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:1027:"<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>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:1359:"<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>";}}s:22:"field_ypa_comment_gb_6";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}s:22:"field_ypa_comment_gb_7";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}s:18:"field_ypa_title_gb";a:1:{i:0;a:1:{s:5:"value";s:120:"10.<strong>张瑞雪</strong>：肖邦夜曲 Op.15, No.1  / <strong>ZHANG Ruixue</strong>：Chopin: Nocturne Op.15, No.1";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:6641:"<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>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:1286:"<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>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:1362:"<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>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1289:"<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>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:1431:"<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>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1351:"<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>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:825:"<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>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:65:" 10. <strong>ZHANG Ruixue</strong>：Chopin: Nocturne Op.15, No.1";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:8:"10_1.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}}