INSERT INTO `node_revisions` VALUES ('1175','1176','1','怎样培养儿童良好的练琴习惯','<p>  儿童学习钢琴既要为培养他们对音乐的兴趣又要锻炼他们的毅力。而后者更为艰巨，应该说开始学习钢琴还是比较苦的，一下子要解决那么多的课题：识谱问题，弹奏方法问题，既要动脑子，又要控制手指，这一切是多么不容易啊。但是通过认真，耐心的练习，绝大部分儿童都能顺利学习和进步。在这个过程中，教师的教材和教导方法是起主导作用的。而家长的密切配合，帮助孩子有效的学习，保证作业完成也很重要。值得注意的是，在孩子练琴过程中需要培养孩子的毅力，但也不能把孩子搞的太苦了，否则会挫伤孩子对音乐的积极性和兴趣。<br />  我认为小孩子初学时一定不要打疲劳仗，而要讲求实效，宁可练得时间短一些，但要有所收获。练琴的时间安排也很有讲究，听说有些孩子是晚饭后再去练琴，一直练到10点多钟，这怎么能行呢？小孩子通过一天紧张的学习已经筋疲力尽了，本应该是休息的时间却用来练琴，这往往是适得其反。我建议，孩子放学后先练一个半小时再吃饭，这样孩子的脑子还清醒些，练琴的效率会高得多。有些家长，在孩子困倦不堪时还强迫孩子练琴，实际上是低效率的，而且还会养成孩子不用脑弹琴的坏习气。<br />  目前，小学生课外作业负担过重的现象还普遍存在，不少家长反映，孩子每晚写作业要到九，十点钟，几乎没有自己支配的时间，在这样的情况下，业余时间学钢琴的孩子能坚持天天练，而且能有所进展是要花大力气和有相当毅力的。学琴的过程就是磨练意志和毅力的过程，这种训练是很有益的，它将对孩子的一生产生良好的影响。但作为老师和家长都不要操之过急，重要的培养孩子学琴的愿望和练琴的习惯。既要天天练，又不能搞疲劳战术，对小孩可以采取少吃多餐的办法。随着孩子年轻的增长和程度的加深，逐渐的延长练琴时间。国外的音乐教育强调让孩子通过学习乐器得到兴趣和快乐。我们对待学琴的态度更为严肃和严格一些，常常容易给孩子施加压力，使孩子学的很苦，甚至不想学下去。<br />  培养学生的毅力要与行之有效的好的教育方法紧密配合，我主张教学要以鼓励和表扬为主，教师给学生规定明确的任务。这个任务也是要根据每个孩子的情况量力而行，作业量要恰如其分，当学生基本完成时，教师必须给与充分的肯定和表扬，既有严格要求又要鼓励。使孩子认识到，只要能认真和天天练，就能学好琴，从而对自己的能力增强信心，学琴的兴趣也会大起来。<br />  此外，关于基本功的训练谈一点看法。我认为基本功的训练是非常重要的，要培养孩子天天练的习惯，教师从一开始教学就要给学生规定一套练习，要有步骤，有计划，量不需要很多，但要形成一种规矩。例如：初学一二年中都要进行断奏练习，为学习手指的支撑和手臂的放松，老师可以自己编，也可以用哈农之类的教材。五指练习，训练手指的独立性和连奏。可用哈农或者用大小调五指位置转调的练习，音阶的训练必须长期进行。这些都不必太多，但要注意方法和天天练，过一段时间要换换花样，如变节奏等。这样持之以恒，就会卓见成效的。万事开头难，但是把头开好了，养成良好的习惯也就不那么难了。因此从小培养孩子的毅力也就是抓住了根本。</p>','<p>  儿童学习钢琴既要为培养他们对音乐的兴趣又要锻炼他们的毅力。而后者更为艰巨，应该说开始学习钢琴还是比较苦的，一下子要解决那么多的课题：识谱问题，弹奏方法问题，既要动脑子，又要控制手指，这一切是多么不容易啊。但是通过认真，耐心的练习，绝大部分儿童都能顺利学习和进步。','','1270605717','1');
INSERT INTO `node_revisions` VALUES ('1177','1178','1','如何培养孩子正确的学习方法和思维方法','<p>  我们的钢琴课是一周一次。通过每一堂课老师指导学生，纠正失误，布置作业，使学生循序渐进地掌握钢琴演奏的技能和知识。如何使每一堂课上得有成效，学生有收获，老师满意，固然师生双方都必须做出努力，但是教师如何培养学生的责任心，教会他科学的思维和学习方法有起着关键作用。<br />  学生每周应有明确的任务。这个任务的分量要根据学生的能力和程度来定，要恰如其分，要让学生通过正常的努力，（每天专心的练1-2个小时，在一周内能够较好的完成。如果教材程度超过学生的实际水平，拔得太快，学生不能在短期内完成。这样会使学生觉得学钢琴太苦了，会失去学习信心。作业留的太少，太容易，学生轻而易举都学会了。这样也容易造成学习不认真，不努力的毛病。因此老师留作业也是一门学问。培养责任心就是要求学生每一堂课都必须完成任务。准备得好应该给与充分的表扬并留新曲子，调动学生的积极性。完成得不好的也不要简单的批评。要进行具体分析，帮助学生解难，看看究竟是学习态度问题还是学习方法问题。有些孩子贪玩，坐不住，不爱练琴，老师要千方百计培养孩子对音乐的兴趣，既要耐心又要严格要求，作业不要太多，但要求他一定要完成好，并给与鼓励，引导他的好胜心向上。家长不要打骂或强迫孩子过多的练琴。因为这样会起反作用，使孩子讨厌学习钢琴以致造成“恐琴症”。有些孩子很想学，也真花时间练，但进步很慢。这种情况，除了素质和智力原因以外，可能还有一个思维和学习方法问题。教师的职责是发现问题和解决问题，而解决问题往往比发现问题难。<br />  教学的着眼点不能仅仅放在教学生弹几首曲子，而应放在通过教材教会学生掌握正确的学习方法和思维能力。抓住了这个根本，学生的学习会更有成效，教师也逐渐地也会教的省力一些。相反，一首曲子，学生老弹不熟，教师每堂课都在改错音，火冒三丈也没用。有不少孩子效率低是因为他们练琴不走脑子。谈了两个月的曲子还有错音，还背不出来，而在课堂当场试验，很快就能背出来。对这一类学生，我采取的方法是培养他们有意识的背谱，从视新谱时就记谱。其目的就是强迫他们用脑子专心学习。要求分句分手练习，很快记住。有了这样的训练过程，思维就快很多了，脑子会想在手下键之前。这样就可以避免弹错，曲子就容易弹熟了。有不少小孩子经过这样的训练，每堂课都能背奏心作业来回课，对背谱有困难的孩子，老师应教他如何记忆。有些孩子视谱慢，他们双手一起弹，左右手上下一个音一个音的对着弹，很费劲的才能弹完一句。一遍弹完以后又毫无印象。我就帮他分析左手伴奏音型，每小节换一个和声，告诉他只要记住三个音就行了，后面两组三连音是同样的。弹奏时只看右手旋律就行了。这样一分析，孩子很快就能弹出好听的旋律加伴奏来了。这里有个思想方法问题。学习慢的孩子往往是思想方法太死。他们是孤立的看音符，不会前后左右联系起来看问题。给他们一把钥匙，他们就会学得容易些。<br />  音阶型的走句要让孩子有调性感觉，这样可以避免老弹错音。分句练，加深印象，比一首曲子从头到尾地过有效。精神饱满时练琴就比疲劳时练琴有效。因此我主张培养孩子有效的练琴，教育他们干任何事都要认真，要讲实效，不要磨洋工。一旦孩子有了责任感，又善于学习，懂得高效率地工作，这样他们的学习主动性会加强，自信心会更足，方法对头，能力提高了，学钢琴的兴趣会越来越大。</p>','<p>  我们的钢琴课是一周一次。通过每一堂课老师指导学生，纠正失误，布置作业，使学生循序渐进地掌握钢琴演奏的技能和知识。如何使每一堂课上得有成效，学生有收获，老师满意，固然师生双方都必须做出努力，但是教师如何培养学生的责任心，教会他科学的思维和学习方法有起着关键作用。','','1271297785','1');
INSERT INTO `node_revisions` VALUES ('1179','1180','1','徐金波','<p>毕业于重点高等音乐院校音乐教育专业，现师从星海音乐学院黎启国教授学习钢琴。毕业五年以来，一直从事钢琴教育工作，于2007年自己开办华乐艺术培训中心。在五年的钢琴教学中，教授了各个级别的学员，对钢琴教学有了更深的感悟，并积累了较多的教学经验，现仍一直在较深入的学习钢琴教学和钢琴演奏。</p><p>作为艺术培训中心的老师，在教学中，我比较认同陈达老师的教学观点，也希望能学到各位老师的更多的宝贵知识！</p>','<p>毕业于重点高等音乐院校音乐教育专业，现师从星海音乐学院黎启国教授学习钢琴。毕业五年以来，一直从事钢琴教育工作，于2007年自己开办华乐艺术培训中心。','','1271818292','1');
INSERT INTO `node_revisions` VALUES ('1180','1181','1','怎样教孩子把旋律弹得好听','<p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span style=\"font-family: 宋体; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;\">  旋律是音乐的灵魂。教会初学儿童把旋律弹得好听也是教师的重要任务之一。不少教师在叫学生弹奏时爱唱旋律，这是为什么呢？因为人声能直接的表达感情，用唱来启发学生对旋律的表现是最得体的。我们也常常让学生把旋律唱出来，以此检验他究竟有多少感受。</span><span style=\"font-family: 宋体; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;\">有人会问“钢琴发出的声音能歌唱吗？”我说：“能！”而且最能打动人心的演奏就是声音优美如歌的演奏。也有人会问：“弹奏出优美如歌额声音，小孩子就能听得到吗？”我说“能。”</span><span style=\"font-family: 宋体; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;\">我们的任务就是从小开始培养孩子们对声音的美感，让他们辨别好听与难听的声音，要他们内心会唱歌，在琴上寻找如歌的声音。有的孩子弹奏尤如手指体操，声音干巴巴的，毫无感情。有的孩子声音很硬，</span><span style=\"font-family: Calibri;\"> </span><span style=\"font-family: 宋体; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;\">一弹强音就用力砸，一弹弱音就飘起来。老师必须告诉他们声音要弹的很好听，要能传得出来，像唱歌一样。要教会学生仔细倾听自己所弹的每一个音的音质。当然这里面还有一个方法问题。如果弹奏的方法自然，科学，善于利用自然的重量，声音就不会难听；如果手臂是僵硬的，弹奏方法是紧张的，声音难免是难听的。所以用听觉来辨别声音和对弹奏方法的调整必须统一起来。小孩子也不太可能一下子都做到，但从小培养对声音的追求是极其重要的，而大多数孩子是能够做到的。</span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span style=\"font-family: 宋体; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;\">  弹好旋律，除了对音色要求外，还有一个语气问题。另外在弹好旋律的同时，我们还要教会孩子们处理好旋律和伴奏的关系，要想突出旋律，必须控制伴奏的力度。我常听到一些孩子把旋律和伴奏弹得一样响。这是很不好的，也许是两只手不会弹不同的力度和表情，也许是老师没有要求他们这样做，我认为大多数孩子经过训练是可以做到的。我们必须从小通过简易的教材来训练学生这种能力，这是钢琴演奏中最基本的能力，绝不可忽视。因为钢琴是一个多声部乐器，掌握多层次的弹奏也是智力开发的一个重要方面。</span></p>','<p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span style=\"font-family: 宋体; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;\">  旋律是音乐的灵魂。教会初学儿童把旋律弹得好听也是教师的重要任务之一。','','1271904494','1');
INSERT INTO `node_revisions` VALUES ('1181','1182','1','巴赫初级钢琴教程-13','','','','1272273201','1');
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INSERT INTO `node_revisions` VALUES ('1186','1187','1','巴赫初级钢琴教程-18','','','','1272273276','1');
INSERT INTO `node_revisions` VALUES ('1187','1188','1','巴赫初级钢琴教程-19','','','','1272273290','1');
INSERT INTO `node_revisions` VALUES ('1188','1189','1','巴赫初级钢琴教程-20','','','','1272273304','1');
INSERT INTO `node_revisions` VALUES ('1189','1190','1','巴赫初级钢琴教程-21','','','','1272273317','1');
INSERT INTO `node_revisions` VALUES ('1192','1193','1','2010年第四届周广仁钢琴夏季学院•大连即将开幕','<p>   2010年第四届周广仁钢琴夏季学院-大连即将在美丽的海滨城市大连举办。此次钢琴夏季学院活动时间为8月4日-8月10日，活动期间将有周广仁先生和著名钢琴家逄勃女士，美国著名钢琴家托马斯.翁格，中央音乐学院李惠莉教授，著名钢琴家韦丹文，中央音乐学院附中陈曼春教授，星海音乐学院钢琴系主任黎颂文，上海音乐学院教授孙韵轮流主持授课，并担任少年组比赛评委，为钢琴教师和学生做专题讲座，届时将举办多场音乐会，同时举办青少年钢琴比赛，在学习的同时，还为营员们安排了游览大连风光等活动。让营员们度过一个精彩纷呈的假期。</p><p>             查看活动详情： <strong><a href=\"/node/1196\"><span style=\"text-decoration: underline;\">点击进入</span></a></strong></p><p>             活动报名热线：010-88115202</p><p>             联系人：苑老师</p><p>             报名表下载<a href=\"/files/uploads/baoming2_doc.doc\"><span style=\"text-decoration: underline;\">：(点击下载）</span></a></p><p>              上课及活动时间安排：<a href=\"/files/uploads/richeng.doc\"> <span style=\"text-decoration: underline;\">（点击下载）</span></a></p><p style=\"text-align: center;\"> <img src=\"/files/uploads/xueyuan_0.jpg\" width=\"335\" height=\"500\" /></p><p> </p><p> </p><p> <br /> </p><p class=\"MsoNormal\" style=\"MARGIN: 0cm 0cm 0pt\"><span style=\"mso-bidi-font-size: 10.5pt\" lang=\"EN-US\"><span style=\"font-family: Calibri;\"> </span></span></p><p> </p>','<p>   2010年第四届周广仁钢琴夏季学院-大连即将在美丽的海滨城市大连举办。','','1278914776','1');
INSERT INTO `node_revisions` VALUES ('1193','1194','1','五一假期播放通知','<p>时逢五一假期，逄勃课堂师资培训课程暂停播出一周。将于五月十日恢复正常播出。感谢大家长期以来的关注！</p>','<p>时逢五一假期，逄勃课堂师资培训课程暂停播出一周。将于五月十日恢复正常播出。感谢大家长期以来的关注！</p>','','1272435849','1');
INSERT INTO `node_revisions` VALUES ('1194','1195','1','如何培养儿童的识谱能力','<p>  我经常遇到一些已弹到小奏鸣曲的程度的孩子，但出乎意料地视谱能力很差，学一首曲子很费劲。这很影响孩子对音乐的兴趣，因为他会感到学钢琴太苦了。如何从小培养和训练小孩子掌握良好的视谱能力应成为教师要考虑的重要课题之一。<br />  我观察到，小孩子们有不同的天然素质。有的孩子认谱很快，从来不感到费劲，又有一些孩子反映比较慢，学得吃力。但视谱慢的孩子不一定是智力差，这里有一个方法问题。例如，有的小朋友懂得一面弹，一面继续往下一小节的音符去看，也就是说，眼睛走在手的前面。而另外的小朋友却是弹到哪里，看到哪里，想到哪里，脑子不先行一步，这样就耽误时间了。对视谱能力差的孩子必须加强训练，教会他视谱的方法。有了科学的方法，再加上勤练习，视谱能力定能提高。<br />  我教初学幼儿认谱，一开始并不强调死记五线谱上的音，而是反复地训练小孩子弄清一些基本概念，如上、下、左、右等。例如 ：从第一个音到第二个音是往上还是往下，还是原位不动。谱上往上在琴上是往右，谱上往下就是琴上往左。幼儿园的小朋友有时左右手都会搞错的，因此对小朋友们来讲，对上、下、左、右要有极快的反应也并不是那么容易的事。  <br />  接着要搞清楚音和音之间的距离概念。用通俗形象的语言，我告诉小朋友：从一条线到邻近的一条线中间隔了一条河，要“跨”过去，在键盘上要隔一个音；或者从一个间到邻近的间中间有一堵墙，也要“跨”过去，键盘上也要隔一个音。但从线到邻近的间，或从间道邻近的线脚“走”，在键盘上是旁边的音。这种“跨”和“走”的概念，在纸上的练习和键盘上的练习应该天天做，直到小孩子有非常快的反应为止。对幼儿最好用大动作，可以在地上划线，让他用全身动作体会“跨”和“走”的区别。这种认谱的预备练习将会大大地有助于学生以后的视谱能力。因为一旦他正式接触五线谱时，他就不是死数线和间上的音，而是看前后音之间的关系，而同时很快就能找到琴键上的关系，脑子就灵活多了，反应也就快多了，其实生活上很多习惯不也是这样的吗。人们总是在比较中学习，而不是死记硬背。<br />   开始学五线谱时，还可以立几个标兵，有几个重要的音让孩子记住，然后从这个音出发来找和它邻近的音。例如中央C，高音谱表中第二条线上的G，第三个间中的C，低音谱表中第四条线上的F和第二个间的C，都可以作为标兵。这样小孩子可以很快地认识两个普表中很多音。以上的方法是熟悉高低音谱表中一些音的音高的一种有效地方法。</p>','<p>  我经常遇到一些已弹到小奏鸣曲的程度的孩子，但出乎意料地视谱能力很差，学一首曲子很费劲。这很影响孩子对音乐的兴趣，因为他会感到学钢琴太苦了。如何从小培养和训练小孩子掌握良好的视谱能力应成为教师要考虑的重要课题之一。','','1272358422','1');
INSERT INTO `node_revisions` VALUES ('1195','1196','1','家长在儿童学琴中的重要作用','<p>  孩子学钢琴的过程中，家长和老师的密切配合起着重要的作用，尤其对幼儿和儿童的初学阶段。因为钢琴课是一周一次，老师教了新知识并布置了作业，需要学生在一周内慢慢地去学会和掌握，在这期间主要靠家长的协助了。<br /> 现在很多学习钢琴的儿童的家长本来是不懂音乐的，但在教师上课时，他们认真地听讲作纪录，以便回家按老师的要求辅导孩子，不少家长逐渐地对钢琴也内行起来了。<br /> 家长应该起什么作用呢?应该是督促和帮助孩子学习，巩固知识，如期完成作业，切不可包办代替孩子动脑子。例如初学认谱阶段，学新曲时，小孩子认谱慢或者认错了，家长一着急，便告诉孩子是什么音。这样小孩子自己就不动脑子了，老等着爸爸妈妈告诉他，认谱学得更慢了。家长应耐心地引导孩子自己去找到音，最好是每天做一些认谱练习，使孩子尽快地熟悉乐谱。<br />  初学阶段培养良好的弹奏习惯也是十分重要的，家长必须认真对待和严格要求。例如弹琴姿势，老师在第一课就会教的，但要成为习惯需要在每天练习时严格要求。如身子要挺直；凳子的高度要使手的下臂和键盘形成平面，手臂不能太高或太低；脚必须着地，小孩子个子小可放一个脚凳，绝不能让双脚悬挂在那里。在手型和弹奏方法方面也得经常提醒小孩子，如手要架起来，小手指不能躺倒，手指要站住，第一关节不要塌陷，手腕、手臂要自然放松等等。这些基本要领让孩子牢牢记住和做到是需要一个过程的，要反复提醒。有些小朋友从小不注意，结果养成驼背和手在键上乱滚的坏毛病，既难看又妨碍技术发展。<br /> 练琴时间的规定和分配更得靠家长了。练琴的时间并不是越长越好。孩子们智力水平不一样，聪明的学得快些，有些孩子稍费劲些，要根据孩子的年龄特点和理解能力安排练琴时间。既要培养孩子的学习毅力和刻苦精神，又不能搞疲劳战术。小孩子大脑真正能够集中的时间是非常短的，要强调练习效率，大脑必须清醒，认真地练习一刻钟或半个小时，最好让小孩子活动一下，休息几分钟，再继续练。认新谱是比较伤脑筋的，将新旧曲子穿插起来练，能提高兴趣，又能起调剂作用。对初学幼儿最好是采取“少吃多餐”的办法，分几次练，每次要20分钟到半小时，要特别注意调动孩子的主动性和启发兴趣。稍大一点，坐得住，自觉性强一点的孩子练习时间可长一些。有些家长让孩子一口气练好几个钟头，这样效果不一定好，这样不但会使脑子麻木，而且容易扼杀孩子对音乐的新鲜感。要培养每天有规律的练琴习惯，时间不一定太长，一至两小时完全够了。要让孩子除了学弹琴以外还有和小朋友玩的时间。<br />  练琴的方法也很重要。有的家长给孩子规定练琴的时间，拔上闹钟，让孩子自己练习。淘气的孩子采取对策，把闹钟拨快，提早完成任务了。有些孩子只知一遍一遍地弹，不管有没有弹错音，反正家长也听不出来。我主张，每天给孩子规定任务，必须  要求孩子注意力高度集中，新曲要分手、分句练习，要培养孩子的责任感。在一周内达到老师的要求。<br />  幼儿初学阶段，家长应该陪着练琴，经常提醒孩子。一旦认谱过关了，要逐渐让孩子学会自己练习，家长只起督促和检查作用。小孩子练琴的过程是磨炼思想，锻炼毅力，培养踏踏实实的学风和科学态度的过程，是通过学琴育人的过程，这个艰巨的任务正好落在家长们的身上了。</p><p> </p>','<p>  孩子学钢琴的过程中，家长和老师的密切配合起着重要的作用，尤其对幼儿和儿童的初学阶段。因为钢琴课是一周一次，老师教了新知识并布置了作业，需要学生在一周内慢慢地去学会和掌握，在这期间主要靠家长的协助了。','','1272507929','1');
INSERT INTO `node_revisions` VALUES ('1196','1197','1','第四届周广仁钢琴夏季学院•大连','<p>第四届周广仁钢琴夏季学院•大连<br /> 4th  ZHOU GUANGREN SUMMER PIANO INSTITUTE，DALIAN<br />日期：2010年8月4日至8月10日<br />主办单位：周广仁教育科技（北京）有限公司<br />承办单位：北京周广仁钢琴艺术中心，周广仁钢琴艺术中心大连分部  大连福音音乐学校<br />协办单位：大连大学音乐学院<br />举办地点：大连大学音乐学院<br />艺术总监：逄勃<br />艺术总顾问：周广仁<br />报名时间：2010年5月6日至7月19日<br />钢琴夏季学院咨询：<br />报名咨询电话：（010）88115202<br />传　　真：     （010）88115202<br />邮寄地址：北京市海淀区恩济庄46号<br />21世纪实验学校内  “北京周广仁钢琴艺术中心”<br />邮    编：100142<br />电子信箱：<a href=\"mailto:master@zgr.com.cn\">master@zgr.com.cn</a> <br />中心网站：<a href=\"http://www.zgr.com.cn\">www.zgr.com.cn</a> <br />广仁音乐：<a href=\"/\">www.zgrchina.com</a> <br />大连市报名咨询电话：0411- 83704313 83684476<br />大连市学员报名及交费地址：大连市西岗区人民广场青少年宫六号门二楼周广仁钢琴艺术中心大连分部<br />入校地点：大连市经济技术开发区学府大街十号，大连大学音乐学院<br />入校电话：0411-87402595<br />本活动最终解释权归周广仁教育科技（北京）有限公司所有。</p><p><br />第四届周广仁钢琴夏季学院将于2010年8月4日至8月10日在美丽的海滨城市大连举行。活动期间将有周广仁先生和著名钢琴演奏家逄勃女士，美国著名钢琴演奏家托马斯.翁格先生，中央音乐学院李惠莉教授，著名钢琴演奏家韦丹文，中央音乐学院附中陈曼春教授，星海音乐学院钢琴系主任黎颂文教授轮流主持授课，并担任青少年钢琴比赛评委，为钢琴教师和学生做专题讲座，届时将举办多场音乐会。 </p><p>一． 钢琴夏季学院活动<br />一） 专家公开课和个别课<br />钢琴夏季学院期间将安排多位专家轮流讲公开课，参加钢琴夏季学院的比赛选手（按报名先后）均有机会上专家公开课，也可以报名参加个别课（报名后由组委会统一安排授课专家）。</p><p>（二）青少年钢琴比赛<br /> 1、按年龄分为三组<br />    A组：8岁以下(含8岁)<br />    B组：9-11岁<br />    C组：12岁以上</p><p>2、各组比赛曲目要求<br />   A组：一首练习曲、一首乐曲（中外乐曲，小奏鸣曲及奏鸣曲快板乐章均可）3分钟以内<br />    B组：一首练习曲、一首乐曲（中外乐曲、小奏鸣曲及奏鸣曲快板乐章均可）5分钟以内<br />   C组：一首练习曲、一首乐曲（中外乐曲、奏鸣曲快板乐章均可）7分钟以内</p><p>3、注意事项：<br />    A、演奏曲目除标有D.C记号外，一律不反复。<br />    B、必须背谱演奏。<br /> <br />4、比赛奖项设置<br />A 比赛设一、二、三等奖；优秀奖； <br />B比赛设“优秀指导教师奖”：凡所教学生获奖三人以上者（含三人）均可获得 “优秀指导教师奖”。<br />C.比赛设“优秀组织奖”：凡组织十名以上学员参加的单位或个人均可获得“优秀组织奖”。<br />D获奖选手的视频录像将在广仁音乐网站“夏季学院专栏”中播出。</p><p> <br />（三）师资培训<br />钢琴夏季学院为钢琴教师安排了3个单元12课时的专家讲座。<br />（四）青少年学员活动安排<br />钢琴夏季学院在为青少年学员安排钢琴比赛之外，还特别安排了音乐欣赏、视唱练耳和乐理等课程，学员也可报名参加专家个别课。为了丰富学员的生活，学院同时还安排了球类、形体舞蹈等活动。</p><p>（五）旅游观光活动<br />钢琴夏季学院为学员安排了大连旅游观光活动，让每位学员在紧张的学习之余游历美丽的大连，度过一个愉快的假期。</p><p> </p><p>二 。报名</p><p>报名资格<br />1、爱好钢琴的儿童和少年（比赛选手需附身份证或户口簿复印件）<br />2、钢琴教师<br />3、陪同家长<br />报名时间：<br />2010年5月6日至7月19日<br />收费标准<br />1、费用<br />组别 报名费 学费 住宿费<br />学员（包括参赛） 100元 1900元 700元<br />钢琴教师            100元 1900元 700元<br />陪同家长            100元  700 元 700元</p><p>2.专家个别课（一对一）：500元/1课时，（每位专家授课名额有限）根据专家和报名先后由组委会统一安排。 <br />3、退费原则:<br />报名费不允许退费；<br />学员可在7月26日之前办理退费手续，退费金额为学费的80﹪，之后恕不退费。<br />报名手续<br />1、 填写报名表（因上意外保险，请务必正确填写身份证号）<br />2、 邮寄报名费、学费及食宿费共2700元，陪同家长1500元。<br />开户行：交通银行北京定慧寺支行<br />开户名：逄勃<br />账号：60142889913460108<br />3、 汇款后将报名表及汇款收据存根（复印）邮寄或传真（010-88115202）；<br />4、 接到报到通知（发电子邮箱）后，于8月3日前往大连大学音乐学院报到；<br />5、 大连市学员报名及交费地址：大连市西岗区人民广场青少年宫六号门二楼周广仁钢琴艺术中心大连分部<br />四、活动举办地点</p><p>本次活动地点设在大连大学音乐学院。<br />●住宿条件：４位学员一个房间，有卫生间，无热水洗浴；青少年学员有生活老师照顾，并配有值班人员。<br />学校内有宾馆，配有两人间和三人间，160元/间/天（根据季节情况可能有所浮动），8月为旅游旺季，预定需从速。<br />校外各种价位酒店招待所一应俱全。所有学员统一安排在学校食堂就餐。<br />●琴房：全天免费为学员开放</p><p>五、入校须知</p><p>自带日常生活必需品（洗漱用品、换洗衣服、拖鞋、笔、笔记本等）<br />报到日期：2010年8月3日（报到时交2张一寸照片，领取学员证）<br />入校地点：大连市经济技术开发区学府大街十号，大连大学音乐学院<br />电话：0411-87402595</p><p><br />钢琴夏季学院咨询</p><p>报名咨询电话：（010）88115202<br />传　　真：   （010）88115202<br />邮寄地址：北京市海淀区恩济庄46号<br />　　　　　21世纪实验学校内  “北京周广仁钢琴艺术中心”<br />邮    编：100142<br />电子信箱：<a href=\"mailto:master@zgr.com.cn\">master@zgr.com.cn</a> <br />中心网站：<a href=\"http://www.zgr.com.cn\">www.zgr.com.cn</a> <br />广仁音乐：<a href=\"/\">www.zgrchina.com</a> <br />大连市报名咨询电话：<br /> <br />※ 本活动最终解释权归周广仁教育科技（北京）有限公司所有。</p><p> </p><p> </p>','<p>第四届周广仁钢琴夏季学院•大连<br /> 4th  ZHOU GUANGREN SUMMER PIANO INSTITUTE，DALIAN<br />日期：2010年8月4日至8月10日<br />主办单位：周广仁教育科技（北京）有限公司<br />承办单位：北京周广仁钢琴艺术中心，周广仁钢琴艺术中心大连分部  大连福音音乐学校<br />协办单位：大连大学音乐学院','','1272596827','1');
INSERT INTO `node_revisions` VALUES ('1201','1202','1','欧美同学会留美分会成功举办纪念肖邦诞辰200周年音乐会','<p>  在众人翘首期盼中，纪念肖邦诞辰200周年音乐会拉开了帷幕。2010年4月18日下午3点，欧美同学会报告厅内座无虚席，在200多位音乐爱好者中有多位欧美同学会的领导；有知名人士常沙娜学长、白淑湘学长、吴祖强学长等多位欧美同学会的老领导、老学长们；有欧美同学会多个分会的领导和学长们；还有全国妇联多个团体的领导和朋友们。欧美同学会党组副书记、常务副会长、中国工程院院士、原铁道部部长傅志寰学长代表韩启德会长、代表总会发表了致词。有“中国钢琴教育之母”之称的我国著名钢琴演奏家，教育家，中央音乐学院终身教授周广仁学长精心策划了这台音乐会并亲自担任讲解，在为大家献上一台美妙绝伦的视听盛宴的同时共同缅怀了这位伟大的 “钢琴诗人。</p><p>  波兰钢琴家，作曲家佛雷德里克.肖邦是钢琴艺术史中20世纪浪漫派音乐的杰出代表人物，他出生于1810年3月1日。小肖邦自幼显示了非凡的音乐天赋，8岁时就与乐队演出了钢琴协奏曲并开始创作波兰舞曲、马祖卡舞曲和圆舞曲。19岁就到欧洲的音乐中心维也纳演出。但1830年，正当他在维也纳演出时，波兰人民为反对沙皇俄国的统治而进行的起义失败了，使他无法回国，只好流亡到法国并定居在这个许多艺术家聚集的城市，巴黎。他一面演奏一面教学直至1849年逝世。肖邦短短的一生为人类留下了丰富的音乐财富，他的创作以钢琴作品为主，他的音乐既优美又稍带忧伤的情调。他发明了独树一帜的浪漫主义键盘音乐，被称为“钢琴诗人”。他的一生用独创的民族音乐语言和崭新的钢琴表现手法倾注了自己对祖国无限的热爱和思念。他要求死后将自己的心脏带回祖国波兰，他是一位用音乐作为武器的爱国主义者。肖邦受到全世界人民的尊敬和爱戴，他的音乐被人们所欣赏和喜爱。 </p><p>  非常令人尊敬和爱戴的中国第一位在国际比赛中获奖的钢琴家、当今中国在国际乐坛中最具影响和权威的钢琴家、教育家、中国二十世纪最杰出的女性之一周广仁教授，为中国钢琴事业的发展做出了巨大的贡献。特别是还培养了全国各个名族的许多钢琴学人，参加这场音乐会演出的就有周广仁教授的几个少数民族的得意第子。</p><p style=\"text-align: center;\"><img src=\"/files/uploads/xinwen.jpg\" width=\"493\" height=\"252\" /> </p><p>  第一位出场的演员是朝鲜族的金苑，她表演了多个经典的曲目。她先演奏了两首夜曲和三首练习曲，而后又演奏了一首幻想即兴曲和一首叙事曲。 这些作品都是肖邦的名曲。 金苑用熟练的技巧和由衷的感情表现了不同性质的作品。 </p><p style=\"text-align: center;\"><img src=\"/files/uploads/xinwen2.jpg\" width=\"492\" height=\"280\" /></p><p>尼玛平措是藏族第一代钢琴学子，将来西藏的钢琴教育的重任恐怕就要由他来担当，他以华丽的技巧表演了肖邦的辉煌波兰舞曲。 </p><p>  另外一位演员叫傅思昊，来自山东的微山湖畔，他弹了四首肖邦的马祖卡，是地道的波兰风格的舞曲。周教授说，这种风格是很难掌握的，但很优美。最后他还弹了一首“英雄”波兰舞曲， 非常雄壮有气质。</p><p style=\"text-align: center;\"><img src=\"/files/uploads/xinwen3.jpg\" width=\"500\" height=\"333\" /></p><p>  这台音乐会有个特邀演员，一个叫来佳俊的小盲童，是个小天才。他弹了一首马祖卡和一首圆舞曲。真不容易啊，他完全靠听觉学习，找键盘上的音。 他的演奏很乐感，细致。他去年考进了中央音乐学院附中初一。 <br />  最后出场的演员佟博是中央音乐学院钢琴系最年轻的教师，前年从德国留学归来，她多次在国际比赛中获奖。她演奏了两首肖邦圆舞曲，充满了演奏家的气质，她的手指在琴键上跳舞，优美的音乐从十指尖流泻而出，扣人心弦、精彩绝伦。 <br />  最后还来了一位5岁的小客人，张霖锴。小小年纪已经获得全国专业比赛的三个奖项， 他弹了一首简化的肖邦曲以助兴，在伟大的天才钢琴家肖邦诞辰200周年之际，献上了自己的一份心意。 </p><p style=\"text-align: center;\"><img src=\"/files/uploads/xinwen4.jpg\" width=\"500\" height=\"272\" /></p><p>整台音乐会随着每一个音符的悠然飘起，每一串旋律都韵味无穷，使大家近距离地享受了一场高雅的音乐盛宴。演员们真挚热情、细腻娴熟的表演博得了广大学长们的一次又一次的热烈掌声和谢意。  <br />  音乐会结束，部分留美分会的老领导，老学长及演员们举行了茶话会，畅谈感受，共叙友情。留美分会理事张玉伟学长为音乐会提供了赞助，在此表示感谢。留美分会副会长张维学长为本次音乐会做了大量的组织工作。</p>','<p>  在众人翘首期盼中，纪念肖邦诞辰200周年音乐会拉开了帷幕。','','1273734268','1');
INSERT INTO `node_revisions` VALUES ('1202','1203','1','几岁学琴为宜','<p>    近几年来，在我国儿童中出现了学钢琴的热潮。很多家长愿意让自己的独生子女从小受到音乐的熏陶。儿童开始学钢琴的年龄越来越小了。现在已有一些4岁的孩子开始学习钢琴，还有个别3岁的。有些家长甚至给还睡在摇篮中的孩子买好钢琴，考虑如何培养他对音乐的爱好，期待着孩子能开始学琴的日子早日到来。这是一种非常喜人的景象。<br />  不少家长问：孩子几岁开始学琴为宜?是不是每个儿童都可以学好钢琴?我想就这两个问题谈谈我的看法。古今中外不少音乐家、钢琴家都是从小受到音乐的熏陶，学习钢琴、小提琴或其他乐器的。但开始学习的年龄不尽相同。有4岁开始学的，如：莫扎特和贝多芬，也有8岁开始的，如：格里格和舒曼，甚至还有十多岁才起步而成为钢琴家的。如：法国著名教授桑刚。我国钢琴工作者中有五六岁开始学的，也有10岁才开始的。所以说，开始学琴的年龄并非决定其将来是否有成就，因为成不成材要看每一个人的具体音乐素质以及后天的环境和培养，要靠天赋和勤奋。一般说来，要想掌握技艺性强的乐器，如钢琴和小提琴，最好是从小学。所谓童子功，就是从小打下的基础，小孩子适应性强，学技术比成年人容易。小时候练的功，一辈子受益。<br />  对大部分初学钢琴的孩子来说，并不都是想当钢琴家，也不可能都成为钢琴家。学习钢琴是作为培养儿童的文化艺术修养，陶冶情操、开发智力的一种有效的途径。作为一种业余爱好，开始学琴的年龄更应不受限制，一般说，比较聪明、对音乐有一定的感受力(对声音有辨别力，有节奏感)、手条件不太差(太小、太细、太软)的孩子都可以学琴。现在师资力量满足不了社会的需要，使很多孩子得不到学习的机会。因此孩子之间也就有学习机会的竞争，年纪小的比大一点的机会多些。我想，将来师资力量强大了，会使很多孩子都能有学钢琴的机会。当然，并不是所有孩子都适合学钢琴，因为人的素质各有不同。某方面灵的孩子，不一定在音乐方面也是最灵的。<br />根据我国儿童的智力特点，通过几年的试验和观察，我认为，一般五六岁的儿童可以开始学琴，特别聪明的，4岁也可试试。过去欧美国家认为八九岁开始学比较好，因为学龄儿童理解力强些。但现在亚洲国家日本和中国推行早期教育并取得了良好效果。现在的儿童智力开发得早，四五岁学习五线谱并不犯糊涂。当然，教师的教学方法必须适应幼儿特点，使他们学得容易，学得有兴趣。八九岁开始学琴的孩子，由于理解力强些，手也长大些，结实一些，常常进度比五六岁的快，这是正常的。因为开始得早并不等于进度快，只不过是早接触音乐对幼儿主要是培养兴趣，不必太强调进度。身体瘦小，手指特别细软的幼儿可以晚一点开始学，但可以多听音乐，用别的方法和途径培养兴趣。<br />  我国儿童还有一个优点。他们听话，认真，肯练琴，坐得住。这也是可以早学钢琴的原因之一。家长的监督和帮助在孩子的学习过程中起到很重要的作用。有些家长能够耐心启发诱导孩子，使孩子不但学得快而且有兴趣。但有些家长则常用比较粗暴的方法，如打孩子，不给饭吃等等(他们认为这是最有效的方法)。我不太赞成，从根本上来讲，我们还是应该启发孩子对音乐的兴趣，因为有了兴趣才能产生自觉的动力。被动地学，为家长而学的孩子实际上是学不好的，久而久之还会起反作用，产生对音乐的厌恶。<br />  现在的儿童多么幸福!爸爸妈妈为他们创造最好的学习条件，不惜一切进行智力投资，但有些家长望子成龙心切，常以自己的主观愿望代替孩子的实际情况。这种态度是有害的。他们会给孩子施加过大的压力，使学琴成为苦差事，忘记音乐的本能应给人生带来欢乐。有些孩子音乐素质一般，而家长却盼着他成为钢琴家。这种家长实际上会伤害自己的孩子。我主张不要过早结小孩子断定专业方向，除非孩子条件确实非常突出。我们像园丁一样，天天灌溉幼苗，让它茁壮地成长，至于它能开什么样的花谁也不能预言，还是让它们自然地开花结果吧。成钢琴家也好，不成钢琴家也好，作为一种业余爱好，不也能使他们生活得更美满吗?</p><p> </p>','<p>    近几年来，在我国儿童中出现了学钢琴的热潮。很多家长愿意让自己的独生子女从小受到音乐的熏陶。儿童开始学钢琴的年龄越来越小了。现在已有一些4岁的孩子开始学习钢琴，还有个别3岁的。','','1273799358','1');
INSERT INTO `node_revisions` VALUES ('1203','1204','1','音乐人生采访周广仁先生','<p>央视著名栏目音乐人生采访周广仁先生</p>','<p>央视著名栏目音乐人生采访周广仁先生</p>','','1273832544','1');
INSERT INTO `node_revisions` VALUES ('1205','1206','1','巴赫六首小前奏曲 BWV 933-938 盛原 Six Little Preludes,BWV 933-938 Sheng Yuan','<p><strong>视频介绍</strong>：盛原 2009-2010 中山公园音乐堂完全巴赫之四：巴赫阶梯-从简单到复杂</p><p><strong>演奏者介绍</strong>：盛原作为音乐会钢琴家赢得了国际性的瞩目。他的演出遍及加拿大、中国、克罗地亚、古巴、芬兰、法国、香港、意大利、马来西亚、摩洛哥、波兰、西班牙以及美国。他是玛萨拉、埃里切、海恩、中国及哈瓦那国际钢琴比赛获奖者。著名美国钢琴家安德烈 瓦兹在听了盛原的演奏后 称可与霍夫曼的演奏媲美。盛原作为“艺术家国际”颁发的“鲁宾斯坦纪念奖”获得者于2004年4月在卡内基音乐厅威尔独奏厅举办了纽约首演音乐会，前《纽约时报》乐评格德史密斯在听过此音乐会后宣称：“盛原……是一位最高品质的艺术家。” （《纽约音乐会评论》，2004年夏）著名音乐作家，《键盘上的反思》的作者大卫 杜保尔这样说道盛原：“请去听听他，你将会被吸引和感动！” <br />　　 他作为独奏家曾经与诸多交响乐团合作，包括中国中央乐团、罗马尼亚国立奥拉迪亚爱乐乐团、西班牙的泰奈利费交响乐团和大加纳利爱乐乐团、以及古巴国立交响乐团，合作过的指挥家包括李德伦、塞克斯顿·厄林、和大卫 吉尔伯。他作为室内乐演奏家分别与小提琴家阿龙·罗桑德及阿诺德·施坦因哈特合作二重奏音乐会。他与他的太太塔拉·霍夫麦斯特---盛经常同台演出双钢琴，并与小提琴家谭玮、大提琴家马克· 塔格雷组建了潘吐姆三重奏组。盛原2005-06年度的演出包括与小提琴家吕思清的多场音乐会，由中央音乐学院为其院庆65周年所举办的巴赫专场音乐会，以及与中国爱乐乐团合作的巴赫协奏曲演出等。 <br />　　 盛原出生于北京的一个音乐家庭，父亲盛明亮为小提琴家，母亲吴文俊为钢琴家，均曾任职于北京中央乐团。盛原五岁开始随母亲学习钢琴，后在中央音乐学院师从于李其芳、李惠莉以及<a class=\"alinks-link\" title=\"周广仁老师介绍\" rel=\"external\" href=\"/about/intro\"><span style=\"color: #9c0102;\">周广仁</span></a>诸教授。1991年作为所罗门·米考夫斯基教授的奖学金学生赴美，在纽约曼哈顿音乐学院深造，并获得音乐学士和硕士学位。盛原曾在多位著名音乐家的大师班上演奏，计有安妮·费舍尔、傅聪、拜伦·詹宁斯以及乔奇·桑多尔。盛原对巴赫音乐的强烈兴趣促使他与罗萨琳·图雷克潜心深造巴赫音乐演奏。 <br />　　 除了演奏活动以外，盛原撰写的多篇文章先后在《钢琴艺术》、《爱乐》、及《音乐周报》等杂志与报纸上发表。由他所翻译，罗萨琳·图雷克编著的《巴赫演奏指南》中文版，已于2003年由中国人民音乐出版社出版发行。此外，盛原将于2009年7月至2010年7月间在北京中山公园音乐堂举办五场巴赫键盘作品系列独奏音乐会。 <br />　　 盛原每年暑期均在美国纽约曼内斯音乐学院举办的国际键盘学院与音乐节及克罗地亚Terra Magica音乐节中演奏、任教并开设大师班。他也曾在美国，加拿大，中国及克罗地亚等地举办讲座及大师班。盛原于2005年2月起在中央音乐学院钢琴系任副教授。</p>','<p><strong>视频介绍</strong>：盛原 2009-2010 中山公园音乐堂完全巴赫之四：巴赫阶梯-从简单到复杂</p>','','1274103888','1');
INSERT INTO `node_revisions` VALUES ('1206','1207','1','视奏和背奏','<p>  在钢琴专业教育中，自然会把提高专业演奏水平放在首位，但与此同时，我们也不能忽视对学生其他方面能力的培养。美国茱莉亚音乐学院为钢琴系的学生开设视奏训练课，键盘和声课，总谱读法课等。通过这些课程的学习，使学生的视奏能力和即兴演奏能力得到提高。我们的音乐学院还没有这样的课程，只有师范院校从实际工作需要出发，开始逐渐重视这方面能力的培养。这种能力主要是靠多练，但也应该有些方法。<br />  视奏能力强了，可以浏览许多作品，有利于学生扩大知识面。我们的学生在学校期间，学习量太少，他们接触的作品有限，一首曲子要磨很久才拿出来，这样直接影响学生的修养和能力的提高。我认为，应该规定精弹和粗弹的曲目，使学生开阔眼界，要鼓励学生更加主动的学习。我们的学生依赖性太强，作业都等着老师布置。相比而言，国外的学生在学习上主动的多。我记得，在我的青年时代，上海有一位俄国钢琴家有着非凡的视奏能力，不管技术上多难的曲子，他都能很快地，完整地视奏下来，许多音乐会都请他弹伴奏。我们中央音乐学院的已故老教授朱工一先生也有这种本领。我想，除了天资以外，这种能力也是在工作中锻炼出来的。视奏能力强的人，带着分析的眼光，一句句的读谱，乐谱上的音符不在是孤立的音符，而是有文法的句子了。同类风格的作品接触多了就更容易视奏了。例如，我们现在觉得莫扎特的作品容易视奏，而现代派的音乐难，因为我们太不熟悉了。<br />  有一个训练学生视奏能力的方法，我觉得很有效，就是老师和学生一起四首连弹，窍门就是不许停下来，不能掉队，弹错了也不要紧。<br />  现代公开演出都要求演奏家背谱演奏。背谱带给演奏者一定的负担。如果老师不要求，学生也就懒得背谱了。我一直很重视背奏能力的训练，我认为这是可以训练出来的。最好从一开始要求学生从开始学一首新曲子，就有意识的背谱。要求学生背谱来上课是一种提高效率的方法。它迫使学生从一开始就动脑子练琴，记住作曲家的意图，而不是等手指溜熟了才用脑子弹琴。先背谱后熟练，虽然苦一点，但好处极大。这种方法是过去苏联专家对我们的 要求，回想起来，受益匪浅。背谱也不是死记硬背，而是要有分析的背，有规律的背。背谱也可以看着乐谱背，不一定要在琴上。许多钢琴家就是这样工作的。我国最优秀的女钢琴家顾圣婴，能够在火车上看谱学会一首新曲子。这种能力是练出来的。过去我们出国巡回演出，去欧洲都是坐火车，十多天没有琴练，我们都是靠看谱练习的，一下火车就要演出。有时临时要弹伴奏，根本没有琴可摸，只好在后台看看谱，在膝盖上动动手指，想一想在键盘上的位置，就上台演出了。<br />  视奏能力和背奏能力都靠多练，但并不需要每天花很多时间。教师应当重视这种能力的培养。我们的钢琴教学要从脑子抓起，抓学生的理解力，要求他们动脑子主动学习，的人，要训练听觉，提高他们的辨别能力，第三，才是弹奏技巧。没有一个有力的司令部—脑子，和一个严格的检察官—听觉，学习效率高不了。我反对无效率的练琴。</p>','<p>  在钢琴专业教育中，自然会把提高专业演奏水平放在首位，但与此同时，我们也不能忽视对学生其他方面能力的培养。美国茱莉亚音乐学院为钢琴系的学生开设视奏训练课，键盘和声课，总谱读法课等。通过这些课程的学习，使学生的视奏能力和即兴演奏能力得到提高。','','1274403751','1');
INSERT INTO `node_revisions` VALUES ('1207','1208','1','孙丹','<p>孙丹，毕业于沈阳音乐学院音乐教育系钢琴专业，学士学位。2006年十月创办葫芦岛市琴艺钢琴学校，毕业至今一直追随周广仁师资班学习。</p>','<p>孙丹，毕业于沈阳音乐学院音乐教育系钢琴专业，学士学位。2006年十月创办葫芦岛市琴艺钢琴学校，毕业至今一直追随周广仁师资班学习。</p>','','1274672463','1');
INSERT INTO `node_revisions` VALUES ('1209','1210','1','师资培训课程下周即将更新','<p>师资培训课程下周即将更新杜威诺依276上半部，欢迎大家准时收看。</p>','<p>师资培训课程下周即将更新杜威诺依276上半部，欢迎大家准时收看。</p>','','1274858465','1');
INSERT INTO `node_revisions` VALUES ('1211','1212','1','踏板问题','<p><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\"><span style=\"font-family: Verdana;\">  </span>随着踏板这种机械的不断发展，完善，钢琴传达音乐的能力得以逐步提高。在莫扎特时代</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">，还只有用膝盖的装置达到延音的作用，到了贝多芬的时候，钢琴的制造又有了进步，到</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">浪漫派时代，可以说已经离不开踏板了。<br /></span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">  踏板的运用是由于作品的时代风格，作曲家的风格和具体每一首曲子性质决定的。现代钢</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">琴已具有最先进的踏板装置，我们可以充分利用它。但是对不同时代风格的作品还是应当</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">考虑当时的风格特点，在踏板运用方面必须区别对待。</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">巴洛克风格的复调作品（巴赫，斯科拉蒂）要保持音乐的清晰度，踏板用的较少，除此之外</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">在个别音上点一点，起到连接和润色的作用。</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">早期维也纳古典乐派（海顿，莫扎特）要求声音明亮，清晰，踏板用的也比较少。慢乐章</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">一般稍多一些。据说，莫扎特本人并不排斥踏板，他对踏板的发明甚感兴趣。贝多芬音乐</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">内容更加丰富，音响上常有管弦乐的效果，因为踏板的运用就多得多了。但还是要具体作</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">品具体对待，他的早期作品和中期，晚期作品在踏板运用上还是有很大差异的。贝多芬的</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">后期创作实际上已超越古典音乐而进入浪漫派。<br /></span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">  浪漫派的音乐特点是强调书法个人的感情，强调歌唱性，重视和声的作用，在钢琴技巧方</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">面经常有开放性的手位置，因为无论是音乐的表现还是演奏技巧上的需要，踏板都起到十</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">分重要的作用。在演奏浪漫派的音乐时，如何运用踏板也是很重要的基本功。</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">学习正确的运用踏板，懂得踏板的基本规则是钢琴教学中一项不可或缺的内容。要让学生</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">懂得，脚下功夫和手上功夫同样重要。当然踏板问题不仅仅是技术问题，同样也是艺术性</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">很强的问题，踏板的运用有多种可能，要靠感觉和听觉作最后的选择。</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">许多老师怕教踏板或者不会教踏板。踏板问题包题。<br />  一，技术问题，如何踩。老</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">师应该将踏板的装置和效果给学生解释一下，然后做一点用踏板的基本练习，让学生分辨</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">踏板换干净与没有换干净的区别。二，是艺术问题，如何运用到乐曲上，这里需要有一点</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">和声的知识，即换和声时必须换踏板。最后还要考虑风格问题和乐曲性质问题。对初学者</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">，老师可以把自己研究的踏板的运用写在乐谱里，随着程度的提高，学生应该自己研究踏</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">板的运用并用听觉检查自己的运用情况。我们的学生中普遍存在的问题是无意识的踩踏板</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">，他们从来没有考虑过踏板的运用和手上技术同样重要，因此往往出现由于脚上脏而坏了</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">一锅汤。他们听不见和声进行上的变化。还有一个错误的认识，以为弹奏的过程中始终需</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">要用踏板，因此，不论什么作品都一小节一小节地踩踏板。这是误解，不要老用踏板，而</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">是需要时才用踏板。踏板的用法是多种多样的。踏板的长度很有讲究，由乐曲的性质来决</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">定。我观察到，学生特别是在演奏肖邦和李斯特作品时容易用很多踏板，大概是以为浪漫</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">派吧。其实，浪漫派作品确实离不开踏板，但应该讲究，不能乱哄哄的。<br /></span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">  美国钢琴家约瑟夫</span><span lang=\"EN-US\"><span style=\"font-family: Calibri;\">.</span></span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">班诺维茨的著作，《钢琴踏板法指导》中文版由朱雅芬译，可供大家</span><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\">学习。</span></p><p> </p>','<p><span style=\"FONT-FAMILY: 宋体; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin\"><span style=\"font-family: Verdana;\">  </span>随着踏板这种机械的不断发展，完善，钢琴传达音乐的能力得以逐步提高。','','1274927112','1');
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INSERT INTO `node_revisions` VALUES ('1222','1223','1','09年夏季学院活动图片','<h1 class=\"tp\" style=\"TEXT-ALIGN: center\"><h1 class=\"tp\">第三届周广仁钢琴夏季学院精彩链接</h1></h1><p class=\"tp\" style=\"text-align: left;\"><a href=\"/node/880\">http://www.zgrchina.com/node/880</a></p><p class=\"tp\" style=\"text-align: left;\"><a href=\"/node/900\">http://www.zgrchina.com/node/900</a></p><p class=\"tp\" style=\"text-align: left;\"><a href=\"/node/901\">http://www.zgrchina.com/node/901</a></p><p class=\"tp\" style=\"text-align: left;\"><a href=\"/node/879\">http://www.zgrchina.com/node/879</a></p><p class=\"tp\" style=\"text-align: left;\"><a href=\"/node/846\">http://www.zgrchina.com/node/846</a></p>','<h1 class=\"tp\" style=\"TEXT-ALIGN: center\"><h1 class=\"tp\">第三届周广仁钢琴夏季学院精彩链接</h1></h1><p class=\"tp\" style=\"text-align: left;\"><a href=\"/node/880\">http://www.zgrchina.com/node/880</a></p><p class=\"tp\" style=\"text-align: left;\"><a href=\"/node/900\">http://www.zgrchina.com/node/900</a></p>','','1280194684','3');
