is in measure 27 where the detached exchange between the right and left hand is interrupted by a legato passage, and he continues to do this seven times. Just simply understanding this perspective would make it imperative for you to take a slower tempo and concentrate on giving all your attention to the colors inherent in the details.</p><p>- I strongly believe that indications of composers should be taken very seriously. There are numerous passages that you ignore, such as the different dynamic markings. You play staccato when clearly legato is indicated, and you often take different tempos. </p><p>- For Prokofiev it is important to give tempo indications that are interrelated and provide a homogeneous whole for the Sonata. Thus the “Allegro” has to be tempered at the beginning to give the next indication “Moderato” some meaning. Do not be misled by “tempestoso” as this is instruction about the character, namely stormy or boisterous manner.</p><p>- The decision of your tempo in the recapitulation made it impossible for you to play some of the passage with absolute technical precision – see the ascending staccato right hand while the left hand has chords and the melody played by the thumb. It’s advisable that you establish a sense of pulse that is constant which is central to Prokofiev’s style – pulse that is controlled and intelligently used. </p><p>- I hope that you will try to revise your thoughts about this great work as I feel that with a more suitable tempo Prokofiev’s multilayer details that exemplifies his style would come through and that this would be more challenging and satisfying for you.</p><p>Mozar Tsang, you are a real musician and should develop into a wonderful artist. The fact that I do not agree with your performance of the Prokofiev Sonata is of little consequence. We often disagree with numerous major artists’ performances and yet we know that they are great musicians. What is important for you at the moment is to further develop your understanding of styles and ability to hear not only how music sounds but also how YOU sound. Good luck with all your endeavours and I am sure I will hear you often in the future.</p>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:917:"<p>Mozar TSANG</p><p>A polished and serene performer with lots of imagination!  I listened with fascination and admiration to this sophisticated young artist, and would like to hear more.</p><p>Op10. No.2 was ravishing – so radiant and elegant.  Absolute accuracy was perhaps sacrificed for artistic integrity, something that I applaud.</p><p>Nocturne Op.37 No.2: Elegant and spontaneous, with fabulous sound landscape and control.  I found this to be an utterly compelling performance which made the very best use of the beautiful Bechstein piano.</p><p>Prokofiev: This was the least successful, but still impressive.  Perhaps the fiery side of the pianist’s musical personality needs a little more encouragement.  He should not always be concerned about a harsh sound; in this work it is not only allowed, but necessary!  Push the limits of dynamics, sound quality and tempo to their utmost extremity.</p>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:1459:"<p>Mozar Tsang</p><p>Chopin Etude Op.10/2: A demanding choice and technically it is not without quite exposed little flaws.  Sounds a little over-fingery, and not quite legato enough. For me, the attempt at “interesting” voicing sounded somewhat contrived and “obvious”. This is one of those Etudes which demand such immaculate technical control, and the blemishes were noticeable!</p><p>Nocturne Op.37/2: Sensitive. Lilting rhythmic undercurrent. There is colour here and a feeling for Chopin. Spacious but never static. A good ear for harmony. At his best, in really soft playing, there is something very special - intimate and touching. At times it just sounded on the borderline of being too slow, but this was still a performance of very considerable quality. </p><p>Prokofiev 3rd Sonata: Fast and exciting – just a little too fast for clarity on occasion in ostinato passages (pages 2/3). 2nd subject is rather beautiful, but maybe a little too pale and listless-sounding for this music. (Almost too Chopinesque!) Just a little too black or white: fast and furious or sensitive and slightly small. Not without a number of technical blemishes / misses. Lovely return at recap, which then had excellent crisp articulate incisiveness. </p><p>Certainly one of the most interesting musicians and in general technically well on top of things. But, compared to some other entrants, there were more flaws and the Chopin Etude rather let you down.</p>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1099:"<p>Mozar TSANG</p><p>A pleasure to write a comment.  Very advanced playing. The basic elements of making music are strong:  I can feel an inner process<br />before the sound is being produced. He is always in touch with the music. The Etude is played with an impressive facility, there is even time for a middle voice that would have surprised the composer...<br />Good architecture in the Nocturne, feeling for the harmonies, for the polyphony, well shaped phrases, good tempo, a certain elegance.<br />He can keep the tension high for the whole piece. It isn’t easy to keep the thirds and sixths legato. If a real legato isn’t possible, we would be happy with the illusion. This can certainly be improved.</p><p>Prokofiev’s 3rd sonata is a perfect choice for a him. I hear a natural balance between spiritual and physical energy (both high), this is already quite mature. The good sense of polyphony is very obvious (and necessary!) also in this piece. If I don’t agree to all his ideas of voicing and rhythmic articulation (especially in the Coda), I can still listen with interest.</p>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:1224:"<p>Mozar Tsang</p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>I enjoyed your ability to achieve a certain degree of lightness while incorporating some changes in touch (deeper in one ascending scale, early on) that showed your search for variety and color.  I wish it would have sounded more "effortlessly" in order for the performance to be truly great. </p><p>Chopin: Nocturne in G Major, Op. 37, No. 2</p><p>I welcomed your selection as this nocturne is played less often than others in spite of its incredible beauty.  It is a challenge as it demands the sustainment of a cantilena melody in double notes.  Your performance was full of nuance and tenderness, with an appealing sense of rubato.<br /> </p><p>Prokofieff: Sonata No. 3, Op. 28</p><p>This was electrical playing which reminded me of Pogorelich’s performance of the Sonata No. 6.  Incisive when needed, dreamy in other places, full of details and attention to counterpoint, it kept me interested from beginning to end.  Bravo!</p><p>In sum: a major talent.  Try not give such a sense of hard work when you are playing.  You don't need to make such facial expressions to show the audience what the music is all about.  It speaks for itself!</p>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1317:"<p>Mozar TSANG</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>MOZAR Tsang<br />Etude-very interesting, good feeling of freedom in music.<br />Nocturne Very nice! Very good listening of himself and &lt; /FONT&gt;ood control. Beautiful music, not easy, and succeeded. May be sometimes sixteens double notes could be little slower speaking out. Good rubato, very sensitive feeling music.<br />Prokoffiev.<br />Very good. Good sense. As for Prokoffiev style, it require rubato only when you see author’s remark. Without it is not necessary and not makes better music. (it’s not for this style)<br />In general very exiting performance. Thanks!</p>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:794:"<p>Mozar TSANG</p><p>The Etude Op.10, No.2 is performed marvlously. The right hand is well articulated. The inner voice you brought out is very refreshing. An etude is performed the best when it becomes a piece of music in stead of just an exercise. And I enjoyed this piece of music very much. The nocturne has a nice atmosphere. It’s elegand yet intense, and unfolds in a natural flow. I like the fact you listen to yourself well when you play. Music is especially moving when it comes from the heart and with inner intensity. The Prokofiev is very enegetic, intense, and exciting. Perhaps a little too fast for my taste. While speed can certainly bring excitement, it is not nearly as powerful as a strong rhythmic pulse. Overall it’s a brilliant performance, and a joy to listen to.</p>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:66:"9. <strong>Mozar TSANG</strong>： Prokofiev Sonata No. 3, Op. 28 ";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:8:"09_3.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}}