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:1150:"<p>李颖</p><p>    李颖已经是程度很深的学生了。 我能听出她非凡的技术能力， 以及更多的优点。<br />    她能演奏非常长的乐句而从不丢失细节。我能感受到她的那种能把一首乐曲的第一个音到最后一个音都连系起来的力量， 甚至把紧张度一直维持好几页。 这是她的才华的最重要方面。<br />    但是细节是珍贵的， 也是重要的。这方面可以更加提高， 比如，我赞同她的夜曲的（快速）速度， 看起来这也是肖邦的意图，使这首夜曲不会太“深沉”。但是声音应该远一些， 不要那么真实。我希望在这首曲子里听到月光和黎明（大调和小调），是虚幻的影子而不是阳光明媚。<br />    练习曲应受到很大的赞扬。<br />    “弄臣”改编曲演奏的有点太技术性了，应更随想性。  例如前奏里的八度速度上可处理得自由一些。速度太快了就不太容易做了。总体来说，需要下功夫的是此曲的诗意一面，一些轻盈的、轻声的部分， 还有准确的节奏和自然的呼吸。</p>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:2310:"<p>李颖</p><p>肖邦：夜曲 作品27之1<br />    相当漂亮的一个演奏，左手（手腕松弛）灵巧的处理，把音程连接起来，音符紧挨音符，而不松散。你的左手就像一个音乐指挥，引领着一个歌手，不给他/她肆意表达的自由。有点太注重节奏了。左手必须跟随右手，而不是相反。在起始的旋律中虽有色彩，但很快我就意识到，你本可以通过使用柔音踏板在某些地方表现出更多的亲切感。在接近结束，要做渐弱的时候，你的渐弱不只是按所期望的那样，对和声产生了作用，而且也影响了旋律，使其不复存在。柔音踏板的作用，在减弱声音的同时，仍可歌唱，它会让你把旋律歌唱得更加深沉。你在中段的渐强，情绪上的关联大于音量上的关联，这是我所喜欢的。<br />肖邦：a小调练习曲 作品10之2<br />    令人印象深刻的演奏，但有点太沉重了。再说一次，柔音踏板会帮助你在一些地方获得更多的声音变化，有时会让一些上行音阶听起来极其轻柔。出于某种原因，我觉得你会让一些观众感到你太卖力气了。这首作品听起来应该是轻松从容的！去找来听一下智利钢琴家Rosita Renard 在1940年代所做的现场录音（录制于卡耐基大厅）。她是在键盘上飞翔！<br />李斯特：改编自威尔第的歌剧《弄臣》<br />    你是否熟悉《弄臣》的故事情节和其中的主要人物？当你奏完引子部分，你对旋律的处理太重了，缺少了公爵的恶意中所内在讽刺意味，他企图让吉尔达相信自己爱她，而实际上他不愿意也没能力爱任何女人。他的态度是伪善的！吉尔达的回应，是天真的卖弄风情，这在你的处理中也没有表现出来。你单一的演奏，缺少早期大师演奏中所要求的“沙龙”风格，你总是用踏板表现辉煌，而没有去寻求他们内在的魅力！较轻的踏板会让你获得更大的效果。去听一下舒拉•彻卡斯基的录音，录音的时候他已经很老了，不能弹得像你一样辉煌。但是，他真正抓住了作品的精神！<br />总评：在你的演奏中有一些十分迷人的东西，吸引我想要去听！</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:109:"3.  <strong>李颖</strong>：肖邦夜曲第七首  / <strong>LI Ying</strong>：Chopin Nocturne Op.27, No.1";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:5190:"<p>LI Ying</p><p>No.1 Chopin: Nocturne in C-sharp minor, Op.27 No.1</p><p>- You are a natural pianist, displaying a wonderful command of the instrument. You demonstrate a great deal of understanding of the style as well as control of the numerous technical problems inherent in the work. You balance the left hand accompaniment well with the flow of the melodic line in your right hand which wonderfully produces a penetrating singing tone.</p><p>- The first section of this nocturne should be much more spacious and tranquil. Yours was more “agitato” not only because of a faster tempo, which is not advisable, but also because your left hand sometimes brought out notes in inappropriate places that inadvertently interrupted the inner tension.</p><p>- You should pay more attention to Chopin’s accents as these are more emotional than rhythmical.</p><p>- The three measures prior to “piu mosso” were not successful due to lack of patience on your part. Chopin in particularly wants “ritenuto” for these three measures to create an incredible atmosphere of foreboding stillness before something tragic.</p><p>- You produce an excellent “crescendo” in the middle section but somehow do not go all the way to the “appassionata” that has to be played with great satisfaction and fullness of sound.</p><p>- I found your playing from measure 65 rather hurried, lacking the space for the inherent dance that blossoms out of the previous chaos. Further, Chopin uses full harmonic progressions that gradually become more and more chromatic and dissonant demanding care and attention to enable the listeners to follow. </p><p>- Congratulations on the dramatic cadenza which was spun out from the huge climax that has been building up through the middle section.</p><p>- Your return to section “A” should be more of a reminiscence of the beginning section. It was again too “agitato”. </p><p>- The transformation to the major (measure 94) requires much more sensitivity and imagination in order allow the sun to come out from behind the clouds.</p><p>- The final “Adagio” must be slower, broader, and darker as if Chopin reminds us for the last time of the dark colors throughout the main portion of the work, yet ending with a moment of inner peace and reconciliation.</p><p>No.2 Chopin: Etude in A minor, Op. 10 No.2</p><p>- Wonderful performance of this very difficult etude. I like very much your tempo, your attention to shape the phrases, and control of the melodic line. You have an inherent singing tone, even during fast finger work passages, which is very admirable.</p><p>- You have conquered very successfully the intricate division of the fingers, and have made your 3rd, 4th, and 5th fingers independent in your right hand. You also have made the transition from a finger exercise to a superb character piece. </p><p>- Make the work come more alive and interesting by using a wider range of crescendo and diminuendo </p><p>- Your left hand staccatos were sometimes too heavy. Involve the left hands top voices into creating some interesting melodic lines that, if played with subtlety, can become quite surprising and satisfying.</p><p>- Make sure that you don’t become slower from measure 19 onward. It is one long crescendo through six measures, so keep the momentum and build it up with a sense of direction.</p><p>- Clarify your phrasing even more as this work often tends to just flow without any feeling for the structure.