INSERT INTO `node_revisions` VALUES ('1223','1224','1','07年夏季学院活动图片','<p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_8520.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 2007年周广仁钢琴夏季学院开幕式</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_9892.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 艺术总监逄勃致开幕词</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_9927.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 开幕式精彩瞬间</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_8176.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> </p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_8165.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">周广仁先生公开课(一）</p><p style=\"text-align: center;\"> </p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_8194.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">周广仁先生公开课（二)</p><p style=\"text-align: center;\"> </p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_8624.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">专家斯鲁斯基公开课</p><p style=\"text-align: center;\"> </p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_8762.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">专家   公开课</p><p style=\"text-align: center;\"> </p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_8891.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 专家皮萨列夫公开课</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_9093.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 专家翁格和周广仁先生致开幕词</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_9223.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 公开课精彩瞬间</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_9474.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 专家唐哲为营员签名留念</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_9521.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 专家唐哲与营员合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_9629.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 评委为参赛选手打分</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_9650.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 为获奖选手颁奖</p><p style=\"text-align: center;\"><img src=\"/files/uploads/DSC09645.jpg\" width=\"500\" height=\"254\" /></p><p style=\"text-align: center;\"> 获奖选手合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_9822.jpg\" width=\"500\" height=\"346\" /></p><p style=\"text-align: center;\"> 专家团队合影（一）</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_0004.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 专家团队合影（二）</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_9991.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">闭幕式为获奖选手颁奖</p>','<p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_8520.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 2007年周广仁钢琴夏季学院开幕式</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_9892.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 艺术总监逄勃致开幕词</p>','','1277106983','3');
INSERT INTO `node_revisions` VALUES ('1224','1225','1','06年夏季学院活动图片','<p> </p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_4147.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 2006年周广仁钢琴夏季学院合影（一）</p><p><img src=\"/files/uploads/DSC00402.jpg\" width=\"500\" height=\"375\" /></p><p style=\"text-align: center;\"> 美丽的白山学校（一）</p><p style=\"text-align: center;\"><img src=\"/files/uploads/DSC00407.jpg\" width=\"500\" height=\"375\" /><br /><br /> 美丽的白山学校（二）</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_0906.jpg\" width=\"500\" height=\"333\" /><br /><br />陈达先生致开幕词</p><p><img src=\"/files/uploads/IMG_1718.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 陈达先生公开课精彩瞬间</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_1198.jpg\" width=\"500\" height=\"333\" />   </p><p style=\"text-align: center;\"> 专家滨中敦子音乐会精彩瞬间</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_1621.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">专家翁格为营员签名留念</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_1167_0.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\"> 专家舒马赫公开课</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_1628.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">周先生为营员们签名留念</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_1277.jpg\" width=\"500\" height=\"333\" /> </p><p style=\"text-align: center;\">全体专家团队合影</p><p style=\"text-align: center;\"> </p>','<p> </p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_4147.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 2006年周广仁钢琴夏季学院合影（一）</p><p><img src=\"/files/uploads/DSC00402.jpg\" width=\"500\" height=\"375\" /></p><p style=\"text-align: center;\"> 美丽的白山学校（一）</p>','','1277109212','1');
INSERT INTO `node_revisions` VALUES ('1225','1226','1','声音艺术','<p>  音乐是声音的艺术，是通过声音来传达思想感情的。因此表演者所“制造”出的高质量的声音是最基本的条件。像歌唱家一样，悦耳的声音本来就有感染力。在钢琴上要弹出美妙的声音来并不容易，因为钢琴天生并不是一种歌唱性的乐器。钢琴不像弦乐或者管乐那样有歌唱性的本质。因此对学钢琴的学生要从小培养他们对美声的追求。我们要经常地告诫学生，要亲切的对待钢琴，要爱护它，不要砸，不要敲，要让钢琴会唱歌。我们要培养学生倾听自己所发出的每个声音，要求他弹得好听富有乐感。美的声音不仅贯穿在旋律中，即使是技巧性的音型，声音也要弹得美，对抒情性的乐曲，学会歌唱的弹奏法更为重要。<br />我认为，现阶段我们的钢琴教学对声音质量和歌唱性的训练还不够重视。由于长期以来更注意手指训练，而且常伴有手臂紧的毛病，因此容易产生干和硬的声音。我们偏重于快技术的训练，歌唱性的训练有所偏废，这直接影响到对学生乐感的培养，长此以往，也会影响到学生树立正确的美声观念。<br />  我们必须改变陈旧的声音观念，要真正认识到美声与触键方法有直接的联系，要掌握科学的弹奏方法，学会自然的弹琴，不能再走18世纪孤立地用手指击键，高抬指的老路了。现代钢琴表演艺术有了很大的发展，在声音方面的要求越来越高。好的演奏家声音传得远，不论是响亮的声音还是轻声都非常优美动听，变化丰富。<br />  听觉训练是钢琴教学中不可缺少的组成部分。钢琴演奏者的听觉不是常人具备的听觉。我们要求的听觉精密度更高。我们要能够仔细倾听自己所弹的每一个音的质量，它的长度和力度以及音与音之间的连接，并根据音乐的需要通过不能的音量刻画线条。我们不但要会听一个旋律，还要同时听几个声部，具备复调性的听觉。这种听觉训练不同于视唱练耳的训练，那是为了听音的高低和音程关系，属于乐理范畴。而我们所指的听觉是随地存在于我们的钢琴演奏中。例如：我们弹奏任何一首乐曲都必须处理各种主次关系，但我们所听到的常常是左右手，旋律和伴奏都弹得一样响的演奏。这里就出现了我们所说的听觉训练的必要性，让学生倾听自己和调整自己的弹奏。我们教学生弹巴赫更需要听觉的敏锐。当一只手需要弹两个声部的时候，学生常常会提前放掉该保留的长音，这必须通过听觉的严格检查来纠正。</p>','<p>  音乐是声音的艺术，是通过声音来传达思想感情的。因此表演者所“制造”出的高质量的声音是最基本的条件。像歌唱家一样，悦耳的声音本来就有感染力。在钢琴上要弹出美妙的声音来并不容易，因为钢琴天生并不是一种歌唱性的乐器。钢琴不像弦乐或者管乐那样有歌唱性的本质。','','1275551917','1');
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INSERT INTO `node_revisions` VALUES ('1234','1235','1','谈钢琴教学','<p>  有关钢琴教学的论著在钢琴艺术史三百多年的流程中已有许多记载。 许多名师和钢琴演奏家都写下了他们丰富的教学经验和演奏的心得体会， 给我们留下了宝贵的参考资料。我常感到遗憾的是对前人的著作学习不够， 否则也许可少走一些弯路。人的知识不外乎两个来源： 一， 书本知识（他人的实践经验）， 二，本人实践。<br />书本知识是间接的学问， 而本人实践是直接的体会， 因此印象较深。 但如果只靠自己的实践所取得的经验就太局限了， 因为本人所能接触到的范围究竟有限。 我们搞表演艺术的人往往喜欢靠自己的经验进行教学， 但容易陷到经验主义的泥潭里去。 例如，我是怎样学的， 我就怎样教； 我过去怎样教， 我现在还那样教； 钢琴入门都从拜厄开始， 用拜厄入门没有错， 等等。自己熟悉的， 教起来顺手。我们有没有想过“为什么要这样教？” 时代在前进， 一切事物都在发展， 全世界范围内钢琴演奏与教学都在进步， 试问我们跟上时代的步伐没有？ 我们自己的经验够用吗？究竟如何继承优良传统又有所创新？<br />  中国近百年钢琴艺术的历史与欧洲三百多年的历史相比真是太短了， 但应该看到， 我们的发展速度是非常快的， 而且钢琴现在全国范围内已相当普及了。回顾历史， 总结经验教训， 是我们这一代人义不容辞的责任。中国正规的音乐专业教育， 如果从肖友梅先生用德国音乐学院的模式于1927年创办的上海音乐专科学校算起才80年的历史。作为中国第二代钢琴家， 我经历了中国钢琴教学创业时期的全过程， 颇有感触。因此我这本小册子， 并不想对钢琴教学拿出什么高见来， 而更多是一种反思， 供后人借鉴和参考。<br />  古人云， 时势造英雄。 那些有远见、有雄心壮志的伟人， 他们做出了辉煌的业绩， 推动着历史前进。 但谁也逃脱不了历史的局限性。人们的思想都有一个认识过程， 人们在当时往往看不清楚正确与否， 而处于一种盲目地跟从状态。回过头来才觉悟， 因此不免会走弯路。这是普遍规律。钢琴演奏和教学的历史中，前人所走过来的道路也是如此。从历史上看， 钢琴音乐的创作和演奏是走在钢琴教学之前。 先出现一些作品和演奏家， 然后才有教师们来研究怎能弹好这些作品和培养出演奏家来。 于是他们就编写一些教程和练习曲并写一些有关教学方法的论著。 历史上曾出现过一些伟大的钢琴演奏家—教师， 如Leschetitzky, Liszt, Anton Rubinstein 等， 他们通过自己的演奏和教学培养了一大批优秀的钢琴演奏家，推动了整个钢琴艺术的发展。他们的徒子徒孙们传授着他们对音乐的理念， 至今仍在起作用。 但有些大师自己虽演奏得超人， 却并不一定说得清楚他们是怎样弹的， 甚至像Leschetitzky那样的大师还会去推从一些当时发明的、不科学的训练手指独立性的机械。 也有一些钢琴教育家， 如Czerny, 为了培养能够演奏像贝多芬作品那样高难度技巧的钢琴家编写了无数钢琴练习曲， 也许他认为， 只要多弹各种练习曲就能解决一切技术问题。但也有一些非钢琴家的科学家， 如Breithaupt, 他就试图从生理学的角度来研究钢琴弹奏方法的科学性， 来解决众多钢琴家由于弹奏方法紧张而造成的职业病， 探讨一种更加科学的弹奏方法。可见在19世纪许多学钢琴的人的弹奏方法仍停留在18世纪的“机械的手指学派”的老路子上。 到了20世纪， 钢琴家Arrau, 提出， “如果我是音乐学院院长的话， 我要把心理学作为主课”， 说明成功的钢琴演奏不仅仅是演奏技能问题， 心理状态也起作用。 总而言之， 钢琴教学在欧洲三百多年的历程中走过一条不断地探索、曲折的道路，逐渐才找到一种较为科学， 符合自然规律的弹奏方法和教学理念。而现在我们又应该如何对待这段历史呢？ 我认为，学习历史非常重要， 前人之教训， 后人为借。 我们现在应该用批判地吸收的态度， 取其精华， 去其糟粕。不要再走老路、弯路， 而要把钢琴教学的起点放在一个符合自然规律的、科学的基础之上。 <br />  现在我们再来回顾一下中国所走过来的道路吧。 钢琴这个乐器和西洋音乐传入中国最初是在鸦片战争以后通过一些传教士。 但作为专业的音乐教育主要是通过一些在20世纪初来中国演出并后来留在中国避难的俄罗斯和犹太音乐家。这些音乐家的水平是很高的。 他们各自有自己的特点。是他们培养了中国第一代音乐家，钢琴家， 他们通过演奏和教学传播了西洋音乐。这些音乐家们采用的是德国和俄国的传统的钢琴教学方法。 但由于这些音乐家在中国逗留的时间仅仅是二、三十年， 因此1950年以后， 中国的音乐教育基本上是靠我们自己的钢琴老师。除了个别到国外去留学进修归来的教师， 大部分教师都是国内培养的。这就决定了我国钢琴演奏和教学的基础之薄弱。一直到了1955年， 文化部为中央音乐学院请来了一批苏联专家，我们效仿苏联的音乐教育体系，学习了他们的钢琴教学方法并扩大了钢琴教材的范围。向苏联学习的过程， 对我国的钢琴教学起到了全面的变化。在弹奏方法方面最大的收获可以说是初次接触到重量弹奏法， 在声音概念方面体会到歌唱性的声音效果。当时苏联专家对我们的意见是说我们的声音太硬，弹奏时敲击性太大。专家的教学为我们树立了榜样。 使我们看到， 在高水平的教师的指导下学生突飞猛进的进步。 仅两三年的教导， 我国的青年钢琴家们纷纷地在国际钢琴比赛中获奖。可惜好景不长， 中苏关系破裂， 专家们都回国了。 剩下是我们20年的自力更生， 发奋图强， 探索钢琴教学的路子， 直至1980年以后改革开放的时代。<br />  20年的自力更生， 尽管经受了风风雨雨的艰难挫折， 在几代钢琴老师的共同努力下， 我们的钢琴事业仍然有了很大的发展， 无论从数量上还是教学水平上都有了极大的提高， 为国家培养了大批钢琴人才。改革开放以来，老师们从各方面吸收了新的知识，开阔了眼界， 教学上又有了明显的进步。但自从钢琴在全国范围内开始普及， 业余钢琴教育形成供不应求的局面。教师缺乏， 教学观点环乱， 许多老师不明确该用什么教材和怎样教才不误人子弟。所以， 在总结经验教训的基础上， 明确一些基本教学观点成为极为迫切需要解决的问题了。</p><p> </p>','<p>  有关钢琴教学的论著在钢琴艺术史三百多年的流程中已有许多记载。 许多名师和钢琴演奏家都写下了他们丰富的教学经验和演奏的心得体会， 给我们留下了宝贵的参考资料。我常感到遗憾的是对前人的著作学习不够， 否则也许可少走一些弯路。','','1276314505','1');
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INSERT INTO `node_revisions` VALUES ('1237','1238','1','科尔多瓦  盛原 CORDOBA -Shen Yuan','<p><strong>视频介绍</strong>：盛原 2009-2010 完全巴赫 —巴赫钢琴曲集系列音乐会之四：巴赫阶梯 —从简单到复杂<br /><strong>作曲家</strong>：Erensto Lecouna  <br /><strong>演奏者介绍</strong>：盛原作为音乐会钢琴家赢得了国际性的瞩目。他的演出遍及加拿大、中国、克罗地亚、古巴、芬兰、法国、香港、意大利、马来西亚、摩洛哥、波兰、西班牙以及美国。他是玛萨拉、埃里切、海恩、中国及哈瓦那国际钢琴比赛获奖者。著名美国钢琴家安德烈 瓦兹在听了盛原的演奏后 称可与霍夫曼的演奏媲美。盛原作为“艺术家国际”颁发的“鲁宾斯坦纪念奖”获得者于2004年4月在卡内基音乐厅威尔独奏厅举办了纽约首演音乐会，前《纽约时报》乐评格德史密斯在听过此音乐会后宣称：“盛原……是一位最高品质的艺术家。” （《纽约音乐会评论》，2004年夏）著名音乐作家，《键盘上的反思》的作者大卫 杜保尔这样说道盛原：“请去听听他，你将会被吸引和感动！” <br />　　 他作为独奏家曾经与诸多交响乐团合作，包括中国中央乐团、罗马尼亚国立奥拉迪亚爱乐乐团、西班牙的泰奈利费交响乐团和大加纳利爱乐乐团、以及古巴国立交响乐团，合作过的指挥家包括李德伦、塞克斯顿·厄林、和大卫 吉尔伯。他作为室内乐演奏家分别与小提琴家阿龙·罗桑德及阿诺德·施坦因哈特合作二重奏音乐会。他与他的太太塔拉·霍夫麦斯特---盛经常同台演出双钢琴，并与小提琴家谭玮、大提琴家马克· 塔格雷组建了潘吐姆三重奏组。盛原2005-06年度的演出包括与小提琴家吕思清的多场音乐会，由中央音乐学院为其院庆65周年所举办的巴赫专场音乐会，以及与中国爱乐乐团合作的巴赫协奏曲演出等。 <br />　　 盛原出生于北京的一个音乐家庭，父亲盛明亮为小提琴家，母亲吴文俊为钢琴家，均曾任职于北京中央乐团。盛原五岁开始随母亲学习钢琴，后在中央音乐学院师从于李其芳、李惠莉以及<a class=\"alinks-link\" title=\"周广仁老师介绍\" rel=\"external\" href=\"/about/intro\"><span style=\"color: #9c0102;\">周广仁</span></a>诸教授。1991年作为所罗门·米考夫斯基教授的奖学金学生赴美，在纽约曼哈顿音乐学院深造，并获得音乐学士和硕士学位。盛原曾在多位著名音乐家的大师班上演奏，计有安妮·费舍尔、傅聪、拜伦·詹宁斯以及乔奇·桑多尔。盛原对巴赫音乐的强烈兴趣促使他与罗萨琳·图雷克潜心深造巴赫音乐演奏。 <br />　　 除了演奏活动以外，盛原撰写的多篇文章先后在《钢琴艺术》、《爱乐》、及《音乐周报》等杂志与报纸上发表。由他所翻译，罗萨琳·图雷克编著的《巴赫演奏指南》中文版，已于2003年由中国人民音乐出版社出版发行。此外，盛原将于2009年7月至2010年7月间在北京中山公园音乐堂举办五场巴赫键盘作品系列独奏音乐会。 <br />　　 盛原每年暑期均在美国纽约曼内斯音乐学院举办的国际键盘学院与音乐节及克罗地亚Terra Magica音乐节中演奏、任教并开设大师班。他也曾在美国，加拿大，中国及克罗地亚等地举办讲座及大师班。盛原于2005年2月起在中央音乐学院钢琴系任副教授。</p>','<p><strong>视频介绍</strong>：盛原 2009-2010 完全巴赫 —巴赫钢琴曲集系列音乐会之四：巴赫阶梯 —从简单到复杂<br /><strong>作曲家</strong>：Erensto Lecouna  ','','1276859991','1');
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INSERT INTO `node_revisions` VALUES ('1246','1247','1','专家翁格大师课','<p>讲解：翁格</p><p>托马斯·翁格(Tomas Ungar)美籍匈牙利钢琴家，教育家，毕业于匈牙利李斯特音乐学院，澳洲悉尼音乐学院和美国印地安娜大学，是美国最有名望的钢琴教授之一。现任美国德州基督教大学音乐系教授，曾在悉尼音乐学院和英国珀塞尔学校和美国加州大学任教。翁格具有影响的演出和讲学活动波及世界各国。他在美国、澳洲、欧洲、南美洲、亚洲，包括中国、韩国和日本开了70多场音乐会。他与萨克拉门托交响乐团合作的演出，和在英国利兹大学自弹、自指挥的莫扎特钢琴协奏曲音乐会。<br /><br />　　翁格是德州国际钢琴音乐节的创始人和执行主任。他的学生中有许多在本国和国际的钢琴比赛中获奖，并在纽约的大音乐厅演出和录制唱片。在第11届范·克莱本国际钢琴比赛时，它有三名学生入选。2006年他被聘为北京中国音乐学院国际钢琴节的艺术总监。</p>','<p>讲解：翁格</p>','','1277117357','1');
INSERT INTO `node_revisions` VALUES ('1247','1248','1','专家种佳公开课','<p>讲解：种佳     <br />此视频为第三届<a class=\"alinks-link\" title=\"周广仁老师介绍\" rel=\"external\" href=\"http://www.zgrchina.com/about/intro\"><span style=\"color: #9c0102;\">周广仁</span></a>钢琴夏季学院之专家公开课</p><p>     种佳，法籍华裔钢琴家， 出生于西安。五岁开始随肖立鵉教授学习钢琴,六岁首次登台演出。十一岁考入西安音乐学院附中师从顾仪方，刘畅标教授。一九八四年进入中央音乐学院钢琴系学习，先后师从周广仁，李其芳等著名教授。毕业后曾任教于西安音乐学院钢琴系。一九九零年留学法国巴黎高等师范音乐学院——亦称科托音乐学院（l ecole　Ｎｏｒｍａｌｅ　ｄｅ　Ｍｕｓｉｑｕｅ　ｄｅ　Ｐａｒｉｓ／Ａｌｆｒｅｄ　Ｃｏｒｔｏｔ），在著名钢琴家巴罗•昂蕾夫人（Ｆｒａｎｃｏｉｓｅ　Ｐａｒｒｏｔ－Ｈａｎｌｅｔ　钢琴），索玛夫人（Ｍａｒｉｅ－Ｐｉｅｒｒｅ　Ｓｏｍａ　室内乐）和普罗代尔马赫尔先生（Ｇｅｏｒｇｅｓ　Ｐｌｕｄｅｒｍａｃｈｅｒ  大师班）的指导下，先后取得了钢琴高级教育文凭，高级演奏文凭，室内乐高级演奏文凭及音乐会高级演奏家文凭。<br />从少年时代起至今，与音乐会结缘使她积累了丰富的演奏经验：十二岁时，与已故著名指挥家刘大冬先生合作(西安音乐学院管弦乐队协奏)首演作曲家饶余燕先生的钢琴协奏曲《献给青少年》。次年演出肖邦第一钢琴协奏曲。此后又多次与刘老师合作，为西安人民广播电台、陕西人民广播电台录制《 献给青少年》（该作品获首届全国交响乐作品优秀奖）<br />一九八三年种佳在第一届全国“珠江奖”钢琴邀请赛中获奖，八四年随陕西省青年文化交流团访日巡回演出，此后在西安、北京、天津等地举办了多场独奏会，还先后为中央人民广播电台、陕西人民广播电台、中央电视台等录制了一系列中国作品，包括蒋祖馨的《儿童组曲》、《山花烂漫》，张肖虎的《梅花三弄》，《中国系列钢琴作品》等。<br />在法深造期间，种佳在巴黎、里尔、尼斯、夏朗特、摩那哥、依泽尔、埃及、北京、天津、西安等国家和地区举办个人及室内乐演奏会，参加了数十届在法国举办的国际艺术节。获得了法国《西南报》、《共和回声报》、《音乐家书信》等媒体的一致好评。先后在圣•乔治音乐学院、朗布耶音乐学院和昂蕾钢琴研究院任教。</p><p>     2001年至2003年，种佳应法国环球唱片公司之邀，录制了《黄土地》、《万紫千红》等中国作品ＣＤ专辑。法兰西音乐台、法兰西文化台、法兰西国际台和古典音乐台等均相继制作了不同层面的专题采访和作品介绍。中法文化年之际，应法国文化部之邀，种佳在巴黎吉美亚洲艺术博物馆音乐厅举办了中国钢琴作品音乐会，引起了人们广泛的兴趣和极大的反响。<br />自一九九八年起，种佳每年定期回校演出、讲学，二零零六年被学院聘为键盘系客座教授，为钢琴系举办过大师班、法国音乐作品欣赏与介绍及法国音乐院校介绍等专题讲座，为钢琴系提供了大量的法国近现代钢琴音乐作品乐谱。</p>','<p>讲解：种佳     <br />此视频为第三届<a class=\"alinks-link\" title=\"周广仁老师介绍\" rel=\"external\" href=\"http://www.zgrchina.com/about/intro\"><span style=\"color: #9c0102;\">周广仁</span></a>钢琴夏季学院之专家公开课</p>','','1277113731','1');
INSERT INTO `node_revisions` VALUES ('1248','1249','1','专家逄勃公开课','<p>讲解：逄勃</p><p>周广仁钢琴艺术中心艺术总监，出生于青岛，八岁开始学钢琴，师从王重生老师，1983年到北京跟随周广仁教授，就读于星海青少年钢琴学校和景山学校，1987年考入中央音乐学院附中。毕业后，于1993年赴美留学，在德州基督教大学师从翁格教授(Tamas Ungar)。1996年毕业，获艺术家文凭，1997年又师从著名西班牙钢琴家阿秋卡罗(Acchucarro)。   <br /><br />　　逄勃自幼显示了突出的音乐天赋，多次在国内和国际钢琴比赛中获奖。如1991年美国的斯特拉文斯基国际比赛第一名，1993年美国吉娜巴考厄尔国际青年钢琴比赛第一名。她11岁首次举办钢琴独奏会，同年演出卡巴列夫斯基钢琴协奏曲并录制了音像带；在国内学习期间多次参加重要音乐会，如纪念莫扎特逝世200周年音乐会演出莫扎特F大调钢琴协奏曲和由中央乐团协奏的格里格钢琴协奏曲，瑞士女指挥聂尔贝(Kristine Nerbe)指挥。她还与郑小英指挥合奏过贝多芬第三钢琴协奏曲，莫扎特D小调协奏曲，拉赫玛尼诺夫第三钢琴协奏曲。文化部曾派她代表国家出访罗马尼亚、日本、新加坡等国。在美留学期间，她又多次赢得国际钢琴比赛并应邀与乐队演出李斯特、麦克道尔、莫扎特及拉赫玛尼诺夫等钢琴协奏曲并在各个城市举办钢琴独奏会。在国内，她曾在北京、上海、天津、沈阳、武汉、成都、绵阳、广州、深圳、重庆、宁波、厦门等城市举办钢琴独奏会。 2004年与先生陈达共同创建了北京周广仁钢琴艺术中心；2006年起担任每年一届的周广仁钢琴夏季学院艺术总监。  <br /><br />　　作为现代著名钢琴演奏家，逄勃的演奏特点被国外评为“声音如歌，表情细腻，技术辉煌，色彩丰富，轻松自如。她综合了逻辑性、歌唱性和辉煌的技巧性。”</p>','<p>讲解：逄勃</p>','','1277114787','1');
INSERT INTO `node_revisions` VALUES ('1250','1251','1','如何打基础','<p>  盖房子要打基础， 楼层越高， 基础需要打得越深， 越坚固， 这个道理人人皆知。 学弹钢琴也一样。 若想学得好， 就必须打一个好基础。我们所说的基础究竟是什么？ 它包含哪些内容？首先要搞清楚， 我们教钢琴的目的是什么？ 是单纯教学生动手指吗？ 不， 钢琴只是一种工具， 学弹钢琴的目的是， 通过掌握弹钢琴的技能学习音乐， 懂音乐，表现音乐和欣赏音乐， 从中丰富我们的精神生活和服务于他人。既然是这样， 那么我们的钢琴教学应该包括更多的内容， 我们所要打的基础也要宽得多。 它不仅仅是教学生弹奏技能，而应该包括乐理知识和对音乐的理解和表现， 甚至包括学习习惯， 练琴方法等等。总而言之， 一切科学的好习惯都应在打基础阶段养成。遗憾的是， 在我们所接触的学生中有许多人， 程度已经弹得很深了， 却还不会正确地读谱， 音乐术语也不懂， 他们随心所欲，不尊重作曲家的意图，根本就谈不上表现音乐了。他们没有自学能力， 一切都要靠老师教， 不会举一反三。 问题出在哪里？就是没有打好基础。 这种学习法绝对不会有出息。我认为， 钢琴老师应从以下几个方面给学生打基础：</p><p>（一） 培养学生对音乐的兴趣和求知欲，因为有了兴趣才有自觉地学琴的动力。虽然对初学者不能要求太高，兴趣也是逐渐提高的，但教师应耐心地通过各种途径启发学生， 或通过教师的示范演奏，或去听音乐会， 听录音， 参加演出和比赛等等。 教材要多样化， 好听， 那怕是技术练习， 也要练起来有趣味。<br />  课堂气氛要活跃，对幼儿更是游戏般地学习，教师的态度要和蔼， 切不要凶甚至粗暴。 总之， 让学生喜欢音乐， 愿意去下功夫， 而不是怕学习或反感。要承认学生的智商是有差别的，要鼓励为主， 积极引导， 不要着急。</p><p>（二） 教会学生正确读谱。<br />对初学者， 读谱首先包括两方面的课题： （1）识别音符的高低 （2）识别音符的时值。 这两个课题可以分开来训练， 一直到比较熟练为止。 比如先认音符， 高低音谱表一起学， 每堂课都要检查， 要求家长在家里反复练习。 节奏也分开来训练， 数拍子打节奏或打拍子说节奏。 音符和节奏，这两方面都形成独立的条件反射后， 再合在一起读谱。 识谱能力是一种非常重要的基础， 因为， 谁识得快， 谁就能学得多学得快， 有利于提高学习积极性。</p><p>  但这才只是解决认谱问题的开始， 真正学会正确读谱还包括许多其他知识。 比如在一首乐曲中， 粗心的学生音符虽弹对了， 但对音符的时值奏得很不准确， 常会把四分音符弹成八分音符的时值和空半拍。明明有休止符的地方却把手保留在琴键上。更不要提， 对有临时升降记号的音弹了一个， 忘了出现在同一小节里的第二个音也应该升或降。这种属于文法上的错误，是缺乏调性感的表现， 在演奏巴赫作品时特别容易错。还有对奏法和连线的不重视， 实际上是没有看懂音乐的意思。这些都属于正确读谱的范围。 因此， 学生第一步必须学会认真读谱，按照作曲家的意图弹奏。不能只弹音符， 不懂音乐。</p><p>（三） 树立美好的声音概念<br />  音乐是声音的艺术， 从一开始就要培养敏锐的听觉， 让钢琴发出好听的声音。<br />由于钢琴的构造特点， 钢琴本应属于打击乐器类， 因为是用锤子打在钢丝上发音的。 但是我们要弹出美的声音来， 响而不炸， 轻而不虚。 为此必须掌握较科学的弹奏方法。弹琴应该自然放松， 不能敲打，不能用僵硬的手臂和手指砸钢琴，使钢琴发出乾硬的声音。<br />  科学的弹奏方法是钢琴演奏发展史中二百年来演变的结果。 钢琴弹奏方法三百年来（包括古钢琴阶段）有了很大的变化。 随着音乐风格的变迁和钢琴技巧的发展， 弹奏方法也不断地改进和发展， 从而逐渐找到了更加科学的方法。 也就是利用自然放松的手臂重量与积极灵活的手指相结合的方法。用这种方法弹琴声音比较好听。</p><p>（四） 进行系统的技术训练<br />  技术是弹琴的重要基础， 没有技术就无法表现音乐， 因此进行系统的技术训练是摆在每一个钢琴老师面前的头等重要任务。在初级阶段， 手指的基本练习是不可缺少的。 手指的五指练习， 用各种变奏，转所有的调， 无论对熟悉键盘还是对训练手指独立性和均匀性都很有好处。音阶和琶音是非常重要的基本功， 因为各个时代的作品都离不开音阶和琶音。 教音阶琶音要有方法， 要教规律， 让学生容易记， 要作各种变换练习， 使学生愿意练。每一堂课都要检查基本练习， 学生必须天天练， 养成习惯， 这样才能练出功夫来。不能平时不练， 要考试了才突击。许多孩子不爱练音阶琶音， 这是由于他们缺乏认识和老师坚持不够造成的。</p><p>（五） 培养严格的指法习惯<br />  现在许多学生都很不讲究指法的选用， 也许他们认为指法问题不重要。 其实他们错了。 好的指法习惯自然、方便，有利于发展技术， 有利于表现音乐。对初学者来讲， 最自然的指法是五个手指顺着弹五个接近的音。 如果隔一个键子也就隔一个手指弹， 让手型保持良好状态。五个音以上的音流， 如音阶， 就要考虑在哪一个位置上用大拇指， 也要看键盘上的位置， 那里更方便。一般讲， 保持自然手型就比较放松。 到了深程度的时候， 指法就更讲究了。 如肖邦。 他选指法完全根据音乐的需要， 还考虑到利用每个手指的自然特性。 当然， 大手和小手有时需要采用不同的指法， 但是指法应该合理。  现在很多学生随意用指法， 甚至用一些很别扭的指法， 这种习惯很不好。 演奏古典作品更加需要注意指法的选择。 因为弹古典作品主要靠手指功夫，不能过多依靠踏板的帮助。我们看一些老钢琴家编著的版本， 就会发现许多极秒的指法。我们应该问一下“为什么”他选这个指法， 这都是很有讲究的。 比如，弹重复音时换手指， 声音更有弹性。 颤音的结尾不用1、2、1， 而用1、3、2，  声音不发死。为了弹八度的连奏， 4、5指来回倒。弹有力的半音阶， 多用1、3指， 弹轻快的半音阶用1、2、3、4指。 肖邦的夜曲中柔和的音型常用4、5指等等。 总之， 选择好的指法是为了技术上的方便，也为音乐表现更完美。我建议， 学生应该先照谱子上的指法练。 如果想换另一种合理的、符合自己手条件的指法， 要说得出道理来，并把他自己的指法写在谱子里。 这样做的目的是让他重视指法的运用。 许多钢琴家， 在开始练一首新曲的时候， 就把指法固定下来。 固定指法对演奏的准确性起作用。指法不固定， 是最坏的习惯。</p><p>（六）理解音乐和表现音乐<br />  要认识乐谱上所有的符号， 懂得它的意思， 并能够读外文。 例如音乐术语主要是意大利文， 但和汉语拼音很像， 并不难读。 学生不仅要懂它的意思， 还应该会念，会听，因为这是音乐的国际语言， 全世界通用。<br />要熟悉各种演奏奏法的区别， 例如， legato, staccato, non legato, portamento,articolato 及其符号。 要教学生音乐的文法。  音乐和语言一样也有文法。 如，分句， 分段， 说话语气，强弱拍的有轻响区别，有对比， 有发展，有高潮， 有结构。 弹琴也一样， 不能把所有的音都弹得一样响， 连气都不喘。学琴的最终目的是表现音乐。 教师必须教学生懂音乐， 明白他在弹什么， 他想表现什么，最后要把字里行间的音乐感觉和情绪表现出来。</p><p>（七）培养科学的、有效的练琴方法<br />  学生每周只上一次课， 其他六天都是自己练琴。 现在的学生都很忙， 他们不可能有很多练琴时间， 因此教会学生高效率地练琴非常重要。 要指导学生安排好练琴时间。 练琴时间并非越长越好， 关键是要注意力集中和练习目标明确。 练琴要有方法。 例如， 难点重点突破， 分手练， 再双手练，分分合合。先慢后快， 不要急于求成。 上来就弹快， 东错西错， 欲快而不达。 相反地，从一开始就仔细地练， 不允许自己弹错。 这种方法看来慢， 实际上是快， 因为不需要返工。许多家长以为练琴时间越长越好， 他们不懂得， 错误的练习， 越长越有害。 学习要讲科学， 要知道一个孩子注意力能够集中的时间是很短的， 当他脑子不管用的时候是无效劳动， 是浪费时间。</p>','<p>  盖房子要打基础， 楼层越高， 基础需要打得越深， 越坚固， 这个道理人人皆知。 学弹钢琴也一样。 若想学得好， 就必须打一个好基础。','','1277815859','1');
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INSERT INTO `node_revisions` VALUES ('1253','1254','1','如何训练技术','<p>  提到技术训练， 人们马上会想到单纯的手指训练。  其实， 手指训练只是一部份， 而技术所包括的范围要宽得多。虽然手指训练是非常重要， 而且会占许多练习时间， 但钢琴演奏所需要的技能是多方面的。例如， 各种不同的触键方法， 手腕的作用， 手臂的运用， 力量和重量的发挥， 全身的参与等等。所有这些都应该包括在技术训练中。<br />  手指训练的目的是要解决手指的独立性、灵活性和速度问题。至于力度问题，过去的方法是“高抬指” 一个一个像锤子那样敲下去， 想用这种方法把五个手指练成具有同等的力量。 但是这种方法早已受到批判， 并被重量转移的方法所代替。因为老方法使手臂紧张， 而且声音比较硬。 重量转移的方法只要求手指尖站住， 利用自然重量， 比较自然放松， 声音好听。至于手指第三关节进行一定的灵活性训练也是必要的， 但绝不是孤立的手指活动。 例如， 弹五指练习时， 1、2、3、4、5， 它必然会有手腕从左往右的配合动作， 或弹琶音时也离不开重量的转移。 这样既好弹又好听。所以， 在进行手指训练时， 手臂、手腕都得自然配合。手指训练还应该包括不同的触键方法。 我们过去较多强调颗粒性、快触键， 很少训练低触键和慢触键。所以我们的学生普遍地不会弹连奏， 不善于弹歌唱性。 国外有些钢琴老师让学生用不同的触键方法练音阶， 我觉得很有好处。以上说的是有关弹奏方法的问题。<br />  技术训练涉及到用什么教材的问题。 我们习惯用练习曲的系统，车尔尼练习曲一本一本地弹。 我本人比较喜欢用849，636。 299。 这三本练习曲对打基础还是很有用的。 还有克拉莫练习曲非常有用。在浅一点的教材中可用雷蒙和杜维诺依练习曲。 用练习曲系统比较省事， 但也不一定非要靠练习曲。 也许我们用得太多了。 特别是程度高一些的学生， 可靠技术性比较强的乐曲来训练或找一些乐曲片断， 如八度技术。 程度浅的学生也可找一些针对性的技术性乐曲来训练，因为音乐性强一些的曲子， 学生会更有兴趣。乐曲能解决的话， 尽量用乐曲， 因为乐曲的音乐形象更丰富。有些老师不主张弹很多练习曲， 而喜欢选编各种短小的基本练习来进行技术训练，这样更省时间， 例如， 颤音练习， 八度练习， 双音练习， 或从某一首曲子中发现的难点自编一些基本练习。 <br />技术训练要循序渐进。 我不赞成乱拔程度。 但技术训练的内容应该多样化。过去我们基本停留在手指技巧方面， 八度， 和弦， 浪漫派的大位置技术接触得晚， 太保守。 我看现在的孩子们很厉害， 从小就能弹难得技巧， 手的适应性很强， 但需要注意弹奏方法， 否则会把手弹伤， 因为当他们的手指基本功还不够扎实的时候去弹大位置， 容易伤手。所以技术训练要全面， 而且一定要讲究方法。 <br />  进行技术训练有一个量和质的关系问题。 我认为， 在初级阶段， 数量是必要的， 从量变到质变。 因为技术不可能通过一两首曲子提高， 在同一个程度内，同类课题多学几首，才能熟练地掌握。 但到了深程度应更多地强调质的问题， 少而精， 才能在质量上有所突破。现在我们许多业余学琴的孩子们， 一种程度内曲子学得太少， 急于拔程度， 结果打不好基础， 水平也就上不去了。许多想考专业的学生非要弹肖邦练习曲不可， 而肖邦的练习曲虽然有专门的技术课题但对音乐的表现要求很高， 不应作为单纯的技术练习对待。</p><p> </p><p> </p><p> </p><p> </p>','<p>  提到技术训练， 人们马上会想到单纯的手指训练。  其实， 手指训练只是一部份， 而技术所包括的范围要宽得多。虽然手指训练是非常重要， 而且会占许多练习时间， 但钢琴演奏所需要的技能是多方面的。','','1278568452','1');
INSERT INTO `node_revisions` VALUES ('1255','1256','1','如何进行节奏训练','<p>  在钢琴入门认谱阶段要解决的节奏问题基本属于数拍子问题。 在这里我想谈的是节奏在音乐中的地位和训练良好的节奏感的重要性。节奏是音乐的脉搏。 任何一首曲子都离不开节奏， 就像人的生命一样。 好的节奏感使演奏充满活力。因此节奏训练也属于打基础的范围。<br />  节奏训练并非仅仅是基本乐科老师的任务， 钢琴老师时时刻刻也得对学生强调节奏问题。 在初级阶段首先要数拍子， 要求学生弹的准确。 但是拍子属于数学范畴， 是科学的， 而节奏感是活的， 属于艺术范畴。所谓节奏是把音乐的进行分成有规律的长音和短音或强音和弱音之交替， 从而形成一种律动， 使音乐负有弹性。乐谱里的小节线告诉我们乐曲的强拍和弱拍， 帮助我们体会节奏的韵律。 可惜的是， 现在许多孩子弹钢琴都把所有音都弹得一样响， 弹成毫无节奏感。 这说明老师没有教好， 没有教音乐， 只让孩子弹音符了。<br />  我们常听人说“节奏不准”， 实际上指的是速度不稳， 忽快忽慢或演奏过程中快起来了， 赶了或拖了。其实这不是节奏问题。 节奏问题是， 附点节奏的3/4+1/4弹成三连音的2/3+1/3。<br />  我们需要训练的是对各种节奏的组合一种很快的反应和演奏时的节奏感。 这对读谱的速度和对音乐表现都很重要。节奏反应快就是脱离了数拍子阶段， 进入音乐感觉的阶段。在初学阶段，老师教新曲时可先让学生打节奏或打拍子唱节奏， 再找音的位置。 熟悉了乐谱以后， 让孩子感觉音乐的强拍和弱拍， 像唱歌一样演奏， 带语气。 随着程度的提高， 就不必数拍子了， 但要让学生感觉每小节三拍或四拍的律动， 也就是说带节奏的感觉。千万不可像打字机那样弹琴。<br />  深程度的学生在速度上喜欢随心所欲，搞所谓弹性速度(rubato)，认为这是乐感。 他们常常会失去节奏的韵律， 脱离节奏的轨道。 这是错误的。一个健康人的脉搏会随着情绪的变化而浮动，但这不等于他的脉搏不规律的跳动， 乱跳就是得了心脏病了。好的演奏在节奏上有铁一般的纪律， 特别是在弹钢琴协奏曲与乐队合作时， 最能考验一个钢琴演奏者的节奏感。因此节奏训练要狠狠地抓。 在这方面， 我们钢琴老师不如民乐老师做得好。<br />  节奏训练要不要用节拍机？ 对这问题有不同看法。 一般地讲， 节拍机可帮助我们定速度。 有的钢琴家（波兰女钢琴家）作为一种严格的技术训练， 喜欢用节拍机练习， 先设慢速， 逐渐加快。对节奏感不够好的学生有时可让他用这种方法检查自己的演奏， 对初学者有帮助， 但我一般不主张太多用节拍机练的办法。节奏感是内心的感觉， 不应靠外在力量来代替。 </p><p> </p>','<p>  在钢琴入门认谱阶段要解决的节奏问题基本属于数拍子问题。 在这里我想谈的是节奏在音乐中的地位和训练良好的节奏感的重要性。节奏是音乐的脉搏。 任何一首曲子都离不开节奏， 就像人的生命一样。 好的节奏感使演奏充满活力。因此节奏训练也属于打基础的范围。','','1279244219','1');
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INSERT INTO `node_revisions` VALUES ('1272','1273','1','声音概念','<p>  音乐是声音的艺术，钢琴不是天生的歌唱性的乐器， 如弦乐和管乐， 但是有多声的功能， 因此钢琴演奏艺术是同时创造多层次的声音的艺术。这是钢琴得天 独厚的优越性， 同时也给我们师生提出艰巨的任务。 我们不仅要会把一个旋律弹得好听， 还要会同时弹几个声部和把旋律和伴奏的关系处理好。<br />  先来谈谈声音概念。 从一开始先要用自然的弹奏方法追求美的声音。 不要敲钢琴， 砸钢琴， 要亲切地对待钢琴， 爱护它。要学会用钢琴歌唱。 弹如歌的声音， 触键方法应是与弹颗粒性的方法有区别。 手指可以平一些， 多用一点指尖的肉垫子， 下键速度稍慢些， 让锤子慢一点击钢丝， 同时运用重量弹奏。要用听觉检查自己声音。除了声音本身外， 还要去刻划旋律， 要有起伏， 有语感。 旋律弹好了是最感动人的。任何一个旋律都有走向， 往哪里去或从哪里回来。原地踏步的旋律是没有感染力的， 所以要内心唱，才能弹出歌唱的旋律来。<br />  给旋律伴奏的声部虽处在从属地位， 但有它本声的课题， 也许是低音加和弦， 也许是分解和弦的琶音。 因此也必须分手练，把伴奏弹好， 不要老是两只手一起凑热闹。训练双手独立性最有用、也是最难是通过复调的训练。 但这对弹钢琴的人来说是不可避免的。 谁的脑子能够分得开，同时想两件事， 作两件不同的事， 而且耳朵都能听得清楚， 他算掌握了一定的弹琴功夫。</p>','<p>  音乐是声音的艺术，钢琴不是天生的歌唱性的乐器， 如弦乐和管乐， 但是有多声的功能， 因此钢琴演奏艺术是同时创造多层次的声音的艺术。这是钢琴得天 独厚的优越性， 同时也给我们师生提出艰巨的任务。','','1279942297','1');
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INSERT INTO `node_revisions` VALUES ('1281','1282','1','新人奖介绍','<p align=\"center\"><strong> </strong></p><p align=\"center\"><strong></strong></p><p align=\"center\"><strong>总则</strong></p><p> </p><p>1、半个世纪以来，周广仁先生将普及钢琴教育事业作为自己的人生使命和至高追求，倾注了全部心血。周广仁教育科技（北京）有限公司为弘扬周广仁先生广施仁爱，春风化雨的崇高精神，发掘和培养有才华的钢琴艺术新人，特设立周广仁钢琴艺术新人奖。</p><p>2、设立\"周广仁钢琴艺术新人奖\"，旨在推动钢琴艺术在中华大地的深入普及，促进青少年钢琴艺术教育的健康发展，发现人才,奖掖先进，激励热爱钢琴艺术的青少年走向更加辉煌的未来，并通过这个奖项为他们的深造提供一个展示自己的舞台。</p><p>3、\"周广仁钢琴艺术新人奖\"，从入围演奏者的展示，到中外专家的点评，将采用数字网络化方式进行。最具独特性的是所有评委并不像以往那样聚在一起评判，而是各自分处不同国家和地区在评奖网站上对演奏者进行审评。这一举措，既保证了评奖过程的公开透明，同时也开创了一个新颖实用的评奖模式。</p><p> </p><p style=\"text-align: center;\"><strong>评奖机构</strong></p><p> </p><p>主办单位：周广仁教育科技（北京）有限公司</p><p>承办单位：北京水知音文化传播有限公司</p><p>网络支持：广仁音乐<a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a></p><p> </p><p style=\"text-align: center;\"><strong>组委会</strong></p><p>  </p><p>1、周广仁钢琴艺术新人奖组委会由主办、承办单位组成，具体评奖工作由组委会组织开展。</p><p>2、 组委会负责制订本章程及其他相关文件用于指导评奖工作。</p><p>3、 组委会邀请国内外的著名钢琴家和教授担任评委；评委评语及评审结果均在网上公布。</p><p>4、组委会全权负责对整个评奖过程及其他相关活动的网络传播、及评奖相关音像制品的制作、出版和发行，所有因评奖而产生的音像制品及衍生产品的著作权归组委会所有，就此组委会不再向演奏者另付报酬。</p><p> </p><p> </p><p> </p>','<p align=\"center\"><strong> </strong></p><p align=\"center\"><strong></strong></p><p align=\"center\"><strong>总则</strong></p><p> </p>','','1301403638','1');
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INSERT INTO `node_revisions` VALUES ('1284','1285','1','选手介绍','<p>（以下是2010年第一届周广仁钢琴艺术新人奖的入围选手名单）</p>','<p>（以下是2010年第一届周广仁钢琴艺术新人奖的入围选手名单）</p>','','1302249150','1');
INSERT INTO `node_revisions` VALUES ('1285','1286','1','评奖奖项','<p><strong></strong></p><p>第一名：￥5000<br />第二名：￥3000<br />第三名：￥3000<br />第四名：￥2000<br />第五名：￥2000<br />第六名：￥2000</p><p>同时组委会将为获奖选手在不同城市举办获奖选手音乐会，音乐会举办时间为2012年</p>','<p><strong></strong></p><p>第一名：￥5000<br />第二名：￥3000<br />第三名：￥3000<br />第四名：￥2000<br />第五名：￥2000<br />第六名：￥2000</p><p>同时组委会将为获奖选手在不同城市举办获奖选手音乐会，音乐会举办时间为2012年</p>','','1301409389','1');
INSERT INTO `node_revisions` VALUES ('1286','1287','1','赛事信息','<p><strong> 评奖程序</strong></p><p>1.第二届周广仁钢琴艺术新人奖报名及预审DVD选拔时间：2011年7月1日—7月15日 ；<br />2.入围结果将于2011年8月1日在广仁音乐<a href=\"/\">www.zgrchina.com</a>公布<br />3.所有入围选手均需要在8月底到北京参加录制。<br />4.评奖时间：2011年10月10日—11月30日；<br />5.正式公布获奖者名单时间：2011年12月17日；<br />7.入围演奏者人数为12人，评委会视实际情况建议组委会增加或减少2~3个入围名额；DVD入选后收取500元报名费<br />8.预审DVD评选由周广仁先生亲自主持。</p><p> </p>','<p><strong> 评奖程序</strong></p>','','1301409430','1');
INSERT INTO `node_revisions` VALUES ('1287','1288','0','合作伙伴','<p> <a href=\"/node/1426\"><img src=\"/files/uploads/bechstein.jpg\" alt=\"贝希斯坦钢琴\" width=\"142\" height=\"100\" /></a></p><p> 德国贝希斯坦钢琴制造股份公司</p><p>德国官方网站: <a target=\"_blank\" href=\"http://www.bechstein.com\">http://www.bechstein.com</a></p><p>中国官方网站: <a target=\"_blank\" href=\"http://www.bechstein-china.com\">http://www.bechstein-china.com</a></p>','<p> <a href=\"/node/1426\"><img src=\"/files/uploads/bechstein.jpg\" alt=\"贝希斯坦钢琴\" width=\"142\" height=\"100\" /></a></p><p> 德国贝希斯坦钢琴制造股份公司</p><p>德国官方网站: <a target=\"_blank\" href=\"http://www.bechstein.com\">http://www.bechstein.com</a></p>','','1306993868','1');
INSERT INTO `node_revisions` VALUES ('1288','1289','1','留言板','','','','1282212089','1');
INSERT INTO `node_revisions` VALUES ('1289','1290','1','Home','','','','1281336654','1');
INSERT INTO `node_revisions` VALUES ('1290','1291','1','General Instruction','<p><strong>In order to promote the piano art in China, to discover young talents and give them a chance to show their ability, The Zhou Guangren Educational Technology (Beijing) Co. Ltd</strong> <strong> is establishing a new competition on the website </strong><a href=\"/\"><strong>www.zgrchina.com</strong></a><strong> called </strong><a href=\"/\"><strong>\"Zhou Guangren Young Pianist Award\" </strong></a><strong>Piano Competition, for young pianists under the age of 18. It will be held annually, starting with the Chopin Year 2010. This is a very special and entirely different way of judging the competition where the judges can stay at home and give their comments and votes through the website. </strong></p><p><strong></strong></p><p><strong>Organizing Committee</strong> <br /><strong>Organizer: Zhou Guangren Educational Technology (Beijing) Co. Ltd</strong>    <br /><strong>Presenter: Beijing SHUIZHIYIN Cultural Communication Co. Ltd<br />Website support: </strong><a href=\"/\"><strong>www.zgrchina.com</strong></a></p><p><strong>Committee </strong><br /><strong>The Zhou Guangren Young Pianist Award is held from July  - December 2010, and this will be an annual event. The Competition Organizing Committee reserves the right to organize performances related to the competition. All videos recorded and taped will be the exclusive property of the Competition Organizing Committee. No payment will be given to any competitor for the recordings.<br /></strong></p><p> </p>','<p><strong>In order to promote the piano art in China, to discover young talents and give them a chance to show their ability, The Zhou Guangren Educational Technology (Beijing) Co.','','1285573689','1');
