INSERT INTO `content_type_video_ypa` VALUES ('1367','1366','09_2.mp4','9. <strong>Mozar TSANG</strong>：Chopin : Nocturne Op. 37, No.2 ','9.  <strong>曾憲逸</strong>：肖邦夜曲：Op.37, No.2  / <strong>Mozar TSANG</strong>：Chopin Nocturne  Op. 37, No.2','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<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>','<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>','<p>   敬请期待</p>','<p>   敬请期待</p>','<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>','<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>','<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>','<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>','<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>','<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>','<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>','');
INSERT INTO `content_type_video_ypa` VALUES ('1368','1367','09_3.mp4','9. <strong>Mozar TSANG</strong>： Prokofiev Sonata No. 3, Op. 28 ','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 ','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<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>','<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>','<p>   敬请期待</p>','<p>   敬请期待</p>','<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>','<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>','<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>','<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>','<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>','<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>','<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>','');
INSERT INTO `content_type_video_ypa` VALUES ('1369','1368','10_1.mp4',' 10. <strong>ZHANG Ruixue</strong>：Chopin: Nocturne Op.15, No.1','10.<strong>张瑞雪</strong>：肖邦夜曲 Op.15, No.1  / <strong>ZHANG Ruixue</strong>：Chopin: Nocturne Op.15, No.1','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>张瑞雪<br /> <br />    她也是一名有前途的青年钢琴家。 夜曲弹得很好，有很好的音乐趣味， 分句正确，集中，乐感， 也许在F 大调那段太严肃了。 这些段落可以高兴一些， 包括那些非常柔和和非常细腻的地方。 中段F 固定低音四次出现应该单独突出。其余旋律部分属于全曲。<br />    练习曲应该受到赞扬。 看得出来， 她练习得很认真负责。16分音符很均匀。速度控制的很不错。再提高一步就要把练习曲弹成乐曲， 那时节奏点就可少一点，现在有很多相同的重音（切分音）， 要培养自己的和声感。<br />    考虑到张瑞雪才15岁， 西班牙狂想曲就已经弹得这么精彩了。可以听出来她技术上有很大的潜力， 演奏的很自然。演奏了一会之后她好像就忘了摄像机和话筒， 于是这几段她弹得最棒。有可能的话，可以把句子弹得长一些， 附点节奏使音乐不停地摇摆。</p>','<p>张瑞雪</p><p>肖邦：F大调夜曲 作品15之1<br />    相当漂亮的一个演奏，尽管左右手在平衡协调上不太理想，尤其是在开头部分。你知道如何处理抒情的旋律，你了解许多可行手段中的某些手段，来完成如此难的一个任务。你的演奏是有依据的，同时也为一些迷人的触键留下了空间，从而补足了音乐的表现质量。<br />肖邦：a小调练习曲 作品10之2<br />    尽管速度有点偏慢，但似乎是明智而慎重的选择，而且速度始终是稳定一致的。你的演奏相当令人信服，而不必利用降低下行音节难度的窍门。<br />李斯特：西班牙狂想曲<br />    音符完美的演奏，已为录音做好准备。你表现了绝对有把握的控制能力，尽管作品很难。最终的问题是，缺乏激情。演奏中以不出所料的方式一段接着一段，毫不间断的奔驰使你没有余地做任何表现真正个性的事情。当我想到你花所有这些时间达到了这样的完美的时候，我不知道，如果你弹一些从音乐角度对你具有真正挑战意义的东西，是否会更加有用。<br />总评：你的演奏很完美，但不知何种原因，它没有按我希望的那样“打动”我。你更多的是赢得了我的钦佩，而不是我的内心。</p>','','','<p>ZHANG Ruixue</p><p>No.1 Chopin: Nocturne in F major, Op.15 No.1<br />- This is a wonderful piece for you as it brings out your artistic possibilities. You have the ability to create big contrasts and communicate this with your audience. At the same time you are capable to spin the melodies with grace and clarity, this being a vital part of the Chopin style. Another important element is your security in performance. All these add up to a very enjoyable experience for the listeners.</p><p>- The balance between the hands in the “A” section needs more attention because your left hand triplets - the “motor”, are too prominent, hindering the right hand melodic line to soar. </p><p>- While it is natural to focus on the top line melodies, you should also be more aware of the bass line progression, and take advantage of Chopin’s writing to guide you towards the proper musical expressions and motions. The first eight measures are divided into two equal proportions, like question and answer. In the first three measures the melody is above a tonic pedal point, creating a feeling of hovering, holding back. However, the descending bass line from measure 4 produces a forward motion, a sense of direction. Notice how the harmonies help the ebb and flow of the music, allowing for contrasts between the phrases. </p><p>- In the “B” section you should aim for a darker sound. After all, we are in minor key. The turbulence is more likely to be demonstrated in the left hand, so make sure that you do not play the right hand too loudly. </p><p>- Please correct your left hand rhythm whenever you have dotted eighth note followed by a sixteenth note, for example in measure 29 and 30. You are playing a “tied triplet” rhythm instead.</p><p>- Your dynamics could be better observed and more precise. Utilize fully the “cresecendos” and pace them. Make differences between “forte” and “fortissmo”, and “pianissimo” and “sotto voce”. All of these are important indications that will help you better interpret his music.</p><p>No.2 Chopin: Etude in A minor, Op. 10 No.2<br />- Your performance is still what I would call good work in progress. Everything seems to be well on its way to give you a wonderful performance in the future when you will play this up to speed. You are careful to make sure that all the notes are even and clear, and there is an awareness of phrasing. I also like very much the quality of the “staccato” touch in your left hand throughout.</p><p>- You need to make more effort to bring to life all the dynamic markings of Chopin. He rarely reaches “forte” and when he does the music immediately withdraws. He aims for color all the time and you can make this happen with the numerous “crescendos” and “diminuendos” throughout. Allowing these to sound naturally and effortlessly (and in a faster tempo) would enable you to create a magical sensation.</p><p>No.3  Liszt: Spanish Rhapsody<br />- During the romantic period “Preluding” – meaning the improvised introduction was an integral part of most compositions. The idea was to give a hint of the piece’s character as well as to make the main theme more important by waiting for it to appear. Therefore, you should use much more individual approach to this improvised section. Be more sensitive to the differences in tensions as well as colors in the chords. On the whole, experiment and try to be more imaginative and creative.</p><p>- The “Folies d’Espagne” is a celebrated music theme used by numerous composers as basis for variation. Here Liszt ingeniously uses the eight-measure theme to show different styles as well as pianistic difficulties. While you do manage many aspects of the progression, you need to be more careful with your dynamic growth. Your theme is rhythmical but far too loud. As a result, the ensuing passages reach “forte” well before it actually appears on the score. Again, the “espressivo” variation should not be too loud, whereas the “un poco animato” finally has a “forte” building up to “fortissimo”.  </p><p>- The next staccato section should be lighter and a little agitated. The movement between the hands is more important, each shaping the contour of the passages. From here I congratulate you for progressing and never letting up the tempo as it moves to the “Allegro animato”. This, being the climax of the first section, should sound like a culmination, which you manage very well. In general, you need to make everything a little more flamboyant and virtuosic. At times, you look almost too serious.</p><p>- The “Jota aragonesa”, like other folk music, has a simple structure that is use the basis of another variation by Liszt. Here, he ingeniously keeps to the original character of the dance, which was danced by beautiful women. While your performance is very commendable and shows well your technical ability, I would recommend that you aim for much more lightness and shaping of the verses. In this section the “forte” is not as strong as in the “Folies”. Use the pedal not for the purpose of holding the harmonies but for brilliance and color.</p><p>- The slow section before the finale is a free improvisation on a theme by Liszt based on the free interpretation of the themes in the “Folies” section. Again this is in variation form, allowing four repetitions. You should aim to make each one different – they are in different keys, and these offer a great variety of colors. </p><p>- Truly bravo for your performance of the finale! This section is filled with horrendous technical difficulties yet you scale the mountain of technique brilliantly. I also admire the way you progress in tempo to the very end, always building up tension until the last dance in D major, where Liszt brings back the polonaise. Only one suggestion: you must bring out more colors and observe carefully the dynamic range that starts at “mezzo forte” going up to “fortissmo”. It is important that you find ways to use Liszt suggestions and build the dynamics gradually, waiting for the right moment to reach for the climax. </p><p>Zhang Ruixue, you are indeed very talented and have a wonderful gift for performance. The near accuracy of the Spanish Rhapsody is remarkable, yet once you attain such heights in the area of technique, you need to move on to work on what lies behind the notes. Most of the time I was asking “how does she do it” rather than feeling being drawn into your music. But this will come in time. Keep on working, I am certain that you have the ability to win our hearts with your music.</p>','<p>ZHANG Ruixue</p><p>A precise and meticulous young pianist, with impressive technique and attention to detail.  I found in particular the Nocturne Op.15 No.1 to be a wonderful vehicle for her carefully sculpted phrasing, her beautifully elastic mordents and turns, and her perfectly paced dramatic sense.  The sound was luxuriant and the legato wonderful.  Bravo!</p><p>Op.10 No.2 Etude had perfect accuracy, but was very disappointing musically.  With this kind of facility, she could easily have embraced much more variety in colour, dynamics and even articulation.  It could have been sensational, but stopped at the technical level.</p><p>Liszt: In general this performance was imbued with a full, rich sound, great confidence and about 99% accuracy!  There was a wonderful natural understanding of rubato, and the tempo organization throughout the piece was well thought out and implemented.  Trills were beautifully controlled.  My criticism lies in the fact that I could not perceive a real vision for this big work.  Each section seemed to be approached with the same intensity and the same character.  The performance did not carry me into another world at all; I was always drawn to the competence of the player, rather than the magic of Liszt’s great image.</p>','<p>ZHANG Ruixue: </p><p>Nocturne Op 15/1:  This sounds somewhat syllabic and stilted, lacking a true bel canto feeling, though the basic tone quality is quite pleasing. It is very safely executed, but tends to sound slightly pedestrian and lacking tenderness or persuasive quality</p><p>Etude Op.10/2: A modest speed and somewhat careful and slightly plodding. (LH rather square.)  It is commendably immaculate in clarity and evenness, but sounds far too much like an exercise. No real feeling of fluidity and far too metronomic.</p><p>Liszt Spanish Rhapsody: She seems somewhat more in her element in this music. Much was pianistically remarkably impressive, but not yet played with sense of flair or sheer enjoyment needed. It has little idiomatic Spanish flavour, especially in the slower / lyrical passages, but when the faster writing comes, she sounds well able to catch more of the flavour. </p><p>Ideally she needs to be able to release the rhythm so that it does not sound so consciously held on a tight rein. </p><p>Overall, a young pianist of clear ability and a serious player, but the disappointment is the lack of any real sense that she gets actual pleasure out of the music she plays - it is somewhat “set” and over-predictable and “practised” sounding. An incredibly high level of sheer accuracy - and that is no small achievement.</p>','<p>ZHANG Ruixue</p><p>Also Zhang Ruixue is a very promising young pianist. The Nocturne is well played, with good taste, well phrased, concentrated, very musical, maybe even a bit too serious in the F major parts. These parts could sound a little “happier”, including real dolcissimo and delicatissimo. The deep pedal point (Fa, 4 times) in the middle section should be articulated as a separate note, and the melodic counterpoints could be part of the interpretation.</p><p>All my respect for the Etude. I hear that she has been studying this piece in a very responsible way. The 16th notes are quite equal,<br />the tempo is well controlled. On the next higher level she could start to see more than an Etude in this piece. Then the rhythmic elements will dominate a little less. Now, there a quite a few very similar accents (the syncopations). We should also develop a good feeling for the harmonies.</p><p>Taking into account that Zhang Ruixue is only 15, the Spanish Rhapsody is already very impressive. We can hear excellent technical possibilities, a very natural way of playing. After a while she seems to forget the camera and the microphone. These are the best parts! Longer phrases would be possible, the lots of dotted rhythms keeping the music swinging, not stopping.</p>','<p>ZHANG Ruixue</p><p>Chopin: Nocturne in F Major, Op. 15, No. 1</p><p>Quite a beautiful performance in spite of the balance between the left hand and the right hand, particularly at the beginning, which was not ideal. You know how to handle a lyrical melody and you are aware of some of the many devices available to carry such a difficult task. Your playing had authority and it also left room for some charming touches which supplemented the expressive quality of the music.</p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>Although the tempo was a bit on the slow side, it seemed judicious and it was constantly steady and consistent. Your performance was quite convincing and devoid of tricks to facilitate the difficulty of the descending scales. </p><p>Liszt: Spanish Rhapsody</p><p>A note-perfect performance, ready for a recording. You show an infallible control, regardless of difficulties. Ultimately, there is a lack of electricity. Sections follow one another in a very predictable manner and the relentless drive does not give you room to do anything that shows real personality. When I think of all the hours you spent to achieve such perfection, I wonder if it would not have been more useful to play something that really challenges you from a musical standpoint. </p><p>In sum: You play with a perfection that, somehow, does not \"touch\" me as much as I would like. You win my admiration more than my heart.</p>','<p>ZHANG Ruixue</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>ZHANG Ruixue<br />Very well played. Formally is very correct and very good basis for future developing, progress. Try to make all music as you composed it, make it the part of your life, of yourself and perform as an actress in the theatre. Music is not notes only; it is something between, beyond. Nobody will explain correctly&lt; FONT size=4 face=\"Times New Roman\"&gt;, just you can feel it. So good luck for the future. <br />Nocturne might be little quieter.<br />Etude is very god, may be little too loud.<br />And Liszt SPANISH! More Spanish spirit! Make theatre!<br />Many thanks for playing and good luck!</p>','<p>ZHANG Ruixue</p><p>A solid performance with strong technical command. This nocturne is a piece of a gem, and it is well organized and played with sensitivity and style. The sound is warm and inviting. You could have more directions in phrasing to make it more flowing. More over, I seem to miss the nuances that manifest themselves in delicate turns, harmonic colors, and timely rubatos. With your incredible ability, you can let your imagination take this music to a fantastic world of sweet dreams and poetic aspirations. Otherwise, it is only pretty when it could be beautiful. The Spanish Rhapsody is solid and energetic. The sound is focused and clear. Perhaps one could expect more flair from this flashy piece. It might require a little emotional output from the performer. Take risks. And you will be rewarded.</p>','');