</p><p>No.3 Verdi/Liszt: Rigoletto – Concert-Paraphrase</p><p>- You played this piece with flair, a great sense of drama, and emotional involvement. </p><p>- The Preludio should be performed as an introduction. You must not make it more important than the ensuing aria. </p><p>- As pianists we do not often get a chance to sing such a fabulous melody as the Duke of Mantua sings in this case, and so enjoy the melodies. Learn to breathe as if you are really singing. And take more time as the accompaniment is constructed so well as to follow the whim of singers.</p><p>- You should learn about the other characters in the opera if you want to do justice to the Liszt’s intentions, something that you are not doing here. While there are interjections in the form of cadenzas showing Liszt uncanny technical abilities, he mainly focuses on portraying the tragedy through the characters. The coda is the only part that Liszt uses for his personal reaction to the story and completes Verdi’s “quartet” by musically representing the last moment of the opera before the curtain falls, which in this case is the falling octaves.</p><p>- I hope I have enticed you enough to research for yourself the story and the different characters of the opera. Only after such a study will you be able to bring to life through the piano one of the greatest operatic moments in history.</p><p>Li Ying, you have a natural ability to play the piano. You have an innate musical personality and a deep commitment to bring out the emotional meanings of the pieces. Keep up with your excellent work, while at the same time study the scores carefully and try to find ways to get to the heart of what the composers want to communicate.</p>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:1048:"<p>LI Ying</p><p>A serious and well-taught young musician.  Every note, every phrase was carefully crafted and executed, and the playing had confidence and consistency.</p><p>The Nocturne Op.27 no.1 was extremely well thought out. The gorgeous sound, pacing, timing and shape of the whole piece was attractive and fluent.  I missed a sense of personal expression and spontaneity, which will no doubt come with more experience and more listening to music of all types (operas, symphonies, instrumental works, Lieder etc.)</p><p>Op.10 No 2 was an illustration of fabulous fingers – equal, fleet, strong!  Bravo! Now this beautiful etude needs colour and imagination!</p><p>Liszt: The technical acumen in the Rigoletto Paraphrase was impressive indeed.  The sheer physical efficiency is something that many could learn from (no extraneous and interruptive motions).  Strength and stamina were in abundance!  Passagework not quite colourful enough – it needed more variety in tension and release.  A sense of the whole vision was missing</p>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:1609:"<p>LI Ying</p><p>Chopin Nocturne Op.27/1: Very much the right idea – quality of sound is somewhat over-direct and needs far more subtlety of tone quality and imaginative ear for nuances if this is to each real musical heights. There is nothing that is remotely unmusical here, but it is somewhat lacking ambition to explore the particular qualities of this wonderful Nocturne fully.</p><p>Chopin Op.10/2: Able playing of a demanding study. LH a bit over metronomic and routine. RH could be more legato and the whole study more delicious: this was efficient rather than Chopinesque, and the overall dynamic level was simply too loud. </p><p>Liszt: Rigoletto Paraphrase: Again much to admire in her pianism. The real rhetorical and emotional content of the aria eludes her – the pathos and expressive depth. (The aria sounds too “matter of fact” and not an outpouring of grief.)  But again one senses a fundamental musicality here, though there is once again too much of a sense of “efficiency” and not enough sheer enjoyment at the opportunities for subtlety. Perhaps it has not been easy for her to hear the operatic original inspiration for this work - or the orchestral colours possible. (For example the octave leaps are gestures of pain/anxiety like sobbing!</p><p>More focus on the RH passagework. Scope for greater delicacy, but there is some admirable virtuosity. The sobbing leaps are musically missing the point. </p><p>Some promise here from young player, and still certainly she has time to open her mind and ears to things that go far beyond mere “very capable” piano playing.</p>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1186:"<p>LI Ying</p><p>Li Ying is an already very advanced young pianist. I can hear a fabulous technical facility, but more than this:<br />Li Ying can play huge phrases, never gets lost in details. I can feel an energy that connects the first and the last note of a piece. She can keep the tension over whole pages, a most important part of the talent.</p><p>But details can be precious and are also important. In this field she could improve her performances.