INSERT INTO `node_revisions` VALUES ('1291','1292','1','Rules','<p align=\"left\"><strong>The Zhou Guangren Young Pianist Award established in 2010, each year will be held during July -December, in Beijing, China.<br />Chinese and English are the official languages of the competition. Please read all rules and regulations carefully. It is your responsibility to make sure that your program complies with all repertoire and time requirements. Please include the timing for each work.<br />The Zhou Guangren Young Pianist Award is open to young pianists who are under 18 years old.<br />All video, audio recordings, as well as photographs and interviews made during any of the events of The Zhou Guangren Young Pianist Award will remain the sole property of The Zhou Guangren Young Pianist Award Committee, Beijing.</strong></p><p align=\"left\"><strong><br /></strong><p align=\"left\"><strong></strong></p><p align=\"left\"><strong></strong></p><p align=\"left\"><strong>Application Rules and Procedures</strong></p><p><strong>1.   Applicants should send videos (DVD) to the Committee to participate.</strong></p><p><strong>2.    Applicants must be born after August 1<sup>st</sup>, 1992</strong></p><p><strong>3.  Applications should be completed either in Chinese or in English.</strong></p><p><strong>4.    Application Forms can be downloaded from the website (www.zgrchina.com), copies are also permitted, with resume, three recent photos (4×5cm), one copy of ID card or Passport (printed on A4 paper) send together with the DVD.</strong></p><p><strong>5.    All application materials must be sent by EMS or UPS etc.</strong></p><p><strong>6.    Incomplete or illegible application forms will not be accepted</strong></p><p><strong>7.    Application materials will not be returned. The committee <br />       reserves the final right for all decisions.<br /></strong></p><p><strong>8.   Application deadline: August 12, 2010 - postmarked</strong></p><p> </p><p><strong> </strong><strong>Recording Rules</strong></p><p><strong>1. The person in the video must be the applicant himself/herself, <br />    dressed formally. <br /></strong></p><p><strong>2. The video must be taken from one angle only. Neither thevideo<br />     nor the sound should be edited. Each piece should not exceed<br />     15 <strong>min.</strong> <br /></strong></p><p><strong>3. The program and recording time must be written clearly, and <br />     sent together with the DVD.<br /></strong><strong> </strong></p></p>','<p align=\"left\"><strong>The Zhou Guangren Young Pianist Award established in 2010, each year will be held during July -December, in Beijing, China.','','1285554558','1');
INSERT INTO `node_revisions` VALUES ('1292','1293','1','Jury Introduction','','','','1282218995','1');
INSERT INTO `node_revisions` VALUES ('1293','1294','1','Contestants','<p>（In alphabet order）</p>','<p>（In alphabet order）</p>','','1284726528','1');
INSERT INTO `node_revisions` VALUES ('1294','1295','1','Prizes','<p> </p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p><p><strong><p style=\"text-align: left;\"><strong>1st Place - 10000 RMB<br />2nd Place - 6000 RMB<br />3rd Place - 6000 RMB <br />4th Place - 3000 RMB<br />5th Place - 3000 RMB<br />6th Place - 3000 RMB</strong></p></strong></p><p style=\"text-align: left;\"><a href=\"http://www.yz-china.com\"> Yuan Zhou Decoration Group</a> will offer a scholarship of 1000 RMB for each of the competitors.</p><p><p>And also the Committee will organize several concerts in different cities for the Winners of the Young Pianist Award in 2011.</p></p><p> </p>','<p> </p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p><p><strong></strong></p>','','1282656861','1');
INSERT INTO `node_revisions` VALUES ('1295','1296','1','Information','<p><strong>Judging Process<br />1. The DVD pre-selection is held from July 12th to August 12th 2010, organized by Prof. Zhou Guangren<br />2. 12 contestants will be selected. The total number may be modified. Each contestant will be charged 500 RMB for the participation of the final around.<br />3. The result of the selected contestants will be announced on </strong><a href=\"/\"><strong>www.zgrchina.com</strong></a><strong> on August 16th, 2010.<br />4. All selected contestants will be invited to come to Beijing to do a live video recording at Guangren Music Studio. <br /></strong><strong>5. Judging period will be from October 10th to November 30th，2010<br />6. Announcement of winners: December 17th，2010</strong></p>','<p><strong>Judging Process<br />1. The DVD pre-selection is held from July 12th to August 12th 2010, organized by Prof. Zhou Guangren<br />2. 12 contestants will be selected. The total number may be modified. Each contestant will be charged 500 RMB for the participation of the final around.','','1285573791','1');
INSERT INTO `node_revisions` VALUES ('1296','1297','1','Partners','<p><a href=\"/node/1427\"><img src=\"/files/uploads/bechstein.jpg\" width=\"142\" height=\"100\" /></a></p><p>C.Bechstein</p><p><a href=\"http://www.bechstein.com\" target=\"_self\">http://www.bechstein.com</a></p><p><img src=\"/files/uploads/sanzhou.jpg\" width=\"107\" height=\"107\" /></p><p><a href=\"http://www.yz-china.com/\">http://www.yz-china.com/</a></p>','<p><a href=\"/node/1427\"><img src=\"/files/uploads/bechstein.jpg\" width=\"142\" height=\"100\" /></a></p><p>C.Bechstein</p><p><a href=\"http://www.bechstein.com\" target=\"_self\">http://www.bechstein.com</a></p><p><img src=\"/files/uploads/sanzhou.jpg\" width=\"107\" height=\"107\" /></p><p><a href=\"http://www.yz-china.com/\">http://www.yz-china.com/</a></p>','','1287580069','1');
INSERT INTO `node_revisions` VALUES ('1297','1298','1','Board','','','','1281335610','1');
INSERT INTO `node_revisions` VALUES ('1298','1299','1','第四届周广仁钢琴夏季学院正式落下帷幕','<p>  第四届周广仁钢琴夏季学院于8月10日在美丽的海滨城市大连正式落下帷幕。在几天的活动中，营员们通过大师课，公开课，及比赛等一系列活动，使他们假期充实而又丰富，难忘而又有意义。</p><p>随后的视频及图片报道请持续关注我们的网站。</p><p style=\"text-align: center;\"><img src=\"/files/uploads/STAGE2.jpg\" width=\"500\" height=\"333\" /></p><p> </p>','<p>  第四届周广仁钢琴夏季学院于8月10日在美丽的海滨城市大连正式落下帷幕。在几天的活动中，营员们通过大师课，公开课，及比赛等一系列活动，使他们假期充实而又丰富，难忘而又有意义。</p><p>随后的视频及图片报道请持续关注我们的网站。</p>','','1281689601','1');
INSERT INTO `node_revisions` VALUES ('1300','1301','1','02-1.冀宇森','','','','1310996450','1');
INSERT INTO `node_revisions` VALUES ('1301','1302','1','01_3古静丹','','','','1292666332','1');
INSERT INTO `node_revisions` VALUES ('1302','1303','1','首届周广仁钢琴艺术新人奖入围名单','<p style=\"text-align: center;\"><img src=\"/files/uploads/Snapxx2_0.jpg\" width=\"500\" height=\"478\" /></p><p><span style=\"font-size: 14pt; font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"> </p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"> </p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><strong><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\'; mso-bidi-font-size: 10.5pt;\"><span style=\"font-size: small;\">     所有入围选手录制通知已经发送至邮箱，请随时注意查收！</span></span></strong></p></span></p>','<p style=\"text-align: center;\"><img src=\"/files/uploads/Snapxx2_0.jpg\" width=\"500\" height=\"478\" /></p><p><span style=\"font-size: 14pt; font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"> </p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"> </p>','','1283505517','1');
INSERT INTO `node_revisions` VALUES ('1303','1304','0','01_1古静丹:肖邦夜曲Op.27, No.1','','','','1292734644','1');
INSERT INTO `node_revisions` VALUES ('1304','1305','1','01_2.古静丹：肖邦练习曲 作品10之8','','','','1292733645','1');
INSERT INTO `node_revisions` VALUES ('1305','1306','1','沈文裕演奏肖邦肖邦作品精选DVD正式发售','<p>沈文裕演奏肖邦肖邦作品精选DVD于本日正式发售。此次发售DVD为大家非常熟悉的一些肖邦作品，2DVD。售价60元。如需订购请致电010-67896015 垂询。</p><p>加入教师联盟享受打折优惠，请垂询了解。</p><p> </p><p style=\"text-align: center;\"><img src=\"/files/uploads/xiaobangneiye.jpg\" width=\"500\" height=\"336\" /></p>','<p>沈文裕演奏肖邦肖邦作品精选DVD于本日正式发售。此次发售DVD为大家非常熟悉的一些肖邦作品，2DVD。售价60元。如需订购请致电010-67896015 垂询。</p><p>加入教师联盟享受打折优惠，请垂询了解。</p><p> </p><p style=\"text-align: center;\"><img src=\"/files/uploads/xiaobangneiye.jpg\" width=\"500\" height=\"336\" /></p>','','1315188488','1');
INSERT INTO `node_revisions` VALUES ('1306','1307','1','第四届周广仁钢琴夏季学院正式落下帷幕--精彩报道系列一','<p>第四届周广仁钢琴夏季学院在美丽的海滨城市正式落下帷幕，短短的几天夏季学院生活给每位营员留下了非常深刻的印象，在学习音乐的同时也度过了一个难忘而又有意义的假期。图为夏季学院精彩瞬间。</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_1478.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">周广仁钢琴艺术中心董事长陈达致开幕词</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_1813.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">开幕式协奏曲音乐会精彩瞬间（一）</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_1651.jpg\" width=\"500\" height=\"333\" /> </p><p style=\"text-align: center;\">开幕式协奏曲音乐会精彩瞬间（二）</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_1975.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">开幕式协奏曲音乐会精彩瞬间（三）</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_2045.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">开幕式协奏曲音乐会逄勃师生合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_2087.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> 开幕式协奏曲音乐会后与专家们合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3708.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">逄勃师生音乐会后与全体专家合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_2514.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">陈曼春师生音乐会精彩瞬间（一）</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_2678.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\"> </p><p style=\"text-align: center;\">陈曼春师生音乐会精彩瞬间（二）</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_2699.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">陈曼春师生音乐会精彩瞬间（三）</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_2789.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">陈曼春师生合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_2762.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">陈曼春师生与专家们合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3234.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">徐晓金独奏音乐会</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3294.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">徐晓金独奏音乐会后与专家们合影</p><p style=\"text-align: center;\"> </p><p style=\"text-align: center;\"> </p><p style=\"text-align: center;\"> </p>','<p>第四届周广仁钢琴夏季学院在美丽的海滨城市正式落下帷幕，短短的几天夏季学院生活给每位营员留下了非常深刻的印象，在学习音乐的同时也度过了一个难忘而又有意义的假期。图为夏季学院精彩瞬间。</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_1478.jpg\" width=\"333\" height=\"500\" /></p>','','1282226414','1');
INSERT INTO `node_revisions` VALUES ('1307','1308','1','第四届周广仁钢琴夏季学院正式落下帷幕--精彩报道系列二','<p>第四届周广仁钢琴夏季学院在美丽的海滨城市正式落下帷幕，短短的几天夏季学院生活给每位营员留下了非常深刻的印象，在学习音乐的同时也度过了一个难忘而又有意义的假期。图为夏季学院精彩瞬间。</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3346.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">专家翁格公开课精彩瞬间</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_4100.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">专家韦丹文个别课</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_4065.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">专家孙韵公开课精彩瞬间</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_4030.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">专家李惠莉公开课精彩瞬间</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_1250.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">专家黎颂文公开课精彩瞬间</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_2827.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">专家陈曼春公开课精彩瞬间</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_4155.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">周广仁先生师资培训精彩瞬间</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3801.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">专家李惠莉师资培训精彩瞬间</p><p style=\"text-align: center;\"> </p>','<p>第四届周广仁钢琴夏季学院在美丽的海滨城市正式落下帷幕，短短的几天夏季学院生活给每位营员留下了非常深刻的印象，在学习音乐的同时也度过了一个难忘而又有意义的假期。图为夏季学院精彩瞬间。</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3346.jpg\" width=\"333\" height=\"500\" /></p>','','1337869122','1');
INSERT INTO `node_revisions` VALUES ('1308','1309','1','第四届周广仁钢琴夏季学院正式落下帷幕--精彩报道系列三','<p>第四届<a class=\"alinks-link\" title=\"周广仁老师介绍\" rel=\"external\" href=\"/about/intro\"><span style=\"color: #ae2a2a;\">周广仁</span></a>钢琴夏季学院在美丽的海滨城市正式落下帷幕，短短的几天夏季学院生活给每位营员留下了非常深刻的印象，在学习音乐的同时也度过了一个难忘而又有意义的假期。图为夏季学院精彩瞬间。</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3845.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">获奖学生音乐会颁奖专家</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3881.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">周广仁先生致词</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3909.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">获优秀奖学生与专家孙韵合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3929.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">获三等奖学生与专家韦丹文合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3939.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">获二等奖学生与专家李惠莉合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3943.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">专家翁格为获一等奖学生颁奖</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3955.jpg\" width=\"333\" height=\"500\" /></p><p style=\"text-align: center;\">周先生为优秀园丁奖教师颁奖</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3952.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">专家翁格与获一等奖学生合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_3961.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">周先生与优秀指导教师奖获得者合影</p><p style=\"text-align: center;\"><img src=\"/files/uploads/IMG_4020.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">获一等奖选手与全体专家合影</p><p style=\"text-align: center;\"> </p>','<p>第四届<a class=\"alinks-link\" title=\"周广仁老师介绍\" rel=\"external\" href=\"/about/intro\"><span style=\"color: #ae2a2a;\">周广仁</span></a>钢琴夏季学院在美丽的海滨城市正式落下帷幕，短短的几天夏季学院生活给每位营员留下了非常深刻的印象，在学习音乐的同时也度过了一个难忘而又有意义的假期。','','1282473565','1');
INSERT INTO `node_revisions` VALUES ('1309','1310','1','第四届周广仁钢琴夏季学院正式落下帷幕','<p>第四届<a class=\"alinks-link\" title=\"周广仁老师介绍\" rel=\"external\" href=\"/about/intro\"><span style=\"COLOR: #ae2a2a\">周广仁</span></a>钢琴夏季学院在美丽的海滨城市正式落下帷幕，短短的几天夏季学院生活给每位营员留下了非常深刻的印象，在学习音乐的同时也度过了一个难忘而又有意义的假期。夏季学院精彩瞬间请点击以下链接。</p><p style=\"text-align: center;\"><a href=\"/node/1306\">http://www.zgrchina.com/node/1306</a></p><p style=\"text-align: center;\"><a href=\"/node/1307\">http://www.zgrchina.com/node/1307</a> </p><p style=\"text-align: center;\"><a href=\"/node/1308\">http://www.zgrchina.com/node/1308</a></p>','<p>第四届<a class=\"alinks-link\" title=\"周广仁老师介绍\" rel=\"external\" href=\"/about/intro\"><span style=\"COLOR: #ae2a2a\">周广仁</span></a>钢琴夏季学院在美丽的海滨城市正式落下帷幕，短短的几天夏季学院生活给每位营员留下了非常深刻的印象，在学习音乐的同时也度过了一个难忘而又有意义的假期。','','1282213455','1');
INSERT INTO `node_revisions` VALUES ('1310','1311','1','自学钢琴入门指引','<p>  培养一名专业钢琴演奏家是一个很长的过程， 而且须要多方面的主客观条件。 主观方面包括： 本人的音乐天赋、 对音乐天生的感受力、 智力素质、文化修养、 身体和手的条件以及个人的努力等。 客观方面包括： 大的音乐环境、 全面系统的音乐教育和好老师的指导等。 但作为音乐爱好者， 愿受一点音乐的醺陶、 通过学钢琴学一些音乐知识、 享受音乐并丰富自己的文化修养， 这样学弹钢琴， 男女老少人人都可以学而且一点也不神密， 就如同在一个文明的国家里人人都要学文化识字一样。 人虽各有素质不同， 学东西有快慢之分， 但这并不等于他学不会或不能学。<br />  钢琴的优越性在于一个人单独就能够完整地表现一首曲子。 因此， 通过学弹钢琴入音乐之门最为全面和方便， 因为他同时能学到许多音乐知识。  当然，掌握任何一种乐器必须通过自己的实践， 要下一定的功夫来练， 因为懂了不等于会了， 只有会了才真正懂。 所以不是轻而易举地、不费力气地就能学会弹钢琴的。<br />  学弹钢琴在入门阶段面临着几方面的任务： （一）识谱问题， （二） 熟悉键盘问题， （三）弹奏方法问题。 大脑反映和手的配合问题。  这几方面的问题都同时存在， 须要逐步解决和改进， 但也有窍门。 如果入门得法， 方法科学， 学起来容易， 问题解决得快些， 进步大些， 学习信心和兴趣也会提高。  因此，我认为入门的路子比什么都重要。 把路铺好了， 走起来就省劲了。<br />  我们要学会科学的思维和高效率的工作方法。 学任何一种技能经常要问一个“为什么”， 先把脑子搞清楚， 再下手， 有意识地学习， 可少走弯路。 那种不动脑子、盲目地学习是低效率的学习方法。<br />  对待同时存在的几个不同的任务， 最好是集中精力分别地一个一个地突破， 再组装起来， 否则哪个问题都解决不彻底。 这种方法看来费事，实际效果更好， 效率更高。<br />  现在我们来分别地研究几个钢琴入们阶段需要考虑的问题：<br />（一）  识谱问题</p><p>1） 要不要识谱？</p><p>对这个问题有不同的看法。 中国现在大部分钢琴教师主张从学琴开始就教认谱。 但对幼儿学钢琴也有不急于认谱， 而从感性入手， 先唱后弹的方法， 因为凭听觉弹比认谱弹对幼儿更容易。 同时可以训练听觉和把注意力集中到弹奏上。 认谱需要一定的理解能力， 要看孩子智力发展的程度， 对太小的孩子不必着急，但对学龄儿童和成年人来说， 当然应该学会认谱， 否则会影响学习进度。</p><p>2） 教识谱用什么方法？</p><p>从现在常用的中外钢琴教本中可看到， 教识谱有几种不同的路子。<br />  A). 以拜厄为代表的最早的钢琴教程（1850年出版）主张先学高音谱表， 然后再学低音谱表。<br />        B) 以汤姆森为代表的方法（实际上1900年德国就有了）是从中央C出发往左右两个方向扩张， 高音谱表和低音谱表同时学。<br />C) 以巴斯蒂安为代表的方法是高音和低音谱表同时学， 但不从中央C出发， 而两手相隔一个八度， 右手弹中央C， 左手低八度。<br /> D) 另一种美国入门教材是从一开始先不学高低音谱表， 而主张先训练识谱反映， 即辫别从一条线到邻近的一条线的关系， 间和间之间的关系， 线和间之间的关系等等。 也就是说， 辫别三度和二度音程。 然后再放到高音谱表和低音谱表的任何一个位置上都能找到下一个音。这样一来， 一下子就能认识高低音谱表中所有的音。</p><p>分析上述四种识谱入门路子的优缺点， 我认为：<br />A) 拜厄的方法比较陈旧，他容易造成混乱。 拜厄入门的的许多孩子认低音谱表里的音吃力。<br />B) 汤姆森的路子对儿童容易学， 就是进度太慢，而且手的位置不太舒服。 但也有从中央 C 出发而扩大音域较快的教程， 如萨尔茨堡莫扎特音乐与造型艺术学院教师 海因茨 瓦尔特1967年编的钢琴教程（人民音乐出版社出版）就比较好。<br />C) 巴斯蒂安教程高低音谱表一起学， 而且手的位置比较舒服， 也比较容易学。<br />D) 最后这种方法须要特别介绍一下， 因为我们还不太熟悉.  它的着眼点与上述几种方法完全不同。 考虑到识谱不仅要会认谱， 还要认得快， 才解决问题。 所以关键是脑子要灵活， 不是死记硬背每个音的位置， 而要会前后左右联系起来看问题。就如同看书， 不是孤立地读单字， 而看句子一样。为此， 识谱入门时， 先要作一些练习， 来训练脑子：</p><p>1） 看方向：  往上   往下   平行</p><p>2） 看音程：   从线到线  从间到间      是“跨”， 三度 从线到间  从间到线  是“走”， 二度</p><p> 3）看形状  五度   四度 三和弦有了这种训练后， 才进入大谱表，而且要立几个标兵，不论是高音谱表还是低音谱表， 任何音都能找到。<br />通过以上的分析可见拜厄的路子最局限， 但为什么我们至今还在用拜厄入门， 而且大有人在？ 这只能说明，我们思想太保守，习惯走老路，不善于接受新事物。 识谱不仅要解决音高问题， 还必须解决对不同时值的音符所组成的节奏有很快的反映。 因此， 节奏也必须拿出来单独训练， 使它形成一种条件反射。<br />在实际的运用过程中是以四分音符为基本单位的， 因为我们初学者是以四分音符为一拍的， 像走路一样， 一步一拍。<br />节奏练习</p><p>  每首曲子开头写有拍号： 2/4  3/4  4/4    告诉我们<br />每小节里面有几拍， 我们应该如何数拍子。 练节奏时， 可以 嘴里数拍子，手打拍子， 或反过来， 手打拍子， 嘴里说节奏。这种练习要天天做， 一直到见到什么节奏， 马上就有反映。<br />   最后， 我们看谱时， 是把音高和音符的时值同时反映在脑子里。</p>','<p>  培养一名专业钢琴演奏家是一个很长的过程， 而且须要多方面的主客观条件。 主观方面包括： 本人的音乐天赋、 对音乐天生的感受力、 智力素质、文化修养、 身体和手的条件以及个人的努力等。 客观方面包括： 大的音乐环境、 全面系统的音乐教育和好老师的指导等。','','1282272142','1');
INSERT INTO `node_revisions` VALUES ('1311','1312','1','联系我们','<p>周广仁钢琴艺术新人奖组委会 </p><p>地址：北京亦庄经济开发区凉水河一街37号赢海庄园2甲202室</p><p>邮编：100176 <br />电话：010-87220017 67896015<br />Email:  <a href=\"mailto:szyin18@sina.com\">szyin18@sina.com</a></p>','<p>周广仁钢琴艺术新人奖组委会 </p><p>地址：北京亦庄经济开发区凉水河一街37号赢海庄园2甲202室</p><p>邮编：100176 <br />电话：010-87220017 67896015<br />Email:  <a href=\"mailto:szyin18@sina.com\">szyin18@sina.com</a></p>','','1284719851','1');
INSERT INTO `node_revisions` VALUES ('1312','1313','1','Contact us','<p><strong>Mailing Address:</strong></p><p><strong>ZHOU GUANGREN Young Pianist Award Organizing Committee</strong></p><p><strong> </strong></p><p><strong>2 JIA202, YING HAI ZHUANGYUAN, No.1 LIANGSHUIHE Street, YI ZHUANG JING JI JI SHU KAI FA QU, Beijing, China</strong><strong></strong></p><p><strong>PostCode: 100176</strong></p><p><strong>Phone:</strong></p><p><strong>010-87220017 </strong></p><p><strong>FAX:</strong></p><p><strong>010-67896015</strong></p><p><strong>Email: </strong><strong><a href=\"mailto:service@zgrchina.com\">szyin18@sina.com</a></strong></p>','<p><strong>Mailing Address:</strong></p><p><strong>ZHOU GUANGREN Young Pianist Award Organizing Committee</strong></p><p><strong> </strong></p><p><strong>2 JIA202, YING HAI ZHUANGYUAN, No.1 LIANGSHUIHE Street, YI ZHUANG JING JI JI SHU KAI FA QU, Beijing, China</strong><strong></strong></p><p><strong>PostCode: 100176</strong></p><p><strong>Phone:</strong></p>','','1284720088','1');
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INSERT INTO `node_revisions` VALUES ('1323','1324','1','沈文裕演奏肖邦作品精选 Waltz Op.42','<p><strong>沈文裕演奏肖邦作品精选</strong></p><p>沈文裕自幼显示了非凡的音乐天赋。 六岁开始先后师从于刘建平，郑大昕，能演奏莫扎特A大调钢琴协奏曲。 八岁即能演奏莫扎特所有的奏鸣曲。九岁在四川音乐学院和重庆等地开独奏会。十岁就能演奏肖邦的第一和第二钢琴协奏曲及许多钢琴名曲。同年两次被邀请去南非巡回演出， 引起南非全国轰动， 被誉为“莫扎特第二”。十一岁他随CD自学了拉赫玛尼诺夫第三钢琴协奏曲。十二岁去德国卡尔斯鲁厄国立音乐大学留学，师从豪尔教授。 十三岁就能弹贝多芬全部奏鸣曲， 并多次演出巴赫的哥德堡变奏曲。十四岁跟波兰乐团合作演出并录制了拉赫玛尼诺夫第三协奏曲和肖邦第一钢琴协奏曲专辑。 十五岁转到汉诺威音乐喜剧大学， 师从名师凯默林教授。 十七岁参加比利时伊丽莎白女后国际钢琴比赛荣获第二名。十八岁回国后，参加美国洛杉矶举办的拉赫玛尼诺夫国际比赛获第一名， 香港第一届国际钢琴比赛获第二名及2008年CCTV小提琴&amp;钢琴比赛成人组第一名。为了能够在没有乐队的协奏下演出群众喜闻乐见的《黄河协奏曲》 他改变了一个《黄河》协奏曲的独奏版， 演出深受欢迎。他还经常为中国作曲家们视奏新作品， 首演了张朝的协奏曲并录制了莫什科夫斯基全套练习曲作品72 的DVD 供教学用。</p><p><strong>肖邦介绍：</strong></p><p>波兰钢琴家、作曲家弗雷德列克·肖邦 （Frederic Chopin 1810-1849）是钢琴艺术史中19世纪浪漫派音乐的杰出代表人物。 他父亲是法国人， 在波兰开办法文学校，母亲是波兰人。小肖邦自由显示了非凡的音乐天赋， 8岁就与乐队演出钢琴协奏曲， 并开始创作波兰舞曲、马祖卡舞曲和圆舞曲。19岁赴欧洲的音乐中心维也纳演出。 1830年， 当他在国外演出期间， 听到波兰人民反抗沙皇俄国的统治的起义失败了， 从此他流亡到法国， 定居在巴黎。</p><p>肖邦自幼熟悉波兰的民间音乐。 他的一生用独创的民族音乐语言和崭新的钢琴表现手法倾注了自己对祖国无限的热爱和思念。他被称为\"钢琴诗人\"， 是一位用音乐为武器的爱国主义者，要求死后把他的心脏送回祖国波兰。他的音乐受到世界各国人民的喜爱。</p>','<p><strong>沈文裕演奏肖邦作品精选</strong></p>','','1301131286','1');
INSERT INTO `node_revisions` VALUES ('1327','1328','1','中国的钢琴初级教程','<p>近20年来， 我国的钢琴教师们在教材建设方面作了大量的工作。 现在我们可以高兴地说， 为初学钢琴不同年龄段的学生都能找到中国自己的钢琴教程和教材。  有适合幼儿的， 有为少年儿童的， 有为成年人的， 甚至有为老年人的。 有为师范专业钢琴副科学生的， 也有为业余的音乐爱好者的。这些教程是适应我国的须要和切合实际的， 具有中国特色的钢琴入门教程并通过实践已被证明是好教材。  教程的的著作者或编者们进行了大量的研究工作， 参考了国外古今的经验教训， 吸收了各国成功的特点， 创造了适合中国实际的教程。  这些教程的的共同点是：</p><p>1） 技术训练的科学性         2）教材内容的多样性           3） 加强了民族性</p><p>4） 照顾到年龄特点             5）增加教材的趣味性</p><p>以下举例介绍几本中国教程</p><ul><li>一． 《幼儿钢琴教程》 李斐岚， 董刚锐 编著， 人民音乐出版社出版。</li></ul><p>此教程出版于1983年， 到2002年已再版了十次， 发行量达91370册。经过修订更加完善， 分为上下两册。 这套教程是以年幼的初学者为主要使用对象。 作者出自对幼儿无限的热爱和了解， 抓住了幼儿心里和年龄特点， 让孩子们在轻松愉快、生动有趣的音乐环境中学到知识和学会弹钢琴。同时又让孩子从小熟悉民族的音乐语言。 在技术训练方面， 它是全面的、循序渐进的。 这是一套具有独创性的教程， 深受小朋友们欢迎。</p><ul><li>二． 《幼儿钢琴启蒙教程》上下册， 谢耿编著 人民音乐出版社出版。</li></ul><p>1986  年出版。 作者借鉴了一些美国教材的新办法，如识谱问题， 使幼儿容易学。另外还创作了一些符合儿童趣味的、形象的小曲。技术课题都做了精心安排， 训练目的明确。同时又把乐理和作曲家简历都编到教材中，使小孩子在学琴的过程中学到许多知识。</p><ul><li>三． 《中国儿童钢琴教程》 应诗真 编著 人民音乐出版社出版。</li></ul><p>1992年出版。 作者的目的是要建立一套具有中国特色的钢琴教程。这套教程力求以我为主， 洋为中用， 兼容并蓄， 把科学性和民族性有机地结合起来，中外乐曲并用， 适合我国儿童学习的。 该钢琴教程共分4册， 每册均分课编写。 5、6岁的孩子开始学习钢琴， 按每一课的要求进行， 用3年左右的时间可以完成， 并达到相当于车尔尼849的程度。这样的教程用起来非常方便， 因为作者都编排得很周到和全面。 它包括乐理知识， 练习曲， 复调曲和乐曲及乐曲解释。 乐谱的印刷方面音符都比较大也适合儿童用。 </p><p>四．《钢琴音乐知识入门》-一本对琴童及教师们非常实用的教程。 王鼎藩编著  中国文联出版社出版。</p><p>这是一本1998年出版的最新教程， 是为配合钢琴课用的乐理教程。 因为在我们的钢琴教学中常常容易偏重在教授钢琴技巧方面的知识， 而忽略乐理知识。 日久以后， 在学生的弹奏中就会暴露出许多问题， 如容易弹错音，不会听和声， 不懂分句和音乐的文法， 总之， 演奏不乐感。学弹钢琴不能只学动手指。 懂得一定的音乐知识是必要的。 明白这些道理， 钢琴会学得更好， 更快， 更有兴趣。</p><p>王鼎藩教授参考了国内外有关资料， 由浅入深地让学生掌握读谱、和声和曲式知识， 还让学生用练习来巩固知识， 即是没有老师都能看得懂。</p><ul><li>五．《应用钢琴教程》、李鞠红,黄佩莹主编， 人民音乐出版社出版</li></ul><p>这是中央音乐学院钢琴系钢琴共同课教研室于1983年专为成年人， 特别是非钢琴专业的音乐学生或音乐工作者， 根据成年人生理与智力特点编著的。</p><p>该教程把学习钢琴的主要课题作了理论上的归纳， 以便于独立思考， 举一反三， 在较短时间内达到预期效果。 只要初具基本乐理知识的人， 就可以通过自学， 在两年内修完本教程。 教程分上，下册， 并包括两个部份：</p><p>\"钢琴弹奏入门\" 和\"钢琴应用\" 两部份， 把钢琴弹奏和乐理、和声初步知识联系起来学习。</p><p> 六．《步入音乐之门-- 成人钢琴浅易教程》， 吕真 编著，中国青年出版社1999年出版。这是一本较新的教本， 适合成年人学习钢琴。 作者尽可能祥细地用文字阐述了所有必要的知识和要领， 便于学生理解和加深印像。</p><p>教程是按技术课题安排的，上下两册， 共18课。作者力求使学生明确钢琴弹奏的基本原理， 掌握一定程度的弹奏技巧， 接触古今中外各时期，各流派的钢琴音乐作品， 并熟悉键盘与手型， 指法变化， 为即兴创作演奏打下初扑基粗础， 同时提高全面的音乐修养。</p><p> 七．《成年人学习钢琴之路》（一） 张式谷编著， 人民音乐出版社2000年出版。副标题为： 成年人钢琴入门90小时。 是特为渴望学习钢琴演奏但缺乏音乐基础知识的成年人编写的教程。编者试图用浓缩的方法把基本乐理知识和钢琴弹奏入门知识融合在一起， 还把音乐史知识给融在钢琴教学中。</p><p>此书编得简炼系统，易学有趣， 进度合适， 切实可行，可用于个别课也可用于集体教学。 本教程是按单元按排的。 第一册共15个单元。</p><p> 八．《钢琴基础课教程》孙树人主编  南京艺术学院音乐系键盘基础课教研室编。是为电化教学设计的。 电化教学是新型的钢琴集体课教学形式， 是在音乐院校、艺术学院、师范学院钢琴基础课所采用的一种教学形式。是从重视基础教育、重视素质教育， 培养全面发展的人才出发而编写的。在内容上把训练提高学生的弹奏技巧和即兴伴奏及演奏风格溶为一体。本教程是两个学年的教材， 可以使不同程度、不同水平的学生在一个课堂上学习。</p><p> 九．《钢琴基础教程》 黄眉莹著  京华出版社1994年出版。 </p><p>这是一本给钢琴教师和学生很实用的参考书。作者分了若干专题：</p><p>1） 练琴方法 2） 弹奏法   3） 弹奏技术    4）教材介绍 （入门教材，练习曲， 复调曲， 中小型乐曲，    大型乐曲）。</p><p> 十． 《趣味钢琴曲选》--献给老年朋友， 黄佩莹编著， 人民音乐出版社2001年出版。 这并非一本系统的教程， 但还是做了由浅入深的安排， 并对一些技术课题做了解释。 这里收集了124首适合老年人演奏的、优美动听的小曲， 来满足老年人学琴的愿望。</p><p> 十一。《新思路钢琴系列教程》 鲍蕙荞主编， 上海音乐出版社2002年出版。</p><p>这是在新千年、新世纪出版的一部盛势浩大的钢琴教材工程。 按编者的计划， 这套系列\"教程\"完成后， 将有20册， 每5册为一个阶段。 1-5册是初级程度（基础级）； 6-10册是中级程度（提高级）； 11-15册是高级程度（演奏级）- 16-20册是音乐会演奏曲目、世界著名钢琴文献为主（音乐会演奏级）。 每册教材包括五大类内容： 1） 练习曲及技术性乐曲，2）复调及巴洛克风格作品， 3） 奏鸣曲及变奏曲， 4） 外国乐曲  5）中国乐曲。</p><p>本教程由浅入深， 循序渐进， 内容丰富， 风格多样， 具有知识性、实用性和趣味性。各个年龄、 各种程度、 业余及专业钢琴演奏者都可以选用。</p><p> 十二：《新编钢琴入门与进阶》 但昭义、王雁编著， 四川文艺出版社2002年出版。 这本教材采用了当前国内外公认的比较科学的教学路子， 按照技术课题， 循序渐进地编排的。它包搂了古今中外一些优秀的初级教材汇成一个集成， 给教师有充分的选择余地。 更可贵的是每一个新的技术课题出现处， 编者都作了祥尽的教学法说明， 为广大的钢琴爱好者自学给于规范和科学的指导。本教材有广泛的适用性， 小孩子和成年人都可用， 而且可学到全面的弹奏技术和音乐知识。</p><p> 十三。 《钢琴演奏基础》 周广仁编著，中央电大出版社2002年重版。</p><p>这是1989年为卫星电视师范学院音乐专业大专班学员开设的20节钢琴课。分技术专题概括地讲授了有关钢琴演奏的一些基本知识。 这不是一本系统的教程，但是不同程度的学琴者都可以用。 目的是树立有关钢琴演奏方面及对各种技术课题正确的概念和弹奏方法， 帮助音乐教师提高自学能力。</p>','<p>近20年来， 我国的钢琴教师们在教材建设方面作了大量的工作。 现在我们可以高兴地说， 为初学钢琴不同年龄段的学生都能找到中国自己的钢琴教程和教材。  有适合幼儿的， 有为少年儿童的， 有为成年人的， 甚至有为老年人的。 有为师范专业钢琴副科学生的， 也有为业余的音乐爱好者的。','','1283262618','1');
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INSERT INTO `node_revisions` VALUES ('1342','1343','1','约翰.塞巴斯蒂安.巴赫：法国组曲第五首，BWV 816，吉格舞曲－张司滢','<p>视频介绍：打开艺术之门-2010暑期艺术节 快乐的钢琴课-张司滢独奏.盛原讲解音乐会</p><p>时间：2010年7月18日</p><p>地点：北京中山公园音乐堂</p><p>演奏者介绍：张司滢（妞妞）生于2000年6月，三岁开始音乐启蒙，四岁师从中央音乐学院潘一飞老师，五岁获得北京市第八届希望杯钢琴比赛二等奖，之后转至中央音乐学院教授泰尔老师处学习。六岁时在泰尔、潘一飞老师的指导下，由中国音乐家出版社录制出版了第一张DVD个人钢琴演奏专辑《妞妞弹琴》--布格缪勒作品100号，并于同年在中央音乐学院阶梯课室举办了个人独奏小音乐会。七岁时由泰尔老师策划，经我国著名巴赫专家、中央音乐学院钢琴系盛原老师的悉心指导，由中国音乐家出版社录制出版了巴赫《初级钢琴曲集》DVD专辑，同年转至盛原老师处学习。2008年10月在盛原老师指导下获得第九届北京市希望杯钢琴比赛一等奖，其第三张DVD专辑（莫扎特作品）也在录制中。</p>','<p>视频介绍：打开艺术之门-2010暑期艺术节 快乐的钢琴课-张司滢独奏.盛原讲解音乐会</p><p>时间：2010年7月18日</p><p>地点：北京中山公园音乐堂</p>','','1284095606','1');