INSERT INTO `content_type_video_ypa` VALUES ('1370','1369','10_2.mp4','10. <strong>ZHANG Ruixue</strong>：Chopin: Etude Op.10 No.2 ','10.<strong>张瑞雪</strong>：肖邦练习曲作品10之2  / <strong>ZHANG Ruixue</strong>：Chopin: Etude Op.10 No.2 ','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>张瑞雪<br /> <br />    她也是一名有前途的青年钢琴家。 夜曲弹得很好，有很好的音乐趣味， 分句正确，集中，乐感， 也许在F 大调那段太严肃了。 这些段落可以高兴一些， 包括那些非常柔和和非常细腻的地方。 中段F 固定低音四次出现应该单独突出。其余旋律部分属于全曲。<br />    练习曲应该受到赞扬。 看得出来， 她练习得很认真负责。16分音符很均匀。速度控制的很不错。再提高一步就要把练习曲弹成乐曲， 那时节奏点就可少一点，现在有很多相同的重音（切分音）， 要培养自己的和声感。<br />    考虑到张瑞雪才15岁， 西班牙狂想曲就已经弹得这么精彩了。可以听出来她技术上有很大的潜力， 演奏的很自然。演奏了一会之后她好像就忘了摄像机和话筒， 于是这几段她弹得最棒。有可能的话，可以把句子弹得长一些， 附点节奏使音乐不停地摇摆。</p>','<p>张瑞雪</p><p>肖邦：F大调夜曲 作品15之1<br />    相当漂亮的一个演奏，尽管左右手在平衡协调上不太理想，尤其是在开头部分。你知道如何处理抒情的旋律，你了解许多可行手段中的某些手段，来完成如此难的一个任务。你的演奏是有依据的，同时也为一些迷人的触键留下了空间，从而补足了音乐的表现质量。<br />肖邦：a小调练习曲 作品10之2<br />    尽管速度有点偏慢，但似乎是明智而慎重的选择，而且速度始终是稳定一致的。你的演奏相当令人信服，而不必利用降低下行音节难度的窍门。<br />李斯特：西班牙狂想曲<br />    音符完美的演奏，已为录音做好准备。你表现了绝对有把握的控制能力，尽管作品很难。最终的问题是，缺乏激情。演奏中以不出所料的方式一段接着一段，毫不间断的奔驰使你没有余地做任何表现真正个性的事情。当我想到你花所有这些时间达到了这样的完美的时候，我不知道，如果你弹一些从音乐角度对你具有真正挑战意义的东西，是否会更加有用。<br />总评：你的演奏很完美，但不知何种原因，它没有按我希望的那样“打动”我。你更多的是赢得了我的钦佩，而不是我的内心。</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>ZHANG Ruixue</p><p>No.1 Chopin: Nocturne in F major, Op.15 No.1<br />- This is a wonderful piece for you as it brings out your artistic possibilities. You have the ability to create big contrasts and communicate this with your audience. At the same time you are capable to spin the melodies with grace and clarity, this being a vital part of the Chopin style. Another important element is your security in performance. All these add up to a very enjoyable experience for the listeners.</p><p>- The balance between the hands in the “A” section needs more attention because your left hand triplets - the “motor”, are too prominent, hindering the right hand melodic line to soar. </p><p>- While it is natural to focus on the top line melodies, you should also be more aware of the bass line progression, and take advantage of Chopin’s writing to guide you towards the proper musical expressions and motions. The first eight measures are divided into two equal proportions, like question and answer. In the first three measures the melody is above a tonic pedal point, creating a feeling of hovering, holding back. However, the descending bass line from measure 4 produces a forward motion, a sense of direction. Notice how the harmonies help the ebb and flow of the music, allowing for contrasts between the phrases. </p><p>- In the “B” section you should aim for a darker sound. After all, we are in minor key. The turbulence is more likely to be demonstrated in the left hand, so make sure that you do not play the right hand too loudly. </p><p>- Please correct your left hand rhythm whenever you have dotted eighth note followed by a sixteenth note, for example in measure 29 and 30. You are playing a “tied triplet” rhythm instead.</p><p>- Your dynamics could be better observed and more precise. Utilize fully the “cresecendos” and pace them. Make differences between “forte” and “fortissmo”, and “pianissimo” and “sotto voce”. All of these are important indications that will help you better interpret his music.</p><p>No.2 Chopin: Etude in A minor, Op. 10 No.2<br />- Your performance is still what I would call good work in progress. Everything seems to be well on its way to give you a wonderful performance in the future when you will play this up to speed. You are careful to make sure that all the notes are even and clear, and there is an awareness of phrasing. I also like very much the quality of the “staccato” touch in your left hand throughout.</p><p>- You need to make more effort to bring to life all the dynamic markings of Chopin. He rarely reaches “forte” and when he does the music immediately withdraws. He aims for color all the time and you can make this happen with the numerous “crescendos” and “diminuendos” throughout. Allowing these to sound naturally and effortlessly (and in a faster tempo) would enable you to create a magical sensation.</p><p>No.3  Liszt: Spanish Rhapsody<br />- During the romantic period “Preluding” – meaning the improvised introduction was an integral part of most compositions. The idea was to give a hint of the piece’s character as well as to make the main theme more important by waiting for it to appear. Therefore, you should use much more individual approach to this improvised section. Be more sensitive to the differences in tensions as well as colors in the chords. On the whole, experiment and try to be more imaginative and creative.</p><p>- The “Folies d’Espagne” is a celebrated music theme used by numerous composers as basis for variation. Here Liszt ingeniously uses the eight-measure theme to show different styles as well as pianistic difficulties. While you do manage many aspects of the progression, you need to be more careful with your dynamic growth. Your theme is rhythmical but far too loud. As a result, the ensuing passages reach “forte” well before it actually appears on the score. Again, the “espressivo” variation should not be too loud, whereas the “un poco animato” finally has a “forte” building up to “fortissimo”.  </p><p>- The next staccato section should be lighter and a little agitated. The movement between the hands is more important, each shaping the contour of the passages. From here I congratulate you for progressing and never letting up the tempo as it moves to the “Allegro animato”. This, being the climax of the first section, should sound like a culmination, which you manage very well. In general, you need to make everything a little more flamboyant and virtuosic. At times, you look almost too serious.</p><p>- The “Jota aragonesa”, like other folk music, has a simple structure that is use the basis of another variation by Liszt. Here, he ingeniously keeps to the original character of the dance, which was danced by beautiful women. While your performance is very commendable and shows well your technical ability, I would recommend that you aim for much more lightness and shaping of the verses. In this section the “forte” is not as strong as in the “Folies”. Use the pedal not for the purpose of holding the harmonies but for brilliance and color.</p><p>- The slow section before the finale is a free improvisation on a theme by Liszt based on the free interpretation of the themes in the “Folies” section. Again this is in variation form, allowing four repetitions. You should aim to make each one different – they are in different keys, and these offer a great variety of colors. </p><p>- Truly bravo for your performance of the finale! This section is filled with horrendous technical difficulties yet you scale the mountain of technique brilliantly. I also admire the way you progress in tempo to the very end, always building up tension until the last dance in D major, where Liszt brings back the polonaise. Only one suggestion: you must bring out more colors and observe carefully the dynamic range that starts at “mezzo forte” going up to “fortissmo”. It is important that you find ways to use Liszt suggestions and build the dynamics gradually, waiting for the right moment to reach for the climax. </p><p>Zhang Ruixue, you are indeed very talented and have a wonderful gift for performance. The near accuracy of the Spanish Rhapsody is remarkable, yet once you attain such heights in the area of technique, you need to move on to work on what lies behind the notes. Most of the time I was asking “how does she do it” rather than feeling being drawn into your music. But this will come in time. Keep on working, I am certain that you have the ability to win our hearts with your music.</p>','<p>ZHANG Ruixue</p><p>A precise and meticulous young pianist, with impressive technique and attention to detail.  I found in particular the Nocturne Op.15 No.1 to be a wonderful vehicle for her carefully sculpted phrasing, her beautifully elastic mordents and turns, and her perfectly paced dramatic sense.  The sound was luxuriant and the legato wonderful.  Bravo!</p><p>Op.10 No.2 Etude had perfect accuracy, but was very disappointing musically.  With this kind of facility, she could easily have embraced much more variety in colour, dynamics and even articulation.  It could have been sensational, but stopped at the technical level.</p><p>Liszt: In general this performance was imbued with a full, rich sound, great confidence and about 99% accuracy!  There was a wonderful natural understanding of rubato, and the tempo organization throughout the piece was well thought out and implemented.  Trills were beautifully controlled.  My criticism lies in the fact that I could not perceive a real vision for this big work.  Each section seemed to be approached with the same intensity and the same character.  The performance did not carry me into another world at all; I was always drawn to the competence of the player, rather than the magic of Liszt’s great image.</p>','<p>ZHANG Ruixue: </p><p>Nocturne Op 15/1:  This sounds somewhat syllabic and stilted, lacking a true bel canto feeling, though the basic tone quality is quite pleasing. It is very safely executed, but tends to sound slightly pedestrian and lacking tenderness or persuasive quality</p><p>Etude Op.10/2: A modest speed and somewhat careful and slightly plodding. (LH rather square.)  It is commendably immaculate in clarity and evenness, but sounds far too much like an exercise. No real feeling of fluidity and far too metronomic.</p><p>Liszt Spanish Rhapsody: She seems somewhat more in her element in this music. Much was pianistically remarkably impressive, but not yet played with sense of flair or sheer enjoyment needed. It has little idiomatic Spanish flavour, especially in the slower / lyrical passages, but when the faster writing comes, she sounds well able to catch more of the flavour. </p><p>Ideally she needs to be able to release the rhythm so that it does not sound so consciously held on a tight rein. </p><p>Overall, a young pianist of clear ability and a serious player, but the disappointment is the lack of any real sense that she gets actual pleasure out of the music she plays - it is somewhat “set” and over-predictable and “practised” sounding. An incredibly high level of sheer accuracy - and that is no small achievement.</p>','<p>ZHANG Ruixue</p><p>Also Zhang Ruixue is a very promising young pianist. The Nocturne is well played, with good taste, well phrased, concentrated, very musical, maybe even a bit too serious in the F major parts. These parts could sound a little “happier”, including real dolcissimo and delicatissimo. The deep pedal point (Fa, 4 times) in the middle section should be articulated as a separate note, and the melodic counterpoints could be part of the interpretation.</p><p>All my respect for the Etude. I hear that she has been studying this piece in a very responsible way. The 16th notes are quite equal,<br />the tempo is well controlled. On the next higher level she could start to see more than an Etude in this piece. Then the rhythmic elements will dominate a little less. Now, there a quite a few very similar accents (the syncopations). We should also develop a good feeling for the harmonies.</p><p>Taking into account that Zhang Ruixue is only 15, the Spanish Rhapsody is already very impressive. We can hear excellent technical possibilities, a very natural way of playing. After a while she seems to forget the camera and the microphone. These are the best parts! Longer phrases would be possible, the lots of dotted rhythms keeping the music swinging, not stopping.</p>','<p>ZHANG Ruixue</p><p>Chopin: Nocturne in F Major, Op. 15, No. 1</p><p>Quite a beautiful performance in spite of the balance between the left hand and the right hand, particularly at the beginning, which was not ideal. You know how to handle a lyrical melody and you are aware of some of the many devices available to carry such a difficult task. Your playing had authority and it also left room for some charming touches which supplemented the expressive quality of the music.</p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>Although the tempo was a bit on the slow side, it seemed judicious and it was constantly steady and consistent. Your performance was quite convincing and devoid of tricks to facilitate the difficulty of the descending scales. </p><p>Liszt: Spanish Rhapsody</p><p>A note-perfect performance, ready for a recording. You show an infallible control, regardless of difficulties. Ultimately, there is a lack of electricity. Sections follow one another in a very predictable manner and the relentless drive does not give you room to do anything that shows real personality. When I think of all the hours you spent to achieve such perfection, I wonder if it would not have been more useful to play something that really challenges you from a musical standpoint. </p><p>In sum: You play with a perfection that, somehow, does not \"touch\" me as much as I would like. You win my admiration more than my heart.</p>','<p>ZHANG Ruixue</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>ZHANG Ruixue<br />Very well played. Formally is very correct and very good basis for future developing, progress. Try to make all music as you composed it, make it the part of your life, of yourself and perform as an actress in the theatre. Music is not notes only; it is something between, beyond. Nobody will explain correctly&lt; FONT size=4 face=\"Times New Roman\"&gt;, just you can feel it. So good luck for the future. <br />Nocturne might be little quieter.<br />Etude is very god, may be little too loud.<br />And Liszt SPANISH! More Spanish spirit! Make theatre!<br />Many thanks for playing and good luck!</p>','<p>ZHANG Ruixue</p><p>A solid performance with strong technical command. This nocturne is a piece of a gem, and it is well organized and played with sensitivity and style. The sound is warm and inviting. You could have more directions in phrasing to make it more flowing. More over, I seem to miss the nuances that manifest themselves in delicate turns, harmonic colors, and timely rubatos. With your incredible ability, you can let your imagination take this music to a fantastic world of sweet dreams and poetic aspirations. Otherwise, it is only pretty when it could be beautiful. The Spanish Rhapsody is solid and energetic. The sound is focused and clear. Perhaps one could expect more flair from this flashy piece. It might require a little emotional output from the performer. Take risks. And you will be rewarded.</p>','');
INSERT INTO `content_type_video_ypa` VALUES ('1371','1370','10_3.mp4','10. <strong>ZHANG Ruixue</strong>：Liszt Spanish Rhapsody','10.<strong>张瑞雪</strong>：李斯特西班牙狂想曲  / <strong>ZHANG Ruixue</strong>：Liszt Spanish Rhapsody','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>张瑞雪<br /> <br />    她也是一名有前途的青年钢琴家。 夜曲弹得很好，有很好的音乐趣味， 分句正确，集中，乐感， 也许在F 大调那段太严肃了。 这些段落可以高兴一些， 包括那些非常柔和和非常细腻的地方。 中段F 固定低音四次出现应该单独突出。其余旋律部分属于全曲。<br />    练习曲应该受到赞扬。 看得出来， 她练习得很认真负责。16分音符很均匀。速度控制的很不错。再提高一步就要把练习曲弹成乐曲， 那时节奏点就可少一点，现在有很多相同的重音（切分音）， 要培养自己的和声感。<br />    考虑到张瑞雪才15岁， 西班牙狂想曲就已经弹得这么精彩了。可以听出来她技术上有很大的潜力， 演奏的很自然。演奏了一会之后她好像就忘了摄像机和话筒， 于是这几段她弹得最棒。有可能的话，可以把句子弹得长一些， 附点节奏使音乐不停地摇摆。</p>','<p>张瑞雪</p><p>肖邦：F大调夜曲 作品15之1<br />    相当漂亮的一个演奏，尽管左右手在平衡协调上不太理想，尤其是在开头部分。你知道如何处理抒情的旋律，你了解许多可行手段中的某些手段，来完成如此难的一个任务。你的演奏是有依据的，同时也为一些迷人的触键留下了空间，从而补足了音乐的表现质量。<br />肖邦：a小调练习曲 作品10之2<br />    尽管速度有点偏慢，但似乎是明智而慎重的选择，而且速度始终是稳定一致的。你的演奏相当令人信服，而不必利用降低下行音节难度的窍门。<br />李斯特：西班牙狂想曲<br />    音符完美的演奏，已为录音做好准备。你表现了绝对有把握的控制能力，尽管作品很难。最终的问题是，缺乏激情。演奏中以不出所料的方式一段接着一段，毫不间断的奔驰使你没有余地做任何表现真正个性的事情。当我想到你花所有这些时间达到了这样的完美的时候，我不知道，如果你弹一些从音乐角度对你具有真正挑战意义的东西，是否会更加有用。<br />总评：你的演奏很完美，但不知何种原因，它没有按我希望的那样“打动”我。你更多的是赢得了我的钦佩，而不是我的内心。</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>ZHANG Ruixue</p><p>No.1 Chopin: Nocturne in F major, Op.15 No.1<br />- This is a wonderful piece for you as it brings out your artistic possibilities. You have the ability to create big contrasts and communicate this with your audience. At the same time you are capable to spin the melodies with grace and clarity, this being a vital part of the Chopin style. Another important element is your security in performance. All these add up to a very enjoyable experience for the listeners.</p><p>- The balance between the hands in the “A” section needs more attention because your left hand triplets - the “motor”, are too prominent, hindering the right hand melodic line to soar. </p><p>- While it is natural to focus on the top line melodies, you should also be more aware of the bass line progression, and take advantage of Chopin’s writing to guide you towards the proper musical expressions and motions. The first eight measures are divided into two equal proportions, like question and answer. In the first three measures the melody is above a tonic pedal point, creating a feeling of hovering, holding back. However, the descending bass line from measure 4 produces a forward motion, a sense of direction. Notice how the harmonies help the ebb and flow of the music, allowing for contrasts between the phrases. </p><p>- In the “B” section you should aim for a darker sound. After all, we are in minor key. The turbulence is more likely to be demonstrated in the left hand, so make sure that you do not play the right hand too loudly. </p><p>- Please correct your left hand rhythm whenever you have dotted eighth note followed by a sixteenth note, for example in measure 29 and 30. You are playing a “tied triplet” rhythm instead.</p><p>- Your dynamics could be better observed and more precise. Utilize fully the “cresecendos” and pace them. Make differences between “forte” and “fortissmo”, and “pianissimo” and “sotto voce”. All of these are important indications that will help you better interpret his music.</p><p>No.2 Chopin: Etude in A minor, Op. 10 No.2<br />- Your performance is still what I would call good work in progress. Everything seems to be well on its way to give you a wonderful performance in the future when you will play this up to speed. You are careful to make sure that all the notes are even and clear, and there is an awareness of phrasing. I also like very much the quality of the “staccato” touch in your left hand throughout.