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:1512:"<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>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:1155:"<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>";}}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:108:"12.<strong>张云龄</strong>：肖邦谐谑曲 Op.20  / <strong>ZHANG Yunling</strong> Chopin Scherzo Op.20";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:8096:"<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>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:1094:"<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>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:1414:"<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>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1965:"<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>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:1110:"<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>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1440:"<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>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:833:"<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>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:55:"12. <strong>ZHANG Yunling</strong> Chopin:Scherzo Op.20";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:8:"12_3.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}}