INSERT INTO `node_revisions` VALUES ('1343','1344','1','如何理解打基础','<p>  盖房子要打基础， 楼层越高， 基础需要打得越深， 越坚固， 这个道理人人皆知。 学弹钢琴也一样。 若想学得好， 就必须打一个好基础。我们所说的基础究竟是什么？ 它包含哪些内容？</p><p>  首先要搞清楚， 我们教钢琴的目的是什么？ 是单纯教学生动手指吗？ 不， 钢琴只是一种工具， 学弹钢琴的目的是， 通过掌握弹钢琴的技能学习音乐， 懂音乐，表现音乐和欣赏音乐， 从中丰富我们的精神生活和服务于他人。既然是这样， 那么我们的钢琴教学应该包括更多的内容， 我们所要打的基础也要宽得多。 它不仅仅是教学生弹奏技能，而应该包括乐理知识和对音乐的理解和表现， 甚至包括学习习惯， 练琴方法等等。总而言之， 一切科学的好习惯都应在打基础阶段养成。遗憾的是， 在我们所接触的学生中有许多人， 程度已经弹得很深了， 却还不会正确地读谱， 音乐术语也不懂， 他们随心所欲，不尊重作曲家的意图，根本就谈不上表现音乐了。他们没有自学能力， 一切都要靠老师教， 不会举一反三。 问题出在哪里？就是没有打好基础。 这种学习法绝对不会有出息。我认为， 钢琴老师应从以下几个方面给学生打基础：</p><p>（一） 培养学生对音乐的兴趣和求知欲，因为有了兴趣才有自觉地学琴的动力。虽然对初学者不能要求太高，兴趣也是逐渐提高的，但教师应耐心地通过各种途径启发学生， 或通过教师的示范演奏，或去听音乐会， 听录音， 参加演出和比赛等等。 教材要多样化， 好听， 那怕是技术练习， 也要练起来有趣味。课堂气氛要活跃，对幼儿更是游戏般地学习，教师的态度要和蔼， 切不要凶甚至粗暴。 总之， 让学生喜欢音乐， 愿意去下功夫， 而不是怕学习或反感。要承认学生的智商是有差别的，要鼓励为主， 积极引导， 不要着急。</p><p>（二） 教会学生正确读谱。<br />  对初学者， 读谱首先包括两方面的课题： （1）识别音符的高低 （2）识别音符的时值。 这两个课题可以分开来训练， 一直到比较熟练为止。 比如先认音符， 高低音谱表一起学， 每堂课都要检查， 要求家长在家里反复练习。 节奏也分开来训练， 数拍子打节奏或打拍子说节奏。 音符和节奏，这两方面都形成独立的条件反射后， 再合在一起读谱。 识谱能力是一种非常重要的基础， 因为， 谁识得快， 谁就能学得多学得快， 有利于提高学习积极性。但这才只是解决认谱问题的开始， 真正学会正确读谱还包括许多其他知识。 比如在一首乐曲中， 粗心的学生音符虽弹对了， 但对音符的时值奏得很不准确， 常会把四分音符弹成八分音符的时值和空半拍。明明有休止符的地方却把手保留在琴键上。更不要提， 对有临时升降记号的音弹了一个， 忘了出现在同一小节里的第二个音也应该升或降。这种属于文法上的错误，是缺乏调性感的表现， 在演奏巴赫作品时特别容易错。还有对奏法和连线的不重视， 实际上是没有看懂音乐的意思。这些都属于正确读谱的范围。 因此， 学生第一步必须学会认真读谱，按照作曲家的意图弹奏。不能只弹音符， 不懂音乐。</p><p>（三） 树立美好的声音概念<br />  音乐是声音的艺术， 从一开始就要培养敏锐的听觉， 让钢琴发出好听的声音。由于钢琴的构造特点， 钢琴本应属于打击乐器类， 因为是用锤子打在钢丝上发音的。 但是我们要弹出美的声音来， 响而不炸， 轻而不虚。 为此必须掌握较科学的弹奏方法。弹琴应该自然放松， 不能敲打，不能用僵硬的手臂和手指砸钢琴，使钢琴发出乾硬的声音。科学的弹奏方法是钢琴演奏发展史中二百年来演变的结果。 钢琴弹奏方法三百年来（包括古钢琴阶段）有了很大的变化。 随着音乐风格的变迁和钢琴技巧的发展， 弹奏方法也不断地改进和发展， 从而逐渐找到了更加科学的方法。 也就是利用自然放松的手臂重量与积极灵活的手指相结合的方法。用这种方法弹琴 <br />声音比较好听。</p><p>（四） 进行系统的技术训练<br />  技术是弹琴的重要基础， 没有技术就无法表现音乐， 因此进行系统的技术训练是摆在每一个钢琴老师面前的头等重要任务。在初级阶段， 手指的基本练习是不可缺少的。 手指的五指练习， 用各种变奏，转所有的调， 无论对熟悉键盘还是对训练手指独立性和均匀性都很有好处。音阶和琶音是非常重要的基本功， 因为各个时代的作品都离不开音阶和琶音。 教音阶琶音要有方法， 要教规律， 让学生容易记， 要作各种变换练习， 使学生愿意练。每一堂课都要检查基本练习， 学生必须天天练， 养成习惯， 这样才能练出功夫来。不能平时不练， 要考试了才突击。许多孩子不爱练音阶琶音， 这是由于他们缺乏认识和老师坚持不够造成的。</p><p>（五） 培养严格的指法习惯<br />  现在许多学生都很不讲究指法的选用， 也许他们认为指法问题不重要。 其实他们错了。 好的指法习惯自然、方便，有利于发展技术， 有利于表现音乐。对初学者来讲， 最自然的指法是五个手指顺着弹五个接近的音。 如果隔一个键子<br />  也就隔一个手指弹， 让手型保持良好状态。五个音以上的音流， 如音阶， 就要考虑在哪一个位置上用大拇指， 也要看键盘上的位置， 那里更方便。一般讲， 保持自然手型就比较放松。 到了深程度的时候， 指法就更讲究了。 如肖邦。 他选指法完全根据音乐的需要， 还考虑到利用每个手指的自然特性。 当然， 大手和小手有时需要采用不同的指法， 但是指法应该合理。  现在很多学生随意用指法， 甚至用一些很别扭的指法， 这种习惯很不好。 演奏古典作品更加需要注意指法的选择。 因为弹古典作品主要靠手指功夫，不能过多依靠踏板的帮助。我们看一些老钢琴家编著的版本， 就会发现许多极秒的指法。我们应该问一下“为什么”他选这个指法， 这都是很有讲究的。 比如，弹重复音时换手指， 声音更有弹性。 颤音的结尾不用1、2、1， 而用1、3、2，  声音不发死。为了弹八度的连奏， 4、5指来回倒。弹有力的半音阶， 多用1、3指， 弹轻快的半音阶用1、2、3、4指。 肖邦的夜曲中柔和的音型常用4、5指等等。 总之， 选择好的指法是为了技术上的方便，也为音乐表现更完美。我建议， 学生应该先照谱子上的指法练。 如果想换另一种合理的、符合自己手条件的指法， 要说得出道理来，并把他自己的指法写在谱子里。 这样做的目的是让他重视指法的运用。 许多钢琴家， 在开始练一首新曲的时候， 就把指法固定下来。 固定指法对演奏的准确性起作用。指法不固定， 是最坏的习惯。</p><p>（六）理解音乐和表现音乐<br />  要认识乐谱上所有的符号， 懂得它的意思， 并能够读外文。 例如音乐术语主要是意大利文， 但和汉语拼音很像， 并不难读。 学生不仅要懂它的意思， 还应该会念，会听，因为这是音乐的国际语言， 全世界通用。<br />要熟悉各种演奏奏法的区别， 例如， legato, staccato, non legato, portamento,articolato 及其符号。 要教学生音乐的文法。  音乐和语言一样也有文法。 如，<br />分句， 分段， 说话语气，强弱拍的有轻响区别，有对比， 有发展，有高潮， 有结构。 弹琴也一样， 不能把所有的音都弹得一样响， 连气都不喘。学琴的最终目的是表现音乐。 教师必须教学生懂音乐， 明白他在弹什么， 他想表现什么，最后要把字里行间的音乐感觉和情绪表现出来。</p><p>（七）培养科学的、有效的练琴方法<br />  学生每周只上一次课， 其他六天都是自己练琴。 现在的学生都很忙， 他们不可能有很多练琴时间， 因此教会学生高效率地练琴非常重要。 要指导学生安排好练琴时间。 练琴时间并非越长越好， 关键是要注意力集中和练习目标明确。 练琴要有方法。 例如， 难点重点突破， 分手练， 再双手练，分分合合。先慢后快， 不要急于求成。 上来就弹快， 东错西错， 欲快而不达。 相反地，从一开始就仔细地练， 不允许自己弹错。 这种方法看来慢， 实际上是快， 因为不需要返工。许多家长以为练琴时间越长越好， 他们不懂得， 错误的练习， 越长越有害。 学习要讲科学， 要知道一个孩子注意力能够集中的时间是很短的， 当他脑子不管用的时候是无效劳动， 是浪费时间。</p>','<p>  盖房子要打基础， 楼层越高， 基础需要打得越深， 越坚固， 这个道理人人皆知。 学弹钢琴也一样。 若想学得好， 就必须打一个好基础。我们所说的基础究竟是什么？ 它包含哪些内容？</p>','','1385608758','1');
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INSERT INTO `node_revisions` VALUES ('1378','1379','1','01中文中文中文中文中文中文中文中文中文中文中文中文0000000000','<p> 　　新华网北京9月18日电(记者张辛欣 涂洪长)中央气象台18日发布台风红色预警，今年第11号强台风“凡亚比”强度将继续加强，或将发展为超强台风。受其影响，台湾和东南沿海将遭遇狂风暴雨。<br /><br /> 　　“凡亚比”自9月15日加强为第11号热带风暴后，短短27小时即完成“热带风暴－强热带风暴－台风”的转变。中央气象台18日发布台风红色预警，预计“凡亚比”中心将以每小时15－20公里的速度向西偏北转偏西方向移动，逐渐向台湾东部一带沿海靠近，强度将继续加强，有可能发展为超强台风，并将于19日凌晨到中午在台湾东部沿海登陆。<br /><br />　　与以往不同的是，“凡亚比”登陆后，将穿越台湾岛进入台湾海峡，向福建中部到广东东部一带沿海靠近，将于19日夜间到20日上午在这一带沿海再次登陆。<br /><br />　　受其影响，未来24小时，台湾以东洋面、台湾沿海、东海南部、台湾海峡、福建中北部沿海、巴士海峡将有7－9级大风，部分海域风力可达10－12级；台湾大部、浙江东南部、福建东北部等地有大雨或暴雨，其中台湾的部分地区大暴雨或特大暴雨。<br /><br />　　记者从中国气象局获悉，今年第11号台风“凡亚比”具有范围小、路径曲折、强度发展快和强度强四个特点，或将成为今年以来西北太平洋及南海最强的台风，也有可能成为今年以来登陆中国最强的台风。<br /><br />　　福建省防指总指挥、常务副省长张昌平也表示，“凡亚比”云团密实、水汽充沛、能量充足，登陆台湾岛前就可能对福建省中北部沿海产生影响；穿过台湾岛进入海峡后，强度有所减弱，但仍可能维持12级强度，并在福建再次登陆，将成为今年以来袭击福建最强的台风，将给福建造成严重影响。<br /><br />　　为应对“凡亚比”来袭，福建省防指要求各地各相关部门要提前安排部署、提前落实预案，提前转移避险，提前实施检查。</p>','<p> 　　新华网北京9月18日电(记者张辛欣 涂洪长)中央气象台18日发布台风红色预警，今年第11号强台风“凡亚比”强度将继续加强，或将发展为超强台风。受其影响，台湾和东南沿海将遭遇狂风暴雨。<br />','','1284810256','1');
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INSERT INTO `node_revisions` VALUES ('1380','1381','1','智利钻井机距被困矿工避难所仅200米','<p>　　新华网圣地亚哥9月17日电(记者栾翔)9月18日是智利独立200周年纪念日。在智利举国欢庆之际，北部沙漠中被困矿工的救援工作也取得突破性进展。智利政府17日证实，T－130型钻机当天打通一条救援通道，朝救出33名矿工迈出了重要一步。<br /><br />　　智利矿业部长劳伦塞·戈尔沃内证实，T－130型钻机17日已到达井下630米处的一个工作间，离矿工们聚集的避难所仅200米。下一步是将T－130的现有钻头提升回地面，更换为直径约70厘米的大型钻头，开始拓宽洞口的工作。<br /><br />　　救援工作负责人安德烈·索加雷17日说，按计划，通道直径将从目前的30厘米拓宽至约70厘米，拓宽工作将耗时一个月或一个半月，其间将有大量水和碎石坠入隧道，受困矿工将负责清理。<br /><br />　　为确保救援成功，智利政府制定了3个方案。上述完成的是计划B的第一阶段。<br /><br />　　16日晚，矿业部长戈尔沃内在回答新华社记者提问时说，计划C利用的石油钻井机421已于当日安装完毕，将从18日开始工作。从本周开始，两台钻井机将同时进行挖掘工作，如果情况乐观，矿工们将在合理的时间内脱身。<br /><br />　　他重申预期时间在11月初。<br /><br />　　按照救援计划，当通道直径拓宽至70厘米时，救援人员将把智利海军研发的钢制救生舱送入地下700米深处，将矿工逐一提升至地面。这种子弹外形的特制救生舱可容纳1人，装备有氧气瓶、逃生装置和通讯设备等。<br /><br />　　据称，用这种方式，每名矿工的救援工作耗时不超过15分钟。随后，他们将被送入矿井附近的野战医院接受救治。在极端情况下，矿工们将搭乘直升机被送往50公里外的科比亚波市医院接受救治。<br /><br />　　救援工作总工程师迈克尔·福尔特说，目前矿工们能够通过电话等通讯设备，每天与家人通话。<br /><br />　　智利总统皮涅拉在独立200周年庆典的致辞中，称赞33名矿工坚持不懈的精神。他同时说，救援行动展现了智利人民的团结和力量。他将于独立日当天前往救援现场，慰问救援人员和受困矿工及其家属。</p>','<p>　　新华网圣地亚哥9月17日电(记者栾翔)9月18日是智利独立200周年纪念日。在智利举国欢庆之际，北部沙漠中被困矿工的救援工作也取得突破性进展。智利政府17日证实，T－130型钻机当天打通一条救援通道，朝救出33名矿工迈出了重要一步。<br />','','1284813238','1');
INSERT INTO `node_revisions` VALUES ('1381','1382','1','首日近5万人预定联通版iPhone 4','<p>　　新浪科技讯 9月17日晚间消息，中国联通相关人士今天透露，今天是预约iPhone 4合约计划第一天，市场反应非常强烈，截至17日下午17时，已近5万人预约iPhone 4。<br /><br />　　上述联通人士称，今天用户纷纷通过联通营业厅iPhone授权店、苏宁电器iPhone授权店，以及中国联通网上营业厅WWW.10010.COM三种方式，预约iPhone 4合约计划，截至17日下午17时，已近5万人预约iPhone 4。<br /><br />　　据悉，完成预约的用户可在iPhone 4 正式销售后享有优先购买权。<br /><br />　　中国联通此前公布的套餐方案显示，16GB版iPhone 4零元购机套餐月费最低286元，预存5880元；32GB版Phone 4零元购机套餐月费最低386元，预存6999元。<br /><br />　　根据苹果官方公布的数据，iPhone 4手机6月15日美国预售当天的销售数字为60万部。</p>','<p>　　新浪科技讯 9月17日晚间消息，中国联通相关人士今天透露，今天是预约iPhone 4合约计划第一天，市场反应非常强烈，截至17日下午17时，已近5万人预约iPhone 4。<br />','','1284813273','1');
INSERT INTO `node_revisions` VALUES ('1382','1383','1','Chinese mark Japanese invasion with protests while sirens wail','<p>BEIJING, Sept. 18 (Xinhua) -- Hundreds of Chinese gathered outside Japanese diplomatic residences across the country on Saturday to protest Japan\'s seizure of a Chinese fishing boat earlier this month as sirens wailed to mark the 79th anniversary of Japan\'s invasion.<br /><br />In Beijing, dozens of protestors gathered outside the Japanese embassy, unfurling banners and shouting \"Japan, get out of the Diaoyu Islands,\" \"Boycott Japanese goods,\" \"Don\'t forget national humiliation, don\'t forget Sept. 18\" and other slogans.<br /><br />During the protest, a man held a cake -- the icing of which formed the image of the Diaoyu Islands, China\'s national flag and the message \"Japan, get out of the Diaoyu Islands.\"<br /><br />\"As a cake maker, I make such a cake to express my patriotism,\" said the protester surnamed Wu.<br /><br />\"I think every Chinese in every industry should take action,\" he said.<br /><br />Ten days before the sensitive anniversary, a Chinese fishing boat was seized by the Japanese Coast Guard in waters off the Diaoyu Islands in the East China Sea, which China claims sovereignty over. A Japanese court later detained the captain of the trawler.<br /><br />The incident has since triggered Chinese indignation and protests. Though Japan has released the boat and other crew members under mounting pressure from China, the captain is still being held.<br /><br />In front of the Japanese consulate general in Shanghai, protesters unfurled a banner reading \"The Diaoyu Islands is China\'s. The detention of the boat is illegal. Give the captain back to us.\" They also shouted slogans like \"Give the Diaoyu Islands back to us\" and \"Chinese people must awake.\"<br /><br />Similar protests were also staged outside the Japanese consulate general in Shenyang.<br /><br />Also Saturday, almost 100 people marched through downtown Shenzhen, protesting Japan\'s detention of the Chinese boat captain and singing the Chinese national anthem.<br /><br />Police officers were deployed to maintain order in different cities. No violence has been reported during the protests.<br /><br />As part of routine commemorative activities, sirens wailed in many cities Saturday morning, including Harbin, Xi\'an, Changchun and Chengdu.<br /><br />The municipal government of Shenyang, capital of northeast China\'s Liaoning Province and also where the Japanese army started its assault, said the city will sound sirens Saturday evening to commemorate the dark day.<br /><br />Officials said sirens will began to wail at 9:18 p.m. and will last three minutes.<br /><br />TV and radio programs will be paused during the three minutes. Drivers on nine main roads and 18 main streets, which symbolize Sept. 18, will stop their vehicles and sound their horns, said the officials.<br /><br />It will be the 16th year for Shenyang to hold such commemorative activities on Sept. 18 since 1995 to remind people of the national humiliation.<br /><br />\"An outstanding nation must be a nation that respects history,\" said Wang Jinsi, a member with the Chinese Society for Anti-Japanese War History.<br /><br />\"To remember history is not to remember hatred, but to prevent the tragedy from recurring,\" he said.<br /><br />On Sept. 18, 1931, Japanese forces attacked the barracks of Chinese troops in Shenyang. The move marked the beginning of the Japanese invasion and occupation that lasted 14 years.<br /></p>','<p>BEIJING, Sept. 18 (Xinhua) -- Hundreds of Chinese gathered outside Japanese diplomatic residences across the country on Saturday to protest Japan\'s seizure of a Chinese fishing boat earlier this month as sirens wailed to mark the 79th anniversary of Japan\'s invasion.<br />','','1284813419','1');
INSERT INTO `node_revisions` VALUES ('1383','1384','1','China urges more efforts to address pollution of major river','<p>BEIJING, Sept. 17 (Xinhua) -- China\'s Ministry of Environmental Protection has urged stepping up efforts to address pollution in north China\'s Haihe River.<br /><br />Speaking at a meeting on the issue Friday, minister of environmental protection Zhou Shengxian ordered making \"unremitting\" efforts to relieve the \"pain of the Haihe.\"<br /><br />Zhou also called upon government departments to strictly follow various industrial policies on environmental protection, with the focus on construction projects featuring high water costs and pollutant discharge and projects located along rivers or on the upriver area of drinking water sources.<br /><br />While stressing the protection of drinking water and the control of pollution, Zhou also encouraged adopting more \"ecological methods\" in sewage treatment and the rehabilitation of lakes and rivers.<br /><br />Zhou urged Beijing, Tianjin and other developed regions to be pioneers in upgrading sewage treatment technology and transforming sewage into resources. <br /></p>','<p>BEIJING, Sept. 17 (Xinhua) -- China\'s Ministry of Environmental Protection has urged stepping up efforts to address pollution in north China\'s Haihe River.<br /><br />Speaking at a meeting on the issue Friday, minister of environmental protection Zhou Shengxian ordered making \"unremitting\" efforts to relieve the \"pain of the Haihe.\"<br />','','1284813446','1');
INSERT INTO `node_revisions` VALUES ('1384','1385','1','China publishes president\'s speech on southern economic zone in minority languages','<p>BEIJING, Sept. 17 (Xinhua) -- Chinese President Hu Jintao\'s speech on the 30th anniversary of the founding of the Shenzhen special economic zone (SEZ) was published in five ethnic minority languages on Friday.<br /><br />Shenzhen, a southern coastal city neighboring Hong Kong, marked its 30th anniversary as China\'s first economic reform zone on Sept. 6.<br /><br />At that day\'s celebratory rally, Hu said the central government would always support the country\'s special economic zones, embarking on \"brave exploration\" in their roles as \"first movers.\"<br /><br />\"The SEZs will not only continue, but should work better,\" Hu said.<br /><br />The late Chinese leader Deng Xiaoping first proposed building Shenzhen into a SEZ in the late 1970s.<br /><br />On Aug. 26, 1980, China\'s top legislature approved the establishment of the Shenzhen SEZ.<br /><br />The speech was published by the Ethnic Publishing House in five minority languages, including Mongolian, Tibetan, Uygur, Kazakstan and Korean. <br /></p>','<p>BEIJING, Sept. 17 (Xinhua) -- Chinese President Hu Jintao\'s speech on the 30th anniversary of the founding of the Shenzhen special economic zone (SEZ) was published in five ethnic minority languages on Friday.<br /><br />Shenzhen, a southern coastal city neighboring Hong Kong, marked its 30th anniversary as China\'s first economic reform zone on Sept. 6.<br />','','1284813471','1');
INSERT INTO `node_revisions` VALUES ('1388','1389','1','杨诗宇','','','','1285062559','1');
INSERT INTO `node_revisions` VALUES ('1389','1390','1','张瑞雪','','','','1285062586','1');
INSERT INTO `node_revisions` VALUES ('1390','1391','1','曾憲逸','','','','1285062570','1');
INSERT INTO `node_revisions` VALUES ('1391','1392','1','张云龄','','','','1285062609','1');
INSERT INTO `node_revisions` VALUES ('1392','1393','1','张楚晗','','','','1285062597','1');
INSERT INTO `node_revisions` VALUES ('1393','1394','1','韦丹文','','','','1291958385','1');
INSERT INTO `node_revisions` VALUES ('1394','1395','1','周蕙《约定》','','','','1285070487','1');
INSERT INTO `node_revisions` VALUES ('1395','1396','1','张学友《秋意浓》','','','','1285070642','1');
INSERT INTO `node_revisions` VALUES ('1396','1397','1','张学友《她来听我的演唱会》','','','','1285070883','1');
INSERT INTO `node_revisions` VALUES ('1397','1398','1','赵咏华《最浪漫的事》','','','','1285071064','1');
INSERT INTO `node_revisions` VALUES ('1398','1399','1','赵咏华《最浪漫的事》','<p>演奏曲目选自赵咏华同名专辑。由广仁音乐独家录制。</p>','<p>演奏曲目选自赵咏华同名专辑。由广仁音乐独家录制。</p>','','1285501549','1');
INSERT INTO `node_revisions` VALUES ('1399','1400','1','张学友《她来听我的演唱会》','<p>演奏曲目选自张学友专辑《走过1999》。由广仁音乐独家录制。</p>','<p>演奏曲目选自张学友专辑《走过1999》。由广仁音乐独家录制。</p>','','1285501417','1');
INSERT INTO `node_revisions` VALUES ('1400','1401','1','张学友《秋意浓》','<p>演奏曲目选自张学友专辑《吻别》。由广仁音乐独家录制。</p>','<p>演奏曲目选自张学友专辑《吻别》。由广仁音乐独家录制。</p>','','1285501248','1');
INSERT INTO `node_revisions` VALUES ('1401','1402','1','周蕙《约定》','<p>演奏曲目选自专辑《周慧—精选》。由广仁音乐独家录制。</p>','<p>演奏曲目选自专辑《周慧—精选》。由广仁音乐独家录制。</p>','','1285501694','1');
INSERT INTO `node_revisions` VALUES ('1403','1404','1','周广仁钢琴艺术新人奖上线通知','<p>由周广仁教育科技（北京）有限公司主办，北京水知音文化传播有限公司承办，广仁音乐（ <a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a>）提供全程网络支持的首届周广仁钢琴艺术新人奖在历经了半年的精心筹备后，即将和大家见面。所有入围选手的演奏曲目将于2010年9月28日上午10时在广仁音乐（ <a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a>）与大家如约见面，敬请期待！</p>','<p>由周广仁教育科技（北京）有限公司主办，北京水知音文化传播有限公司承办，广仁音乐（ <a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a>）提供全程网络支持的首届周广仁钢琴艺术新人奖在历经了半年的精心筹备后，即将和大家见面。','','1285482457','1');
INSERT INTO `node_revisions` VALUES ('1405','1406','1','国庆节期间停播视频教学的通知','<p>国庆节期间（自10月1日——至10月10日）本站停止视频教学的播放，10月11日开始恢复正常播出。</p><p>广仁音乐网祝大家节日快乐！</p><p> </p>','<p>国庆节期间（自10月1日——至10月10日）本站停止视频教学的播放，10月11日开始恢复正常播出。</p><p>广仁音乐网祝大家节日快乐！</p><p> </p>','','1285760306','1');
INSERT INTO `node_revisions` VALUES ('1407','1408','1','重播“中心教材”的通知','<p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">应部分分部的要求，自下周开始逄勃工作室在播放“布格缪勒</span><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">100</span></span><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">”</span><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">教学的同时，重播“中心教材”教学的视频，播放时间每周一、四上午</span><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">10</span></span><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">点至</span><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">12</span></span><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">点；周二晚上</span><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">21</span></span><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">点至</span><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">23</span></span><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">点重播。请有需要的教师准时收看。</span></p>','<p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">应部分分部的要求，自下周开始逄勃工作室在播放“布格缪勒</span><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">100</span></span><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times','','1286782528','1');
INSERT INTO `node_revisions` VALUES ('1408','1409','1','C小调第三钢琴协奏曲 Op.37 No.3','<p>曲目：C小调第三钢琴协奏曲 Op.37 No.3<br />作曲：贝多芬<br />演奏：韩沛如<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）开幕式协奏曲音乐会</p>','<p>曲目：C小调第三钢琴协奏曲 Op.37 No.3<br />作曲：贝多芬<br />演奏：韩沛如<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）开幕式协奏曲音乐会</p>','','1287474637','1');
INSERT INTO `node_revisions` VALUES ('1409','1410','1','降大调第一钢琴协奏曲','<p>曲目：降大调第一钢琴协奏曲<br />作曲：李斯特<br />演奏：王一诺<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）开幕式协奏曲音乐会</p>','<p>曲目：降大调第一钢琴协奏曲<br />作曲：李斯特<br />演奏：王一诺<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）开幕式协奏曲音乐会</p>','','1287475134','1');
INSERT INTO `node_revisions` VALUES ('1410','1411','1','F小调第二钢琴协奏曲 Op.21 No.2','<p>曲目：F小调第二钢琴协奏曲 Op.21 No.2<br />作曲：肖邦<br />演奏：谢天健<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）开幕式协奏曲音乐会</p>','<p>曲目：F小调第二钢琴协奏曲 Op.21 No.2<br />作曲：肖邦<br />演奏：谢天健<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）开幕式协奏曲音乐会</p>','','1287475105','1');
INSERT INTO `node_revisions` VALUES ('1411','1412','1','F大调奏鸣曲 Hob.XVI 二、三乐章','<p>曲目：F大调奏鸣曲 Hob.XVI 二、三乐章<br />作曲：海顿<br />演奏：张瑞雪<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）陈曼春师生音乐会</p>','<p>曲目：F大调奏鸣曲 Hob.XVI 二、三乐章<br />作曲：海顿<br />演奏：张瑞雪<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）陈曼春师生音乐会</p>','','1287474820','1');
INSERT INTO `node_revisions` VALUES ('1412','1413','1','夜曲 Op.15 No.2','<p>曲目：夜曲 Op.15 No.2<br />作曲：肖邦<br />演奏：金惠珍<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）陈曼春师生音乐会</p>','<p>曲目：夜曲 Op.15 No.2<br />作曲：肖邦<br />演奏：金惠珍<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）陈曼春师生音乐会</p>','','1287474864','1');
INSERT INTO `node_revisions` VALUES ('1413','1414','1','阿根廷舞曲少女之舞','<p>曲目：阿根廷舞曲少女之舞<br />作曲：希纳斯特拉<br />演奏：陈曼春<br />此此视频为2010年第四届周广仁钢琴夏季学院（大连）陈曼春师生音乐会</p>','<p>曲目：阿根廷舞曲少女之舞<br />作曲：希纳斯特拉<br />演奏：陈曼春<br />此此视频为2010年第四届周广仁钢琴夏季学院（大连）陈曼春师生音乐会</p>','','1287474902','1');
INSERT INTO `node_revisions` VALUES ('1414','1415','1','超级练习曲第十二首“雪花”','<p>曲目：超级练习曲第十二首“雪花”<br />作曲：李斯特<br />演奏：徐晓金<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）徐晓金独奏会选段(2)</p>','<p>曲目：超级练习曲第十二首“雪花”<br />作曲：李斯特<br />演奏：徐晓金<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）徐晓金独奏会选段(2)</p>','','1520048098','1');
INSERT INTO `node_revisions` VALUES ('1415','1416','1','儿童情景 OP.15','<p>曲目：儿童情景 OP.15<br />作曲：舒曼<br />演奏：王一乔<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）逄勃学生音乐会</p>','<p>曲目：儿童情景 OP.15<br />作曲：舒曼<br />演奏：王一乔<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）逄勃学生音乐会</p>','','1287474943','1');
INSERT INTO `node_revisions` VALUES ('1416','1417','1','华丽回旋曲 Op.62','<p>曲目：华丽回旋曲 Op.62<br />作曲：韦伯<br />演奏：温箫如<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）逄勃学生音乐会</p>','<p>曲目：华丽回旋曲 Op.62<br />作曲：韦伯<br />演奏：温箫如<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）逄勃学生音乐会</p>','','1287799471','1');
INSERT INTO `node_revisions` VALUES ('1417','1418','1','G小调叙事曲 Op.23','<p>曲目：G小调叙事曲 Op.23<br />作曲：肖邦<br />演奏：韩沛如<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）逄勃学生音乐会</p>','<p>曲目：G小调叙事曲 Op.23<br />作曲：肖邦<br />演奏：韩沛如<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）逄勃学生音乐会</p>','','1287475015','1');
INSERT INTO `node_revisions` VALUES ('1418','1419','1','圆舞曲（选自歌剧《浮士德》）','<p>曲目：圆舞曲（选自歌剧《浮士德》）<br />作曲：李斯特<br />演奏：谢天健<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）逄勃学生音乐会</p>','<p>曲目：圆舞曲（选自歌剧《浮士德》）<br />作曲：李斯特<br />演奏：谢天健<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）逄勃学生音乐会</p>','','1287475043','1');
INSERT INTO `node_revisions` VALUES ('1419','1420','1','蓝色多瑙河 Op.12','<p>曲目：蓝色多瑙河 Op.12<br />作曲：舒尔茨·艾弗勒<br />演奏：王一诺<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）逄勃学生音乐会</p>','<p>曲目：蓝色多瑙河 Op.12<br />作曲：舒尔茨·艾弗勒<br />演奏：王一诺<br />此视频为2010年第四届周广仁钢琴夏季学院（大连）逄勃学生音乐会</p>','','1287475071','1');
INSERT INTO `node_revisions` VALUES ('1420','1421','1','获奖学生音乐会选段','<p>此视频为2010年第四届周广仁钢琴夏季学院（大连）获奖学生音乐会选段</p>','<p>此视频为2010年第四届周广仁钢琴夏季学院（大连）获奖学生音乐会选段</p>','','1287474548','1');
INSERT INTO `node_revisions` VALUES ('1422','1423','1','2010年钢琴夏季学院音乐会视频选集已上线','<p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\">2010年第四届周广仁钢琴夏季学院（大连）音乐会视频选集已上线。</p>','<p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\">2010年第四届周广仁钢琴夏季学院（大连）音乐会视频选集已上线。</p>','','1287378935','1');
INSERT INTO `node_revisions` VALUES ('1423','1424','1','巴赫 咏叹调于三十首变奏曲（哥德堡变奏曲）(选段之二）.BWV 988  盛原','<p><strong>视频介绍</strong>盛原 2009-2010 完全巴赫 —巴赫钢琴曲集系列音乐会之<strong>五：咏叹调于三十首变奏曲（哥德堡变奏曲）(选段）.BWV 988</strong></p><p><strong>作曲家</strong>：约翰·塞巴斯蒂安·巴赫（1685-1750）<br /><strong>演奏者介绍</strong>：盛原作为音乐会钢琴家赢得了国际性的瞩目。他的演出遍及加拿大、中国、克罗地亚、古巴、芬兰、法国、香港、意大利、马来西亚、摩洛哥、波兰、西班牙以及美国。他是玛萨拉、埃里切、海恩、中国及哈瓦那国际钢琴比赛获奖者。著名美国钢琴家安德烈 瓦兹在听了盛原的演奏后 称可与霍夫曼的演奏媲美。盛原作为“艺术家国际”颁发的“鲁宾斯坦纪念奖”获得者于2004年4月在卡内基音乐厅威尔独奏厅举办了纽约首演音乐会，前《纽约时报》乐评格德史密斯在听过此音乐会后宣称：“盛原……是一位最高品质的艺术家。” （《纽约音乐会评论》，2004年夏）著名音乐作家，《键盘上的反思》的作者大卫 杜保尔这样说道盛原：“请去听听他，你将会被吸引和感动！” <br />　　 他作为独奏家曾经与诸多交响乐团合作，包括中国中央乐团、罗马尼亚国立奥拉迪亚爱乐乐团、西班牙的泰奈利费交响乐团和大加纳利爱乐乐团、以及古巴国立交响乐团，合作过的指挥家包括李德伦、塞克斯顿·厄林、和大卫 吉尔伯。他作为室内乐演奏家分别与小提琴家阿龙·罗桑德及阿诺德·施坦因哈特合作二重奏音乐会。他与他的太太塔拉·霍夫麦斯特---盛经常同台演出双钢琴，并与小提琴家谭玮、大提琴家马克· 塔格雷组建了潘吐姆三重奏组。盛原2005-06年度的演出包括与小提琴家吕思清的多场音乐会，由中央音乐学院为其院庆65周年所举办的巴赫专场音乐会，以及与中国爱乐乐团合作的巴赫协奏曲演出等。 <br />　　 盛原出生于北京的一个音乐家庭，父亲盛明亮为小提琴家，母亲吴文俊为钢琴家，均曾任职于北京中央乐团。盛原五岁开始随母亲学习钢琴，后在中央音乐学院师从于李其芳、李惠莉以及<a class=\"alinks-link\" title=\"周广仁老师介绍\" rel=\"external\" href=\"/about/intro\"><span style=\"color: #9c0102;\">周广仁</span></a>诸教授。1991年作为所罗门·米考夫斯基教授的奖学金学生赴美，在纽约曼哈顿音乐学院深造，并获得音乐学士和硕士学位。盛原曾在多位著名音乐家的大师班上演奏，计有安妮·费舍尔、傅聪、拜伦·詹宁斯以及乔奇·桑多尔。盛原对巴赫音乐的强烈兴趣促使他与罗萨琳·图雷克潜心深造巴赫音乐演奏。 <br />　　 除了演奏活动以外，盛原撰写的多篇文章先后在《钢琴艺术》、《爱乐》、及《音乐周报》等杂志与报纸上发表。由他所翻译，罗萨琳·图雷克编著的《巴赫演奏指南》中文版，已于2003年由中国人民音乐出版社出版发行。此外，盛原将于2009年7月至2010年7月间在北京中山公园音乐堂举办五场巴赫键盘作品系列独奏音乐会。 <br />　　 盛原每年暑期均在美国纽约曼内斯音乐学院举办的国际键盘学院与音乐节及克罗地亚Terra Magica音乐节中演奏、任教并开设大师班。他也曾在美国，加拿大，中国及克罗地亚等地举办讲座及大师班。盛原于2005年2月起在中央音乐学院钢琴系任副教授。</p>','<p><strong>视频介绍</strong>盛原 2009-2010 完全巴赫 —巴赫钢琴曲集系列音乐会之<strong>五：咏叹调于三十首变奏曲（哥德堡变奏曲）(选段）.BWV 988</strong></p>','','1289205569','1');
INSERT INTO `node_revisions` VALUES ('1424','1425','1','C大调钢琴协奏曲 Hob.50 XVI 第三章','<p>曲目：C大调钢琴协奏曲 Hob.50 XVI 第三章<br />作曲：海顿<br />演奏：徐晓金<br />此视频为第四届周广仁钢琴夏季学院徐晓金独奏会选段(1)</p>','<p>曲目：C大调钢琴协奏曲 Hob.50 XVI 第三章<br />作曲：海顿<br />演奏：徐晓金<br />此视频为第四届周广仁钢琴夏季学院徐晓金独奏会选段(1)</p>','','1520048081','1');
INSERT INTO `node_revisions` VALUES ('1425','1426','1','狂欢曲 Op.9（选段）','<p>曲目：狂欢曲 Op.9（选段）<br />作曲：舒曼<br />演奏：徐晓金<br />此视频为第四届周广仁钢琴夏季学院徐晓金独奏会选段(3)</p>','<p>曲目：狂欢曲 Op.9（选段）<br />作曲：舒曼<br />演奏：徐晓金<br />此视频为第四届周广仁钢琴夏季学院徐晓金独奏会选段(3)</p>','','1520048112','1');
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INSERT INTO `node_revisions` VALUES ('1427','1428','1','C. Bechstein Pianofortefabrik AG Shanghai','<p>Xianghao Zhou</p><p>C. Bechstein Pianofortefabrik AG Shanghai Representative Office</p><p>Room 2608,Maxdo Centre,No.8 Xing Yi Road,Shanghai,200336 China</p><p> </p><p>phone:   +86(0)21.5208 0388;5208 0588</p><p>fax:   +86(0)21.5208 0288</p><p>mobil:   +86(0)136.1196 6392</p><p>mail:   <a href=\"mailto:zxh@bechstein-china.com\">zxh@bechstein-china.com</a></p><p>web:   <a href=\"http://www.bechstein-china.com\">http://www.bechstein-china.com</a></p>','<p>Xianghao Zhou</p><p>C. Bechstein Pianofortefabrik AG Shanghai Representative Office</p><p>Room 2608,Maxdo Centre,No.8 Xing Yi Road,Shanghai,200336 China</p><p> </p><p>phone:   +86(0)21.5208 0388;5208 0588</p><p>fax:   +86(0)21.5208 0288</p><p>mobil:   +86(0)136.1196 6392</p><p>mail:   <a href=\"mailto:zxh@bechstein-china.com\">zxh@bechstein-china.com</a></p>','','1287581508','1');
INSERT INTO `node_revisions` VALUES ('1432','1433','1','巴赫 咏叹调于三十首变奏曲（哥德堡变奏曲）(选段之一）.BWV 988 盛原','<p>视频介绍盛原 2009-2010 完全巴赫 —巴赫钢琴曲集系列音乐会之五：咏叹调于三十首变奏曲（哥德堡变奏曲）(选段）.BWV 988<br />作曲家：约翰·塞巴斯蒂安·巴赫（1685-1750）<br />演奏者介绍：盛原作为音乐会钢琴家赢得了国际性的瞩目。他的演出遍及加拿大、中国、克罗地亚、古巴、芬兰、法国、香港、意大利、马来西亚、摩洛哥、波兰、西班牙以及美国。他是玛萨拉、埃里切、海恩、中国及哈瓦那国际钢琴比赛获奖者。著名美国钢琴家安德烈 瓦兹在听了盛原的演奏后 称可与霍夫曼的演奏媲美。盛原作为“艺术家国际”颁发的“鲁宾斯坦纪念奖”获得者于2004年4月在卡内基音乐厅威尔独奏厅举办了纽约首演音乐会，前《纽约时报》乐评格德史密斯在听过此音乐会后宣称：“盛原……是一位最高品质的艺术家。” （《纽约音乐会评论》，2004年夏）著名音乐作家，《键盘上的反思》的作者大卫 杜保尔这样说道盛原：“请去听听他，你将会被吸引和感动！” <br />　　 他作为独奏家曾经与诸多交响乐团合作，包括中国中央乐团、罗马尼亚国立奥拉迪亚爱乐乐团、西班牙的泰奈利费交响乐团和大加纳利爱乐乐团、以及古巴国立交响乐团，合作过的指挥家包括李德伦、塞克斯顿·厄林、和大卫 吉尔伯。他作为室内乐演奏家分别与小提琴家阿龙·罗桑德及阿诺德·施坦因哈特合作二重奏音乐会。他与他的太太塔拉·霍夫麦斯特---盛经常同台演出双钢琴，并与小提琴家谭玮、大提琴家马克· 塔格雷组建了潘吐姆三重奏组。盛原2005-06年度的演出包括与小提琴家吕思清的多场音乐会，由中央音乐学院为其院庆65周年所举办的巴赫专场音乐会，以及与中国爱乐乐团合作的巴赫协奏曲演出等。 <br />　　 盛原出生于北京的一个音乐家庭，父亲盛明亮为小提琴家，母亲吴文俊为钢琴家，均曾任职于北京中央乐团。盛原五岁开始随母亲学习钢琴，后在中央音乐学院师从于李其芳、李惠莉以及周广仁诸教授。1991年作为所罗门·米考夫斯基教授的奖学金学生赴美，在纽约曼哈顿音乐学院深造，并获得音乐学士和硕士学位。盛原曾在多位著名音乐家的大师班上演奏，计有安妮·费舍尔、傅聪、拜伦·詹宁斯以及乔奇·桑多尔。盛原对巴赫音乐的强烈兴趣促使他与罗萨琳·图雷克潜心深造巴赫音乐演奏。 <br />　　 除了演奏活动以外，盛原撰写的多篇文章先后在《钢琴艺术》、《爱乐》、及《音乐周报》等杂志与报纸上发表。由他所翻译，罗萨琳·图雷克编著的《巴赫演奏指南》中文版，已于2003年由中国人民音乐出版社出版发行。此外，盛原将于2009年7月至2010年7月间在北京中山公园音乐堂举办五场巴赫键盘作品系列独奏音乐会。 <br />　　 盛原每年暑期均在美国纽约曼内斯音乐学院举办的国际键盘学院与音乐节及克罗地亚Terra Magica音乐节中演奏、任教并开设大师班。他也曾在美国，加拿大，中国及克罗地亚等地举办讲座及大师班。盛原于2005年2月起在中央音乐学院钢琴系任副教授。</p>','<p>视频介绍盛原 2009-2010 完全巴赫 —巴赫钢琴曲集系列音乐会之五：咏叹调于三十首变奏曲（哥德堡变奏曲）(选段）.BWV 988<br />作曲家：约翰·塞巴斯蒂安·巴赫（1685-1750）','','1289206738','1');