</p><p>- You need to make more effort to bring to life all the dynamic markings of Chopin. He rarely reaches “forte” and when he does the music immediately withdraws. He aims for color all the time and you can make this happen with the numerous “crescendos” and “diminuendos” throughout. Allowing these to sound naturally and effortlessly (and in a faster tempo) would enable you to create a magical sensation.</p><p>No.3  Liszt: Spanish Rhapsody<br />- During the romantic period “Preluding” – meaning the improvised introduction was an integral part of most compositions. The idea was to give a hint of the piece’s character as well as to make the main theme more important by waiting for it to appear. Therefore, you should use much more individual approach to this improvised section. Be more sensitive to the differences in tensions as well as colors in the chords. On the whole, experiment and try to be more imaginative and creative.</p><p>- The “Folies d’Espagne” is a celebrated music theme used by numerous composers as basis for variation. Here Liszt ingeniously uses the eight-measure theme to show different styles as well as pianistic difficulties. While you do manage many aspects of the progression, you need to be more careful with your dynamic growth. Your theme is rhythmical but far too loud. As a result, the ensuing passages reach “forte” well before it actually appears on the score. Again, the “espressivo” variation should not be too loud, whereas the “un poco animato” finally has a “forte” building up to “fortissimo”.  </p><p>- The next staccato section should be lighter and a little agitated. The movement between the hands is more important, each shaping the contour of the passages. From here I congratulate you for progressing and never letting up the tempo as it moves to the “Allegro animato”. This, being the climax of the first section, should sound like a culmination, which you manage very well. In general, you need to make everything a little more flamboyant and virtuosic. At times, you look almost too serious.</p><p>- The “Jota aragonesa”, like other folk music, has a simple structure that is use the basis of another variation by Liszt. Here, he ingeniously keeps to the original character of the dance, which was danced by beautiful women. While your performance is very commendable and shows well your technical ability, I would recommend that you aim for much more lightness and shaping of the verses. In this section the “forte” is not as strong as in the “Folies”. Use the pedal not for the purpose of holding the harmonies but for brilliance and color.</p><p>- The slow section before the finale is a free improvisation on a theme by Liszt based on the free interpretation of the themes in the “Folies” section. Again this is in variation form, allowing four repetitions. You should aim to make each one different – they are in different keys, and these offer a great variety of colors. </p><p>- Truly bravo for your performance of the finale! This section is filled with horrendous technical difficulties yet you scale the mountain of technique brilliantly. I also admire the way you progress in tempo to the very end, always building up tension until the last dance in D major, where Liszt brings back the polonaise. Only one suggestion: you must bring out more colors and observe carefully the dynamic range that starts at “mezzo forte” going up to “fortissmo”. It is important that you find ways to use Liszt suggestions and build the dynamics gradually, waiting for the right moment to reach for the climax. </p><p>Zhang Ruixue, you are indeed very talented and have a wonderful gift for performance. The near accuracy of the Spanish Rhapsody is remarkable, yet once you attain such heights in the area of technique, you need to move on to work on what lies behind the notes. Most of the time I was asking “how does she do it” rather than feeling being drawn into your music. But this will come in time. Keep on working, I am certain that you have the ability to win our hearts with your music.</p>','<p>ZHANG Ruixue</p><p>A precise and meticulous young pianist, with impressive technique and attention to detail.  I found in particular the Nocturne Op.15 No.1 to be a wonderful vehicle for her carefully sculpted phrasing, her beautifully elastic mordents and turns, and her perfectly paced dramatic sense.  The sound was luxuriant and the legato wonderful.  Bravo!</p><p>Op.10 No.2 Etude had perfect accuracy, but was very disappointing musically.  With this kind of facility, she could easily have embraced much more variety in colour, dynamics and even articulation.  It could have been sensational, but stopped at the technical level.</p><p>Liszt: In general this performance was imbued with a full, rich sound, great confidence and about 99% accuracy!  There was a wonderful natural understanding of rubato, and the tempo organization throughout the piece was well thought out and implemented.  Trills were beautifully controlled.  My criticism lies in the fact that I could not perceive a real vision for this big work.  Each section seemed to be approached with the same intensity and the same character.  The performance did not carry me into another world at all; I was always drawn to the competence of the player, rather than the magic of Liszt’s great image.</p>','<p>ZHANG Ruixue: </p><p>Nocturne Op 15/1:  This sounds somewhat syllabic and stilted, lacking a true bel canto feeling, though the basic tone quality is quite pleasing. It is very safely executed, but tends to sound slightly pedestrian and lacking tenderness or persuasive quality</p><p>Etude Op.10/2: A modest speed and somewhat careful and slightly plodding. (LH rather square.)  It is commendably immaculate in clarity and evenness, but sounds far too much like an exercise. No real feeling of fluidity and far too metronomic.</p><p>Liszt Spanish Rhapsody: She seems somewhat more in her element in this music. Much was pianistically remarkably impressive, but not yet played with sense of flair or sheer enjoyment needed. It has little idiomatic Spanish flavour, especially in the slower / lyrical passages, but when the faster writing comes, she sounds well able to catch more of the flavour. </p><p>Ideally she needs to be able to release the rhythm so that it does not sound so consciously held on a tight rein. </p><p>Overall, a young pianist of clear ability and a serious player, but the disappointment is the lack of any real sense that she gets actual pleasure out of the music she plays - it is somewhat “set” and over-predictable and “practised” sounding. An incredibly high level of sheer accuracy - and that is no small achievement.</p>','<p>ZHANG Ruixue</p><p>Also Zhang Ruixue is a very promising young pianist. The Nocturne is well played, with good taste, well phrased, concentrated, very musical, maybe even a bit too serious in the F major parts. These parts could sound a little “happier”, including real dolcissimo and delicatissimo. The deep pedal point (Fa, 4 times) in the middle section should be articulated as a separate note, and the melodic counterpoints could be part of the interpretation.</p><p>All my respect for the Etude. I hear that she has been studying this piece in a very responsible way. The 16th notes are quite equal,<br />the tempo is well controlled. On the next higher level she could start to see more than an Etude in this piece. Then the rhythmic elements will dominate a little less. Now, there a quite a few very similar accents (the syncopations). We should also develop a good feeling for the harmonies.</p><p>Taking into account that Zhang Ruixue is only 15, the Spanish Rhapsody is already very impressive. We can hear excellent technical possibilities, a very natural way of playing. After a while she seems to forget the camera and the microphone. These are the best parts! Longer phrases would be possible, the lots of dotted rhythms keeping the music swinging, not stopping.</p>','<p>ZHANG Ruixue</p><p>Chopin: Nocturne in F Major, Op. 15, No. 1</p><p>Quite a beautiful performance in spite of the balance between the left hand and the right hand, particularly at the beginning, which was not ideal. You know how to handle a lyrical melody and you are aware of some of the many devices available to carry such a difficult task. Your playing had authority and it also left room for some charming touches which supplemented the expressive quality of the music.</p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>Although the tempo was a bit on the slow side, it seemed judicious and it was constantly steady and consistent. Your performance was quite convincing and devoid of tricks to facilitate the difficulty of the descending scales. </p><p>Liszt: Spanish Rhapsody</p><p>A note-perfect performance, ready for a recording. You show an infallible control, regardless of difficulties. Ultimately, there is a lack of electricity. Sections follow one another in a very predictable manner and the relentless drive does not give you room to do anything that shows real personality. When I think of all the hours you spent to achieve such perfection, I wonder if it would not have been more useful to play something that really challenges you from a musical standpoint. </p><p>In sum: You play with a perfection that, somehow, does not \"touch\" me as much as I would like. You win my admiration more than my heart.</p>','<p>ZHANG Ruixue</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>ZHANG Ruixue<br />Very well played. Formally is very correct and very good basis for future developing, progress. Try to make all music as you composed it, make it the part of your life, of yourself and perform as an actress in the theatre. Music is not notes only; it is something between, beyond. Nobody will explain correctly&lt; FONT size=4 face=\"Times New Roman\"&gt;, just you can feel it. So good luck for the future. <br />Nocturne might be little quieter.<br />Etude is very god, may be little too loud.<br />And Liszt SPANISH! More Spanish spirit! Make theatre!<br />Many thanks for playing and good luck!</p>','<p>ZHANG Ruixue</p><p>A solid performance with strong technical command. This nocturne is a piece of a gem, and it is well organized and played with sensitivity and style. The sound is warm and inviting. You could have more directions in phrasing to make it more flowing. More over, I seem to miss the nuances that manifest themselves in delicate turns, harmonic colors, and timely rubatos. With your incredible ability, you can let your imagination take this music to a fantastic world of sweet dreams and poetic aspirations. Otherwise, it is only pretty when it could be beautiful. The Spanish Rhapsody is solid and energetic. The sound is focused and clear. Perhaps one could expect more flair from this flashy piece. It might require a little emotional output from the performer. Take risks. And you will be rewarded.</p>','');
INSERT INTO `content_type_video_ypa` VALUES ('1372','1371','11_3.mp4','11. <strong>ZHANG Chuhan</strong>： Chopin: Nocturne Op.9, No.2','11.<strong>张楚晗</strong>：肖邦夜曲Op.9, No.2  / <strong>ZHANG Chuhan</strong>： Chopin: Nocturne Op.9, No.2','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>张楚晗<br /> <br />    听和看她演奏很有意思。她的手腕如此灵活， 所以肩膀没有任何的紧张。这是非常好的基础。是一种非常放松的弹奏方法， 也是最自然的弹法。<br />    在夜曲中应该去发现长句和连奏的演奏方法。声音还不错， 但是旋律的声音太平淡， 松紧变化不够， 重量的力度需要经常变化。为此， 你需要减少手腕的大动作，不要用手腕去“呼吸”。 我们可以从小提琴家那里的到启发， 看他们怎样用弓。<br />    练习曲弹得很好。不仅16分音符与和弦， 低音也弹得很有意识， 音乐里没有任何做作的成分。<br />    西班牙狂想曲中有一些好的东西可以帮助你把夜曲弹得更好。例如正确的分句、有轮廓的句子，以及有表现力的技能。</p>','<p>张楚晗</p><p>肖邦：降E大调夜曲 作品9之2<br />    你有表现能力和很好的歌唱性音调。然而，你需要更加注意的是，在键盘乐器上支撑旋律所需的歌唱性成分，在这样的乐器上每个音符都是由不同的手指来弹奏的。长音符需要更长的“气息”，新和声的引入必须不那么随意。一些装饰音粗糙了，太快了，缺乏即兴的感觉。你还错过了将亲切感加以对比的表现机会。一首夜曲应该让你有机会静静地“述说”，就像你把一个秘密告诉你最要好的朋友一样。<br />肖邦：a小调练习曲 作品10之2<br />    你有足够的技术把握，应该去寻求二次循环的上行音阶中的对比效果。缺乏色彩变化的半音音阶，听起来是无趣的。<br />李斯特：西班牙狂想曲<br />    就你的年龄来说，你有一个令人印象深刻的把握能力，你能表现出一些个性化的触键，尽管这首作品在毫不间断的特性下，似乎不会停下来让你喘一口气。我强烈建议你，在这首充满八度和跳跃的名家作品中，加入思想更加深刻、韵律更加丰富的音乐，以使你更好地成长一个音乐家，而不只是一个好的钢琴演奏者。<br />总评：合乎成规的演奏，探索意识不足。也许，对这些同一的作品，你练得太多太久，以至于忘却了作品的含义和音乐的主旨。</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>ZHANG Chuhan</p><p>No.1 Chopin: Nocturne in E-flat major, Op.9 No.2<br />- My first favorable impression is that you really enjoy playing this beautiful piece. You have a lovely tone and I like very much your attempts at observing all the dynamics and tempo markings. </p><p>- There are many positive aspects to your performance – wonderful lyrical sound due to the flexible movements in your arms and hands. You have a fine sense of balance, with your left hand providing beautiful harmonic progressions in support of the soaring and elegant melodic line in the right hand. Only once in a while the last of the three-note group is being accented. Watch out for this as it is a common trap especially when you have to leap for the next note. </p><p>- On the issue of the mood of the piece, I would like you to imagine this piece a little slower, more tranquil. Chopin indicates 12/8 and not 4/4 which means that each eighth note does have its value of existence. By holding the tempo back ever so slightly, you will be able to produce most natural ebb and flow that is intrinsically part of the Chopin’s style. </p><p>- The ornaments should reflect the mood of the piece and are very much part of the melody. Your ornaments give me the impression of an afterthought, that you put them there after you have learnt the piece. Remember that trills in this nocturne are best played evenly instead of fast as speeding up the trills poses the danger of making unnecessary and undesirable crescendo.</p><p>- There are many accent marks in the score and they have either rhythmic or emotional value. Please make every attempt at playing these. Your farewell at the end is very beautiful and a great finish – well done!</p><p>No.2 Chopin: Etude in A minor, Op. 10 No.2<br />- What a beautiful performance – light and fluid. You truly capture all the elements that make this piece so very special – “leggiero”, evenness of the running passages, and an understanding of the beginning and ending of phrases. You possess the rare quality to shape and phrase your left hand “staccato” as well, and your performance sound very natural, with all the ease and grace.</p><p>-The only advice I can give is for you to advance to an even faster tempo and to make much more of your dynamic range. Not all “crescendos” are the same. Some create intensity, leading to ‘forte” other times there is an arch created by crescendo and diminuendo, and then there is a crescendo that is abruptly ended by a sudden “piano”. Your attention to all these would eventually result in a superb performance from you.</p><p>- Also invest some time into the discovery of different colors, generated from your emotional response to various indications in the score. In contrast to your light and sparkling touch, you could play measure 19 with a darker shade. This change at the start of the development section is important as it allows for recognition of the structure.</p><p>No.3 :Liszt: Spanish Rhapsody<br />- If you look at many compositions of the romantic period there are numerous examples of introduction. This section should somewhat establish the character of the piece while at the same time be absolutely free and improvised. I like your approach to this section. You have a natural uninhibited instinct, and indeed you do sound as if you are improvising. Just a little advice: try to color each harmony, make it contrasting and surprising.</p><p>- The “Folies d’Espagne” initiates a continuous set of variations on this ancient tune with a melancholy quality. The most important characteristic of all rhapsodies is contrast and you need to show this at every opportunity. Of the two themes this one is sad and perhaps grand in manner. The second one is energetic, bursting with happiness. You managed the differences in each variation extremely well. However, watch how you tackle the dynamic growth of this section. You actually reached, prematurely, a full “forte” at the “espressivo”, and then when Liszt finally puts his first “forte” at the “un poco animato” you have no room to grow. Understanding the dynamic structure in Liszt’s music is utmost essential. </p><p>- From the staccato section there is a gradual increase in tempo which is a trade mark of most Liszt’s compositions. The true art is to make this gradual increase of tempo imperceptible. Perhaps one can describe it as an increase in tension as we progress towards the final dance “Allegro animato”. You technique is wonderful and I marvel at your accuracy, but you need to surge towards the double forte. And please do not slow down, as the tempo you have reached is necessary for the success of this theme.</p><p>- The “Jota aragonesa” has simple structure of four lines, each being four measures. The beautiful melody owes a great deal to the fact that usually women dance this. You indeed make everything come to life and the vibrant, brilliant passages flow freely. What you can do much more is the contrast in all of the variations. Even though Liszt does not give dynamic directions, it is expected. In such works he normally leaves it to the creative freedom of the performer. So do take full advantage of it.