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:1141:"<p>潘林子</p><p>    她具有钢琴演奏方面非常好的基础， 非常好的艺术趣味，很有责任感，受到了很好的训练。毫无疑问，技术上还可以更加完善。<br />    C小调夜曲在艺术上是很大的挑战——不仅对一个15岁的姑娘。此曲中几个段落之间的过渡是一个大问题。doppio movimento (双倍速度)的那段是决定性的。它限制着后面的 poco piu lento (稍慢一点) 部分和那些八度。乐曲开始的慢板可以快一些， 根据人声所能唱的可能性，这是作曲家的乐句标志。而你的演奏把慢板（Lento） 弹成 庄板（Grave）或广板（Largo）了。<br />    练习曲很好。 只是节奏上的灵感应来自左手第四拍。<br />    李斯特的高雅的叙事曲弹得很严肃和深刻。 慢的段落有松弛的倾向。曲中有好多作曲家标的dolce （柔和）的地方， 只有一处写了dolce placido 意思要安静。一些踏板指示也能帮助我们维持紧张度。 还有一个提醒，永远不要把分解八度单弹， 在其他声部中总能发现有意思的东西。</p>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:1570:"<p>潘林子</p><p>肖邦：c小调夜曲 作品48之1<br />    对于开头段落，我略有失望。就我的口味而言，它在情绪上过于紧张了。我更喜欢一种较“远”的处理方式，使听众渐渐地为埋伏在最后的暴风雨般的感情爆发作好准备。我还感到，八度音的中间段落有点太辉煌了，这更适合于李斯特匈牙利狂想曲那样的作品，而并不适合肖邦写过的任何东西。<br />肖邦：F大调练习曲 作品10之8<br />    祝贺你！这是我所听过的这首练习曲最美妙的演奏之一。你对音色的细微差别和多样性变化具有特别敏锐的耳朵，而且你已经学会使用正确的技术方法去获得这种效果。你的演奏使我想起过去时代伟大钢琴家们的“老派”风格。你在高音部不用踏板的那些不动声色的演奏瞬间特别有效果，表现了高度的圆熟和老练。<br />李斯特：b小调第二叙事曲<br />    当我在你的曲目表中注意到这首作品的时候，我不明白你为什么选择了这样一首内容重复性很强的作品，它在公开演奏中往往无法抓住观众的注意力。你证明我想错了！你让这首作品听起来比它实际的地位更重要。它给你机会去爱抚琴键，去使用漂浮的技巧，创造出钢琴所能产生的一些最美妙的声音。<br />总评：在你的演奏中，处处充满了艺术效果。我必须赞扬你的老师能够教出这样好的结果，同时还让你显得一切都是你本身所具有的。</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:118:"5.  <strong>潘林子</strong>：肖邦夜曲，Op48,No.1  /  <strong>PAN Linzi</strong>：Chopin: Nocturne Op48, No.1";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:6792:"<p>PAN Linzi</p><p>No.1 Chopin: Nocturne in C minor, Op.48 No.1</p><p>- It is unmistakable that you are a very serious musician and have a wonderful instinct for drama. You play with great commitment and your ability on the piano is absolute, and I am sure you have the basis for a wonderful career in music. </p><p>- Throughout the piece, one important element of this work that has kept me questioning your decisions was your tempo and its relationship between the sections. Tempo is related to what you want to say which of course can be quite individual. Yet, with Chopin his indication and consistent clarity of the totality of the work makes a great deal of sense, and therefore dictates on how much liberties we can take. </p><p>- “Lento” does not directly translate as just plain slowness in Chopin. It is more of a certain character. Listen to the “Lento” 3rd movement of the Sonata No.2 in B-flat minor “Marche funebre”. You should never sacrifice the movement of the melodic line for an idealistic “slow” tempo that satisfies the normal conception of “Lento”.</p><p>- The theme here is flexible and has inbuilt suggestions for breathing, like a song. For me the first four measures are unified by one breath. Furthermore, in 4/4 the hierarchies of beats are 1 then 3 and then 2 and 4. So if you play all of them the same way and with the same intensity, the music has no power to move. At the same time you must explore the harmonic progression as this is also a key element in our decision of tempo.</p><p>- I would advise you try to somewhat unify the work through a well selected tempo. I am sure you will see the value in this when everything comes together with greater satisfaction. </p><p>No.2 Chopin: Etude in F major, Op. 10 No.8</p><p>- A superb performance, full of color and wonderful acknowledgement of the great harmonic power of Chopin’s music. I liked very much the lightness of your right hand and your “cantabile” playing the left hand. </p><p>- Your forward motion was excellent, although if you could only observe the small pulsating accents that Chopin places on so many notes, it would have been even more brilliant. Your consistent tempo throughout was exemplary and your observation of details was also very gratifying. </p><p>- On a personal note, I never liked the idea of playing the last chords as if they were not important. Your idea of making a diminuendo there lacked conviction. I would much rather follow Chopin’s suggestion of leading the work to a positive conclusion.</p><p>- Nevertheless, a great performance, and I truly hope you will play all the other 23 etudes.</p><p>No.3 Liszt: Ballade No.2 in B minor</p><p>- It is indeed rare to hear such mature understanding of Liszt’s music that you display through this performance. It is obvious that you have given a lot of thoughts for this piece as it is a very difficult work to hold together. There are numerous moments that are glorious and I congratulate you on having a warm and inviting sound. </p><p>- Relations within the different tempos should be more clearly defined. “Allegro moderato” to “Lento assai” and “Allegretto” must be related - the “Allegretto” should not sound faster than the “Allegro moderato” and “Lento assai” is not a complete stop.</p><p>- Shaping the “Allegretto” melody is important. In measure 25 you seem to move towards the last eighth note. Keep this very steady. F-sharp major in its most sunny disposition. </p><p>- The use of pedal requires great care. For me the passage at beginning (and similar passages) has a tendency to be over pedaled, resulting in a wash of sound as if underwater. </p><p>- The passage starting from measure 86 is much more polyphonic and should be voiced accordingly. Again the clarity of lines is more important than loud virtuoso playing. Notice how the “p” in measure 96 is maintained with only slight crescendos leading 16 measures later to “ff”. All of Liszt’s music is full of examples of his demand for such control. And indeed Liszt’s drama depends on this kind of dynamic control to a great extent.