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INSERT INTO `node_revisions` VALUES ('1455','1465','1','秦艳','<p>大连周广仁钢琴艺术中心教师，毕业于沈阳音乐学院音乐教育专业。自幼学习钢琴，演奏功底扎实，曾获沈阳音乐学院五项基本功大赛第二名，连续三年获得学校一等奖学金。曾任沈阳音乐学院合唱团钢琴艺术指导。2006年开始从事钢琴教学工作至今。在此期间曾获第十、十一届大连国际“富丽华-科曼杯”国际儿童钢琴大赛优秀指导教师奖；获第71、73届施坦威国际青少年钢琴比赛中国赛区优秀指导教师奖 。2009年指导学生参加德国威斯巴登钢琴比赛荣获二等奖，73届施坦威国际青少年钢琴比赛中国赛区三等奖。具有丰富的教学经验，所教学生参加钢琴考级通过率百分之百。<br />热爱钢琴教育工作，并坚信“没有学不会的学生，只有教不会的老师”，能够根据学生的个人特点因材施教，培养学生学习钢琴的兴趣，挖掘每个学生音乐方面的潜能。</p>','<p>大连周广仁钢琴艺术中心教师，毕业于沈阳音乐学院音乐教育专业。自幼学习钢琴，演奏功底扎实，曾获沈阳音乐学院五项基本功大赛第二名，连续三年获得学校一等奖学金。曾任沈阳音乐学院合唱团钢琴艺术指导。2006年开始从事钢琴教学工作至今。','','1289829959','1');
INSERT INTO `node_revisions` VALUES ('1456','1466','1','孙迪','<p>    大连周广仁钢琴艺术中心教师，毕业于沈阳音乐学院钢琴伴奏艺术专业，硕士学位。2001开始从事钢琴教学，以“发掘每一个孩子的最大潜能，让每一个孩子都感受到音乐的美”为目标，在教学、考级、比赛及参与各项社会活动等方面取得了显著的成绩。2004年在大连市成人教育优秀论文评选活动中，所撰写的论文《浅谈高师钢琴教育》被评为“一等奖”。在钢琴教学过程中不断钻研新方法，善于启发引导，能激发学生的学习兴趣。在快乐教学的同时注重培养学生的音乐修养。</p>','<p>    大连周广仁钢琴艺术中心教师，毕业于沈阳音乐学院钢琴伴奏艺术专业，硕士学位。2001开始从事钢琴教学，以“发掘每一个孩子的最大潜能，让每一个孩子都感受到音乐的美”为目标，在教学、考级、比赛及参与各项社会活动等方面取得了显著的成绩。','','1289830135','1');
INSERT INTO `node_revisions` VALUES ('1457','1467','1','王楠','<p>    大连周广仁钢琴艺术中心教师，毕业于沈阳音乐学院钢琴演奏专业。自幼学琴，演奏功底扎实。大学期间曾多次参加各种演出和比赛，成绩优秀。1998年开始从事钢琴教学，经过多年的教学实践，积累了丰富的经验，所教学生均以优异的成绩通过钢琴考级或考入高等专业艺术院校。</p>','<p>    大连周广仁钢琴艺术中心教师，毕业于沈阳音乐学院钢琴演奏专业。自幼学琴，演奏功底扎实。大学期间曾多次参加各种演出和比赛，成绩优秀。1998年开始从事钢琴教学，经过多年的教学实践，积累了丰富的经验，所教学生均以优异的成绩通过钢琴考级或考入高等专业艺术院校。</p>','','1289830288','1');
INSERT INTO `node_revisions` VALUES ('1458','1468','1','阎翎','<p>    大连周广仁钢琴艺术中心教师，毕业于沈阳音乐学院音乐教育系。在校期间，成绩优异，连续四年获得奖学金和优秀学生等称号，大四被评为“沈阳市优秀大学生”。大学期间开始从事钢琴教学，指导的学生参加钢琴考级，取得较好的成绩。<br />    在教学实践中注意创设情境，培养学生的学习兴趣，充分发挥学生的主体作用，培养学生的创造能力，以鼓励引导为主。在教授弹奏技法的过程中配合讲解视唱练耳和乐理知识，注重培养学生的音乐修养、气质和情感。</p>','<p>    大连周广仁钢琴艺术中心教师，毕业于沈阳音乐学院音乐教育系。在校期间，成绩优异，连续四年获得奖学金和优秀学生等称号，大四被评为“沈阳市优秀大学生”。大学期间开始从事钢琴教学，指导的学生参加钢琴考级，取得较好的成绩。','','1289830412','1');
INSERT INTO `node_revisions` VALUES ('1459','1469','1','张  莉','<p>    大连周广仁钢琴艺术中心教师，毕业于齐齐哈尔大学音乐学专业，主修钢琴。2004年作为齐齐哈尔大学优秀学生代表到俄罗斯布拉戈维申斯克国立师范大学作交流演出。2005年获齐齐哈尔大学“音乐五项全能比赛”一等奖。钢琴教学严谨、认真，擅长激发学生的学习兴趣，营造轻松、愉悦的课堂气氛。所辅导的学生参加上海音乐学院社会艺术水平考级取得较好成绩。</p>','<p>    大连周广仁钢琴艺术中心教师，毕业于齐齐哈尔大学音乐学专业，主修钢琴。2004年作为齐齐哈尔大学优秀学生代表到俄罗斯布拉戈维申斯克国立师范大学作交流演出。2005年获齐齐哈尔大学“音乐五项全能比赛”一等奖。','','1289830584','1');
INSERT INTO `node_revisions` VALUES ('1460','1470','1','张丽君','<p>    大连周广仁钢琴艺术中心教师，毕业于大连大学音乐学院钢琴演奏专业。多次参加由中心举办的师资培训，教学方法科学、规范，具教学严谨、认真的同时又具备较强的亲和力。在注重训练学生钢琴基本功的同时也着重培养学生良好的乐感，得到家长和学生的信任及好评。</p>','<p>    大连周广仁钢琴艺术中心教师，毕业于大连大学音乐学院钢琴演奏专业。多次参加由中心举办的师资培训，教学方法科学、规范，具教学严谨、认真的同时又具备较强的亲和力。在注重训练学生钢琴基本功的同时也着重培养学生良好的乐感，得到家长和学生的信任及好评。</p>','','1289830713','1');
INSERT INTO `node_revisions` VALUES ('1461','1471','1','张 威','<p>    大连周广仁钢琴艺术中心教师，毕业于辽宁师范大学音乐学院音乐学专业，主修钢琴。2000年荣获辽宁省幼儿教师基本功大赛优秀表演奖。从事多年的钢琴教学，积累了丰富的教学经验，所辅导的学生参加各类比赛、演出、考级均取得优异成绩，深受学生、家长的喜爱。</p>','<p>    大连周广仁钢琴艺术中心教师，毕业于辽宁师范大学音乐学院音乐学专业，主修钢琴。2000年荣获辽宁省幼儿教师基本功大赛优秀表演奖。从事多年的钢琴教学，积累了丰富的教学经验，所辅导的学生参加各类比赛、演出、考级均取得优异成绩，深受学生、家长的喜爱。</p>','','1289830892','1');
INSERT INTO `node_revisions` VALUES ('1462','1472','1','张雪娜','<p>    大连周广仁钢琴艺术中心教师，大连市音乐家协会钢琴学会会员。毕业于吉林艺术学院音乐系，主修键盘。所指导的学生多次在“蒲公英杯艺术新人大赛”中获奖,学生参加社会艺术水平考级，通过率高。2006年被评为上海音乐学院考级“优秀指导教师”。所写论文多次在大连市西岗区教育局举办的论文评比中获“优秀奖”。钢琴教学认真、细致,能做到因材施教。</p>','<p>    大连周广仁钢琴艺术中心教师，大连市音乐家协会钢琴学会会员。毕业于吉林艺术学院音乐系，主修键盘。所指导的学生多次在“蒲公英杯艺术新人大赛”中获奖,学生参加社会艺术水平考级，通过率高。2006年被评为上海音乐学院考级“优秀指导教师”。','','1289831046','1');
INSERT INTO `node_revisions` VALUES ('1463','1473','1','周晓明','<p>    大连周广仁钢琴艺术中心教师，毕业于沈阳音乐学院作曲系。<br />曾获大连市首届键盘乐器大赛钢琴专业一等奖；2006年参加澳门第二届世界华人青少年艺术节，荣获辽宁赛区器乐（钢琴）大赛青年（专业）组银奖；第七届大连国际服装节“通利海曼杯”钢琴大赛荣获二等奖。曾多次参加中心举办的师资培训，在钢琴教学过程中能够与学生充分交流，了解学生的优缺点及兴趣，积极启发学生的思维，因材施教。</p>','<p>    大连周广仁钢琴艺术中心教师，毕业于沈阳音乐学院作曲系。','','1289831259','1');
INSERT INTO `node_revisions` VALUES ('1465','1475','1','江美琪《亲爱的你怎么不在我身边》（即兴演奏：小围裙）','<p>演奏曲目选自江美琪《亲爱的你怎么不在我身边》。由广仁音乐独家录制。</p>','<p>演奏曲目选自江美琪《亲爱的你怎么不在我身边》。由广仁音乐独家录制。</p>','','1290741489','1');
INSERT INTO `node_revisions` VALUES ('1466','1476','1','张信哲《过火》（即兴演奏：小围裙）','<p>演奏曲目选自张信哲专辑《从开始到现在》。由广仁音乐独家录制。</p>','<p>演奏曲目选自张信哲专辑《从开始到现在》。由广仁音乐独家录制。</p>','','1290741818','1');
INSERT INTO `node_revisions` VALUES ('1467','1477','1','张雨生《大海》（即兴演奏：小围裙）','<p>演奏曲目选自张雨生专辑《大海》。由广仁音乐独家录制。</p>','<p>演奏曲目选自张雨生专辑《大海》。由广仁音乐独家录制。</p>','','1290741995','1');
INSERT INTO `node_revisions` VALUES ('1468','1478','1','张国荣《我》（即兴演奏：小围裙）','<p>演奏曲目选自专辑《张国荣专辑》。由广仁音乐独家录制。</p>','<p>演奏曲目选自专辑《张国荣专辑》。由广仁音乐独家录制。</p>','','1290742163','1');
INSERT INTO `node_revisions` VALUES ('1469','1479','1','张国荣《当爱已成往事》（即兴演奏：小围裙）','<p>演奏曲目选自张国荣专辑《宠爱》。由广仁音乐独家录制。</p>','<p>演奏曲目选自张国荣专辑《宠爱》。由广仁音乐独家录制。</p>','','1290742298','1');
INSERT INTO `node_revisions` VALUES ('1470','1480','1','李丽芬《爱江山更爱美人》（即兴演奏：小围裙）','<p>演奏曲目选自李丽芬专辑《爱江山更爱美人》。由广仁音乐独家录制。</p>','<p>演奏曲目选自李丽芬专辑《爱江山更爱美人》。由广仁音乐独家录制。</p>','','1290742433','1');
INSERT INTO `node_revisions` VALUES ('1472','1482','1','\"新人奖\"评委们的英文点评正在陆续发表','<p>请在“评委点评”栏目中查看评委们的英文版点评,中文译文将在稍后陆续发表。</p><p>连接:<a href=\"/ypa/en\">http://www.zgrchina.com/ypa/en</a></p>','<p>请在“评委点评”栏目中查看评委们的英文版点评,中文译文将在稍后陆续发表。</p><p>连接:<a href=\"/ypa/en\">http://www.zgrchina.com/ypa/en</a></p>','','1291349622','1');
INSERT INTO `node_revisions` VALUES ('1473','1483','1','Jury\'s comments are coming!','<p>Please find the comments in the &lt;Jury\'s Comments&gt;.</p><p> </p><p><a href=\"/ypa/en\">http://www.zgrchina.com/ypa/en</a></p>','<p>Please find the comments in the &lt;Jury\'s Comments&gt;.</p><p> </p><p><a href=\"/ypa/en\">http://www.zgrchina.com/ypa/en</a></p>','','1291350633','1');
INSERT INTO `node_revisions` VALUES ('1475','1485','1','Home','','','','1291947459','1');
INSERT INTO `node_revisions` VALUES ('1476','1486','1','General Instruction','<p><strong>In order to promote the piano art in China, to discover young \r\ntalents and give them a chance to show their ability, The Zhou Guangren \r\nEducational Technology (Beijing) Co. Ltd</strong> <strong> is establishing a new competition on the website </strong><a href=\"http://www.zgrchina.com/\"><strong>www.zgrchina.com</strong></a><strong> called </strong><a href=\"http://www.zgrchina.com/\"><strong>\"Zhou Guangren Young Pianist Award\" </strong></a><strong>Piano\r\n Competition, for young pianists under the age of 18. It will be held \r\nannually, starting with the Chopin Year 2010. This is a very special and\r\n entirely different way of judging the competition where the judges can \r\nstay at home and give their comments and votes through the website. </strong></p><p><strong>Organizing Committee</strong> <br /><strong>Organizer: Zhou Guangren Educational Technology (Beijing) Co. Ltd</strong>    <br /><strong>Presenter: Beijing SHUIZHIYIN Cultural Communication Co. Ltd<br />Website support: </strong><a href=\"http://www.zgrchina.com/\"><strong>www.zgrchina.com</strong></a></p><p><strong>Committee </strong><br /><strong>The\r\n Zhou Guangren Young Pianist Award is held from July  - December 2010, \r\nand this will be an annual event. The Competition Organizing Committee \r\nreserves the right to organize performances related to the competition. \r\nAll videos recorded and taped will be the exclusive property of the \r\nCompetition Organizing Committee. No payment will be given to any \r\ncompetitor for the recordings.<br /></strong></p><p> </p>','<p><strong>In order to promote the piano art in China, to discover young \r\ntalents and give them a chance to show their ability, The Zhou Guangren \r\nEducational Technology (Beijing) Co.','','1291947538','1');
INSERT INTO `node_revisions` VALUES ('1477','1487','1','Rules','<p align=\"left\"><strong>The Zhou Guangren Young Pianist Award established in 2010, each year will be held during July -December, in Beijing, China.<br />Chinese\r\n and English are the official languages of the competition. Please read \r\nall rules and regulations carefully. It is your responsibility to make \r\nsure that your program complies with all repertoire and time \r\nrequirements. Please include the timing for each work.<br />The Zhou Guangren Young Pianist Award is open to young pianists who are under 18 years old.<br />All\r\n video, audio recordings, as well as photographs and interviews made \r\nduring any of the events of The Zhou Guangren Young Pianist Award will \r\nremain the sole property of The Zhou Guangren Young Pianist Award \r\nCommittee, Beijing.</strong></p><p align=\"left\"><strong><br /></strong></p><p align=\"left\"><strong>Application Rules and Procedures</strong></p><p><strong>1.   Applicants should send videos (DVD) to the Committee to participate.</strong></p><p><strong>2.    Applicants must be born after August 1<sup>st</sup>, 1992</strong></p><p><strong>3.  Applications should be completed either in Chinese or in English.</strong></p><p><strong>4.   \r\n Application Forms can be downloaded from the website \r\n(www.zgrchina.com), copies are also permitted, with resume, three recent\r\n photos (4×5cm), one copy of ID card or Passport (printed on A4 paper) \r\nsend together with the DVD.</strong></p><p><strong>5.    All application materials must be sent by EMS or UPS etc.</strong></p><p><strong>6.    Incomplete or illegible application forms will not be accepted</strong></p><p><strong>7.    Application materials will not be returned. The committee <br />       reserves the final right for all decisions.<br /></strong></p><p><strong>8.   Application deadline: August 12, 2010 - postmarked</strong></p><p> </p><p><strong> </strong><strong>Recording Rules</strong></p><p><strong>1. The person in the video must be the applicant himself/herself, <br />    dressed formally. <br /></strong></p><p><strong>2. The video must be taken from one angle only. Neither thevideo<br />     nor the sound should be edited. Each piece should not exceed<br />     15 <strong>min.</strong> <br /></strong></p><p><strong>3. The program and recording time must be written clearly, and <br />     sent together with the DVD.<br /></strong><strong> </strong></p><p> </p>','<p align=\"left\"><strong>The Zhou Guangren Young Pianist Award established in 2010, each year will be held during July -December, in Beijing, China.','','1291947588','1');
INSERT INTO `node_revisions` VALUES ('1478','1488','1','Jury Introduction','','','','1291947626','1');
INSERT INTO `node_revisions` VALUES ('1479','1489','1','Contestants','<p>（In alphabet order）</p>','<p>（In alphabet order）</p>','','1291947678','1');
INSERT INTO `node_revisions` VALUES ('1480','1490','1','Prizes','<p> </p><p><strong><p style=\"text-align: left;\"><strong>1st Place - 5000 RMB<br />2nd Place - 3000 RMB<br />3rd Place - 3000 RMB <br />4th Place - 2000 RMB<br />5th Place - 2000 RMB<br />6th Place - 2000 RMB</strong></p></strong></p><p style=\"text-align: left;\"><a href=\"http://www.yz-china.com/\"> Yuan Zhou Decoration Group</a> will offer a scholarship of 1000 RMB for each of the competitors.</p><p>And also the Committee will organize several concerts in different cities for the Winners of the Young Pianist Award in 2011.</p><p> </p>','<p> </p><p><strong><p style=\"text-align: left;\"><strong>1st Place - 5000 RMB<br />2nd Place - 3000 RMB<br />3rd Place - 3000 RMB <br />4th Place - 2000 RMB<br />5th Place - 2000 RMB<br />6th Place - 2000 RMB</strong></p></strong></p>','','1301411380','1');
INSERT INTO `node_revisions` VALUES ('1481','1491','1','Information','<p><strong>Judging Process<br />1. The DVD pre-selection is held from July 12th to August 12th 2010, organized by Prof. Zhou Guangren<br />2.\r\n 12 contestants will be selected. The total number may be modified. Each\r\n contestant will be charged 500 RMB for the participation of the final \r\naround.<br />3. The result of the selected contestants will be announced on </strong><a href=\"http://www.zgrchina.com/\"><strong>www.zgrchina.com</strong></a><strong> on August 16th, 2010.<br />4. All selected contestants will be invited to come to Beijing to do a live video recording at Guangren Music Studio. <br /></strong><strong>5. Judging period will be from October 10th to November 30th，2010<br />6. Announcement of winners: December 17th，2010</strong></p>','<p><strong>Judging Process<br />1. The DVD pre-selection is held from July 12th to August 12th 2010, organized by Prof. Zhou Guangren<br />2.\r\n 12 contestants will be selected. The total number may be modified. Each\r\n contestant will be charged 500 RMB for the participation of the final \r\naround.','','1291947780','1');
INSERT INTO `node_revisions` VALUES ('1482','1492','1','Insight','','','','1291947824','1');
INSERT INTO `node_revisions` VALUES ('1483','1493','1','Partners','<p><a href=\"/node/1427\"><img src=\"/files/uploads/bechstein.jpg\" width=\"142\" height=\"100\" /></a></p><p>C.Bechstein</p><p><a href=\"http://www.bechstein.com/\" target=\"_self\">http://www.bechstein.com</a></p><p><img src=\"/files/uploads/sanzhou.jpg\" width=\"107\" height=\"107\" /></p><p><a href=\"http://www.yz-china.com/\">http://www.yz-china.com/</a></p>','<p><a href=\"/node/1427\"><img src=\"/files/uploads/bechstein.jpg\" width=\"142\" height=\"100\" /></a></p><p>C.Bechstein</p><p><a href=\"http://www.bechstein.com/\" target=\"_self\">http://www.bechstein.com</a></p><p><img src=\"/files/uploads/sanzhou.jpg\" width=\"107\" height=\"107\" /></p><p><a href=\"http://www.yz-china.com/\">http://www.yz-china.com/</a></p>','','1291948927','3');
INSERT INTO `node_revisions` VALUES ('1484','1494','1','Board','','','','1291947918','1');
INSERT INTO `node_revisions` VALUES ('1485','1495','1','Contact us','<p><strong>Mailing Address:</strong></p><p><strong>ZHOU GUANGREN Young Pianist Award Organizing Committee</strong></p><p><strong> </strong></p><p><strong>2 JIA202, YING HAI ZHUANGYUAN, No.1 LIANGSHUIHE Street, YI ZHUANG JING JI JI SHU KAI FA QU, Beijing, China</strong></p><p><strong>PostCode: 100176</strong></p><p><strong>Phone:</strong></p><p><strong>010-87220017 </strong></p><p><strong>FAX:</strong></p><p><strong>010-67896015</strong></p><p><strong>Email: </strong><strong><a href=\"mailto:service@zgrchina.com\">szyin18@sina.com</a></strong></p>','<p><strong>Mailing Address:</strong></p><p><strong>ZHOU GUANGREN Young Pianist Award Organizing Committee</strong></p><p><strong> </strong></p><p><strong>2 JIA202, YING HAI ZHUANGYUAN, No.1 LIANGSHUIHE Street, YI ZHUANG JING JI JI SHU KAI FA QU, Beijing, China</strong></p><p><strong>PostCode: 100176</strong></p><p><strong>Phone:</strong></p><p><strong>010-87220017 </strong></p>','','1291948086','1');
INSERT INTO `node_revisions` VALUES ('1486','1496','1','杜晓伟','<p>1994年毕业于山西大学音乐系钢琴表演专业。自幼从师于山西大学音乐系肖玫教授及中央乐团钢琴家蔡妮，1992年在中央音乐学院随牟洪、杨乃林学习作曲及和声。2007年获得中央音乐学院“全国音乐教师等级认证”高级钢琴教师资格（资格证编号07AHPF00042），并受到李昕、李其芳等老师的指教。杜晓伟老师曾指导2008残奥会开幕式钢琴演奏家金元辉，并担任其首张独奏唱片《光明随想》的音乐监制及唱片撰稿人，后又担任中央音乐学院少年室内乐团首张唱片《弦乐经典音乐会》（与何荣合作）的撰稿人及音乐监制。所教学生曾获北京希望杯钢琴音乐节优秀奖、海淀区艺术节二等奖、德国舒曼杯青少年钢琴大赛优秀奖等奖项。现在北京创办个人钢琴钢琴教学工作室。</p>','<p>1994年毕业于山西大学音乐系钢琴表演专业。自幼从师于山西大学音乐系肖玫教授及中央乐团钢琴家蔡妮，1992年在中央音乐学院随牟洪、杨乃林学习作曲及和声。2007年获得中央音乐学院“全国音乐教师等级认证”高级钢琴教师资格（资格证编号07AHPF00042），并受到李昕、李其芳等老师的指教。','','1291951904','1');
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INSERT INTO `node_revisions` VALUES ('1490','1500','1','逄勃工作室视频更改通知(2010/12/13)','<p>逄勃工作室钢琴教学视频将于2010年12月20日(下周一)开始重播下列教学视频：</p><p>    杜维诺依钢琴练习曲 手指技巧练习 作品176(1-25)共10集<br />    杜维诺依钢琴练习曲 手指技巧练习 作品276(1-7)7集<br />    杜维诺依钢琴练习曲 手指技巧练习 作品276(8-20)13集<br />    巴赫初级钢琴教程上(1-12)12集<br />    巴赫初级钢琴教程下(13-21)9集<br />    中心教材(1-8)8集<br />    布格缪勒100上(1-11)11集<br />    布格缪勒100下(12-20)8集</p><p><br />第一期：杜维依诺钢琴练习曲 手指练习 作品176 <br />播出日期：2010年12月20日 （周一）——2011年01月13日 （周四）<br />播放时间：<br />    每周一、周四    10：00——12：00<br />    每周二          20：00——22：00<br />为方便大家学习，每个视频课程播放四周。</p><p>操作步骤：<br />    1、 登陆网址<a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a><br />    2、 输入自己的用户名和密码登陆<br />    3、 进入首页后点击“教师联盟”，或“钢琴教程”、<br />    4、 再点击“逄勃工作室”，选择“逄勃教学视频”即可收看。<br />    5、 登录过程中出现任何问题请联系技术人员 Tel：010-67896015</p>','<p>逄勃工作室钢琴教学视频将于2010年12月20日(下周一)开始重播下列教学视频：</p>','','1292213894','1');
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INSERT INTO `node_revisions` VALUES ('1493','1503','1','Ungar1zh','<p>古静丹</p><p>No.1 Chopin: Nocturne in C-sharp minor, Op.27 No.1<br />-这首非常有难度的作品你完成得很精彩。演奏中有很多高质量的表现，尤其是在慢速中保持歌唱性的长线条方面。这意味着你非常专注地倾听自己声音。<br />-不同段落的对比的幅度可以更明确和抓人一些。<br />-在A段中，应该把左手伴奏部分的均匀度做得更好一些，避免多余的突然动作和慌乱造成的重音。这首夜曲中，为了制造萦绕不断的气氛，均匀度是很重要的。第20小节，右手的双声部为了凸显层次感，不仅应该依靠不同的音量，更要通过不同的音色特点来完成。<br />-第26小节的“ritenuto”的长度为3个小节，为了取得足够的张力和期待感应该保持气息的延续性。你弹得忽快忽慢。<br />-中段部分有一个长的持续性渐强——应该利用低音线条的方向感来衬托右手。<br />-第45小节“热情的”和49小节“绵延的”应该弹得更具有其特征一些，其实，左手的大跳和右手非常连贯的声音都需要在速度上拉开一些。<br />-从第65小节起，丰满和声的写法要求弹奏在双手的声音平衡度和速度上都要更谨慎一些。确认加速是从78小节开始而不是之前。<br />-在所有的张力导向这里后，很可惜的是，所有这一切以及“con forza”所传达出的特点在你的华彩乐段中都没有体现出来。<br />-你在结尾处转调至升C大调的方式完成得很好，很敏感。<br />-请注意最后三小节所标注的“Adagio”，应该表现得更慢更从容不迫一些，使作为结尾的右手的升f到升e的解决留有更自然的时间分寸。</p><p>No.2 Chopin: Etude in F major, Op.10 No.8<br />-同样是非常精彩的演奏，如果速度把握更好一些的话。我非常欣赏你对左手的处理——在右手清晰的跑动同时保持了很好的左手旋律线条。<br />-你应该更多得意识到A A B A Coda.的结构，对曲式的理解会帮助你在重复A段时做出更多的变化。<br />- 请注意肖邦在每一拍都注明了重音记号，他的意思是想要四个音一组的韵律并且保持向前的动力，形成走向。<br />-他的大多数练习曲中高潮要在尾声之前才出现，因此第71小节要注意这一点。<br />-高潮的另一个极端出现在57小节的PP，要注意“diminuendo”和 “poco rallentando”为其铺垫－这在你的演奏中是最不成功的地方。<br />-你在最后七小节前就慢下来，使得你希望在全曲最后的渐慢和渐弱的效果无法体现。你需要在这两种想法中有所取舍。</p><p>No.3 Chopin: Polonaise, Op.44<br />-这是一次精彩而具有能量的演奏。在作品中体现了你的慎重想法并且诠释出了你自己的个人看法。从严谨的韵律感到清晰的旋律线条，在演奏中有许多正面积极的反映。我很欣赏你对中段的诠释，因为持续的重复很容易导致让人感到烦闷。小心安排的减弱和长旋律线使结尾段落很自然到达了最终的总结。<br />-主要问题在于你对踏板的使用。当我对你右手的分句理解感到满意的同时，乐曲的效果没有出现非常有活力而具有节奏感的舞蹈，取而代之的是模糊的混混欲睡的背景声部，这都由于你对踏板的使用考虑不够细致小心。我建议你对于肖邦所注明的踏板记号要持有忠诚度。当然，他所使用的钢琴与今天我们演奏的乐器有很大不同，但我们仍然需要遵循他所想要的效果。另外，踏板的学习必须要与左手音量和触键方式相结合。<br />-“波兰舞曲节奏”要在高傲和目标性的意思下表达得更清楚一些。<br />-肖邦作品中的重复要基于我们在音色和时间伸缩方面所做出的微调，而不只是每次重复的一样。<br />-你的八度乐句弹得太直，愣，缺乏流动感。<br />-中段的重复句型应该弹得更清脆一些，以便与第一部分做出更好的对比。要注意：对于乐句的基本节奏韵律要修正：第一拍更重要而非第二拍。请安肖邦标注的踏板记号踩，把八分音符的跳音保持干一些而使泛音更清楚。<br />-对于我而言，优美的A大调上的马祖卡弹得有点太“直白”了，这首温柔的特性要求非常多的伸缩处理和时间余地使作品表现出“时间停止”的状态，并保持玛祖卡所特有的细腻特性。这样才能使段落之间的对比更加明显，向前的方向感紧凑而持续不断。</p><p>总的来说你是一位让人印象深刻的演奏者。你的准备工作和作品的呈现都具有很高的水准。我能感觉到你和你的老师基于乐谱都在努力地寻找更有效的解决方式。你高质量的演奏使我感到非常享受。希望你在今后的努力中做得更好。</p>','<p>古静丹</p>','','1292737648','1');
INSERT INTO `node_revisions` VALUES ('1494','1504','1','Ungar2zh','<p>冀宇森</p><p>No.1 Chopin: Etude in C major, Op.10 No.1<br />-很赞赏你的技术能力。然而，这首练习曲的困难之处在于，也是经常被大家所误解的，并不是有多快多准确，而是如何通过伟岸的姿态描绘出具有魔力的英雄形象。一定不能把它弹成手指练习，像势如破竹般突破障碍的过程。<br />-仔细地听你的左手八度，更好地平衡左手低音和右手琶音之间的声部并且为两者的关系提供支持。<br />-对结构要更有敏感意识，特别是B段开始（25小节）和A段再现（第49小节）。 </p><p>No.2 Chopin: Nocturne in B-flat minor, Op.9 No.1<br />-演奏基本成功。我强烈建议你多听一些肖邦的降B小调的其他作品，能帮助你更加理解这个伟大作曲家对这个调性的特殊色彩和感受。作品的沉思和迷一般的特性应该更出来一些。作品的灵感完全依赖于作曲家喜欢的歌剧中“bel canto” （优美的歌唱）。<br />-加强灵活性。旋律的写法很大程度上靠的是起伏的线条。第一句中要注意三个重复音所传达的方向感（第一小节），最后四个音把动力减缓下来——这些记号不是让你渐强减弱的。<br />-在左手保持非常连贯而均匀的同时努力做到右手声音的起伏。别因为大跨度音程要大跳而在小节末尾处停顿，这经常会打搅这首曲子的流动性。<br />-在稳定的左手低音音型基础上，在22，11，18，7，20连音乐句中找到自如的感觉。<br />-要观察并且理解作者在不同地方给的重音的含义。（15，16小节）注意降D到C的解决<br />-中段的典型问题是关于重复音型的——如果没有变化，这些句子会很无聊和烦闷。<br />-你必须通过声部层次以及对“agogy”的诠释来改变音色从而抓住我们的注意力。关于这一点最典型的例子是在23到25小节：“rallentando”持续了三个小节的地方。紧张度的保持是使旋律线流畅解决的关键因素。</p><p>No.3 Debussy: Pour le Piano<br />I. Prelude: <br />-小心对待作者给予我们的指示总是有好处的。Animato应该译为有活力的，生气勃勃的，甚至是兴奋的，但绝对不能慌乱和仓促。德彪西还加上了“非常有节奏感的”，这很清楚地要求我们注意每小节有三拍。<br />-我觉得你的这首曲子比较粗糙，缺少法国作曲家所特有的精细和优美。我建议你的弹奏要有更多横向线条避免对琴键的敲击。<br />-在第一首中有许多对比很大的乐句，包括快速十六分音符和重复和弦。必要的变化以及生动体现出“Animato” ——如何触键非常重要。<br />-一直要很小心对待十六分音符的如何分组以及清晰的表情记号。德彪西一直都坚持演奏者要听从他的指示。<br />-第6小节第一次出现了一个清晰的长踏板标记，从第8小节变得更长。为了获得效果，你需要意识到：透明的右手伴随着左手浅浅的旋律线条。还应注意这些长踏板乐句中不能出重音。要小心旋律和和声伴奏声部之间的平衡。<br />-小心和弦乐句所表现的高潮中的声部，不要只是弹出声音来，而不带有任何特殊音响效果的设计。最后六小节不仅是和声，还带有旋律线的暗示。<br />II. Sarabande:<br />-这一首之所以被称为“萨拉班德”是因为德彪西想效仿这种舞蹈所特有的节奏。第二拍总是被强调，第三拍流动至下一小节，因此支撑住和向前走的感觉是结合在一起的。灵活性很关键，同时舞曲的感觉必须要保持。<br />-没有从你的演奏中听到“萨拉班德”的特点。另外，你没有对如何听从德彪西的要求做出必要的努力，这是不能被接受的。他指出“solemn elegance”应该弹得很慢，你的演奏带有有很多突然的加速和音量变化。作者不会喜欢这种“浪漫”的诠释。<br />-有些时候，你确实做出了优美的和弦音色，因此我强烈奉劝你要把这种努力贯穿全曲。法国音乐最关键的是控制，对音色，速度，表情记号以及触键方式的控制。在每一段中都要把这些元素准确无误地整合起来。<br />III. Toccata<br />-你可能已经知道“托卡他”一词来源于“Toccare”，意思是“接触”，德彪西精确称这首轻巧而变化繁多的作品为“toccata”是因为它要求通过丰富精彩的多变指触表现出如彩虹般绚丽的色彩。而彩虹的颜色由于你过于匆忙的速度没有显现出来，演奏中没有细腻的变化，更重要的是，其风格所要求的美丽优雅的音色。</p><p>冀宇森，你已经拥有了非常扎实的技术功底。我要建议你把技术放到背景地位中，用你的艺术感和想象力去创造音乐。一个演奏者的主要任务是用藏于音符背后的人类情感与听众沟通。从现在开始这应该成为你的第一任务。我相信，通过大量的努力练习和一双持续挑剔的耳朵，你将有能力完成这一项困难的任务。</p>','<p>冀宇森</p>','','1292737703','1');
INSERT INTO `node_revisions` VALUES ('1498','1508','1','Ungar3zh','<p>李颖</p><p>No.1 Chopin: Nocturne in C-sharp minor, Op.27 No.1<br />-你是一位很自然的钢琴家，显示出很好的乐器掌控力。你演示出了对风格的准确理解以及对作品中难度技巧的控制力。在右手流动的旋律弹出非常精彩的歌唱性音色同时左手伴奏声部平衡把握得不错。<br />-这首夜曲的第一段应该弹得再宽广安静一些。你的演奏显得太过“激动”不仅由于过快的速度，也由于你的左手不合时宜地带出重音导致内部张力被无意间扰乱。<br />-要注意肖邦的重音是情绪化而非节奏化的标记。<br />-“piu mosso”之前的三小节不太好，因为你不够耐心，肖邦有意地在这三小节用“ritenuto”的方式产生一种悲剧来临之前的凝固气氛。<br />-中段，你的Crescendo做得很好，但应有所保留，因为后面的“appassionata”才应该弹得非常饱满以获得满足感。<br />-65小节显得匆忙，应该为前面骚乱之后的舞曲出现留有空间，另外，肖邦用丰富的和声进行特别是越来越多的伴音化和不和谐和声来引领听众跟着音乐走。<br />-你的戏剧性华彩弹得非常精彩，由中段开始一步步铺垫构筑了一个巨大的高潮。<br />-回到A段，应该产生一种回首往事的意味，弹得太波动。<br />-第94小节，转到大调，像阳光从云层后重现，应体现出敏锐的色彩想象。<br />-终段的Adagio应该更慢更宽广，更阴暗，就如肖邦在提醒我们这是全曲最后一次阴暗色彩的出现，并且最终内心有了释怀的宁静。</p><p>No.2 Chopin: Etude in A minor, Op. 10 No.2<br />-这首很难的练习曲你弹得很好，我很喜欢你的速度、句型以及对旋律线条的掌握。即使是快速跑动的乐句你也保持了歌唱性声音，这是很难得的。<br />-你克服了很别手的段落，右手的3、4、5指独立性很强，你成功地把一首手指练习转化为一首精彩的特性小品。<br />-可以扩大渐强减弱的幅度使曲子更有表现力。<br />-左手的staccato有时太重，可以借助左手上声部旋律线增加表现力，如果弹得细致些，它会变得非常有意思。<br />-从第19小节往后不要慢下来，这是6小节一句的长渐强，因此保持住动力以形成走向。<br />-分句要更明确，因为这首曲子很容易被弹成毫无结构感的流水帐。</p><p>No.3 Verdi/Liszt: Rigoletto – Concert-Paraphrase<br />-这首曲子体现了你的天分，强烈的戏剧感和情感投入。<br />-前奏应该像引子，千万不要弹得比后面的咏叹调还重要。<br />-作为钢琴家我们很少有机会像曼图阿公爵那样演唱这首优美的旋律，因此，好好歌唱吧。弹得时候一定要呼吸，就像真的在演唱一样。要从容不迫，就像伴奏自如地跟着歌唱者的各种想法。<br />-如果你想体现李斯特的乐思，要好好研究一下这部歌剧的其他角色，因为在你的演奏当众他们有所缺失。以华彩形式出现的对话段落中，李斯特以各种形式的技巧表现出不同角色在这出悲剧当中的形象。尾声是李斯特唯一一段以自己的方式对这个故事以及威尔第写的四重唱做出音乐上的结论。以八度下行的方式象征着剧终的落幕。<br />-我希望已经引导你好好研究一下这个故事以及歌剧中的不同角色。只有这样你才能够在钢琴上将这部音乐史上最伟大的歌剧一幕栩栩如生地呈现出来。</p><p>李颖,你有天生的演奏能力。你有非常自然的音乐特点，并且致力于把作品的情感内涵体现出来。保持这些优点，同时仔细研究乐谱，并找到作曲家如何与我们沟通的手段及核心。</p>','<p>李颖</p>','','1292737730','1');
INSERT INTO `node_revisions` VALUES ('1499','1509','1','Ungar4zh','<p>李斯倩</p><p>No.1 Chopin: Etude in C-sharp minor, Op.10 No.4<br />-你的演奏很有能力，对乐器有完整的驾驭力。我惊叹你的准确性，由此反映出你准备得很充足。<br />-速度应该再快一些，听起来有点太求稳。应该冒一下险。经常在渐强的地方，你的向前的动力因为速度原因显得不足。<br />-要把旋律进行体现出来，例如第1到4小节左手下行和弦，它使音乐更有活力并把我们的注意力从右手的手指练习转移到音乐性上。同时要注意第3小节的低音线条，因为第8小节又再次出现。<br />-应把跑动音符凑成一组一组的，肖邦就是这样要求的，比如第一小节，16个音一组而第二小节4个音一组，并且每组都带有重音。这些指触使作品充满生气，更抓人，而且能产生让人意想不到的效果。</p><p>No.2 Chopin: Nocturne in D-flat major, Op.27 No.2<br />-你对结构的理解很清晰，我非常喜欢你每一次主题的出现都以不同的力度层次呈现出来。<br />-这首乐曲是一首歌剧咏叹调，注意左手不要喧宾夺主，要在引吭高歌的旋律与温和的耳语般的低音线条拉开明确的区别。<br />-随着乐曲的进行，必需寻求丰富的色彩变化。比如B段（第10小节）降b小调理所应当比后面的降B大调要阴暗，降e小调内在张力自然要少一些。C段，英雄性的A大调应该是很温和的，别急于渐强。下一句的结构要精心安排，把我们推上到主题回归的凯旋感。遗憾的是，你在乐曲高潮来之前早已把乐器的声音填满了，所以我们无法体会到肖邦在乐曲中标注的地方的满足感。<br />-第57小节，你再次误解了“Crescendo“背后的含义，在此你已经太响，因此无法表达出作曲家想要的欢呼的感觉。<br />-精巧的尾声应为一首二重唱，（是35年之后著名的威尔第歌剧阿依达在落幕前的告别二重唱的先驱），要努力以不同的力度指触及松紧区别出不同的声部。</p><p>No.3 Liszt: Fantasy on Themes from Mozart\'s Marriage of Figaro and Don Giovanni<br />-你在追随一小批演奏这首不太知名的乐曲的钢琴家如Ferruccio Busoni, Egon Petri, Vladimir Horowitz, Grigory Ginzburg, Emil Gilels 以及近期的 Stephen Hough, Jean-Yves Thibaudet 和 Leslie Howard。事实上，李斯特生前从未发表过这部作品，直至最近出版的全集。我非常钦佩你愿意学习这首令人生畏的艰难作品，我相信你以后无论何时演奏它都将获得很大的成功。<br />-你拥有足够的能力克服各种困难，并以令人信服的准确性和能量弹奏出来。然而，它应该听起来像李斯特驾驭一切技术困难那样的游刃有余，并且至少音乐性与技巧性地位相等，甚至李斯特在作品中更强调幻想曲的音乐性。在你的演奏中似乎让听众应接不暇的技巧比例占得大了一些，类似情况出现的次数过多<br />-进一步地说，你需要进一步去挖掘费加罗和凯路比诺的角色成分。在剧中他们是性格相反的两个角色，在他们各自的旋律中鲜明地体现了这种差异。李斯特天才般地捕捉到这些著名唱段的特性，直到尾声才转向Don Giovanni。如此构思与莫扎特的手段相得益彰，在Don Giovanni的段落中借用了费加罗的旋律。研究歌剧中的角色有助于你掌控力度层次及指触变化和张驰松紧的能力。我希望这些乐句更加轻巧和风趣，因为我们都直到费加罗的婚礼是一部喜歌剧。</p><p>再次祝贺你精彩的演奏。<br />李斯倩,总的来说你是一位有才能的，认真的钢琴家。通过你不同的曲目选择与组合，体现出你有丰富的声音变化，宽阔的力度幅度，和很好的表演精神。我希望你把精力主要放在致力于音乐性的提高方面，希望在不远的将来再次听到你的演奏。</p>','<p>李斯倩</p>','','1292737756','1');
INSERT INTO `node_revisions` VALUES ('1500','1510','1','Ungar5zh','<p>潘林子</p><p>No.1 Chopin: Nocturne in C minor, Op.48 No.1<br />-毋庸置疑的，你是一位严肃的音乐家并拥有非常出色的戏剧本能。你非常专注投入并且在琴上的能力很强。我确信你已经打下了了开展音乐事业的基础。<br />-整首作品的重要因素之一是段落之间的速度，但你对速度的选择我保留我的看法。当然速度是很个人化的选择，并且与你想表达的内容有关。肖邦本人的标注以及这部作品调性的明确性已经给出了答案并切决定了我们有多少自由度。<br />-在肖邦的作品中，“lento”并不应简单地直译成“慢速”，它更带有某种性质的成分。听一听第二奏鸣曲的第三乐章“葬礼”的“lento”就明白了，决不应为了通常意义上的“lento”并把他理解为慢速而牺牲旋律线条。<br />-这个主题象一首歌曲，本身就带有呼吸的暗示，因此应该有一定的松紧。对我来说头四小节应该在完整的一口气内，进一步说，4/4拍的强弱分级应该是1.3拍强于2，4拍，因此如果你每拍都一样并且内在张力不变，音乐反而缺少了动力。与此同时，你要在和声进行方面进行近一步挖掘，因为它也是决定速度的关键参考因素之一。<br />-我建议你要找到一个能使作品结构更紧凑的速度。相信这会使各种因素都融合在一起并达到令人满意的效果。</p><p>No.2 Chopin: Etude in F major, Op. 10 No.8<br />-很精彩，色彩丰富并充分体现了肖邦音乐中强烈的和声表现力。我非常喜欢你右手的轻盈感和左手的歌唱性。<br />-你的音乐有很好的走向，但如果你能做出肖邦写在很多音符上的律动性着重号，效果会更出色，你的速度始终如一令人称道，对细节的体现也令人满意。<br />-个人来说，我不喜欢将最后的和弦处理成减弱，听起来感觉这些和弦无足轻重，让人觉得结尾不了了之。我更愿意按照肖邦的指示做完满的收尾。<br />总而言之，弹得很棒，我真希望你把其他23首练习曲都弹了。</p><p>No.3 Liszt: Ballade No.2 in B minor<br />-你对李斯特音乐的理解达到如此成熟的程度难能可贵，对与这首容易弹散的曲子你花了不少心思。有很多地方你弹得非常有光彩并且我非常喜欢你很温暖而具有亲和力的音色。<br />-不同的档级的速度之间的关系要把握得更明确。从“Allegro moderato” 到 “Lento assai” 以及 “Allegretto”必需相互关联的。“Allegretto”不应比 “Allegro moderato”快 ，“Lento assai” 并不意味着完全的停顿。.<br />-“Allegretto”部分的旋律轮廓非常重要。第25小节你好像走向了最后的八分音符，这个地方要稳住。升F大调在这里是阳光明媚的感觉。<br />-踏板要用得考究，开始的句子（包括类似句子）踏板多了些，听起来象在水下，很混浊。<br />- 86小节开始的句子带有更多的对位复调性质，把层次理清楚，线条的清晰度比炫技式的音响更重要。要注意96小节的P，一直保持了16小节才出现一个小的渐强，之后才走向“ff”。所有李斯特作品里到处都是类似这样对于力度布局的掌控，事实上李斯特的戏剧性体现在对于力度布局的精确布置。<br />-第一个高潮之后，声音不要退下来得太快，第129小节，李斯特在此不写力度标记是非常明智的，因为他希望我们保持张力并且将其延长至135小节的解决——在那儿D大调的出现给予了不同的色彩。<br />-“Allegretto”部分的旋律先出现在D大调，然后是G大调，之后短暂徘徊在降E大小调之间，因此色彩变化显得更为重要。<br />-当主题从B大调转到降E大调的时候，这段以降E大调出现的引子所产生的色彩感匠心独具。因此从调性色彩上去理解李斯特结构如此庞大的作品是非常必要的。<br />-在接下来的高潮于第207小节达到了“fff“，它理应高于第一次高潮，必需记住李斯特是如何构筑这一首结构庞大的叙事曲。<br />-第215小节李斯特没有标注更慢的速度——要避免使自己慢下来以免产生感伤气息，让速度继续向前并借助不同的触键和力度手段弹出有意思的变化。<br />-我觉得这首曲子最美的瞬间同时也是你弹得最好的段落——充满了光彩的254小节“Allegro moderato”。你捕捉到了李斯特王者风范的音色，犹如贝多芬在他第九交响乐末乐章中向我们诉说的人性的光辉。弹得漂亮！<br />-最后的高潮是全曲的最高点，再次重申，你必需有前瞻性地布局好如何登顶，比起你现在所做的饱满的和弦应充满急切感，而上行音阶的冲劲儿和能量还远远不够。<br />-衔接到尾声段不太好弄，你要认真对待。特别是如何从快速跑句将“ritardando”平顺地渐慢到“Andantino”，而你弹的“Andantino”有点快，好像你想重新回到“Allegretto”的速度——李斯特很明智，他想以平静而非进一步减慢速度的状态终结此曲，给予我们祥和和曲终。</p><p>潘林子，你是个很有才华的钢琴家，在很多方面已经非常成熟并有自己的想法和理念。你运用娴熟的技巧使音乐以最自然的方式表达。同时你读谱非常仔细并认真地加以考虑和理解，使你充分明悉作曲家的意图，你有独特的天分，我希望你能更进一步发展和提高你的音乐层次。</p>','<p>潘林子</p>','','1292737776','1');