</p><p>- This creative freedom is further demonstrated in the slow section prior the final summation of the Rhapsody. Again, Liszt does not provide dynamic markings but he requests that the character should be “dolce”, “grazioso”, espressivo, “cantando” - all directing us for a moment of tranquility before the ensuing storm. You need to allow yourself a little time of rest, and of course we, the listeners, also need it.</p><p>- The Finale shows what magnificent technique you possess. You only have to listen to his E-flat Concerto to understand how Liszt views this type of finales. The structure is based on the gradual intensification of both tempo and dynamic. There is a gradual increase in speed as he constantly writes “animato” and “stringendo”. And as you can see there are “crescendos”, reaching “fortississimo” only at the “molto vivace”. Hold back as much as you can, and you will find it to be much more satisfying and rewarding.</p><p>- The ending is superbly played. I like the triumphant D major section. However, you must keep to a stricter tempo, with minimum rubato, to hold the strength and the brilliance of this passage else it would weaken the structure and sound less convincing. Other than that, a great performance. </p><p>Zhang Chuhan, you have the promise of a great future. You have a natural approach to playing the piano through flexible writs and reducing the tension in your shoulders. This is elemental in many ways but seems to elude most young artists. You also listen to your sound and have the ability to control. I believe that you have with careful attention a bright future in music.</p>','<p>ZHANG Chuhan</p><p>This performance had a lot to recommend it, although it was a little uneven in its success, depending on the particular piece on the DVD.  Ms. Zhang is clearly a highly gifted young musician, and is committed to her art.  Her playing is heartfelt and at its best is full of passion.  She needs to feel this intense connection to all the music she undertakes to play.</p><p>Op.10 No.2: An impressively fleet and accurate performance, but not artistically engaged. This piece can portray real magic and effervescence, especially if the pianist has as agile a technique as this one has!  Give this gem its imaginative due.</p><p>Nocturne Op.9 No.2: In the opening, each melody note was given a distinct wrist/arm pulse which created a slight visual and aural heaviness and predictability.  Ms. Zhang was listening carefully and responding with sensitivity to the sound, but the long, spun-out line eluded her. </p><p>Liszt: It was in this piece that Ms. Zhang showed her abilities on every front.  It was an excellent performance, full of verve, subtlety, authority and inspiration. The sense of architecture was always clearly evident, but not at the expense of excitement, variety and inventiveness.  There was a trust in her technical acumen that made the physical difficulties disappear for the listener.  I was enthralled!</p>','<p>ZHENG Chuchan</p><p>Op.10/2: A good tempo and technically pretty immaculate but too much of a metronomic ticking in LH with very clipped staccatos. But still impressive and the RH was never merely mechanical, though, (at least on the recording,) it sounds somewhat too articulate and fingery and not fluid enough.</p><p>Nocturne Op.9/2: This was somewhat unyielding and prosaic playing for such a tender and melting nocturne. LH sounds somewhat plodding. There were some moments that seemed to hint at better feeling for this music, but overall it was musically somewhat disappointingly routine. By some considerably way, your most disappointing piece.</p><p>Liszt Spanish Rhapsody: This was a very good performance. She plays with flair and some real Spanish flavour and verve. Strong playing – highly accomplished with clear temperament and some wit. Impressive and fearless. It somehow seemed just to “run out of steam” in final pages.</p><p>The Liszt was one of the outstanding individual performances of any work in this competition, but the two Chopin works were so much less persuasive musically.</p>','<p>ZHANG Chuhan</p><p>A great pleasure to listen and to watch. She has such a flexible wrist that never any bad tension arrives in the shoulder. This is excellent, something basic. A very relaxed way of playing and a most natural approach. In the Nocturne she should try to discover the secrets of long phrases, of playing a real cantabile on a piano. The sound seems to be very good, but the notes of the melody are too equal, the difference between suspensions and resolutions is too small. The dynamic weight of the notes should constantly be changing in nuances. In this case it might be useful to limit the big movements of the “breathing wrist”. Violinists can inspire us with their art of phrasing, the way they use the bow. The Etude is excellent. Not only the 16ths, but also the chords and and bass notes are very consciously played, and there is nothing artificial in it. In the Spanish Rhapsody I can already hear those qualities that could help to improve the performance of the Nocturne: The authentic and characteristic phrasing, the clear profile of the phrases. Impressive facility.</p>','<p>ZHANG Chuhan</p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>You have enough technical mastery to look for contrast in your ascending scales the second time around. Hearing chromatic scales without color changes is no fun.</p><p>Chopin: Nocturne in E Flat Major, Op. 9, No. 2</p><p>You have expressive qualities and a good singing tone. However, you need to be more aware of the vocal elements needed to sustain a melody on a keyboard instrument, where each note is being struck by a different finger. Long notes require more “breath” and new harmonies must be introduced in a less casual way. Some of the embellishments were rough, too fast, and lacking in a sense of improvisation. You also missed opportunities for contrasting intimacy. A nocturne should give you an opportunity to “say” something quietly as if you were telling a secret to your best friend. </p><p>Liszt: Spanish Rhapsody</p><p>You have an impressive command for your age and you are able to achieve some personal touches in spite of the relentless nature of this music that does not seem to stop to allow you to breathe. I strongly advise you to supplement this one virtuoso work full of octaves and skips with more thoughtful and polyphonic music that will better develop you as a musician rather than as a good piano player.</p><p>In sum: predictable playing, not much sense of discovery. Maybe you practice the same pieces too much for too long until you lose the meaning and musical message.</p>','<p>ZHANG Chuhan</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>ZHANG Chuhan<br />Nocturne I think a tempo could be more quiet. You have good rubato, good touch but tempo makes piece little too mechanic.<br />Etude good tempo. This is difficult study but even more difficult make it beautiful music. Not too loud!<br />Liszt As for Spanish spirit please see previous Comments.<br />&lt; /FONT&gt; The entrance was little aggressive, though good feeling. Very free difficult places, but also I would ask more connecting passages with music sense.</p>','<p>ZHANG Chuhan</p><p>You created a nice atmosphere for the nocturne. It flows naturally with simplicity and a good sound. A little more intensity would make it more beautiful. Also, I find that it usually helps if one can find contrasts in music. Not just contrast of dynamics, but contrasts between vertical lines and horizontal ones, between tightening and easing of the tone, and between short and long phrases. I enjoyed the etude because it has a very nice sense of phrasing in addition to clear finger work. It also has a good rhythmic pulse. It is light and pleasant. The Liszt is quite enjoyable also. It is fluid with breathes in phrasing. I specially like the brightness of your treble notes. They have a nice ring to them. Over all, a very enjoyable performance.</p>','');
INSERT INTO `content_type_video_ypa` VALUES ('1373','1372','11_2.mp4','11.<strong> ZHANG Chuhan</strong>：Chopin: Etude Op.10, No.2','11.<strong>张楚晗</strong>：肖邦练习曲作品10之2  / <strong> ZHANG Chuhan</strong>：Chopin: Etude Op.10, No.2','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>张楚晗<br /> <br />    听和看她演奏很有意思。她的手腕如此灵活， 所以肩膀没有任何的紧张。这是非常好的基础。是一种非常放松的弹奏方法， 也是最自然的弹法。<br />    在夜曲中应该去发现长句和连奏的演奏方法。声音还不错， 但是旋律的声音太平淡， 松紧变化不够， 重量的力度需要经常变化。为此， 你需要减少手腕的大动作，不要用手腕去“呼吸”。 我们可以从小提琴家那里的到启发， 看他们怎样用弓。<br />    练习曲弹得很好。不仅16分音符与和弦， 低音也弹得很有意识， 音乐里没有任何做作的成分。<br />    西班牙狂想曲中有一些好的东西可以帮助你把夜曲弹得更好。例如正确的分句、有轮廓的句子，以及有表现力的技能。</p>','<p>张楚晗</p><p>肖邦：降E大调夜曲 作品9之2<br />    你有表现能力和很好的歌唱性音调。然而，你需要更加注意的是，在键盘乐器上支撑旋律所需的歌唱性成分，在这样的乐器上每个音符都是由不同的手指来弹奏的。长音符需要更长的“气息”，新和声的引入必须不那么随意。一些装饰音粗糙了，太快了，缺乏即兴的感觉。你还错过了将亲切感加以对比的表现机会。一首夜曲应该让你有机会静静地“述说”，就像你把一个秘密告诉你最要好的朋友一样。<br />肖邦：a小调练习曲 作品10之2<br />    你有足够的技术把握，应该去寻求二次循环的上行音阶中的对比效果。缺乏色彩变化的半音音阶，听起来是无趣的。<br />李斯特：西班牙狂想曲<br />    就你的年龄来说，你有一个令人印象深刻的把握能力，你能表现出一些个性化的触键，尽管这首作品在毫不间断的特性下，似乎不会停下来让你喘一口气。我强烈建议你，在这首充满八度和跳跃的名家作品中，加入思想更加深刻、韵律更加丰富的音乐，以使你更好地成长一个音乐家，而不只是一个好的钢琴演奏者。<br />总评：合乎成规的演奏，探索意识不足。也许，对这些同一的作品，你练得太多太久，以至于忘却了作品的含义和音乐的主旨。</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>ZHANG Chuhan</p><p>No.1 Chopin: Nocturne in E-flat major, Op.9 No.2<br />- My first favorable impression is that you really enjoy playing this beautiful piece. You have a lovely tone and I like very much your attempts at observing all the dynamics and tempo markings. </p><p>- There are many positive aspects to your performance – wonderful lyrical sound due to the flexible movements in your arms and hands. You have a fine sense of balance, with your left hand providing beautiful harmonic progressions in support of the soaring and elegant melodic line in the right hand. Only once in a while the last of the three-note group is being accented. Watch out for this as it is a common trap especially when you have to leap for the next note. </p><p>- On the issue of the mood of the piece, I would like you to imagine this piece a little slower, more tranquil. Chopin indicates 12/8 and not 4/4 which means that each eighth note does have its value of existence. By holding the tempo back ever so slightly, you will be able to produce most natural ebb and flow that is intrinsically part of the Chopin’s style. </p><p>- The ornaments should reflect the mood of the piece and are very much part of the melody. Your ornaments give me the impression of an afterthought, that you put them there after you have learnt the piece. Remember that trills in this nocturne are best played evenly instead of fast as speeding up the trills poses the danger of making unnecessary and undesirable crescendo.</p><p>- There are many accent marks in the score and they have either rhythmic or emotional value. Please make every attempt at playing these. Your farewell at the end is very beautiful and a great finish – well done!</p><p>No.2 Chopin: Etude in A minor, Op. 10 No.2<br />- What a beautiful performance – light and fluid. You truly capture all the elements that make this piece so very special – “leggiero”, evenness of the running passages, and an understanding of the beginning and ending of phrases. You possess the rare quality to shape and phrase your left hand “staccato” as well, and your performance sound very natural, with all the ease and grace.</p><p>-The only advice I can give is for you to advance to an even faster tempo and to make much more of your dynamic range. Not all “crescendos” are the same. Some create intensity, leading to ‘forte” other times there is an arch created by crescendo and diminuendo, and then there is a crescendo that is abruptly ended by a sudden “piano”. Your attention to all these would eventually result in a superb performance from you.</p><p>- Also invest some time into the discovery of different colors, generated from your emotional response to various indications in the score. In contrast to your light and sparkling touch, you could play measure 19 with a darker shade. This change at the start of the development section is important as it allows for recognition of the structure.</p><p>No.3 :Liszt: Spanish Rhapsody<br />- If you look at many compositions of the romantic period there are numerous examples of introduction. This section should somewhat establish the character of the piece while at the same time be absolutely free and improvised. I like your approach to this section. You have a natural uninhibited instinct, and indeed you do sound as if you are improvising. Just a little advice: try to color each harmony, make it contrasting and surprising.</p><p>- The “Folies d’Espagne” initiates a continuous set of variations on this ancient tune with a melancholy quality. The most important characteristic of all rhapsodies is contrast and you need to show this at every opportunity. Of the two themes this one is sad and perhaps grand in manner. The second one is energetic, bursting with happiness. You managed the differences in each variation extremely well. However, watch how you tackle the dynamic growth of this section. You actually reached, prematurely, a full “forte” at the “espressivo”, and then when Liszt finally puts his first “forte” at the “un poco animato” you have no room to grow. Understanding the dynamic structure in Liszt’s music is utmost essential. </p><p>- From the staccato section there is a gradual increase in tempo which is a trade mark of most Liszt’s compositions. The true art is to make this gradual increase of tempo imperceptible. Perhaps one can describe it as an increase in tension as we progress towards the final dance “Allegro animato”. You technique is wonderful and I marvel at your accuracy, but you need to surge towards the double forte. And please do not slow down, as the tempo you have reached is necessary for the success of this theme.</p><p>- The “Jota aragonesa” has simple structure of four lines, each being four measures. The beautiful melody owes a great deal to the fact that usually women dance this. You indeed make everything come to life and the vibrant, brilliant passages flow freely. What you can do much more is the contrast in all of the variations. Even though Liszt does not give dynamic directions, it is expected. In such works he normally leaves it to the creative freedom of the performer. So do take full advantage of it.</p><p>- This creative freedom is further demonstrated in the slow section prior the final summation of the Rhapsody. Again, Liszt does not provide dynamic markings but he requests that the character should be “dolce”, “grazioso”, espressivo, “cantando” - all directing us for a moment of tranquility before the ensuing storm. You need to allow yourself a little time of rest, and of course we, the listeners, also need it.</p><p>- The Finale shows what magnificent technique you possess. You only have to listen to his E-flat Concerto to understand how Liszt views this type of finales. The structure is based on the gradual intensification of both tempo and dynamic. There is a gradual increase in speed as he constantly writes “animato” and “stringendo”. And as you can see there are “crescendos”, reaching “fortississimo” only at the “molto vivace”. Hold back as much as you can, and you will find it to be much more satisfying and rewarding.</p><p>- The ending is superbly played. I like the triumphant D major section. However, you must keep to a stricter tempo, with minimum rubato, to hold the strength and the brilliance of this passage else it would weaken the structure and sound less convincing. Other than that, a great performance. </p><p>Zhang Chuhan, you have the promise of a great future. You have a natural approach to playing the piano through flexible writs and reducing the tension in your shoulders. This is elemental in many ways but seems to elude most young artists. You also listen to your sound and have the ability to control. I believe that you have with careful attention a bright future in music.</p>','<p>ZHANG Chuhan</p><p>This performance had a lot to recommend it, although it was a little uneven in its success, depending on the particular piece on the DVD.  Ms. Zhang is clearly a highly gifted young musician, and is committed to her art.  Her playing is heartfelt and at its best is full of passion.  She needs to feel this intense connection to all the music she undertakes to play.</p><p>Op.10 No.2: An impressively fleet and accurate performance, but not artistically engaged. This piece can portray real magic and effervescence, especially if the pianist has as agile a technique as this one has!  Give this gem its imaginative due.</p><p>Nocturne Op.9 No.2: In the opening, each melody note was given a distinct wrist/arm pulse which created a slight visual and aural heaviness and predictability.  Ms. Zhang was listening carefully and responding with sensitivity to the sound, but the long, spun-out line eluded her. </p><p>Liszt: It was in this piece that Ms. Zhang showed her abilities on every front.  It was an excellent performance, full of verve, subtlety, authority and inspiration. The sense of architecture was always clearly evident, but not at the expense of excitement, variety and inventiveness.  