</p><p>- After the first climax, do not let the sound go so quickly – in measure 129 Liszt so wisely does not give a dynamic indication hoping that we keep the tension and prolong it to its resolution only in measure 135 where a completely different color in D major is sounded.</p><p>- Color becomes even more important in the next section when the “Allegretto” melody is in D major, then G major, and slightly in E-flat major/minor.</p><p>- This ingenious introduction of the E-flat color is even more recognizable when the main subject turns from B major to E-flat major in the next section. It is essential to define these coloring to understand how Liszt planned such a large work.</p><p>- The following climax reaches “fff” in measure 207 and indeed should be larger than the first one – again keep in mind the larger structure of the Ballade which obviously Liszt had in mind.</p><p>- In measure 215 Liszt refuses to indicate a slower tempo – take care not to allow yourself the luxury of slowing down here as it might lead you to sound somewhat sentimental. Keep the tempo moving and use dynamics and articulation to produce interesting changes.</p><p>- For me the most beautiful moment of the Ballade and indeed the best section for you is the glorious “Allegro moderato” in measure 254. You really capture the true majestic sound of Liszt that is as close to speaking to us about humanity as Beethoven in the final movement of his Ninth Symphony. Well done!</p><p>- The final climax is the highest of them all, and again you must have the perspective to achieve this – the fullness of the chords with the urgency and large gestures of the upward swing of the scales must be much more fulfilling than what you displayed – but it will come in time.</p><p>- Leading to the coda is difficult to realize and you must work on this, especially try to gradually lead the “ritardando” from the fast passages to the “Andantino”. In your performance the “Andantino” seems to be faster as if you want to bring back the “Allegretto” tempo – Liszt is wise, he wants to conclude in a tranquil mode and sets a tempo that without any further slowing down gives us peace and finality.</p><p>Pan Linzi, you are a very talented pianist, and already in many ways mature and with personal ideas and convictions. You use your prodigious technique to enable the music to speak in a most natural way. You also pay careful attention to the text and take it seriously as it guides you through the composer’s intentions. You have a special gift and I do hope you will continue to develop and intensify your musical awareness.</p>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:810:"<p>PAN Linzi</p><p>This young pianist has a wonderful inner calm and steadiness combined with an intensity of architectural understanding that gives her playing a compelling communication. My attention did not wander for a moment!</p><p>The Nocturne Op.48 No.1 had an atmospheric and uninterrupted spaciousness to it which was convincing and spellbinding.  The middle section could be wilder – it was a little too controlled and restrained, not in volume but in character.</p><p>Op.10 No. 8 was lively, charming and poised, beautifully shaped and absolutely accurate.  There was variety and harmonic revelation as a result of intelligence and inner understanding.</p><p>Liszt: This was a subtle, refreshingly UNbombastic performance of the Ballade, a warm lyricism and a strong sense of the whole work.</p>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:2538:"<p>PAN Linzi </p><p>Chopin Nocturne Op.48/1: Please do not “try too hard”! The Nocturne was SO weighted to sound portentous – giving the impression that you were perhaps trying to seem extra mature! Of course you can play, but this came across as somewhat artificial. Somehow like someone who has heard and watched the great pianists and endeavours to make a great copy. But this is not a funeral march! Very good to hear some genuinely soft playing in the C major section- even if it was just a little too static. Once you get to the octaves you actually become so much more natural and gifted. Your pianistic ability and sense of natural performance suddenly become impressive. And it actually sounds fully engaged musically – and really talented.</p><p>EtudeOp.10/8: The Chopin Etude was really delightful. A lovely natural pianism and something that went well beyond the “normal” technical gloss one so often hears here.  Energy – but controlled within stylistic boundaries. The lovely change of character in last page could have been more enchanting and relaxed. But I really am captivated by the sheer sense of enjoyment that you convey as you play this!</p><p>Liszt B minor Ballade: Impressive sense of space and presentation.  Atmosphere well created and the start of the Allegro was well judged. One senses a real ear for sound and colour. Electric, without being too over the top. And there is real pathos / pain in some of the rhetorical utterances. Increasingly I am drawn to this playing and sense a real passionate musician who can convey - without any affectation or contrivance – the ability of music to convey emotion and something deep in concept. So often this work can sound brash and unappealing, but there is a sense here of this coming from “deep within” and penetrating far below the notes.  