INSERT INTO `node_revisions` VALUES ('1501','1511','1','Ungar6zh','<p>潘雨萌</p><p>No.1 Chopin: Nocturne in B major, Op.32 No.1<br />-你在这首乐曲表现出来的的真挚情感的幅度之宽令我印象深刻。你对旋律线的乐感自然而高贵。通常肖邦的旋律伸缩性是不太容易掌握的。你对乐曲总体风格的把握和不同段落的处理我很喜欢。<br />-尽可能保持左手的灵活性和连贯。是和声进行要听得很清楚。如果你每个音都弹得零散，这些八分音符听起来就很无聊乏味。<br />-肖邦通常都对重复乐段都以装饰变化做细微的不同处理，因此我们就要把每个重复乐段处理得不同，而用更多的力度变化手段使其更有吸引力。<br />-你有很乐感的听觉并对一些美妙瞬间很敏锐，但你总是倾向用单一的“rallentando”来表现这些地方。用得太多了就没有效果了，所以要明确到底在哪里用，分寸感要把握好。切忌滥用。<br />-中段声音可以再出来一些，尤其是对位性质更多的段落，但注意声部进行要清晰连贯。<br />-第63小节的f要很明确，我喜欢你曲终的华彩段处理，但多次出现的ff和弦应保持紧张度，对于有力的插句要表现得更像宣叙调。</p><p>No.2 Chopin: Etude in E minor, Op. 25 No.5 <br />-你的耳朵很灵，而且懂得如何驾驭乐器。你对e小调的色彩体验更倾向于深沉情绪，但scherzo的性质应该更引出更轻巧的感觉。以这种严肃情绪处理这首曲子还是可以的，但尽可能带着轻松的心情。试试以最自然的状态同时找到一种高雅和魅力去演奏。避免各种突然的“rallentandos”以免听起来很沉重，时常令曲子走走停停。<br />-中段就是一段优美的歌剧咏叹调，因此音乐要自然流畅，不要太沉重，右手的指触可以再轻以免盖过左手，右手旋律太严肃太抢眼，与左手的乐观光彩不相称。<br />-结束段我还是认为和弦过于厚重，应该以干脆利索的方式更为恰当，以免丢掉戏剧性和高贵感。</p><p>No.3 Liszt: Hungarian Rhapsody No.12<br />-你的能力很强，机能也非常好，弹得很精彩，几乎没有任何技术问题。可能把结构掌握得更好会让你的演奏更上一个层次。匈牙利狂想曲的基本结构源于“verbunkos”匈牙利的多段体的招兵舞蹈，这种形式的特点运用了幅度极大的速度变化来反映情绪变化，典型地体现了匈牙利精神。并且，李斯特保留了这种舞蹈里最主要的两种元素即典型的吉普赛风格：“lassan” (慢段) and the “friska” (快段)<br />-“lassan”部分不错，我很喜欢你的很深的强烈戏剧性情感表现，可以更自由就像真正的即兴弹奏。不同段落之间的力度变化可以幅度更大。而且可以做自由的铺垫，充分利用静默的瞬间去反衬意外的出现而放大这种对比。<br />-Vivace引入了最终的舞蹈，再这里可以更有活力并更加突出舞蹈的元素。舞蹈最重要的特性就是稳固的律动，与此同时，李斯特顺着“verbunkos”的特性逐步加速，并且情绪起伏越来越大，他标注的“sempre vivamente”, “brioso”, “accelerando” 和“il pi presto possible”意味着速度逐渐提升，直至进入尾声－Adagio。对你来说，按照作曲家的要求逐渐加快应该没有任何困难，但这种持续的渐快，中间没有任何速度波动，需要精确的掌控，这是你在下一次演奏需要磨练的方面。</p><p>潘雨萌, 你已经显示出非常成熟的程度，我相信你将成长为一位优秀的音乐家。继续努力，在未来的几年要学习大量的曲目，为你今后的一生需要做好积累的准备。同时，要多听钢琴以外的不同体裁的作品，这对于掌握不同作曲家的风格是非常重要的。期待着再次听到你的演奏。</p>','<p>潘雨萌</p>','','1292737789','1');
INSERT INTO `node_revisions` VALUES ('1502','1512','1','Ungar7zh','<p>徐子昂</p><p>No.1 Chopin: Etude in G-sharp minor, Op. 25 No.6<br />-对于这首难度很高的练习曲你有充足的技巧去应付它，并且整个过程以非常出色的控制使细腻的色彩层次体现出来。<br />-左手还可以更好，依据旋律的性质，右手要控制得更好以获得平衡，这样更符合这首曲子的性质――高雅，柔顺，内向。要注意肖邦的标注SottoVoce，以及仅有的五次f的地点都是巧妙安排的，但是几乎每次出现后都马上都回落到更弱的声音，你如何诠释这些f就体现了你对结构的掌握，以及如何在回到再现之前推向高潮。<br />-第31小节应该更有戏剧性更冲。可以用一些踏板。<br />-曲子中标注了很多次Legato，当出现staccato的时候意味着更轻巧。<br />-第27至30小节的左手应该更连更有歌唱性和表现力。<br />-第34小节，肖邦没有写“ritardando”，但我同意在回到主题之前速度稍稍松下来一点，但勿过分以免影响这首曲子无穷动的风格律动。<br />-尾声部分，一定要确保每小节的重拍比第三拍突出，左手不要出重音，以免听起来很匆忙。<br />-结尾的下行跑句，肖邦写成了像落幕一样，所以像是在最后两小节才像魔术师那样露出笑容结束全曲。“lento”段的华彩出现要更自然并且速度要与全曲相协调。<br />-最后一个建议：你看上去很较劲，坐直一点。以你的弹奏能力，完全没必要小心谨慎地盯着手指。如果你以不同的坐姿去弹，相信你对曲子的感觉也有所不同。</p><p>No.2 Chopin: Nocturne in C minor, Op.48 No.1<br />-你的音乐很深，声音很美，对这首庄严的乐曲感觉很敏锐。有些时候我觉得你自己的处理和控制有点多，好像与作曲家想法不太一样。旋律高贵而简约而其和声进行是第一段的主干线索，过分的处理，会让它显得太费劲。<br />-当然你想体现自己的个性主张是值得表扬但要把握好分寸，尤其是句型。不要过分地纠结于某些音，以免破坏乐曲向前的律动。<br />-分句特别重要，而关键在于左手，比如第9到第10小节的左手下行线条，在第11和第12小节又以上行的反向进行出现。<br />-23－24小节的f太过了，而且比例失调。我觉得它不是这首曲子后来出现的f，而是伤心地企盼下一段sotto voce的圣咏。<br />-你的圣咏段需要一个非常明确的速度，这是所有圣咏的关键，要以稳固的节拍使和声进行到最终的终止式。<br />-你处理旋律性和弦以及推向第一个高潮的双八度段落充分体现了你的音乐性。我很喜欢你Doppio movimento之前的热情及戏剧性华彩句。<br />-第45小节的颤音太长了，这个地方的紧张度和动力不断加强，没有那么多时间去过分体现细节和细腻的层次。<br />-最后，要小心地推进“crescendo”以便掌握好推向72小节高潮ff的进度。</p><p>No.3 Liszt/Horowitz: Hungarian Rhapsody No.2<br />- 匈牙利狂想曲的基本结构源于“verbunkos”匈牙利的多段体的招兵舞蹈，结构基于“lassan” (慢) and the “friska” (快)及两段的对比，慢段更加即兴并性质变化丰富，快段是舞蹈，需要严格的律动。<br />-你的戏剧性对比性质的乐感很好，这也是第一段的核心，在体现李斯特的本真乐思上你做得很好，你的强项是技术能力出色，看起来没什么曲子能难住你。<br />-需要改进的是声音的宽阔性和指触，要充满色彩变化和声音的走向轮廓。与夜曲一样，你有在不恰当的地方做““ritardandos”的习惯，有些声音的停顿与音乐内容缺乏内在联系。<br />-第二段显示出你对乐器的驾驭力，似乎要超越李斯特甚至霍氏。第一个高潮有不少地方弹得不错（174小节开始），你的rubato乐感很好，而某些抻的和弦效果不错。230小节处的左手副旋律（霍氏改编）也体现得很清晰。精彩。<br />-再次提醒，通过霍氏的方式，你应该掌握李斯特的秘诀——如何运用不同的色彩和指触变化来增加和延长弱音量乐句的表现力以酝酿和延迟渐强的出现。<br />-在这一段，你慢下来了而且丢掉了紧张度，其实这里作曲家是要体现一种舞蹈并且把它推向高潮，如果你仔细研究这个作品的结构，只有在最后尾声之前才出现了仅有的一次暂缓。以你的技巧，我相信你能弹得很精彩。</p><p>徐子昂, 你很有才能，音乐浑然天成。尽管你的处理令人耳目一新，但我相信有些东西终将修成正果，并把你带入音乐的专业领域。我将乐于看到你的成长。</p>','<p>徐子昂</p>','','1292737802','1');
INSERT INTO `node_revisions` VALUES ('1503','1513','1','Ungar1en','<p>Contestant No.1 - GU Jingdan</p><p>No.1 Chopin: Nocturne in C-sharp minor, Op.27 No.1</p><p>-Excellent performance of this very difficult work. You display lots of good qualities especially a wonderful ability of maintaining a long singing line in a slow tempo. This means that you are intensely listening to your sounds. </p><p>-The contrast between sections could be even more defined and striking.</p><p>-In section “A” you should strive for evenness of the left hand accompaniment, avoiding unnecessary quick moments or sudden jolts of loud dynamics. This evenness is essential in providing the haunting atmosphere of this nocturne.</p><p>In measure 20 make more distinction of the two voices in the right hand by using not only dynamic differences but also in character.</p><p>-In measure 26 the “ritenuto” is for 3 measures and should be more consistent in order to build up tension and expectation. You play slower and then play faster and slower again. </p><p>-The middle section has a long continuous crescendo – use the bass line as a guide while voicing the right hand</p><p>-Make more characterization in measure 45 “appassionato” and in measure 49 “sostenuto”. In fact, the wide leaps in the left hand and the full legato sound of the right hand demand an expansion on the tempo.</p><p>-From measure 65 the full harmonic writing demands careful use of tempo and balance of hands. Make sure you accelerate only from measure 78 and not before. </p><p>-After all the tension leading up to it, the “con forza” character together with its drama is unfortunately missing in your cadenza. </p><p>-Your approach to the C-sharp major change toward the end is nicely and sensitively done. </p><p>-Please observe the “Adagio” in the last three measures, which should be slower and more deliberate, allowing the natural timing of the release of the f-sharp in the right hand to the E-sharp as a conclusion.</p><p>No.2 Chopin: Etude in F major, Op.10 No.8</p><p>-Again an excellent performance, if somewhat “measured” in tempo. I like very much you treatment of the left hand as a source for melodic character while the clarity of your right hand runs is very commendable. </p><p>-You should be more aware of the structure of A A B A Coda. Understanding the form would allow you to make some difference when you repeat the A section.</p><p>-Notice the accents that Chopin places on every beat. It means that he wants groups of four notes pulsing and consistently moving forward, generating a sense of direction.</p><p>-Strive for the climax in measure 71 which is usually reserved for just before the coda in most of his etudes.</p><p>-The polar opposite of this climax is the PP in measure 57 which is prepared by “diminuendo” and “poco rallentando” - this part was the least successful of your performance.</p><p>-Your slowing down right before the cascading final seven measures does not work if you also wish to slow down and make a diminuendo at the very end. You have to make a decision and choose only one.</p><p>No.3 Chopin: Polonaise, Op.44</p><p>-This is a wonderful, powerful performance. You have given serious thoughts to the work and have created a personal statement. There are numerous positive reactions to your playing from the strong sense of pulse to the clarity of the melodic line. I enjoyed your interpretation of the middle section which due to its constant repetition can become tedious. And the ending was successfully brought to a final conclusion with a careful diminuendo and long melodic line.</p><p>-The main problem is your use of the pedal. While I do admire your strong sense of phrasing in the right hand, the overall effect is not of an energetic, rhythmic dance but of a rather blurred and lethargic background that is due to your lack of careful consideration of the pedal. I would advise you to make an effort to see if the pedal markings of Chopin can be used faithfully. Of course his piano was quite different from the instrument we are performing today, but it does give us some indication what he wanted. Further, the study of pedaling must be combined with the volume of the left hand together with the articulation used.</p><p>-Aim at bringing out the famous “polonaise rhythm” more clearly and with a sense of purpose and pride.</p><p>-Chopin’s use of repetition is based on the notion that we would make slight but important changes in sound and timing, and not just try to do the same thing every time. </p><p>-Your octave passages are rather vertical and it lacks a sense of flow.</p><p>-The middle section with its relentlessly repetitious pattern should be played with more crispiness, making a good contrast from the 1st section. One caution: you must revise the pattern to adhere to the basic rhythmic pulse in - the first beat should be more important and not the second beat. Also try the pedal marking of Chopin here, and keep the staccato eighth notes dry and clear of any overtones.</p><p>-For me the mazurka in the beautiful key of A major was slightly too “direct” and “present”. Its gentle nature requires such rubato and timing that give a sense of timelessness, while maintaining the subtle characteristic of a mazurka. This would create a sharp contrast to the other sections, where the forward motion is relentless and constant. </p><p>In general you are a very impressive performer. Your preparation and presentation is on a very high level. I sense that you and your teacher are working hard to search for solutions based on the score and that you are sincere and honest in your effort. I truly enjoyed your performance that has many strong positive qualities. I wish you well in all your endeavors.</p>','<p>Contestant No.1 - GU Jingdan</p><p>No.1 Chopin: Nocturne in C-sharp minor, Op.27 No.1</p><p>-Excellent performance of this very difficult work. You display lots of good qualities especially a wonderful ability of maintaining a long singing line in a slow tempo. This means that you are intensely listening to your sounds. </p>','','1292741559','1');
INSERT INTO `node_revisions` VALUES ('1504','1514','1','Ungar2en','<p>Contestant No.2 – JI Yusen</p><p>No.1 Chopin: Etude in C major, Op.10 No.1</p><p>-I commend you for your technical ability. However, the difficulty of this Etude, which is often misunderstood, is not how fast and accurately one plays it but to portray a certain magical heroic vision through a magnificent gesture. It must not sound like an exercise but a progression of sweeping sounds that move through irreversible barriers. </p><p>-Listen carefully to your left hand octaves so that there is a balanced and supporting relationship between the left hand bass and the right hand arpeggios.</p><p>-Be more aware and sensitive of the structure especially when the “B” section starts (measure 25) and the return of section “A” (measure 49)  </p><p>No.2 Chopin: Nocturne in B-flat minor, Op.9 No.1</p><p>-Basically you have the making of a successful performance. I highly recommend that you also listen to other compositions of Chopin in the same key of B-flat minor to understand the special color and feeling that this great composer had for this key. The character should be much more brooding and often enigmatic. Its inspiration is totally dependent on the “bel canto” (beautiful singing) operas favored by Chopin. </p><p>-You should strive for greater flexibility. The melodic writing depends much on the rise and fall of the line. In the first phrase observe the forward movement of the three repeated notes (measure 1) while the last four notes ease off the momentum – thus these markings are not merely crescendo/diminuendo.</p><p>-Try to work harder in obtaining a more sinuous sound based on total legato and evenness in the left hand. Do not stop at the end of measure just because there is a bigger interval where your hand has to leap. This often results in disrupting the fluid quality of this nocturne.</p><p>-Find the freedom of the “melismatic” passages that are written in groups of 22, 11, 18, 7 and 20 notes above established bass figure</p><p>-Try to observe and understand the meaning and the function of accents placed in various places by the composer. Make an effort to resolve these when necessary (measure 15 and 16) from the “D-flat” to the “C” </p><p>-The middle section is particularly problematic as it is based on repetition. That, when repeated without any creative involvement, can become rather tedious and monotonous.</p><p>-You must change colors through voicing as well as using enterprising “agogy” to allow the music to keep our attention. The most problematic example of this in measures 23 to 25 where the “rallentando” continues for three measures. Building up intensity is essentially the reason for the melodic resolution that follows.   </p><p>No.3 Debussy: Pour le Piano</p><p>I.  Prelude: </p><p>-It is always best to look closely at the indications given by composers. “Anim?#8221; should be translated as lively, vigorous, perhaps excited, but never panic and or in haste. Furthermore, Debussy adds ”very rhythmically” which clearly demands attention to the three beats in every measure. </p><p>-I find your playing of this piece rather crude, lacking the finesse and beauty that is the hallmark of this French composer. You would be advised to try to play more horizontally and reduce your attack of the keyboard</p><p>-There are wide contrasting passages in this movement from the fast sixteen notes to the repeated chords. Articulation is extremely important as this gives the necessary variety and brings the “anim?#8221; to life.</p><p>-Constant care should be taken in how you group the continuous sixteen notes as well as the clear dynamic indications. Debussy always insists that performers follow his instructions. </p><p>-Measure 6 is the first clear suggestion for a longer pedal which then becomes even longer in measure 8. To accomplish this effect, you need to be aware of the transparency of the right hand with the slight melodic line in the left hand. You should notice in these long pedaled passages that there are no accents. There is a need for careful balance between the melody and harmonic accompaniment </p><p>-Voice carefully the chordal passages that mark the climax, do not just play them without some effort to make a special sound.</p><p>-The final six measures are not only harmonic but also some hint of melodic writing.</p><p>II. Sarabande:</p><p>-The reason why this movement is called the “sarabande” is because Debussy wants to emulate the rhythm that is specifically associated with the dance. The emphasis is always on the second beat while the third beat often flows to the next measure, thus giving a combination of the feeling of sustaining and then moving forward. It is important to note that flexibility is essential yet a strong sense of the dance must be constant. </p><p>-I did not hear in your performance the “sarabande” characteristic. Furthermore, it is unacceptable that you do not make sufficient effort to observe and follow Debussy’s instructions. He indicates a “solemn elegance” performed slowly. Your playing had a lot of momentary increase in tempos with a great deal of fluctuation in dynamics. This is not the kind of “romantic” interpretation that Debussy would welcome. </p><p>-A few times, however, you do produce some beautiful chordal sounds. Therefore I strongly urge you to make every effort to apply this throughout the movement. French music is all about control, controlling in sound, tempo, dynamics, and articulation. And all these elements strive for an unmistakable unification within each movement.</p><p>III. Toccata</p><p>-As you probably already know, “toccata” comes from the word “toccare” which means “to touch”. Debussy calls this light and often changing work “toccata” precisely because it requires multitude of fantastic touches resulting in a rainbow of colors. This rainbow is seriously lacking in your playing as a result of your very fast and hurried tempo. There is no opportunity for nuances, for variety and, most importantly, stylistically required beautiful and elegant sounds.</p><p>Ji Yusen, you have already a strong and solid technical foundation. I would advise that you put this in the background and use your artistic and imaginative ability to make music. A performer’s main task is to communicate to the audience the human feelings behind the notes. This should be your priority from now on. I believe that, with great deal of dedicated hard work and a constant critical set of ears, you would be able achieve this difficult task.</p>','<p>Contestant No.2 – JI Yusen</p><p>No.1 Chopin: Etude in C major, Op.10 No.1</p>','','1292738030','1');
INSERT INTO `node_revisions` VALUES ('1505','1515','1','Ungar3en','<p>Contestant No.3 – LI Ying</p><p>No.1 Chopin: Nocturne in C-sharp minor, Op.27 No.1</p><p>-You are a natural pianist, displaying a wonderful command of the instrument. You demonstrate a great deal of understanding of the style as well as control of the numerous technical problems inherent in the work. You balance the left hand accompaniment well with the flow of the melodic line in your right hand which wonderfully produces a penetrating singing tone.</p><p>-The first section of this nocturne should be much more spacious and tranquil. Yours was more “agitato” not only because of a faster tempo, which is not advisable, but also because your left hand sometimes brought out notes in inappropriate places that inadvertently interrupted the inner tension.</p><p>-You should pay more attention to Chopin’s accents as these are more emotional than rhythmical.</p><p>-The three measures prior to “piu mosso” were not successful due to lack of patience on your part. Chopin in particularly wants “ritenuto” for these three measures to create an incredible atmosphere of foreboding stillness before something tragic.</p><p>-You produce an excellent “crescendo” in the middle section but somehow do not go all the way to the “appassionata” that has to be played with great satisfaction and fullness of sound.</p><p>-I found your playing from measure 65 rather hurried, lacking the space for the inherent dance that blossoms out of the previous chaos. Further, Chopin uses full harmonic progressions that gradually become more and more chromatic and dissonant demanding care and attention to enable the listeners to follow. </p><p>-Congratulations on the dramatic cadenza which was spun out from the huge climax that has been building up through the middle section.</p><p>-Your return to section “A” should be more of a reminiscence of the beginning section. It was again too “agitato”. </p><p>-The transformation to the major (measure 94) requires much more sensitivity and imagination in order allow the sun to come out from behind the clouds.</p><p>-The final “Adagio” must be slower, broader, and darker as if Chopin reminds us for the last time of the dark colors throughout the main portion of the work, yet ending with a moment of inner peace and reconciliation.</p><p>No.2 Chopin: Etude in A minor, Op. 10 No.2</p><p>-Wonderful performance of this very difficult etude. I like very much your tempo, your attention to shape the phrases, and control of the melodic line. You have an inherent singing tone, even during fast finger work passages, which is very admirable.</p><p>-You have conquered very successfully the intricate division of the fingers, and have made your 3rd, 4th, and 5th fingers independent in your right hand. You also have made the transition from a finger exercise to a superb character piece. </p><p>-Make the work come more alive and interesting by using a wider range of crescendo and diminuendo </p><p>-Your left hand staccatos were sometimes too heavy. Involve the left hands top voices into creating some interesting melodic lines that, if played with subtlety, can become quite surprising and satisfying.</p><p>-Make sure that you don’t become slower from measure 19 onward. It is one long crescendo through six measures, so keep the momentum and build it up with a sense of direction.</p><p>-Clarify your phrasing even more as this work often tends to just flow without any feeling for the structure.</p><p>No.3 Verdi/Liszt: Rigoletto – Concert-Paraphrase</p><p>-You played this piece with flair, a great sense of drama, and emotional involvement. </p><p>-The Preludio should be performed as an introduction. You must not make it more important than the ensuing aria. </p><p>-As pianists we do not often get a chance to sing such a fabulous melody as the Duke of Mantua sings in this case, and so enjoy the melodies. Learn to breathe as if you are really singing. And take more time as the accompaniment is constructed so well as to follow the whim of singers.</p><p>-You should learn about the other characters in the opera if you want to do justice to the Liszt’s intentions, something that you are not doing here. While there are interjections in the form of cadenzas showing Liszt uncanny technical abilities, he mainly focuses on portraying the tragedy through the characters. The coda is the only part that Liszt uses for his personal reaction to the story and completes Verdi’s “quartet” by musically representing the last moment of the opera before the curtain falls, which in this case is the falling octaves.</p><p>-I hope I have enticed you enough to research for yourself the story and the different characters of the opera. Only after such a study will you be able to bring to life through the piano one of the greatest operatic moments in history.</p><p>Li Ying, you have a natural ability to play the piano. You have an innate musical personality and a deep commitment to bring out the emotional meanings of the pieces. Keep up with your excellent work, while at the same time study the scores carefully and try to find ways to get to the heart of what the composers want to communicate.</p>','<p>Contestant No.3 – LI Ying</p><p>No.1 Chopin: Nocturne in C-sharp minor, Op.27 No.1</p>','','1292738085','1');
INSERT INTO `node_revisions` VALUES ('1506','1516','1','ungar4en','<p>Contestant No.4 – LI Siqian</p><p>No.1 Chopin: Etude in C-sharp minor, Op.10 No.4</p><p>-Your performance is extremely competent and shows a well rounded command of the piano. Furthermore, I marvel at the execution of accuracy and precision you display. It came across as a very solid and well prepared performance.</p><p>-You should increase the tempo. At the moment it sounds terribly safe. You need to take chances. Often when there is a crescendo your forward momentum suffers.</p><p>-Search more for melodic progressions, for example the descending chords in the left hand (measures 1 to 4) as they keep the interest alive and draw our attention away from the idea of finger exercise. Also, pay attention to the bass line pattern in measure 3 which is echoed in measure 8. </p><p>-Make an effort to group the running notes as Chopin requests, e.g. in a unit of 16 as in measure 1, or in groups of four with slight accents as in measure 2. These articulations make the work come alive and interesting, often producing lots of surprising moments. Such explorations can have wonderful results.</p><p>No.2 Chopin: Nocturne in D-flat major, Op.27 No.2</p><p>-You have a clear understanding of the structure and I enjoyed how you changed the dynamic levels each time the main theme was used. </p><p>-This nocturne is essentially an operatic aria. Pay attention that your left hand accompaniment does not become too prominent. Make a bigger distance in dynamics between the soaring singing melodies and the gentle “whispering” bass. </p><p>-You must strive for different colors as the piece progresses. For example in the “B” section (measure 10) the B-flat minor is certainly much darker than the preceding D-flat major, while the following E-flat minor displays a lessening of tension. In section “C” the heroic A major must be subdued, and do wait for the first of many “crescendos”. The following passage must be constructed with great deal of care, lifting us into the triumphant return of theme “A”. It was unfortunate that you arrived at the capacity of the instrument well before this climax, so our waiting was not as satisfactory as Chopin indicated in the score.</p><p>-Again you misjudged the idea behind the “crescendo” in measure 57 as you were already quite loud, so that the ensuing measures were not as exalted as intended by the composer.</p><p>-The exquisite coda should be a duet (precursor by 35 year of the famous farewell duet of Verdi’s “Aida” at the conclusion of the opera). Try to separate the voices more by dynamics, articulations, as well as rubato.</p><p>No.3 Liszt: Fantasy on Themes from Mozart\'s Marriage of Figaro and Don Giovanni</p><p>-You are following a small number of incredible performers like Ferruccio Busoni, Egon Petri, Vladimir Horowitz, Grigory Ginzburg, Emil Gilels and more recently Stephen Hough, Jean-Yves Thibaudet and Leslie Howard who performed this little known work. In fact this was never published by Liszt and relatively recently it has come to life in the complete published works. I do admire you for learning this horrendously difficult work and I am sure you will have great success with it wherever you perform it. </p><p>-You display all the necessary ability to rise above the difficulties and present it with energy and uncanny accuracy. However, it must be stated that for Liszt such technical demands were not that difficult, and he placed equal, if not more, emphasis on the music on which he based his fantasy. In your performance the technique was a priority and again while it dazzles the listen, it gets too much at times. </p><p>-Further you need to explore more the character of Figaro and Cherubino. They are two opposing characters in the opera and their melodies represent this explicitly. Liszt, with his ingenuity, captures the essence taking their famous arias and moving to Don Giovanni in the coda. The idea is not that far from Mozart’s idea as he himself used the melodies borrowed from Figaro in Don Giovanni. Studying these operatic characters will lead you to a greater variety of dynamics, articulation and better timing. Often I wished that passages would be lighter and more “fun” as we all know The Marriage of Figaro is a comic opera. </p><p>-Again, congratulations on your brilliant performance!</p><p>In summary, LI Siqian you are a very talented and serious pianist. You showed in your chosen repertoire a great variety of sounds, a wide range of dynamics, and a wonderful spirit for performance. I hope you will continue to develop focusing primarily on music, and with hopes I will have the chance to hear you live in the not too distant future.</p>','<p>Contestant No.4 – LI Siqian</p><p>No.1 Chopin: Etude in C-sharp minor, Op.10 No.4</p><p>-Your performance is extremely competent and shows a well rounded command of the piano. Furthermore, I marvel at the execution of accuracy and precision you display. It came across as a very solid and well prepared performance.</p>','','1292738141','1');