There was a trust in her technical acumen that made the physical difficulties disappear for the listener.  I was enthralled!</p>','<p>ZHENG Chuchan</p><p>Op.10/2: A good tempo and technically pretty immaculate but too much of a metronomic ticking in LH with very clipped staccatos. But still impressive and the RH was never merely mechanical, though, (at least on the recording,) it sounds somewhat too articulate and fingery and not fluid enough.</p><p>Nocturne Op.9/2: This was somewhat unyielding and prosaic playing for such a tender and melting nocturne. LH sounds somewhat plodding. There were some moments that seemed to hint at better feeling for this music, but overall it was musically somewhat disappointingly routine. By some considerably way, your most disappointing piece.</p><p>Liszt Spanish Rhapsody: This was a very good performance. She plays with flair and some real Spanish flavour and verve. Strong playing – highly accomplished with clear temperament and some wit. Impressive and fearless. It somehow seemed just to “run out of steam” in final pages.</p><p>The Liszt was one of the outstanding individual performances of any work in this competition, but the two Chopin works were so much less persuasive musically.</p>','<p>ZHANG Chuhan</p><p>A great pleasure to listen and to watch. She has such a flexible wrist that never any bad tension arrives in the shoulder. This is excellent, something basic. A very relaxed way of playing and a most natural approach. In the Nocturne she should try to discover the secrets of long phrases, of playing a real cantabile on a piano. The sound seems to be very good, but the notes of the melody are too equal, the difference between suspensions and resolutions is too small. The dynamic weight of the notes should constantly be changing in nuances. In this case it might be useful to limit the big movements of the “breathing wrist”. Violinists can inspire us with their art of phrasing, the way they use the bow. The Etude is excellent. Not only the 16ths, but also the chords and and bass notes are very consciously played, and there is nothing artificial in it. In the Spanish Rhapsody I can already hear those qualities that could help to improve the performance of the Nocturne: The authentic and characteristic phrasing, the clear profile of the phrases. Impressive facility.</p>','<p>ZHANG Chuhan</p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>You have enough technical mastery to look for contrast in your ascending scales the second time around. Hearing chromatic scales without color changes is no fun.</p><p>Chopin: Nocturne in E Flat Major, Op. 9, No. 2</p><p>You have expressive qualities and a good singing tone. However, you need to be more aware of the vocal elements needed to sustain a melody on a keyboard instrument, where each note is being struck by a different finger. Long notes require more “breath” and new harmonies must be introduced in a less casual way. Some of the embellishments were rough, too fast, and lacking in a sense of improvisation. You also missed opportunities for contrasting intimacy. A nocturne should give you an opportunity to “say” something quietly as if you were telling a secret to your best friend. </p><p>Liszt: Spanish Rhapsody</p><p>You have an impressive command for your age and you are able to achieve some personal touches in spite of the relentless nature of this music that does not seem to stop to allow you to breathe. I strongly advise you to supplement this one virtuoso work full of octaves and skips with more thoughtful and polyphonic music that will better develop you as a musician rather than as a good piano player.</p><p>In sum: predictable playing, not much sense of discovery. Maybe you practice the same pieces too much for too long until you lose the meaning and musical message.</p>','<p>ZHANG Chuhan</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>ZHANG Chuhan<br />Nocturne I think a tempo could be more quiet. You have good rubato, good touch but tempo makes piece little too mechanic.<br />Etude good tempo. This is difficult study but even more difficult make it beautiful music. Not too loud!<br />Liszt As for Spanish spirit please see previous Comments.<br />&lt; /FONT&gt; The entrance was little aggressive, though good feeling. Very free difficult places, but also I would ask more connecting passages with music sense.</p>','<p>ZHANG Chuhan</p><p>You created a nice atmosphere for the nocturne. It flows naturally with simplicity and a good sound. A little more intensity would make it more beautiful. Also, I find that it usually helps if one can find contrasts in music. Not just contrast of dynamics, but contrasts between vertical lines and horizontal ones, between tightening and easing of the tone, and between short and long phrases. I enjoyed the etude because it has a very nice sense of phrasing in addition to clear finger work. It also has a good rhythmic pulse. It is light and pleasant. The Liszt is quite enjoyable also. It is fluid with breathes in phrasing. I specially like the brightness of your treble notes. They have a nice ring to them. Over all, a very enjoyable performance.</p>','');
INSERT INTO `content_type_video_ypa` VALUES ('1374','1373','11_1.mp4','11. <strong>ZHANG Chuhan</strong>： Liszt Spanish Rhapsody','11.<strong>张楚晗</strong>：李斯特西班牙狂想曲  /<strong>ZHANG Chuhan</strong>： Liszt Spanish Rhapsody','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>张楚晗<br /> <br />    听和看她演奏很有意思。她的手腕如此灵活， 所以肩膀没有任何的紧张。这是非常好的基础。是一种非常放松的弹奏方法， 也是最自然的弹法。<br />    在夜曲中应该去发现长句和连奏的演奏方法。声音还不错， 但是旋律的声音太平淡， 松紧变化不够， 重量的力度需要经常变化。为此， 你需要减少手腕的大动作，不要用手腕去“呼吸”。 我们可以从小提琴家那里的到启发， 看他们怎样用弓。<br />    练习曲弹得很好。不仅16分音符与和弦， 低音也弹得很有意识， 音乐里没有任何做作的成分。<br />    西班牙狂想曲中有一些好的东西可以帮助你把夜曲弹得更好。例如正确的分句、有轮廓的句子，以及有表现力的技能。</p>','<p>张楚晗</p><p>肖邦：降E大调夜曲 作品9之2<br />    你有表现能力和很好的歌唱性音调。然而，你需要更加注意的是，在键盘乐器上支撑旋律所需的歌唱性成分，在这样的乐器上每个音符都是由不同的手指来弹奏的。长音符需要更长的“气息”，新和声的引入必须不那么随意。一些装饰音粗糙了，太快了，缺乏即兴的感觉。你还错过了将亲切感加以对比的表现机会。一首夜曲应该让你有机会静静地“述说”，就像你把一个秘密告诉你最要好的朋友一样。<br />肖邦：a小调练习曲 作品10之2<br />    你有足够的技术把握，应该去寻求二次循环的上行音阶中的对比效果。缺乏色彩变化的半音音阶，听起来是无趣的。<br />李斯特：西班牙狂想曲<br />    就你的年龄来说，你有一个令人印象深刻的把握能力，你能表现出一些个性化的触键，尽管这首作品在毫不间断的特性下，似乎不会停下来让你喘一口气。我强烈建议你，在这首充满八度和跳跃的名家作品中，加入思想更加深刻、韵律更加丰富的音乐，以使你更好地成长一个音乐家，而不只是一个好的钢琴演奏者。<br />总评：合乎成规的演奏，探索意识不足。也许，对这些同一的作品，你练得太多太久，以至于忘却了作品的含义和音乐的主旨。</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>ZHANG Chuhan</p><p>No.1 Chopin: Nocturne in E-flat major, Op.9 No.2<br />- My first favorable impression is that you really enjoy playing this beautiful piece. You have a lovely tone and I like very much your attempts at observing all the dynamics and tempo markings. </p><p>- There are many positive aspects to your performance – wonderful lyrical sound due to the flexible movements in your arms and hands. You have a fine sense of balance, with your left hand providing beautiful harmonic progressions in support of the soaring and elegant melodic line in the right hand. Only once in a while the last of the three-note group is being accented. Watch out for this as it is a common trap especially when you have to leap for the next note. </p><p>- On the issue of the mood of the piece, I would like you to imagine this piece a little slower, more tranquil. Chopin indicates 12/8 and not 4/4 which means that each eighth note does have its value of existence. By holding the tempo back ever so slightly, you will be able to produce most natural ebb and flow that is intrinsically part of the Chopin’s style. </p><p>- The ornaments should reflect the mood of the piece and are very much part of the melody. Your ornaments give me the impression of an afterthought, that you put them there after you have learnt the piece. Remember that trills in this nocturne are best played evenly instead of fast as speeding up the trills poses the danger of making unnecessary and undesirable crescendo.</p><p>- There are many accent marks in the score and they have either rhythmic or emotional value. Please make every attempt at playing these. Your farewell at the end is very beautiful and a great finish – well done!</p><p>No.2 Chopin: Etude in A minor, Op. 10 No.2<br />- What a beautiful performance – light and fluid. You truly capture all the elements that make this piece so very special – “leggiero”, evenness of the running passages, and an understanding of the beginning and ending of phrases. You possess the rare quality to shape and phrase your left hand “staccato” as well, and your performance sound very natural, with all the ease and grace.</p><p>-The only advice I can give is for you to advance to an even faster tempo and to make much more of your dynamic range. Not all “crescendos” are the same. Some create intensity, leading to ‘forte” other times there is an arch created by crescendo and diminuendo, and then there is a crescendo that is abruptly ended by a sudden “piano”. Your attention to all these would eventually result in a superb performance from you.</p><p>- Also invest some time into the discovery of different colors, generated from your emotional response to various indications in the score. In contrast to your light and sparkling touch, you could play measure 19 with a darker shade. This change at the start of the development section is important as it allows for recognition of the structure.</p><p>No.3 :Liszt: Spanish Rhapsody<br />- If you look at many compositions of the romantic period there are numerous examples of introduction. This section should somewhat establish the character of the piece while at the same time be absolutely free and improvised. I like your approach to this section. You have a natural uninhibited instinct, and indeed you do sound as if you are improvising. Just a little advice: try to color each harmony, make it contrasting and surprising.</p><p>- The “Folies d’Espagne” initiates a continuous set of variations on this ancient tune with a melancholy quality. The most important characteristic of all rhapsodies is contrast and you need to show this at every opportunity. Of the two themes this one is sad and perhaps grand in manner. The second one is energetic, bursting with happiness. You managed the differences in each variation extremely well. However, watch how you tackle the dynamic growth of this section. You actually reached, prematurely, a full “forte” at the “espressivo”, and then when Liszt finally puts his first “forte” at the “un poco animato” you have no room to grow. Understanding the dynamic structure in Liszt’s music is utmost essential. </p><p>- From the staccato section there is a gradual increase in tempo which is a trade mark of most Liszt’s compositions. The true art is to make this gradual increase of tempo imperceptible. Perhaps one can describe it as an increase in tension as we progress towards the final dance “Allegro animato”. You technique is wonderful and I marvel at your accuracy, but you need to surge towards the double forte. And please do not slow down, as the tempo you have reached is necessary for the success of this theme.</p><p>- The “Jota aragonesa” has simple structure of four lines, each being four measures. The beautiful melody owes a great deal to the fact that usually women dance this. You indeed make everything come to life and the vibrant, brilliant passages flow freely. What you can do much more is the contrast in all of the variations. Even though Liszt does not give dynamic directions, it is expected. In such works he normally leaves it to the creative freedom of the performer. So do take full advantage of it.</p><p>- This creative freedom is further demonstrated in the slow section prior the final summation of the Rhapsody. Again, Liszt does not provide dynamic markings but he requests that the character should be “dolce”, “grazioso”, espressivo, “cantando” - all directing us for a moment of tranquility before the ensuing storm. You need to allow yourself a little time of rest, and of course we, the listeners, also need it.</p><p>- The Finale shows what magnificent technique you possess. You only have to listen to his E-flat Concerto to understand how Liszt views this type of finales. The structure is based on the gradual intensification of both tempo and dynamic. There is a gradual increase in speed as he constantly writes “animato” and “stringendo”. And as you can see there are “crescendos”, reaching “fortississimo” only at the “molto vivace”. Hold back as much as you can, and you will find it to be much more satisfying and rewarding.</p><p>- The ending is superbly played. I like the triumphant D major section. However, you must keep to a stricter tempo, with minimum rubato, to hold the strength and the brilliance of this passage else it would weaken the structure and sound less convincing. Other than that, a great performance. </p><p>Zhang Chuhan, you have the promise of a great future. You have a natural approach to playing the piano through flexible writs and reducing the tension in your shoulders. This is elemental in many ways but seems to elude most young artists. You also listen to your sound and have the ability to control. I believe that you have with careful attention a bright future in music.</p>','<p>ZHANG Chuhan</p><p>This performance had a lot to recommend it, although it was a little uneven in its success, depending on the particular piece on the DVD.  Ms. Zhang is clearly a highly gifted young musician, and is committed to her art.  Her playing is heartfelt and at its best is full of passion.  She needs to feel this intense connection to all the music she undertakes to play.</p><p>Op.10 No.2: An impressively fleet and accurate performance, but not artistically engaged. This piece can portray real magic and effervescence, especially if the pianist has as agile a technique as this one has!  Give this gem its imaginative due.</p><p>Nocturne Op.9 No.2: In the opening, each melody note was given a distinct wrist/arm pulse which created a slight visual and aural heaviness and predictability.  Ms. Zhang was listening carefully and responding with sensitivity to the sound, but the long, spun-out line eluded her. </p><p>Liszt: It was in this piece that Ms. Zhang showed her abilities on every front.  It was an excellent performance, full of verve, subtlety, authority and inspiration. The sense of architecture was always clearly evident, but not at the expense of excitement, variety and inventiveness.  There was a trust in her technical acumen that made the physical difficulties disappear for the listener.  I was enthralled!</p>','<p>ZHENG Chuchan</p><p>Op.10/2: A good tempo and technically pretty immaculate but too much of a metronomic ticking in LH with very clipped staccatos. But still impressive and the RH was never merely mechanical, though, (at least on the recording,) it sounds somewhat too articulate and fingery and not fluid enough.</p><p>Nocturne Op.9/2: This was somewhat unyielding and prosaic playing for such a tender and melting nocturne. LH sounds somewhat plodding. There were some moments that seemed to hint at better feeling for this music, but overall it was musically somewhat disappointingly routine. By some considerably way, your most disappointing piece.</p><p>Liszt Spanish Rhapsody: This was a very good performance. She plays with flair and some real Spanish flavour and verve. Strong playing – highly accomplished with clear temperament and some wit. Impressive and fearless. It somehow seemed just to “run out of steam” in final pages.</p><p>The Liszt was one of the outstanding individual performances of any work in this competition, but the two Chopin works were so much less persuasive musically.</p>','<p>ZHANG Chuhan</p><p>A great pleasure to listen and to watch. She has such a flexible wrist that never any bad tension arrives in the shoulder. This is excellent, something basic. A very relaxed way of playing and a most natural approach. In the Nocturne she should try to discover the secrets of long phrases, of playing a real cantabile on a piano. The sound seems to be very good, but the notes of the melody are too equal, the difference between suspensions and resolutions is too small. The dynamic weight of the notes should constantly be changing in nuances. In this case it might be useful to limit the big movements of the “breathing wrist”. Violinists can inspire us with their art of phrasing, the way they use the bow. The Etude is excellent. Not only the 16ths, but also the chords and and bass notes are very consciously played, and there is nothing artificial in it. In the Spanish Rhapsody I can already hear those qualities that could help to improve the performance of the Nocturne: The authentic and characteristic phrasing, the clear profile of the phrases. Impressive facility.</p>','<p>ZHANG Chuhan</p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>You have enough technical mastery to look for contrast in your ascending scales the second time around. Hearing chromatic scales without color changes is no fun.</p><p>Chopin: Nocturne in E Flat Major, Op. 9, No. 2</p><p>You have expressive qualities and a good singing tone. However, you need to be more aware of the vocal elements needed to sustain a melody on a keyboard instrument, where each note is being struck by a different finger. Long notes require more “breath” and new harmonies must be introduced in a less casual way. Some of the embellishments were rough, too fast, and lacking in a sense of improvisation. You also missed opportunities for contrasting intimacy. A nocturne should give you an opportunity to “say” something quietly as if you were telling a secret to your best friend. </p><p>Liszt: Spanish Rhapsody</p><p>You have an impressive command for your age and you are able to achieve some personal touches in spite of the relentless nature of this music that does not seem to stop to allow you to breathe. I strongly advise you to supplement this one virtuoso work full of octaves and skips with more thoughtful and polyphonic music that will better develop you as a musician rather than as a good piano player.</p><p>In sum: predictable playing, not much sense of discovery. Maybe you practice the same pieces too much for too long until you lose the meaning and musical message.</p>','<p>ZHANG Chuhan</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>ZHANG Chuhan<br />Nocturne I think a tempo could be more quiet. You have good rubato, good touch but tempo makes piece little too mechanic.<br />Etude good tempo. This is difficult study but even more difficult make it beautiful music. Not too loud!<br />Liszt As for Spanish spirit please see previous Comments.<br />&lt; /FONT&gt; The entrance was little aggressive, though good feeling. Very free difficult places, but also I would ask more connecting passages with music sense.</p>','<p>ZHANG Chuhan</p><p>You created a nice atmosphere for the nocturne. It flows naturally with simplicity and a good sound. A little more intensity would make it more beautiful. Also, I find that it usually helps if one can find contrasts in music. Not just contrast of dynamics, but contrasts between vertical lines and horizontal ones, between tightening and easing of the tone, and between short and long phrases. I enjoyed the etude because it has a very nice sense of phrasing in addition to clear finger work. It also has a good rhythmic pulse. It is light and pleasant. The Liszt is quite enjoyable also. It is fluid with breathes in phrasing. I specially like the brightness of your treble notes. They have a nice ring to them. Over all, a very enjoyable performance.</p>','');