</p><p>An example:  I agree with her (fast) tempo in the Nocturne, as this seemed to be Chopin’s intention and doesn’t make the piece too “deep”, but the sound could be more distant, not “real”. Moonlight, twilight (minor/major!), shadows instead of sunshine – that’s what I’d like to see in this piece.</p><p>A lot of respect for the Etude! </p><p>Rigoletto:  Sounds a bit too “technical”, should more a capriccio. For example: The octaves in the beginning could be shaped with some rubato. This doesn’t work under the pressure of a too fast tempo. In general:  It’s the poetic side of the piece that should be developed, the leggiero places, the pianissimo, careful timing and natural breathing.</p>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:2404:"<p>LI Ying</p><p>Chopin: Nocturne Op. 27, No. 1</p><p>Quite a beautiful performance, with a flexible approach to the left hand (loose wrists) that connected the intervals as if the notes were close to each other rather than far away. Your left hand was like a conductor accompanying a singer that does not let him/her have some freedom of expression. A bit too rhythmic. The left hand must follow the right hand and not vice versa. There was color in the initial melody but soon I realized that you could have achieved more intimacy in certain moments with the use of una corda. Towards the end, when trying to get gradually softer, your diminuendo affected not only the harmony, as desired, but also the melody, which lost its presence. The una corda would have allowed you to still sing the melody more deeply while getting softer. Your crescendo in the middle section was more related to intensity than to volume, and I liked that. </p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>Impressive performance, but a bit too heavy. Again, una corda in some places would have helped you to achieve more variety of sound, so that some of the ascending scales would sometimes sound pianissimo. I somehow feel that you would make an audience sense that you are working too hard. It should sound easy! Try to find and listen to the live recording (at Carnegie Hall) of the Chilean pianist Rosita Renard, in the 1940's. She flies over the keys!</p><p>Liszt: Paraphrase of the Opera “Rigoletto” by Verdi</p><p>Are you familiar with the story of Rigoletto and its main characters? After you completed the introduction, your approach to the melody was too heavy and lacking in the sarcasm inherent in the bad intentions of the Duke, trying to make Gilda believe that he loves her when he actually is unwilling and incapable of loving any woman. His attitude is hypocritical! Gilda answers with naive coquettishness which is also missing in your approach. Your solid performance lacks the "salon" style required in the early virtuoso runs, which you always pedal for brilliance instead of looking for their inherent charm! A lighter pedal will get you greater results. Listen to Shura Cherkassky's recording which he did when he was too old to play as brilliantly as you do. But he really captured the spirit!</p><p>In sum: there is something very engaging about your playing that makes me want to listen!</p>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1223:"<p>LI Ying</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>LI Ying<br />Nocturne 27#1<br />Nice played. Middle section seemed little too loud, may be rude. And remember not to play too much forte too early in developing crescendo.<br />Etude <br />Very good, very difficult but you succeed! Also try to find more interesting colures. Not loud etude! More nostalgic mood, sad, not too bright always.<br />“Rigoletto”<br />It is Fantasia. It needs improvising, more rubato. Recitatives means “speaking”<br />Also find more differences in sound.</p>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:920:"<p>LI Ying</p><p>A natural talent, gets through difficult pieces with relative ease. The etude is quite brilliant.</p><p>I would like to see a clearer musical picture in your playing. The nocturne to me is not just a lyrical piece. It is filled with yearning, suffering, passion, and in the middle, triumph. The inter-action between all those emotions is the beauty of this music. So one needs to have a very clear idea of what expression to bring out at a particular place and secure the technical means to bring that expression out. The same goes for Rigoletto. One needs to find the different voices sung by different character in this famous quartet Bella Figlia Dell'Amore, and bring them out in a clear fashion to the audience. Here I find the tempo little too fast. It could sing out more and be warmer in a slightly slower tempo. The music will be more interesting, and your audience will appreciate it more.</p>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:57:"3. <strong>LI Ying</strong> : Chopin Nocturne Op.27, No.1";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:8:"03_1.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}}