INSERT INTO `node_revisions` VALUES ('1507','1517','1','Ungar5en','<p>Contestant No.5 – PAN Linzi</p><p>No.1 Chopin: Nocturne in C minor, Op.48 No.1</p><p>- It is unmistakable that you are a very serious musician and have a wonderful instinct for drama. You play with great commitment and your ability on the piano is absolute, and I am sure you have the basis for a wonderful career in music. </p><p>- Throughout the piece, one important element of this work that has kept me questioning your decisions was your tempo and its relationship between the sections. Tempo is related to what you want to say which of course can be quite individual. Yet, with Chopin his indication and consistent clarity of the totality of the work makes a great deal of sense, and therefore dictates on how much liberties we can take. </p><p>- “Lento” does not directly translate as just plain slowness in Chopin. It is more of a certain character. Listen to the “Lento” 3rd movement of the Sonata No.2 in B-flat minor “Marche funebre”. You should never sacrifice the movement of the melodic line for an idealistic “slow” tempo that satisfies the normal conception of “Lento”.</p><p>- The theme here is flexible and has inbuilt suggestions for breathing, like a song. For me the first four measures are unified by one breath. Furthermore, in 4/4 the hierarchies of beats are 1 then 3 and then 2 and 4. So if you play all of them the same way and with the same intensity, the music has no power to move. At the same time you must explore the harmonic progression as this is also a key element in our decision of tempo.</p><p>- I would advise you try to somewhat unify the work through a well selected tempo. I am sure you will see the value in this when everything comes together with greater satisfaction. </p><p>No.2 Chopin: Etude in F major, Op. 10 No.8</p><p>- A superb performance, full of color and wonderful acknowledgement of the great harmonic power of Chopin’s music. I liked very much the lightness of your right hand and your “cantabile” playing the left hand. </p><p>- Your forward motion was excellent, although if you could only observe the small pulsating accents that Chopin places on so many notes, it would have been even more brilliant. Your consistent tempo throughout was exemplary and your observation of details was also very gratifying. </p><p>- On a personal note, I never liked the idea of playing the last chords as if they were not important. Your idea of making a diminuendo there lacked conviction. I would much rather follow Chopin’s suggestion of leading the work to a positive conclusion.</p><p>- Nevertheless, a great performance, and I truly hope you will play all the other 23 etudes.</p><p>No.3 Liszt: Ballade No.2 in B minor</p><p>- It is indeed rare to hear such mature understanding of Liszt’s music that you display through this performance. It is obvious that you have given a lot of thoughts for this piece as it is a very difficult work to hold together. There are numerous moments that are glorious and I congratulate you on having a warm and inviting sound. </p><p>- Relations within the different tempos should be more clearly defined. “Allegro moderato” to “Lento assai” and “Allegretto” must be related - the “Allegretto” should not sound faster than the “Allegro moderato” and “Lento assai” is not a complete stop.</p><p>- Shaping the “Allegretto” melody is important. In measure 25 you seem to move towards the last eighth note. Keep this very steady. F-sharp major in its most sunny disposition. </p><p>- The use of pedal requires great care. For me the passage at beginning (and similar passages) has a tendency to be over pedaled, resulting in a wash of sound as if underwater. </p><p>- The passage starting from measure 86 is much more polyphonic and should be voiced accordingly. Again the clarity of lines is more important than loud virtuoso playing. Notice how the “p” in measure 96 is maintained with only slight crescendos leading 16 measures later to “ff”. All of Liszt’s music is full of examples of his demand for such control. And indeed Liszt’s drama depends on this kind of dynamic control to a great extent.</p><p>- After the first climax, do not let the sound go so quickly – in measure 129 Liszt so wisely does not give a dynamic indication hoping that we keep the tension and prolong it to its resolution only in measure 135 where a completely different color in D major is sounded.</p><p>- Color becomes even more important in the next section when the “Allegretto” melody is in D major, then G major, and slightly in E-flat major/minor.</p><p>- This ingenious introduction of the E-flat color is even more recognizable when the main subject turns from B major to E-flat major in the next section. It is essential to define these coloring to understand how Liszt planned such a large work.</p><p>- The following climax reaches “fff” in measure 207 and indeed should be larger than the first one – again keep in mind the larger structure of the Ballade which obviously Liszt had in mind.</p><p>- In measure 215 Liszt refuses to indicate a slower tempo – take care not to allow yourself the luxury of slowing down here as it might lead you to sound somewhat sentimental. Keep the tempo moving and use dynamics and articulation to produce interesting changes.</p><p>- For me the most beautiful moment of the Ballade and indeed the best section for you is the glorious “Allegro moderato” in measure 254. You really capture the true majestic sound of Liszt that is as close to speaking to us about humanity as Beethoven in the final movement of his Ninth Symphony. Well done!</p><p>- The final climax is the highest of them all, and again you must have the perspective to achieve this – the fullness of the chords with the urgency and large gestures of the upward swing of the scales must be much more fulfilling than what you displayed – but it will come in time.</p><p>- Leading to the coda is difficult to realize and you must work on this, especially try to gradually lead the “ritardando” from the fast passages to the “Andantino”. In your performance the “Andantino” seems to be faster as if you want to bring back the “Allegretto” tempo – Liszt is wise, he wants to conclude in a tranquil mode and sets a tempo that without any further slowing down gives us peace and finality.</p><p>Pan Linzi, you are a very talented pianist, and already in many ways mature and with personal ideas and convictions. You use your prodigious technique to enable the music to speak in a most natural way. You also pay careful attention to the text and take it seriously as it guides you through the composer’s intentions. You have a special gift and I do hope you will continue to develop and intensify your musical awareness.</p>','<p>Contestant No.5 – PAN Linzi</p><p>No.1 Chopin: Nocturne in C minor, Op.48 No.1</p><p>- It is unmistakable that you are a very serious musician and have a wonderful instinct for drama. You play with great commitment and your ability on the piano is absolute, and I am sure you have the basis for a wonderful career in music. </p>','','1292738193','1');
INSERT INTO `node_revisions` VALUES ('1508','1518','1','Ungar6en','<p>Contestant No.6 – PAN Yumeng</p><p>No.1 Chopin: Nocturne in B major, Op.32 No.1</p><p>-I am very impressed by the great range of sincere emotions you display in your performance of this Nocturne. You possess a natural and noble feeling for the melodic line and this flexibility in Chopin’s melodies is generally very difficult to understand. I like very much your treatment of the different sections and in general your approach to this style.</p><p>-Try to keep the left hand as supple and legato as possible. These are harmonic progressions and must be heard as such. If you play each note separately the constancy of the eighth notes can become tiring.</p><p>-Chopin repeats often with slight variations of embellishments, and it is our task to make each repetition different and interesting by using much more variety in timing and dynamics.</p><p>-You have musical ears and are very sensitive to particular beautiful moments, and you have the tendency to use a lot of “rallentando” to bring to attention these moments. Doing it too often would diminish their value. So chose carefully where to use it and use it less so these moments would come across as really special.</p><p>-The middles section could have more sound as it becomes much more contrapuntal, but be careful to make sure that the voice leadings are clear and can be followed.</p><p>-Make sure that the forte in measure 63 is clear. I like your approach to the ending cadenza. However, you should try to maintain the tension created by the succession of “sf” chords while reacting to their powerful interjection – much like a recitative.</p><p>No.2 Chopin: Etude in E minor, Op. 25 No.5 </p><p>-You have good ears, and obviously have a wonderful command of the piano. Your reaction to the E minor color is rather leaning toward the heavy and brooding mood. However, the character is “scherzo” which elicits a much lighter response. With your seriousness I think it is still possible to incorporate a little light heartedness. Try to find a natural approach that is based on elegance and charm, and avoid complex sudden “rallentandos” that often sound heavy and stop the motion.</p><p>-The middle section is nothing more than just a beautiful operatic aria, and therefore could flow with much more ease and less heaviness. Try a much lighter touch in your right hand so that it does not overwhelm the left hand. Your left hand melody sounds altogether too serious and profound, not matching or reacting to the optimistic shimmering of the right hand writing. </p><p>-In the coda, I also think reducing the thickness of the chords and a swifter approach would be more appropriate without losing the drama and the nobility.</p><p>No.3 Liszt: Hungarian Rhapsody No.12</p><p>-You have ample ability and well-equipped facilities to bring this off marvelously and there are hardly any technical problems that should be in your way. Perhaps a better understanding of the structure would improve your performance. The basic structures of the Hungarian Rhapsodies owe a great deal to the “verbunkos”, a Hungarian recruiting dance in several parts. The unique feature of this form is the use of extremes of tempos reflecting the extremes of emotions so prevalent in the Hungarian psyche. Further, Liszt kept two main elements of the typical Gypsy style — the “lassan” (slow) and the “friska” (fast) sections.</p><p>-Lovely “lassan”. I love your deep and dramatic emotional intensity. You could afford to be even freer, like real improvisation. Here it is advisable to make great dynamic changes between the sections. You need to pace this more deliberately, taking full advantage of the silence to magnify the unexpected. </p><p>-The arrival of the “Vivace” heralds the final dance, and here you could be more spirited and bring out the dance element more distinctly. The most important aspect of dance is the dependable pulse. At the same time Liszt follows the basic “verbunkos” element of getting faster and more involved, thus he has indications like “sempre vivamente”, “brioso”, “accelerando” and “il pi presto possible” which of course indicate a gradual quickening of the tempo. This only lets up when we get to the coda – Adagio. For you to follow Liszt’s advice of increasing the tempo should pose no difficulty. However, to do it gradually and without slowing down requires utmost control and determination, and this is something that you should work on for your future performance of this piece. </p><p>Pan Yumeng, You already display a great deal of maturity and I am sure you will develop into a wonderful musician. Continue your work, learn a great deal of repertoire as the next few years are most important to acquire the material that you will use for the rest of your life. At the same time listen to other works besides written for the piano as this will lead you to find the individual style of each composer. I look forward to hearing perform again soon.</p>','<p>Contestant No.6 – PAN Yumeng</p><p>No.1 Chopin: Nocturne in B major, Op.32 No.1</p>','','1292738253','1');
INSERT INTO `node_revisions` VALUES ('1509','1519','1','Ungar7en','<p>Contestant No.7 – Xu Ziang</p><p>No.1 Chopin: Etude in G-sharp minor, Op. 25 No.6</p><p>-You indeed have a fabulous technique for this difficult etude, with excellent control in bringing out subtle shades of colors throughout.</p><p>-Where you can still improve on is your left hand. With its melody quality, it should be treated with care and in balance to the right hand, as it best represents the character or of this work - elegance, subdued, and often introverted. Take a look at Chopin’s markings – “sotto voce”, with only five “fortes” strategically placed, but most of which are immediately followed by softer sounds. It is how you play these “fortes” that you create your understanding of the structure as well as the climax before the recapitulation. </p><p>-Measure 31 needs to be more dramatic and intense. I think some use of pedaling would help.</p><p>-Lots of legatos are indicated, and where it has staccato it’s an indication of lightness.</p><p>-The left hand phrases from measure 27 to 30 should be more legato, cantabile, and expressive.</p><p>-Chopin does not write “ritardando” in measure 34, but I agree that a slight easing of tempo is warranted before returning to the main theme. However, try not to overdo it, as it does not fit in this type of perpetual motion.</p><p>-In the coda, take care to make sure that your first beat of each measure is more important than the third beat. And tone down the feeling of urgency by avoiding any accents in the left hand. </p><p>-With the descending passage towards the end, Chopin brings down the curtain. So it is magical how he concludes with a sense of optimism only in the last two measures. I feel that the timing of the cadence in the “lento” should be more natural and more related to the tempo of the entire piece.</p><p>-One last suggestion: you look as if you are working very hard. Try to sit more upright. With your great facilities it is not necessary to look so vigilant and watchful of your fingers. Your vision of the piece will also be different when you play with a different body posture.</p><p>No.2 Chopin: Nocturne in C minor, Op.48 No.1</p><p>-You have a very deep expression, beautiful sound, and with great sensitivity for this majestic nocturne. At times, I do find your performance slightly mannered and over-controlled as if you do not trust Chopin to show you the way. The noble simplicity of the melody with its harmonic progression is the key to the first section of this Nocturne. Anything that is overly treated would make it come across as laborious.</p><p>-It is admirable that you want to make a personal statement, but do this with subtle nuance and proper phrasings. Avoid indulging too much in individual notes, as it poses the danger of stopping the flow. </p><p>-Phrasing is also important and often the key is the left hand. For example show how the descending line of the left hand in measures 9 and 10 is reversed by the ascending line in measures 11 and 12. </p><p>-Your “forte” in measure 23 and 24 comes across as too strong and out of proportion. For me this is not the “forte” that emerges later in the piece, but a poignant calling to attention of the coming chorale “sotto voce”.</p><p>-Your chorale needs to have a more recognizable tempo, as that is the heart of all chorales – a dependable beat that unifies the harmonic progression to important cadence points.</p><p>-Your musicianship comes through in how you manage the melodic chords and the growing double octave towards the first climax of the work. I like your passion and drama of the cadenza-like passage before the Doppio movimento.</p><p>-Watch the length of the trill in measure 45 – it is much too long. It is here that the intensity and the momentum build up, and you do not have time to pay attention to details and too much variety of nuances. </p><p>-Lastly, carefully pace the “crescendo” so there is a perceptible progression to the “fortissimo” climax in measure 72.</p><p>No.3 Liszt/Horowitz: Hungarian Rhapsody No.2</p><p>-The basic structures of the Hungarian Rhapsodies owe a great deal to the “verbunkos”, <br />-a Hungarian recruiting dance. The form is the contrast between the  the “lassan” (slow)     and the “friska” (fast) sections where the first is more improvised and full of character         changes while the second is more of a dance, relying on a more stricter pulse. </p><p>-You have a wonderful feeling for drama and contrasting characters which this first section depends on. And so I believe to a certain extent that you are successful in displaying the original intensions of Liszt. Your strength is your incredible technique. It seems that nothing is too difficult for you.</p><p>-Where you can improve on is the grandeur of sound and the touch, which is full of colors and shapes. You have, as in the Nocturne, a habit of placing “ritardandos” in unwarranted places, and waiting on notes without much logic to its content. </p><p>-In the second section you display a wonderful command of the instrument, and manage to cross all the hurdles that Liszt, plus Horowitz, places in front of you. There are many wonderful moments you produce especially in the first climax (measure 174 and onwards). You have a good sense of the “rubato” and delay the chords to great effects, as well as the clarity of the secondary melody in the left hand (composed by Horowitz) from measure 230. Bravo.</p><p>-Again, where you can get a better insight in the world of Liszt, through the experience of Horowitz, is on how to delay and wait for the “crescendos”, using a vast spectrum of colors and combination of touches to keep the interest in prolonged soft passages.</p><p>-In this section, you have the tendency to slow down and allow the tension to drop, where as the real intension of Liszt is to produce a dance that grows and moves to the final climax. If you carefully study the music there is only one time that you should make a moment of respite and that is just before the final coda. And I am sure with your technique you are able to do this fantastically. </p><p>Xu Ziang, you are a major talent, music flows through you. As yet your decisions on musical matters are fresh and untested but there is in you something that will eventually blossom and carry you forward into the music profession. I will watch your journey with great pleasure.</p>','<p>Contestant No.7 – Xu Ziang</p><p>No.1 Chopin: Etude in G-sharp minor, Op. 25 No.6</p><p>-You indeed have a fabulous technique for this difficult etude, with excellent control in bringing out subtle shades of colors throughout.</p>','','1292738317','1');
INSERT INTO `node_revisions` VALUES ('1510','1520','1','Ungar8en','<p>Contestant No.8 – YANG Shiyu</p><p>No.1 Chopin: Etude in G-flat major, Op. 10 No.5</p><p>-Within four pages, Chopin creates a world of magic and magicians. And it is a challenge for all of us to generate an atmosphere where such enchanting and captivating possibilities live.  </p><p>-You have a solid technique, and have worked hard to make the right hand even as well as listening well to keep a healthy balance between the hands.</p><p>-I very much enjoyed some parts especially the way you manage the left hand melodic progression from measure 24 and also the wonderful lift of the passage just before the coda (measure 65).</p><p>-I also commend you for not falling in the trap of playing the last 8 measures too bombastically. After all, this is not a large work and you should always keep in mind the perspective that the whole work presents. Such overview of any work is indispensible in any artistic creation. </p><p>-This large vision is also important in the tempo and especially when adhering to Chopin’s markings – for example “poco rallentando” should not be over exaggerated to such a point that it sounds as if you put on the brake. It is also important to construct any “ritardando” not just with the idea of slowing down but with an understanding that it is essential in the musical context. In measure 48, your slowing down really allows all the tension that you build up on the dominant pedal point to escape. In this case while the idea is good if done with timing and flowing naturally, the entry of the main subject was not at all satisfying.</p><p>A word about the dynamics that Chopin so carefully indicates. Observing this is very important. And achieving much greater contrast should be your aim. Look at all the “crescendos”, they so often indicate a forward motion and intensification rather than just increasing the volume.</p><p>No.2 Chopin: Nocturne in F-sharp major, Op.15 No.2</p><p>-You are indeed a very good pianist and you take care of searching for solutions in the music. You also take care of how you use the pedal, and this is an exceptionally difficult task in the music of Chopin.</p><p>-You need to work out the bigger architecture of the phrases – where does the momentum take us, to find that note and move towards and then away from it. All the phrases in the “A” section are 8 measures long and the point at which you should aim is always in the sixth bar. In the first two groups the note is F-sharp, which is used in dissonance above a G-sharp, displaying tension that is released in the next two measures. It is this rise and fall, tension and release that I am missing from your playing.</p><p>-Some parts your tone is rather bold and straight forward. Observe carefully the dynamic range. Not once is there a “forte”, which should be an indication of the overall gentle character that Chopin wants to display. The simplicity of the melody and the rippling flow in the middle section (note that it is “sotto voce”) all point to a friendly atmosphere of warmth and tranquility.  </p><p>-A word about tempo especially when interpreting “Doppio movimento” (Twice the speed).  Your tempo here creates a breathlessness that in my mind is foreign to the piece. Four measures before this section you start to accelerate, and as a result it prevents you from establishing a reference tempo for the “Doppio movimento”. Chopin did not indicate any accelerando here. In fact, the wide arpeggios in the left hand chords suggest a built-in “sostenuto”. So please try to find the best and most natural solution to unify the tempos.</p><p>No.3 Ginastera: Danzes Argentinas, Op.2</p><p>-This is such a great work, full of contrast and great energy. And being an excellent performer you demonstrate most of this.</p><p>-The first dance called “Dance of the Old Herdsman” is full of rhythmic surprises, jumping from 6/8 to 3/4. You must keep the pulse tight whenever possible and never let it go. The coda is a perfect example how important it is to keep the tempo – those silences are part of the music and the questions are only resolve in the last 3 measure. Watch the “rest” in the second last measure.</p><p>-The second dance is called “Dance of the Beautiful Maiden”. As the title suggests this is a solo aria and dance. The composer requests “cantando” in a singing style. It is one person dancing and singing, so you should take the opportunity to be freer, perhaps even giving the impression of improvising. The indication “soave” in the “B” section means “smoothly” and so please build up the tension and dynamics gradually and do not allow the left hand to dominate with detached notes. The return was very beautiful as was the ending.</p><p>-The last dance is the “Dance of the Arrogant Cowboy” with such indications as furiosamente (“furiously”), violente (“violent”), and salvaggio (“wild”). It is indeed a wild dance full of rhythmic changes and relentless tempo. You have a tendency to speed up in certain sections and as a result you lose the tautness and the tension you so skillfully build up. The “C” section has two pedal points built on a note – C and A-flat. This is probably the most energetic and loudest part and should be played with abandonment, yet and here you mistakenly play softly. Again, speeding up in the “C” section leads to problems in the coda. Never forget that a dance depends on clear indication of pulse to make it successful, and this is certainly the case in this work.</p><p>Yang Shiyu you are a very good pianist and well deserve to be amongst the best young artists studying in China. Your performance shows that you are a good student however moving from that level to artistry is a journey that is not simple, and it should not be. Listen to a great deal of music and analyze what are the elements that allow an artist to communicate. Once you understand more about this would probably advance you and use your wonderful technique in the service of great music.</p>','<p>Contestant No.8 – YANG Shiyu</p><p>No.1 Chopin: Etude in G-flat major, Op. 10 No.5</p><p>-Within four pages, Chopin creates a world of magic and magicians. And it is a challenge for all of us to generate an atmosphere where such enchanting and captivating possibilities live.  </p>','','1292738371','1');