INSERT INTO `content_type_video_ypa` VALUES ('1375','1374','12_1.mp4','12. <strong>ZHANG Yunling</strong>：Chopin: Etude Op.10, No.12','12.<strong>张云龄</strong>：肖邦练习曲“革命”作品10之12  / <strong>ZHANG Yunling</strong>：Chopin: Etude Op.10, No.12','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>张云龄</p><p>    她是一位受到了很好的训练的年轻钢琴家。 肖邦的练习曲中的重音弹得那么清楚不太常见， 但这还能接受。有一些片段她弹得非常好，比如当她用力突出一些重要和声时和当她开始一个句子的时候， 让人非跟着她走不可。总的来说， 她还可以更戏剧性一点。（我们弹ff 时候一点要明白，为什么要弹那么响。）你演奏夜曲的声音在一个大礼堂里合适， 对于近距离的DVD录音来说，旋律就“坐下来了”，“飞不起来了”。 中段声音的平衡还需要再考虑一下。右手的震音听起来有些太“忙” ，太活泼了，后面旋律中的长音，双手的复调性还不够清楚。<br />    谐谑曲中头两个和最后两个和弦要怎么数拍子？ 开始的延长记号到底多长？我认为不能太长，在曲子中最重要的是可以始终感觉到和声以及旋律的连接。<br />    结尾的“稍慢”不能太慢。要让人能够指挥。 这是最好的检验速度的办法。包括第二页的“稍慢”也是一样。第三页和第四页的声部和节奏我有一些不同的看法，（比如用大指替代小指，声部之间的对话，以及切分音）过去的老传统总是把中段弹得太慢，我很高兴听到张瑞雪没有弹得太慢。合适的速度能够让我们发掘出魔术般的声音。我建议， 中段前的小节用原版中的踏板（让休止符呼吸）。</p>','<p>张云龄</p><p>肖邦：c小调练习曲 作品10之12<br />    这个演奏表达了“英雄”的概念，与作品的精神非常吻合。你的左手很清楚，在你的踏板得以支持右手充满激情的和声的情况下，你的左手仍然能够表现出许多色调上的细微差别，同时你左手的结构仍然能在需要的时候让人听到。好极了！<br />肖邦：F大调夜曲 作品15之1<br />    我喜欢你的演奏，因为它在构思上非常有歌唱性。具有合乎情理的变音转调，以及在真正意义上使旋律“歌唱”起来所需要的呼吸动作。<br />肖邦：谐谑曲 第1首 作品20<br />    这首作品的选择，比起其他参赛者选择的许多李斯特的作品，在选择上是更加适合的，因为它能让你表现出诠释上和节奏上的明确处理，从而显示你是不是一个音乐家。你是！最终，由于全曲中有太多相同的素材不断重复，你没有能够做出足够的变化，以使你的演奏听起来显得伟大。然而，你已经播下了希望的种子。<br />总评：你的演奏给我带来很多的快乐。</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>ZHANG Yunling</p><p>No.1 Chopin: Etude in C minor, Op.10 No.12<br />- Your performance sounds very secure and the work reflects your excellent technical ability. There are many commendable things to note – the wonderful clarity of the left hand, the decisive rhythm of the right hand, the forward motion without feeling the pressure of playing faster, and of course the close attention to the dynamics of Chopin.</p><p>- Although this is a very satisfying performance you could emphasize more the contrast between the fortes and pianos, and I do not mean just loud and soft. You should consider the character and color behind the notes. And try to show, however slightly, variety between repeated passages. </p><p>- At the beginning the repeated descending pattern must be more phrased to allow for it to give the urgency of something about to happen. At the same time, as these are only an introduction, you must not play them as more important than the theme. </p><p>- Do not ignore the “hairpin” crescendos and decrescendos in the left hand, however short and small they may appear on the score. They play an important role in giving this piece its character and its incredible tumultuous atmosphere. </p><p>No.2 Chopin: Nocturne in F major, Op.15 No.1<br />- A very beautiful performance. You have a fine feeling for Chopin. This Nocturne reveals if the pianist has absolute control of the instrument and can keep a long cantabile line. You do have the ability and are listening in the right way, so you are well on your way to achieve these lofty ideas.</p><p>- As in the Etude, I commend you on paying close attention to the details. </p><p>- Where you could improve on is the balance between the hands. In “A” and “B” sections the sound level in both the right and left hand is far too close to each other. Make the triplet accompaniment as gentle and as soft as possible. Not only would this allow your right hand melodic line to sing more effectively, it also paints a perfect backdrop for the left hand thumb to act as a duet partner to the right hand melody. Add to this in the fifth measure the beautiful descending bass line, and when all these are balanced you have the makings for a Chopin sound.</p><p>- The key to the flexile way of playing Chopin is best heard in the first eight measures of this Nocturne. The first three measures are held back slightly by the pedal point on the tonic allowing the melody to soar above the bass. In measure 4 the bass starts to descend thus creating movement and harmonic interest – this also moves the melody forward. The fact that the bass line starts to descend, with “crescendo”, in measure 4 indicates that Chopin wants a much longer concept of line than just four measures. Harmonically, in measure 8 Chopin resolves the cadence on an E major chord – this is the leading note to F major. He wants to indicate that we must make most of this surprise when he asks for “crescendo” and “ritardando”, and sudden drop to “piano”. All these magical moments are happening in measures 7 and 8. Therefore, to reserve for this moment, do not stop at the end of measure 4 but move on. </p><p>- Be careful not to over delay the top D note in measure 20 as this “special treatment” would over shadow what comes after – meaning the next four measures. The real calling to attention is actually the “smorzando” at the end of section “A” before the storm. You must try to make everything flow and as natural as possible. Momentary inspiration must be there in the heat of performance, but this must be based on a strong understanding of the form - this perspective will guide you on how much freedom you can take within the logical artistic boundary. </p><p>- The “B” section should have some tempo relationship to section “A”. Chopin already writes “Con fuoco” which indicates clearly the character and the mood. He does not write any new tempo marking. Thus your super fast tempo here is not necessary. Moreover, your left hand descending scales need time to speak in order to carry forth the dark and scary message. Play the right hand softer and in the background, allowing the left hand to take the main role.</p><p>- Be very vigilant with dynamics in this section, Chopin places these markings in nearly every measure so it proves that he is very intense in providing information for us. Note that in the repeat, Chopin purposefully avoids “fortissimo” and further has two “crescendos” leading to sudden “piano”. All these are waves, an essential element in adding to the drama and the emotion. Unfortunately, most of these are missing in your playing.</p><p>- Your transition back to the “A” section is nicely done.</p><p>- Your ending is excellent but please do not open up the sound in the second last measure. Simply let the final phrase die away - “smorzando”.</p><p>No.3 Chopin: Scherzo No.1 in B minor, Op.20<br />- You give a very compelling and powerful performance, full of contrasting emotions. I like your fearless and decisive approach to this piece. Drama does not intimidate you at all. And just as important, you have the flair of a real performer, possessing the ability to make large gestures. </p><p>- Pulse: the basic construction of all Chopin’s Scherzi is the four measure phrase. The recognition of this is imperative for any performance. In this Scherzo the tempo is already set by the first two chords at the beginning, therefore you do not have the luxury of playing the chords for as long as you want - the pulse already starts with your first chord.</p><p>- I feel that you could demonstrate more the intricate details of the rhythm inside the pulse. The Scherzo is in 3/4 time but the count is one beat per measure. Inside the measure there are different groupings – for example counting in three (as in 3/4 ) or in two (as in 6/8). So from measure 78 you should feel in two, then it changes back to three from measure 94 with the accent on the first beat, then from measure 101 the accent moves to the second beat. These intricate yet exciting subtle changes add interest, and serve as the substance to drive this first section with an “agitato” feeling. </p><p>- Look carefully at all the dynamic markings as there is an abundance of information originating from Chopin. Especially important are the “sf” followed by “p” and “crescendo”. If observed this gives a marvelous feeling of ascending sweep. While in the beginning this is on a small scale, later it grows into a larger form. Following these directions will make your playing filled with spectacular colors and infinitely more interesting, and it makes the repetition worth hearing.</p><p>- In the middle section, the feeling of ebb and flow of the gentle phrases could be better executed if you observe all Chopin’s dynamic markings. Here he quotes an old Polish Christmas song which is grouped in 2 +  2 + 4 measures, shown very clearly in his dynamic indications. You must try these hairpins as they provide wonderful flexibility to the phrases. Chopin phrase markings are even clearer from measure 320 but here he builds tension through continued crescendo, again giving us the possibility of endless variety which keeps the interest throughout the work, which I feel is lacking in your interpretation. </p><p>- Coda: do not hold the second last chord too long – it is not “fermata”. Nevertheless, your performance of the virtuosic coda is very commendable and shows your ability to communicate the tragic elements of this work.</p><p>Zhang Yunling, you are a born performer! It was a pleasure to see how intensely you are involved in your performance and how you draw us into your world. All this very commendable, however, at this moment the balance favors not the making of music but the sensation of actually performing – the physical side of such activity. I am sure with hard work you can correct this, the more you know about music the more you will want to communicate it to your listeners. And I shall be hopefully one of them.</p>','<p>ZHANG Yunling</p><p>A solid and impressive young musician, with considerable potential.  I found the choice of repertoire not particularly conducive to showing a wide range of expressive tools, but this did not really harm her in any major way.</p><p>Op.10 No.12 was accurate and strong.  But the work is a passionate outpouring of the most noble and aristocratic kind. The sweep and grandeur of the right hand should really be magnificent in its structure and dramatic design.  I felt that this performance was almost entirely centered on the left hand.  It need much more scope and range.</p><p>Nocturne Op.15 No.1: This was a sensitive performance, with care and thoughtful attention to sound and legato.  Perhaps a more imaginative and personal concept could be encouraged.</p><p>Scherzo: This work illustrated Ms. Zhang’s splendid and reliable technique in the outer sections and a careful interpretation of the middle section, if not outstanding in its inventiveness and inspiration.  She needs to experiment with sound and flexibility in her lyrical-less muscular-playing.</p>','<p>ZHANG Yunling</p><p>Chopin Op/10/12: Nocturne Op. 15/1 (F major); 1st Scherzo</p><p>Etude was very assured and technically strong. RH strong – sounding just a little vertical, and needing better shape, though overall there is a strong sense of energy. Diminuendo on last page could have been much better handled, both in control of touch and pedal. LH can sound too marked on each beat (Especially at start and on final page. Accents should be more musically in context.)</p><p>Nocturne was very proficient playing, but lacks sympathetic treatment of the beauty in the melody, which was somewhat stilted and syllabic. Middle section had the right sense of drive - RH somewhat too prominent. Careful but not yet really idiomatic in style.</p><p>Scherzo was technically accomplished, and played with some temperament. With so many repetitions in this piece, try to do more to give some variety - there is scope for different voicing and for variation in pedalling. (And the delay on each of the three LH starts at beginning at the return to tempo (3rd page?) was so exactly the same every time.) Less good was the B major section, which tended to have misjudged - or unaware - small stops at end of most bars. This sounded very pedestrian, lacking a sense of long phase lines. Coda rather metronomical and stilted. </p><p>As yet, a capable pianist, but not yet one with a clear identity to her music making.</p>','<p>ZHANG Yunling</p><p>She is a well trained young pianist. In the Etude it’s quite unusual to show Chopin’s accents so clearly, but it is acceptabel this way. Some moments are very good: When she shows an important harmony with a special energy or when she starts a phrase in a such a convincing way that we just have to follow how it continues. In general there could be more sense of drama (when we are playing fortissimo, we should exactly know why). The way she is playing the melody in the Nocturne would be perfectly right in a bigger hall, when we can listen from a certain distance. Here (in the DVD recording) we are listening from very close, maybe that’s why the single notes of the melody seems to be more “sitting” than “flying”. The sound balance in the middle section is something to think about. The right hand tremolo sonds a bit too “busy” and active, later the melodic polyphony of the longer notes in both hands could be clearer. What about the timing of the first 2 and the last 2 chords in the Scherzo? How long should the fermatas be in the beginning? I think not quite as long, because it should still be possible to feel the harmonic/melodic connection between them (the motiv sol-fa), which is important for the whole piece. And the ritenuto in the end of the piece should be “conducted”, not in a different time space.  Conducting is the best way to learn more about timing – also in the ritenuto place on the 2nd page.  I have a little different ideas about the voicing and rhythmic articulation on the 3rd and 4th page (like thumbs instead of 5th fingers, dialogues , syncopations). It’s a bad tradition to play the middle section very slowly. So I was happy th hear a reasonable tempo in this recording. It can still be less static. Sometimes it’s the perfect tempo that helps us to discover magic sounds. I suggest to try the original pedal in the bars before the middle section (breathing rests).</p>','<p>ZHANG Yunling</p><p>Chopin: Etude in C Minor, Op. 10, No. 12</p><p>This was a “heroic” conception, very much in the spirit of the music. Your left hand was clear and still capable of many nuances, while your pedaling was able to support the dramatic chords of the right hand while still allowing for the texture of the left hand to be heard when needed. Brava!</p><p>Chopin: Nocturne in F Major, Op. 15, No. 1</p><p>I liked your performance because it was very vocal in conception. There were sensible inflections and the breathing needed to make the melody “sing” in the true sense of the word. </p><p>Chopin: Scherzo No. 1, Op. 20</p><p>The selection of this work was a better choice than the many Liszt pieces selected by other contestants as it allowed you to make interpretive and rhythmic decisions that revealed whether you are a musician or not. You are! Ultimately, with so many repetitions of the same material throughout this piece, you were unable to achieve enough variety to make it sound great. The seeds are there, however. </p><p>In sum: Your playing gave me a lot of pleasure.</p>','<p>ZHANG Yunling</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>ZHANG Yunling<br />Etude<br />Very good! I would suggest to try to make more legato both in the right and left hand.<br />Nocturne Also very nice. Middle section for me is little too fast. Though it is technically very good, the left hand should speak.<br />Scherzo Very good fingers. Nice feeling. But in such a quick tempo it is not possible to intonate every notes, it is still Chopin’s melody!<br />And middle section you should find natural moving, tempo. Consider that you make stop every 3rd quarter of each bar and prepare next bar which is separate it, and you otherwise should connect the whole phrase.<br />A all the very best, you have a very good equipment to make MUSIC!<br />Thank you!</p>','<p>ZHANG Yunling</p><p>I like the energy in the Chopin etude. There is passion and intensity in the playing. You might want to be careful with the sound so it doesn’t become harsh. It can also be phrased better and sing out more. It is always prudent to watch out for the tone quality while being passionate. The nocturne is musically sensitive. However, it seems to me a little too straight. The music should reflect the passions, hopes, and dreams of a young Chopin. A little more colors and rubato would make it more interesting. The scherzo is performed very solidly and strongly. The question that remains in my mind is that whether to play this piece forcefully, and etude-like, or to play it poetically, and let the runs glitter with pearl-like colors. I believe the latter is a more interesting approach for this piece.</p>','');