This is someone who plays with quite unusual intensity and a sense of having “been there and experienced” something special. Also one who can communicate. Curiously in the B major final section again I was somehow conscious initially of a certain less than natural impression that you were trying to be musically “mature” and less naturally yourself.  But once able to release through your fine pianism this slight artificiality disappears. The very end was not SO well controlled.</p><p>Overall, this is impressive and mature playing. There is a real sense of involvement and communication. One hears a committed and passionate musician as well as clearly an extremely capable pianist.</p>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1240:"<p>PAN Linzi</p><p>Excellent basic quality of piano playing. Very good taste, responsibility, discipline. Even more technical perfection will be possible, there is no reason to doubt about this. </p><p>The c-minor Nocturne is an enormous artistic challenge – not only for a 15 years old girl! It’s so difficult to get the transitions between the parts right. There is a natural tempo limit for the doppio movimento part, and this is also limiting the poco più lento part and its octaves. The Lento in the beginning can be faster, in order not to be too far from a human singing voice and to be able to follow the typical long phrasing signs by the composer. Here the Lento sounds a bit like Largo or Grave.</p><p>Good Etude. Again the advice to use the rhythmic inspirations that should be coming from the left hand, especially from the 4th beat<br />(like in op. 10,4).</p><p>Noble Liszt Ballade, serious and deep. A certain tendancy to relax too much in the slower parts. There are many dolce parts, but just<br />one dolce placido place. Also the pedal points (Allegretto) can help to keep the tension. Another advice would be, never to leave the<br />broken otaves alone, there is always something exciting in the other voices.</p>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:1647:"<p>PAN Linzi</p><p>Chopin: Nocturne in C Minor, Op. 48, No. 1</p><p>I was a bit disappointed with the opening section. For my taste, it was too emotionally charged. I prefer a more “distant” approach which gradually prepares the listener for the storm that is awaiting at the end. I also feel that the octave middle section was a bit too brilliant, more appropriate for a Hungarian rhapsody by Liszt than for anything that Chopin ever wrote. </p><p>Chopin: Etude in F Major, Op. 10, No. 8</p><p>Congratulations! This was one of the most beautiful performances I have ever heard of this etude. You have a special ear for nuance and variety of color and you have learned to use the right technical resources to achieve it. Your playing reminded me of the “old fashioned” style of the great pianists of the past. Your dry moments without pedal in the high register were particularly effective and showed a great degree of sophistication. </p><p>Liszt: Ballade No. 2 in B Minor</p><p>When I noticed this piece in your listed repertoire, I wondered as to why you had chosen such a repetitive work which usually loses the attention of the audiences in public performance. You proved me wrong! You made this work sound more important than it actually is. It gave you the opportunity to caress the keys and to use the floating technique that produced some of the most beautiful sounds a piano is capable of. </p><p>In sum: there is artistry everywhere in your playing. I must commend your teacher for having been able to produce such wonderful results and, at the same time, allow you to give the impression that everything is coming from you.</p>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1162:"<p>PAN Linzi</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>PAN Linzi<br />Very nice performance. <br />Nocturne. Nice, dramatic, good feeling. Little too equal phrasing and touch in the beginning.<br />Etude<br />Very nice, elegant playing. Could I suggest to find more interesting touch sometimes, not too&lt; /FONT&gt; loud.<br />Liszt Ballade h-moll<br />Also very thoughtful performance. Good balance and contrast of different episodes.<br />Best wishes for the future and good luck.</p>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:867:"<p>PAN Linzi</p><p>This is a talented young pianist with a thoughtful musicality and masterful keyboard skills. With that technique, I feel the etude could be more expressive. I think the sign that someone has a great technique is that she can make an etude sound like a piece of music. Chopin Op. 10, No.8 is certainly full of charm and elegance. With a little extra attention, it could be all brought out. The nocturne seems slow to me. It makes it hard to play the mid-section “Poco piu lento”. Additionally, I always think it is easier to make rubato in a tempo that is flowing rather than in one that is stagnant. I like the way you played the Liszt Ballade. It is well thought out and well organized. Perhaps if the phrases have more direction, the music could be more intense. Overall an excellent performance, the future is full of promises for you. </p>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:60:" 5. <strong>PAN Linzi</strong>：Chopin: Nocturne Op48, No.1";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:8:"05_1.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}}