a:18:{s:22:"field_ypa_comment_gb_1";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_2";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_3";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_4";a:1:{i:0;a:1:{s:5:"value";s:871:"<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>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:1457:"<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>";}}s:22:"field_ypa_comment_gb_6";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_7";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:18:"field_ypa_title_gb";a:1:{i:0;a:1:{s:5:"value";s:118:"11.<strong>张楚晗</strong>：肖邦夜曲Op.9, No.2  / <strong>ZHANG Chuhan</strong>： Chopin: Nocturne Op.9, No.2";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:6891:"<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>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:1358:"<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>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:1116:"<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>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1107:"<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>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:1486:"<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>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1218:"<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>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:778:"<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>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:64:"11. <strong>ZHANG Chuhan</strong>： Chopin: Nocturne Op.9, No.2";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:8:"11_3.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}}