INSERT INTO `content_type_video_ypa` VALUES ('1376','1375','12_2.mp4','12. <strong>ZHANG Yunling</strong>：Chopin: Nocturne Op.15, No.1','12.<strong>张云龄</strong>：肖邦夜曲Op.15, No.1  / <strong>ZHANG Yunling</strong>：Chopin: Nocturne Op.15, No.1','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>张云龄</p><p>    她是一位受到了很好的训练的年轻钢琴家。 肖邦的练习曲中的重音弹得那么清楚不太常见， 但这还能接受。有一些片段她弹得非常好，比如当她用力突出一些重要和声时和当她开始一个句子的时候， 让人非跟着她走不可。总的来说， 她还可以更戏剧性一点。（我们弹ff 时候一点要明白，为什么要弹那么响。）你演奏夜曲的声音在一个大礼堂里合适， 对于近距离的DVD录音来说，旋律就“坐下来了”，“飞不起来了”。 中段声音的平衡还需要再考虑一下。右手的震音听起来有些太“忙” ，太活泼了，后面旋律中的长音，双手的复调性还不够清楚。<br />    谐谑曲中头两个和最后两个和弦要怎么数拍子？ 开始的延长记号到底多长？我认为不能太长，在曲子中最重要的是可以始终感觉到和声以及旋律的连接。<br />    结尾的“稍慢”不能太慢。要让人能够指挥。 这是最好的检验速度的办法。包括第二页的“稍慢”也是一样。第三页和第四页的声部和节奏我有一些不同的看法，（比如用大指替代小指，声部之间的对话，以及切分音）过去的老传统总是把中段弹得太慢，我很高兴听到张瑞雪没有弹得太慢。合适的速度能够让我们发掘出魔术般的声音。我建议， 中段前的小节用原版中的踏板（让休止符呼吸）。</p>','<p>张云龄</p><p>肖邦：c小调练习曲 作品10之12<br />    这个演奏表达了“英雄”的概念，与作品的精神非常吻合。你的左手很清楚，在你的踏板得以支持右手充满激情的和声的情况下，你的左手仍然能够表现出许多色调上的细微差别，同时你左手的结构仍然能在需要的时候让人听到。好极了！<br />肖邦：F大调夜曲 作品15之1<br />    我喜欢你的演奏，因为它在构思上非常有歌唱性。具有合乎情理的变音转调，以及在真正意义上使旋律“歌唱”起来所需要的呼吸动作。<br />肖邦：谐谑曲 第1首 作品20<br />    这首作品的选择，比起其他参赛者选择的许多李斯特的作品，在选择上是更加适合的，因为它能让你表现出诠释上和节奏上的明确处理，从而显示你是不是一个音乐家。你是！最终，由于全曲中有太多相同的素材不断重复，你没有能够做出足够的变化，以使你的演奏听起来显得伟大。然而，你已经播下了希望的种子。<br />总评：你的演奏给我带来很多的快乐。</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>ZHANG Yunling</p><p>No.1 Chopin: Etude in C minor, Op.10 No.12<br />- Your performance sounds very secure and the work reflects your excellent technical ability. There are many commendable things to note – the wonderful clarity of the left hand, the decisive rhythm of the right hand, the forward motion without feeling the pressure of playing faster, and of course the close attention to the dynamics of Chopin.</p><p>- Although this is a very satisfying performance you could emphasize more the contrast between the fortes and pianos, and I do not mean just loud and soft. You should consider the character and color behind the notes. And try to show, however slightly, variety between repeated passages. </p><p>- At the beginning the repeated descending pattern must be more phrased to allow for it to give the urgency of something about to happen. At the same time, as these are only an introduction, you must not play them as more important than the theme. </p><p>- Do not ignore the “hairpin” crescendos and decrescendos in the left hand, however short and small they may appear on the score. They play an important role in giving this piece its character and its incredible tumultuous atmosphere. </p><p>No.2 Chopin: Nocturne in F major, Op.15 No.1<br />- A very beautiful performance. You have a fine feeling for Chopin. This Nocturne reveals if the pianist has absolute control of the instrument and can keep a long cantabile line. You do have the ability and are listening in the right way, so you are well on your way to achieve these lofty ideas.</p><p>- As in the Etude, I commend you on paying close attention to the details. </p><p>- Where you could improve on is the balance between the hands. In “A” and “B” sections the sound level in both the right and left hand is far too close to each other. Make the triplet accompaniment as gentle and as soft as possible. Not only would this allow your right hand melodic line to sing more effectively, it also paints a perfect backdrop for the left hand thumb to act as a duet partner to the right hand melody. Add to this in the fifth measure the beautiful descending bass line, and when all these are balanced you have the makings for a Chopin sound.</p><p>- The key to the flexile way of playing Chopin is best heard in the first eight measures of this Nocturne. The first three measures are held back slightly by the pedal point on the tonic allowing the melody to soar above the bass. In measure 4 the bass starts to descend thus creating movement and harmonic interest – this also moves the melody forward. The fact that the bass line starts to descend, with “crescendo”, in measure 4 indicates that Chopin wants a much longer concept of line than just four measures. Harmonically, in measure 8 Chopin resolves the cadence on an E major chord – this is the leading note to F major. He wants to indicate that we must make most of this surprise when he asks for “crescendo” and “ritardando”, and sudden drop to “piano”. All these magical moments are happening in measures 7 and 8. Therefore, to reserve for this moment, do not stop at the end of measure 4 but move on. </p><p>- Be careful not to over delay the top D note in measure 20 as this “special treatment” would over shadow what comes after – meaning the next four measures. The real calling to attention is actually the “smorzando” at the end of section “A” before the storm. You must try to make everything flow and as natural as possible. Momentary inspiration must be there in the heat of performance, but this must be based on a strong understanding of the form - this perspective will guide you on how much freedom you can take within the logical artistic boundary. </p><p>- The “B” section should have some tempo relationship to section “A”. Chopin already writes “Con fuoco” which indicates clearly the character and the mood. He does not write any new tempo marking. Thus your super fast tempo here is not necessary. Moreover, your left hand descending scales need time to speak in order to carry forth the dark and scary message. Play the right hand softer and in the background, allowing the left hand to take the main role.</p><p>- Be very vigilant with dynamics in this section, Chopin places these markings in nearly every measure so it proves that he is very intense in providing information for us. Note that in the repeat, Chopin purposefully avoids “fortissimo” and further has two “crescendos” leading to sudden “piano”. All these are waves, an essential element in adding to the drama and the emotion. Unfortunately, most of these are missing in your playing.</p><p>- Your transition back to the “A” section is nicely done.</p><p>- Your ending is excellent but please do not open up the sound in the second last measure. Simply let the final phrase die away - “smorzando”.</p><p>No.3 Chopin: Scherzo No.1 in B minor, Op.20<br />- You give a very compelling and powerful performance, full of contrasting emotions. I like your fearless and decisive approach to this piece. Drama does not intimidate you at all. And just as important, you have the flair of a real performer, possessing the ability to make large gestures. </p><p>- Pulse: the basic construction of all Chopin’s Scherzi is the four measure phrase. The recognition of this is imperative for any performance. In this Scherzo the tempo is already set by the first two chords at the beginning, therefore you do not have the luxury of playing the chords for as long as you want - the pulse already starts with your first chord.</p><p>- I feel that you could demonstrate more the intricate details of the rhythm inside the pulse. The Scherzo is in 3/4 time but the count is one beat per measure. Inside the measure there are different groupings – for example counting in three (as in 3/4 ) or in two (as in 6/8). So from measure 78 you should feel in two, then it changes back to three from measure 94 with the accent on the first beat, then from measure 101 the accent moves to the second beat. These intricate yet exciting subtle changes add interest, and serve as the substance to drive this first section with an “agitato” feeling. </p><p>- Look carefully at all the dynamic markings as there is an abundance of information originating from Chopin. Especially important are the “sf” followed by “p” and “crescendo”. If observed this gives a marvelous feeling of ascending sweep. While in the beginning this is on a small scale, later it grows into a larger form. Following these directions will make your playing filled with spectacular colors and infinitely more interesting, and it makes the repetition worth hearing.</p><p>- In the middle section, the feeling of ebb and flow of the gentle phrases could be better executed if you observe all Chopin’s dynamic markings. Here he quotes an old Polish Christmas song which is grouped in 2 +  2 + 4 measures, shown very clearly in his dynamic indications. You must try these hairpins as they provide wonderful flexibility to the phrases. Chopin phrase markings are even clearer from measure 320 but here he builds tension through continued crescendo, again giving us the possibility of endless variety which keeps the interest throughout the work, which I feel is lacking in your interpretation. </p><p>- Coda: do not hold the second last chord too long – it is not “fermata”. Nevertheless, your performance of the virtuosic coda is very commendable and shows your ability to communicate the tragic elements of this work.</p><p>Zhang Yunling, you are a born performer! It was a pleasure to see how intensely you are involved in your performance and how you draw us into your world. All this very commendable, however, at this moment the balance favors not the making of music but the sensation of actually performing – the physical side of such activity. I am sure with hard work you can correct this, the more you know about music the more you will want to communicate it to your listeners. And I shall be hopefully one of them.</p>','<p>ZHANG Yunling</p><p>A solid and impressive young musician, with considerable potential.  I found the choice of repertoire not particularly conducive to showing a wide range of expressive tools, but this did not really harm her in any major way.</p><p>Op.10 No.12 was accurate and strong.  But the work is a passionate outpouring of the most noble and aristocratic kind. The sweep and grandeur of the right hand should really be magnificent in its structure and dramatic design.  I felt that this performance was almost entirely centered on the left hand.  It need much more scope and range.</p><p>Nocturne Op.15 No.1: This was a sensitive performance, with care and thoughtful attention to sound and legato.  Perhaps a more imaginative and personal concept could be encouraged.</p><p>Scherzo: This work illustrated Ms. Zhang’s splendid and reliable technique in the outer sections and a careful interpretation of the middle section, if not outstanding in its inventiveness and inspiration.  She needs to experiment with sound and flexibility in her lyrical-less muscular-playing.</p>','<p>ZHANG Yunling</p><p>Chopin Op/10/12: Nocturne Op. 15/1 (F major); 1st Scherzo</p><p>Etude was very assured and technically strong. RH strong – sounding just a little vertical, and needing better shape, though overall there is a strong sense of energy. Diminuendo on last page could have been much better handled, both in control of touch and pedal. LH can sound too marked on each beat (Especially at start and on final page. Accents should be more musically in context.)</p><p>Nocturne was very proficient playing, but lacks sympathetic treatment of the beauty in the melody, which was somewhat stilted and syllabic. Middle section had the right sense of drive - RH somewhat too prominent. Careful but not yet really idiomatic in style.</p><p>Scherzo was technically accomplished, and played with some temperament. With so many repetitions in this piece, try to do more to give some variety - there is scope for different voicing and for variation in pedalling. (And the delay on each of the three LH starts at beginning at the return to tempo (3rd page?) was so exactly the same every time.) Less good was the B major section, which tended to have misjudged - or unaware - small stops at end of most bars. This sounded very pedestrian, lacking a sense of long phase lines. Coda rather metronomical and stilted. </p><p>As yet, a capable pianist, but not yet one with a clear identity to her music making.</p>','<p>ZHANG Yunling</p><p>She is a well trained young pianist. In the Etude it’s quite unusual to show Chopin’s accents so clearly, but it is acceptabel this way. Some moments are very good: When she shows an important harmony with a special energy or when she starts a phrase in a such a convincing way that we just have to follow how it continues. In general there could be more sense of drama (when we are playing fortissimo, we should exactly know why). The way she is playing the melody in the Nocturne would be perfectly right in a bigger hall, when we can listen from a certain distance. Here (in the DVD recording) we are listening from very close, maybe that’s why the single notes of the melody seems to be more “sitting” than “flying”. The sound balance in the middle section is something to think about. The right hand tremolo sonds a bit too “busy” and active, later the melodic polyphony of the longer notes in both hands could be clearer. What about the timing of the first 2 and the last 2 chords in the Scherzo? How long should the fermatas be in the beginning? I think not quite as long, because it should still be possible to feel the harmonic/melodic connection between them (the motiv sol-fa), which is important for the whole piece. And the ritenuto in the end of the piece should be “conducted”, not in a different time space.  Conducting is the best way to learn more about timing – also in the ritenuto place on the 2nd page.  I have a little different ideas about the voicing and rhythmic articulation on the 3rd and 4th page (like thumbs instead of 5th fingers, dialogues , syncopations). It’s a bad tradition to play the middle section very slowly. So I was happy th hear a reasonable tempo in this recording. It can still be less static. Sometimes it’s the perfect tempo that helps us to discover magic sounds. I suggest to try the original pedal in the bars before the middle section (breathing rests).</p>','<p>ZHANG Yunling</p><p>Chopin: Etude in C Minor, Op. 10, No. 12</p><p>This was a “heroic” conception, very much in the spirit of the music. Your left hand was clear and still capable of many nuances, while your pedaling was able to support the dramatic chords of the right hand while still allowing for the texture of the left hand to be heard when needed. Brava!</p><p>Chopin: Nocturne in F Major, Op. 15, No. 1</p><p>I liked your performance because it was very vocal in conception. There were sensible inflections and the breathing needed to make the melody “sing” in the true sense of the word. </p><p>Chopin: Scherzo No. 1, Op. 20</p><p>The selection of this work was a better choice than the many Liszt pieces selected by other contestants as it allowed you to make interpretive and rhythmic decisions that revealed whether you are a musician or not. You are! Ultimately, with so many repetitions of the same material throughout this piece, you were unable to achieve enough variety to make it sound great. The seeds are there, however. </p><p>In sum: Your playing gave me a lot of pleasure. </p>','<p>ZHANG Yunling</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>ZHANG Yunling<br />Etude<br />Very good! I would suggest to try to make more legato both in the right and left hand.<br />Nocturne Also very nice. Middle section for me is little too fast. Though it is technically very good, the left hand should speak.<br />Scherzo Very good fingers. Nice feeling. But in such a quick tempo it is not possible to intonate every notes, it is still Chopin’s melody!<br />And middle section you should find natural moving, tempo. Consider that you make stop every 3rd quarter of each bar and prepare next bar which is separate it, and you otherwise should connect the whole phrase.<br />A all the very best, you have a very good equipment to make MUSIC!<br />Thank you!</p>','<p>ZHANG Yunling</p><p>I like the energy in the Chopin etude. There is passion and intensity in the playing. You might want to be careful with the sound so it doesn’t become harsh. It can also be phrased better and sing out more. It is always prudent to watch out for the tone quality while being passionate. The nocturne is musically sensitive. However, it seems to me a little too straight. The music should reflect the passions, hopes, and dreams of a young Chopin. A little more colors and rubato would make it more interesting. The scherzo is performed very solidly and strongly. The question that remains in my mind is that whether to play this piece forcefully, and etude-like, or to play it poetically, and let the runs glitter with pearl-like colors. I believe the latter is a more interesting approach for this piece.</p>','');
INSERT INTO `content_type_video_ypa` VALUES ('1377','1376','12_3.mp4','12. <strong>ZHANG Yunling</strong> Chopin:Scherzo Op.20','12.<strong>张云龄</strong>：肖邦谐谑曲 Op.20  / <strong>ZHANG Yunling</strong> Chopin Scherzo Op.20','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>张云龄</p><p>    她是一位受到了很好的训练的年轻钢琴家。 肖邦的练习曲中的重音弹得那么清楚不太常见， 但这还能接受。有一些片段她弹得非常好，比如当她用力突出一些重要和声时和当她开始一个句子的时候， 让人非跟着她走不可。总的来说， 她还可以更戏剧性一点。（我们弹ff 时候一点要明白，为什么要弹那么响。）你演奏夜曲的声音在一个大礼堂里合适， 对于近距离的DVD录音来说，旋律就“坐下来了”，“飞不起来了”。 中段声音的平衡还需要再考虑一下。右手的震音听起来有些太“忙” ，太活泼了，后面旋律中的长音，双手的复调性还不够清楚。<br />    谐谑曲中头两个和最后两个和弦要怎么数拍子？ 开始的延长记号到底多长？我认为不能太长，在曲子中最重要的是可以始终感觉到和声以及旋律的连接。<br />    结尾的“稍慢”不能太慢。要让人能够指挥。 这是最好的检验速度的办法。包括第二页的“稍慢”也是一样。第三页和第四页的声部和节奏我有一些不同的看法，（比如用大指替代小指，声部之间的对话，以及切分音）过去的老传统总是把中段弹得太慢，我很高兴听到张瑞雪没有弹得太慢。合适的速度能够让我们发掘出魔术般的声音。我建议， 中段前的小节用原版中的踏板（让休止符呼吸）。</p>','<p>张云龄</p><p>肖邦：c小调练习曲 作品10之12<br />    这个演奏表达了“英雄”的概念，与作品的精神非常吻合。你的左手很清楚，在你的踏板得以支持右手充满激情的和声的情况下，你的左手仍然能够表现出许多色调上的细微差别，同时你左手的结构仍然能在需要的时候让人听到。好极了！<br />肖邦：F大调夜曲 作品15之1<br />    我喜欢你的演奏，因为它在构思上非常有歌唱性。具有合乎情理的变音转调，以及在真正意义上使旋律“歌唱”起来所需要的呼吸动作。<br />肖邦：谐谑曲 第1首 作品20<br />    这首作品的选择，比起其他参赛者选择的许多李斯特的作品，在选择上是更加适合的，因为它能让你表现出诠释上和节奏上的明确处理，从而显示你是不是一个音乐家。你是！最终，由于全曲中有太多相同的素材不断重复，你没有能够做出足够的变化，以使你的演奏听起来显得伟大。然而，你已经播下了希望的种子。<br />总评：你的演奏给我带来很多的快乐。</p>','<p>   敬请期待</p>','<p>   敬请期待</p>','<p>ZHANG Yunling</p><p>No.1 Chopin: Etude in C minor, Op.10 No.12<br />- Your performance sounds very secure and the work reflects your excellent technical ability. There are many commendable things to note – the wonderful clarity of the left hand, the decisive rhythm of the right hand, the forward motion without feeling the pressure of playing faster, and of course the close attention to the dynamics of Chopin.</p><p>- Although this is a very satisfying performance you could emphasize more the contrast between the fortes and pianos, and I do not mean just loud and soft. You should consider the character and color behind the notes. And try to show, however slightly, variety between repeated passages. </p><p>- At the beginning the repeated descending pattern must be more phrased to allow for it to give the urgency of something about to happen. At the same time, as these are only an introduction, you must not play them as more important than the theme. </p><p>- Do not ignore the “hairpin” crescendos and decrescendos in the left hand, however short and small they may appear on the score. They play an important role in giving this piece its character and its incredible tumultuous atmosphere. </p><p>No.2 Chopin: Nocturne in F major, Op.15 No.1<br />- A very beautiful performance. You have a fine feeling for Chopin. This Nocturne reveals if the pianist has absolute control of the instrument and can keep a long cantabile line. You do have the ability and are listening in the right way, so you are well on your way to achieve these lofty ideas.</p><p>- As in the Etude, I commend you on paying close attention to the details. </p><p>- Where you could improve on is the balance between the hands. In “A” and “B” sections the sound level in both the right and left hand is far too close to each other. Make the triplet accompaniment as gentle and as soft as possible. Not only would this allow your right hand melodic line to sing more effectively, it also paints a perfect backdrop for the left hand thumb to act as a duet partner to the right hand melody. Add to this in the fifth measure the beautiful descending bass line, and when all these are balanced you have the makings for a Chopin sound.</p><p>- The key to the flexile way of playing Chopin is best heard in the first eight measures of this Nocturne. The first three measures are held back slightly by the pedal point on the tonic allowing the melody to soar above the bass. In measure 4 the bass starts to descend thus creating movement and harmonic interest – this also moves the melody forward. The fact that the bass line starts to descend, with “crescendo”, in measure 4 indicates that Chopin wants a much longer concept of line than just four measures. Harmonically, in measure 8 Chopin resolves the cadence on an E major chord – this is the leading note to F major. He wants to indicate that we must make most of this surprise when he asks for “crescendo” and “ritardando”, and sudden drop to “piano”. All these magical moments are happening in measures 7 and 8. Therefore, to reserve for this moment, do not stop at the end of measure 4 but move on. </p><p>- Be careful not to over delay the top D note in measure 20 as this “special treatment” would over shadow what comes after – meaning the next four measures. The real calling to attention is actually the “smorzando” at the end of section “A” before the storm. You must try to make everything flow and as natural as possible. Momentary inspiration must be there in the heat of performance, but this must be based on a strong understanding of the form - this perspective will guide you on how much freedom you can take within the logical artistic boundary. </p><p>- The “B” section should have some tempo relationship to section “A”. Chopin already writes “Con fuoco” which indicates clearly the character and the mood. He does not write any new tempo marking. Thus your super fast tempo here is not necessary. Moreover, your left hand descending scales need time to speak in order to carry forth the dark and scary message. Play the right hand softer and in the background, allowing the left hand to take the main role.</p><p>- Be very vigilant with dynamics in this section, Chopin places these markings in nearly every measure so it proves that he is very intense in providing information for us. Note that in the repeat, Chopin purposefully avoids “fortissimo” and further has two “crescendos” leading to sudden “piano”. All these are waves, an essential element in adding to the drama and the emotion. Unfortunately, most of these are missing in your playing.</p><p>- Your transition back to the “A” section is nicely done.</p><p>- Your ending is excellent but please do not open up the sound in the second last measure. Simply let the final phrase die away - “smorzando”.</p><p>No.3 Chopin: Scherzo No.1 in B minor, Op.20<br />- You give a very compelling and powerful performance, full of contrasting emotions. I like your fearless and decisive approach to this piece. Drama does not intimidate you at all. And just as important, you have the flair of a real performer, possessing the ability to make large gestures. </p><p>- Pulse: the basic construction of all Chopin’s Scherzi is the four measure phrase. The recognition of this is imperative for any performance. In this Scherzo the tempo is already set by the first two chords at the beginning, therefore you do not have the luxury of playing the chords for as long as you want - the pulse already starts with your first chord.</p><p>- I feel that you could demonstrate more the intricate details of the rhythm inside the pulse. The Scherzo is in 3/4 time but the count is one beat per measure. Inside the measure there are different groupings – for example counting in three (as in 3/4 ) or in two (as in 6/8). So from measure 78 you should feel in two, then it changes back to three from measure 94 with the accent on the first beat, then from measure 101 the accent moves to the second beat. These intricate yet exciting subtle changes add interest, and serve as the substance to drive this first section with an “agitato” feeling. </p><p>- Look carefully at all the dynamic markings as there is an abundance of information originating from Chopin. Especially important are the “sf” followed by “p” and “crescendo”. If observed this gives a marvelous feeling of ascending sweep. While in the beginning this is on a small scale, later it grows into a larger form. Following these directions will make your playing filled with spectacular colors and infinitely more interesting, and it makes the repetition worth hearing.</p><p>- In the middle section, the feeling of ebb and flow of the gentle phrases could be better executed if you observe all Chopin’s dynamic markings. Here he quotes an old Polish Christmas song which is grouped in 2 +  2 + 4 measures, shown very clearly in his dynamic indications. You must try these hairpins as they provide wonderful flexibility to the phrases. Chopin phrase markings are even clearer from measure 320 but here he builds tension through continued crescendo, again giving us the possibility of endless variety which keeps the interest throughout the work, which I feel is lacking in your interpretation. </p><p>- Coda: do not hold the second last chord too long – it is not “fermata”. Nevertheless, your performance of the virtuosic coda is very commendable and shows your ability to communicate the tragic elements of this work.</p><p>Zhang Yunling, you are a born performer! It was a pleasure to see how intensely you are involved in your performance and how you draw us into your world. All this very commendable, however, at this moment the balance favors not the making of music but the sensation of actually performing – the physical side of such activity. I am sure with hard work you can correct this, the more you know about music the more you will want to communicate it to your listeners. And I shall be hopefully one of them.</p>','<p>ZHANG Yunling</p><p>A solid and impressive young musician, with considerable potential.  I found the choice of repertoire not particularly conducive to showing a wide range of expressive tools, but this did not really harm her in any major way.</p><p>Op.10 No.12 was accurate and strong.  But the work is a passionate outpouring of the most noble and aristocratic kind. The sweep and grandeur of the right hand should really be magnificent in its structure and dramatic design.  I felt that this performance was almost entirely centered on the left hand.  It need much more scope and range.</p><p>Nocturne Op.15 No.1: This was a sensitive performance, with care and thoughtful attention to sound and legato.  Perhaps a more imaginative and personal concept could be encouraged.</p><p>Scherzo: This work illustrated Ms. Zhang’s splendid and reliable technique in the outer sections and a careful interpretation of the middle section, if not outstanding in its inventiveness and inspiration.  She needs to experiment with sound and flexibility in her lyrical-less muscular-playing.</p>','<p>ZHANG Yunling</p><p>Chopin Op/10/12: Nocturne Op. 15/1 (F major); 1st Scherzo</p><p>Etude was very assured and technically strong. RH strong – sounding just a little vertical, and needing better shape, though overall there is a strong sense of energy. Diminuendo on last page could have been much better handled, both in control of touch and pedal. LH can sound too marked on each beat (Especially at start and on final page. Accents should be more musically in context.)</p><p>Nocturne was very proficient playing, but lacks sympathetic treatment of the beauty in the melody, which was somewhat stilted and syllabic. Middle section had the right sense of drive - RH somewhat too prominent. Careful but not yet really idiomatic in style.</p><p>Scherzo was technically accomplished, and played with some temperament. With so many repetitions in this piece, try to do more to give some variety - there is scope for different voicing and for variation in pedalling. (And the delay on each of the three LH starts at beginning at the return to tempo (3rd page?) was so exactly the same every time.) Less good was the B major section, which tended to have misjudged - or unaware - small stops at end of most bars. This sounded very pedestrian, lacking a sense of long phase lines. Coda rather metronomical and stilted. </p><p>As yet, a capable pianist, but not yet one with a clear identity to her music making.</p>','<p>ZHANG Yunling</p><p>She is a well trained young pianist. In the Etude it’s quite unusual to show Chopin’s accents so clearly, but it is acceptabel this way. Some moments are very good: When she shows an important harmony with a special energy or when she starts a phrase in a such a convincing way that we just have to follow how it continues. In general there could be more sense of drama (when we are playing fortissimo, we should exactly know why). The way she is playing the melody in the Nocturne would be perfectly right in a bigger hall, when we can listen from a certain distance. Here (in the DVD recording) we are listening from very close, maybe that’s why the single notes of the melody seems to be more “sitting” than “flying”. The sound balance in the middle section is something to think about. The right hand tremolo sonds a bit too “busy” and active, later the melodic polyphony of the longer notes in both hands could be clearer. What about the timing of the first 2 and the last 2 chords in the Scherzo? How long should the fermatas be in the beginning? I think not quite as long, because it should still be possible to feel the harmonic/melodic connection between them (the motiv sol-fa), which is important for the whole piece. And the ritenuto in the end of the piece should be “conducted”, not in a different time space.  Conducting is the best way to learn more about timing – also in the ritenuto place on the 2nd page.  I have a little different ideas about the voicing and rhythmic articulation on the 3rd and 4th page (like thumbs instead of 5th fingers, dialogues , syncopations). It’s a bad tradition to play the middle section very slowly. So I was happy th hear a reasonable tempo in this recording. It can still be less static. Sometimes it’s the perfect tempo that helps us to discover magic sounds. I suggest to try the original pedal in the bars before the middle section (breathing rests).</p>','<p>ZHANG Yunling</p><p>Chopin: Etude in C Minor, Op. 10, No. 12</p><p>This was a “heroic” conception, very much in the spirit of the music. Your left hand was clear and still capable of many nuances, while your pedaling was able to support the dramatic chords of the right hand while still allowing for the texture of the left hand to be heard when needed. Brava!</p><p>Chopin: Nocturne in F Major, Op. 15, No. 1</p><p>I liked your performance because it was very vocal in conception. There were sensible inflections and the breathing needed to make the melody “sing” in the true sense of the word. </p><p>Chopin: Scherzo No. 1, Op. 20</p><p>The selection of this work was a better choice than the many Liszt pieces selected by other contestants as it allowed you to make interpretive and rhythmic decisions that revealed whether you are a musician or not. You are! Ultimately, with so many repetitions of the same material throughout this piece, you were unable to achieve enough variety to make it sound great. The seeds are there, however. </p><p>In sum: Your playing gave me a lot of pleasure. </p>','<p>ZHANG Yunling</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>ZHANG Yunling<br />Etude<br />Very good! I would suggest to try to make more legato both in the right and left hand.<br />Nocturne Also very nice. Middle section for me is little too fast. Though it is technically very good, the left hand should speak.<br />Scherzo Very good fingers. Nice feeling. But in such a quick tempo it is not possible to intonate every notes, it is still Chopin’s melody!<br />And middle section you should find natural moving, tempo. Consider that you make stop every 3rd quarter of each bar and prepare next bar which is separate it, and you otherwise should connect the whole phrase.<br />A all the very best, you have a very good equipment to make MUSIC!<br />Thank you!</p>','<p>ZHANG Yunling</p><p>I like the energy in the Chopin etude. There is passion and intensity in the playing. You might want to be careful with the sound so it doesn’t become harsh. It can also be phrased better and sing out more. It is always prudent to watch out for the tone quality while being passionate. The nocturne is musically sensitive. However, it seems to me a little too straight. The music should reflect the passions, hopes, and dreams of a young Chopin. A little more colors and rubato would make it more interesting. The scherzo is performed very solidly and strongly. The question that remains in my mind is that whether to play this piece forcefully, and etude-like, or to play it poetically, and let the runs glitter with pearl-like colors. I believe the latter is a more interesting approach for this piece.</p>','');
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