INSERT INTO `node_revisions` VALUES ('1511','1521','1','Ungar9en','<p>Contestant No.9 – Mozar Tsang</p><p>No.1 Chopin: Etude in A minor, Op. 10 No.2</p><p>-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</p><p>-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</p><p>-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>Contestant No.9 – Mozar Tsang</p><p>No.1 Chopin: Etude in A minor, Op. 10 No.2</p><p>-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>','','1292738427','1');
INSERT INTO `node_revisions` VALUES ('1512','1522','1','Ungar10en','<p>Contestant No.10 – ZHANG Ruixue</p><p>No.1 Chopin: Nocturne in F major, Op.15 No.1</p><p>-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</p><p>-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</p><p>-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>Contestant No.10 – ZHANG Ruixue</p><p>No.1 Chopin: Nocturne in F major, Op.15 No.1</p>','','1292738471','1');
INSERT INTO `node_revisions` VALUES ('1513','1523','1','Ungar11en','<p>Contestant No.11 – ZHANG Chuhan</p><p>No.1 Chopin: Nocturne in E-flat major, Op.9 No.2</p><p>-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</p><p>-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</p><p>-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>Contestant No.11 – ZHANG Chuhan</p><p>No.1 Chopin: Nocturne in E-flat major, Op.9 No.2</p><p>-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>','','1292738635','1');
INSERT INTO `node_revisions` VALUES ('1514','1524','1','Ungar12en','<p>Contestant No.12 – ZHANG Yunling</p><p>No.1 Chopin: Etude in C minor, Op.10 No.12</p><p>-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</p><p>-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</p><p>-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>Contestant No.12 – ZHANG Yunling</p><p>No.1 Chopin: Etude in C minor, Op.10 No.12</p>','','1292738604','1');
INSERT INTO `node_revisions` VALUES ('1515','1525','1','coop1en','<p>GU Jingdan</p><p>In general  Ms. Gu had excellent control over the sound colour, balance, and dynamic range.  Her playing had confidence, calmness and authority.  Pedalling was careful and mostly subtle, and her legato playing was faultless.</p><p>The Nocturne Op.27 No.1 had a beautiful, liquid sound, with rhythmic elasticity ¨C and at the same time a wonderful simplicity and naturalness. The double thirds were balanced and stunningly expressive. The long line was always perfectly paced in terms of tension and release. The idea of playing the left hand slightly before the right hand became predictable and a little irritating after a while.</p><p>Op.10 No.8 was lively and clear, but slightly lacking in elegance and grace. The left hand could have more poise, with less clipped and ?°determined?± drive.  Right hand could have more colour and variety in articulation. Altogether it was a bit ?°study?±-like.</p><p>Polonaise Op.44 was solid and full of assuredness.  The middle section could have more harmonic revelation.  A major could be brighter, more sunny ¨C not always rich and dark. </p><p>A range of sound quality is important to the listener; too much of a good thing is not always the best decision!</p>','<p>GU Jingdan</p><p>In general  Ms. Gu had excellent control over the sound colour, balance, and dynamic range.  Her playing had confidence, calmness and authority.  Pedalling was careful and mostly subtle, and her legato playing was faultless.</p>','','1292738921','1');
INSERT INTO `node_revisions` VALUES ('1516','1526','1','coop2en','<p>JI Yusen</p><p>Mr. Yusen has fleet and strong fingers, and a relaxed and reliable physical approach to the piano.  He is able to get a big sound, certainly understands the basic of technique.  There is still, however, a considerable distance to go in musicianship. I also found that he was not fully engaged in the music itself, but rather played at the pieces.  This is still a very unformed musical mind.</p><p>Op.10 No.1 was very impressive in its facility and accuracy, but it seemed to be almost entirely an athletic event.  The work can provide a wonderful architecture and is a stunning vehicle for the consonant and satisfying harmonic structure.  There is so much more to be done!</p><p>Nocturne Op.9 No.1: The sound was warm and the effort sincere, but often the phrases fell into short segments rather than long lines.  Dynamics were clear, but the character and colour did not change ¨C only the amount of sound. Rubati seemed worked out and taught, rather than resulting from the pianist?ˉs natural free sense of the line.  Legato was not good enough; overlapping with the fingers is necessary.</p><p>Debussy: This was a fluent but rather mechanical performance.  Pedalling was rigid and obvious, with no fine gradation. Harmonic revelation in this work is such an important part of the expression, yet there was little recognition in the playing.</p>','<p>JI Yusen</p>','','1292738986','1');
INSERT INTO `node_revisions` VALUES ('1517','1527','1','coop3en','<p>LI Ying</p><p>A serious and well-taught young musician.  Every note, every phrase was carefully crafted and executed, and the playing had confidence and consistency.</p><p>The Nocturne Op.27 no.1 was extremely well thought out. The gorgeous sound, pacing, timing and shape of the whole piece was attractive and fluent.  I missed a sense of personal expression and spontaneity, which will no doubt come with more experience and more listening to music of all types (operas, symphonies, instrumental works, Lieder etc.)</p><p>Op.10 No 2 was an illustration of fabulous fingers ¨C equal, fleet, strong!  Bravo! Now this beautiful etude needs colour and imagination!</p><p>Liszt: The technical acumen in the Rigoletto Paraphrase was impressive indeed.  The sheer physical efficiency is something that many could learn from (no extraneous and interruptive motions).  Strength and stamina were in abundance!  Passagework not quite colourful enough ¨C it needed more variety in tension and release.  A sense of the whole vision was missing</p>','<p>LI Ying</p><p>A serious and well-taught young musician.  Every note, every phrase was carefully crafted and executed, and the playing had confidence and consistency.</p>','','1292739844','1');
INSERT INTO `node_revisions` VALUES ('1518','1528','1','coop4en','<p>LI Siqian</p><p>In general the playing was fluent and accurate, with assuredness and poise.   Sound control was consistent, and every technical challenge was met with ease and seeming effortlessness.  Accuracy was almost 100%!</p><p>Op.10 No.4: This etude was musically rather drab and monochromatic.  The 16th notes, while brilliant in their evenness, were almost all exactly the same, with no real indication of the shape or function of the line.</p><p>Nocturne, op.27 No.2: A very calm and self-confident performance, but lacking in radiance and ecstasy in the climax, and real sorrow in the coda.  Personal involvement was not apparent.</p><p>Liszt: Many of the same qualities that have been mentioned above were in this performance.  The technical grasp was admirable, but musically it was fragmented and lacking a connecting dramatic concept.  The intensity level did not change throughout this long work.</p>','<p>LI Siqian</p><p>In general the playing was fluent and accurate, with assuredness and poise.   Sound control was consistent, and every technical challenge was met with ease and seeming effortlessness.  Accuracy was almost 100%!</p>','','1292739097','1');
INSERT INTO `node_revisions` VALUES ('1519','1529','1','coop5en','<p>PAN Linzi</p><p>This young pianist has a wonderful inner calm and steadiness combined with an intensity of architectural understanding that gives her playing a compelling communication. My attention did not wander for a moment!</p><p>The Nocturne Op.48 No.1 had an atmospheric and uninterrupted spaciousness to it which was convincing and spellbinding.  The middle section could be wilder ¨C it was a little too controlled and restrained, not in volume but in character.</p><p>Op.10 No. 8 was lively, charming and poised, beautifully shaped and absolutely accurate.  There was variety and harmonic revelation as a result of intelligence and inner understanding.</p><p>Liszt: This was a subtle, refreshingly UNbombastic performance of the Ballade, a warm lyricism and a strong sense of the whole work.</p>','<p>PAN Linzi</p><p>This young pianist has a wonderful inner calm and steadiness combined with an intensity of architectural understanding that gives her playing a compelling communication. My attention did not wander for a moment!</p>','','1292739863','1');
INSERT INTO `node_revisions` VALUES ('1520','1530','1','coop6en','<p>PAN Yumeng</p><p>This young pianist projected passion and total engagement with the music.  She has large and capable hands and a fine musical mind.  A very promising performer!</p><p>Nocturne Op.32 No.1:  This was a colourful and well-paced performance, full of variety and conviction.  The sound was warm and rich, but there was always room for diversity and a change of character when needed.</p><p>Etude Op.25 No.5: The outer sections of this etude were accurate and lively, although the voicing aspect was a little heavy-handed and exaggerated. The middle section seemed fragmented and too active, both physically and musically, and the pianist relied a little too much on the pedal for a legato melody.  The climactic leaps toward the end were very careful and lacked the exciting dramatic thrill that they should provide.</p><p>Liszt: On the whole a fine performance up to the final section, which unfortunately slowed down suddenly, and from here to the end the piece had no real dramatic line ¨C no inner direction and force.  I was disappointed after such an auspicious start.</p>','<p>PAN Yumeng</p><p>This young pianist projected passion and total engagement with the music.  She has large and capable hands and a fine musical mind.  A very promising performer!</p>','','1292739225','1');
INSERT INTO `node_revisions` VALUES ('1521','1531','1','coop7en','<p>XU Ziang</p><p>A wonderful, personal young pianist!  I felt the energy, the strong concept of each work and most of all the willingness to take risks for the sake of the music?ˉs excitement and thrill ¨C this takes courage and confidence.   </p><p>Op.10 No.5 Etude: This performance was not only admirable technically, but full of life, character and variety.  It could have even more elegance if the lower voice of the thirds were softer, especially when the line descends.</p><p>Nocturne Op.27 No.2: The opening was beautiful, revealing harmonic colour and elasticity without being overdone.  In the chorale, Mr.Xu seemed to try and put across too many ideas, obscuring the simplicity and nobility of this part.  (Simplicity is often more difficult to achieve than complexity!)  In the triplet section the rubati was exaggerated, especially when he took time, causing the music to be choppy and a little calculated.</p><p>Liszt: This was splendid ¨C a spirited performance full of character, technical acumen, musical intelligence and maturity.  Bravo!</p>','<p>XU Ziang</p><p>A wonderful, personal young pianist!  I felt the energy, the strong concept of each work and most of all the willingness to take risks for the sake of the music?ˉs excitement and thrill ¨C this takes courage and confidence.   </p>','','1292739323','1');
INSERT INTO `node_revisions` VALUES ('1522','1532','1','coop8en','<p>YANG Shiyu</p><p>This pianist has a fine technical security, with fleet fingers and a good sound.  I found that his playing needs much more imagination and variety in general, and a sense that he ?°owns?± the music himself ¨C not just being a responsible and good student.  He should be encouraged to think for himself and to come up with ideas for his playing that-even if they are not particularly appropriate or tasteful-come from an inner conviction.</p><p>The Op.10 No.5 Etude was solid and accurate, but not particularly nimble or effervescent.  If one is to play any of these etudes, one needs not only good fingers, but an inspired artistic sense of the piece. Pedalling was not subtle and helpful in creating character.</p><p>Nocturne Op.9 No.2: The playing is sincere and honest, but needs so much more in the way of range in intensity (even in the shortest melodic motive), in articulation, in harmonic colour.  But most of all there must be a sense of spontaneity ¨C real emotional last-minute decision making, which comes from practicing different ways of approaching the material.  Everything seemed almost stale musically.</p><p>Ginastera: Altogether very fluent and articulate.  All the technical elements were in place ¨C now the idea is to let go and give some real fire and looseness to the performance.  They are dances, after all!</p>','<p>YANG Shiyu</p>','','1292739415','1');
INSERT INTO `node_revisions` VALUES ('1523','1533','1','coop9en','<p>TSANG Mozar</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>Op. No.2 was ravishing ¨C 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?ˉs 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>TSANG Mozar</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>Op. No.2 was ravishing ¨C so radiant and elegant.  Absolute accuracy was perhaps sacrificed for artistic integrity, something that I applaud.</p>','','1292739475','1');
INSERT INTO `node_revisions` VALUES ('1524','1534','1','coop10en','<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?ˉs great image.</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>','','1292739555','1');
INSERT INTO `node_revisions` VALUES ('1525','1535','1','coop11en','<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>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>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>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>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>','','1292739611','1');
INSERT INTO `node_revisions` VALUES ('1526','1536','1','coop12en','<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?ˉs 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>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>','','1292739671','1');
INSERT INTO `node_revisions` VALUES ('1527','1537','1','Elton1en','<p>GU Jingduan:  </p><p>Chopin Op 27/1 Nocturne: This is poised and in many ways immaculate playing, with a sense of space and beauty of sound. There is a slightly static feeling to this and - for all its “professionalism” it is curiously “studied” - missing something more “personal”.</p><p>Etude Op.10/8: Again abundant evidence of an extremely well-developed pianist. Fingerwork is alive, but not over-mechanical. Again, though - from playing of this level of ability, I would have hoped to hear something rather more either elegant or witty, and the final page or so could “melt”and show a rather more different character - though there one can hear that she senses something of this.  Somehow she could convey more sheer enjoyment at playing this! Just a shade dutiful.</p><p>Chopin F sharp minor Polonaise This was considerably less convincing, though it does show some impressive strength and authority. It is somewhat over-“set” and predictable, and does not yet convey the longer noble sweep of the music. Rhythm is too static and chording rather over vertical. A minor section rather solid, with the problems inherent in the repetitious nature of this music not yet addressed. More sense of where the real climax(es) are is needed.  The Mazurka lacks real elasticity of phrasing: this could be a waltz! Again a certain sense of being SO practised, and needing  a more intuitive and creative response to catch the more yielding contrasts of this section.</p><p>These criticisms are always in the context of a really impressive and extremely confident and polished performance. There is a sense (at least for me) of this being extremely well-tutored, but lacking some great degree of any personal “voice”, or of any musical “risk-taking”.</p>','<p>GU Jingduan:  </p><p>Chopin Op 27/1 Nocturne: This is poised and in many ways immaculate playing, with a sense of space and beauty of sound. There is a slightly static feeling to this and - for all its “professionalism” it is curiously “studied” - missing something more “personal”.</p>','','1292740104','1');
INSERT INTO `node_revisions` VALUES ('1528','1538','1','Elton2en','<p>JI Yusen</p><p>Chopin Op. 10/1</p><p>There is clear efficiency and capable pianism here, and this Etude does demand the kind of virtually 100% clean playing that you produce. But it is rather unpleasantly mechanical and over-relentless – bangy LH and brittle sound in RH. Even this Etude should not be totally mechanical.</p><p>Chopin Nocturne Op.9/1 (B flat minor): Clearly carefully prepared, but as yet little real sign of artistry or of musical sympathy for the image of the Nocturne. LH lacks fluidity and RH - especially when in octaves - is rather half barrish in segments. LH often too loud and notey, rather than fluid – esp in middle section. Little sign of real  for the music. Need to work on cantabile and legato. More delicacy and sensitivity to nuances needed. Best was probably the reprise, where some of the more embellished writing in RH was effectively presented and here you produced some genuine sense of intensity.</p><p>Debussy Pour le piano: 1. Again, one can commend his agility, but perhaps this was an unwise choice of repertoire - one that required far more musical sophistication - and (even at a basic level) far greater attention to the score. For example, the instruction to gradually return to opening tempo was ignored - as was the clear fact that the dynamic remains piano for well over a page after the opening few bars. This was, sadly, brash and insensitive playing, lacking both musical and pianistic refinement.  2. Some erratic and careless instabilities in pulse, but generally less misjudged, though the “elegance grave et lent” was not evident. Often unduly wooden. 3. SO fast - and so loud! Clearly able technique but musically simply a non-starter. Relentless.</p><p>It was at least for me, quite distressing to hear a young pianist with clear ability abusing the Debussy - especially the outer movements - in this way. <br />Undoubtedly this young man has talent, but unless he is encouraged - urgently - to take a really radically different approach to the way he thinks musically, it will be too late.</p>','<p>JI Yusen</p><p>Chopin Op. 10/1</p><p>There is clear efficiency and capable pianism here, and this Etude does demand the kind of virtually 100% clean playing that you produce. But it is rather unpleasantly mechanical and over-relentless – bangy LH and brittle sound in RH. Even this Etude should not be totally mechanical.</p>','','1292740158','1');
INSERT INTO `node_revisions` VALUES ('1529','1539','1','Elton3en','<p>LI Ying</p><p>Chopin Nocturne Op.27/1: Very much the right idea – quality of sound is somewhat over-direct and needs far more subtlety of tone quality and imaginative ear for nuances if this is to each real musical heights. There is nothing that is remotely unmusical here, but it is somewhat lacking ambition to explore the particular qualities of this wonderful Nocturne fully.</p><p>Chopin Op.10/2: Able playing of a demanding study. LH a bit over metronomic and routine. RH could be more legato and the whole study more delicious: this was efficient rather than Chopinesque, and the overall dynamic level was simply too loud. </p><p>Liszt: Rigoletto Paraphrase: Again much to admire in her pianism. The real rhetorical and emotional content of the aria eludes her – the pathos and expressive depth. (The aria sounds too “matter of fact” and not an outpouring of grief.)  But again one senses a fundamental musicality here, though there is once again too much of a sense of “efficiency” and not enough sheer enjoyment at the opportunities for subtlety. Perhaps it has not been easy for her to hear the operatic original inspiration for this work - or the orchestral colours possible. (For example the octave leaps are gestures of pain/anxiety like sobbing!</p><p>More focus on the RH passagework. Scope for greater delicacy, but there is some admirable virtuosity. The sobbing leaps are musically missing the point. </p><p>Some promise here from young player, and still certainly she has time to open her mind and ears to things that go far beyond mere “very capable” piano playing.</p>','<p>LI Ying</p><p>Chopin Nocturne Op.27/1: Very much the right idea – quality of sound is somewhat over-direct and needs far more subtlety of tone quality and imaginative ear for nuances if this is to each real musical heights. There is nothing that is remotely unmusical here, but it is somewhat lacking ambition to explore the particular qualities of this wonderful Nocturne fully.</p>','','1292740271','1');
INSERT INTO `node_revisions` VALUES ('1530','1540','1','Elton4en','<p>LI Siqian</p><p>Chopin Op.10/4: a highly capable pianist: good clean playing - excellent fingerwork. Try not just to think of semiquavers. If chords are too clipped and vertical the performance can easily sound somewhat over-mechanical /metronomic and too “routine”.  Even if this is an “etude” it is still a remarkable musical composition. Immaculately clean.</p><p>Chopin Nocturne in D flat Op 27/2: I liked the sense of poise and space to your playing, which shows musical sensibility, even if it lacks any special magic. (Try to listen, if you can to some of the great pianists from music earlier generations playing this - or similar music.) I appreciate that you do not indulge in any undue rubato, but there can still be some greater flexibility of pulse / flow and of nuances. Lovely ending – something very pleasing here. In general, though, rather too predictable.</p><p>Liszt “Figaro” Fantasy: One senses that you felt very much at home in this work, and extremely comfortable and confident in your ability to master its technical challenges. A really enviable pianism here! Whether you succeed in conveying the essential character of the various Mozart arias is more questionable.  (For example, La ci darem is one of the most tender and gentle of love arias. You sound SO impressive and as if you really enjoyed playing much of this work. Can you find more scope for wit? Perhaps a slight sense that you were tiring a little<br />towards the end, which did not quite provide the kind of final flourish needed. </p><p>A gifted girl and I like the fact that her playing is essentially unfussy and natural.</p>','<p>LI Siqian</p><p>Chopin Op.10/4: a highly capable pianist: good clean playing - excellent fingerwork. Try not just to think of semiquavers. If chords are too clipped and vertical the performance can easily sound somewhat over-mechanical /metronomic and too “routine”.  Even if this is an “etude” it is still a remarkable musical composition. Immaculately clean.</p>','','1292740747','1');
INSERT INTO `node_revisions` VALUES ('1531','1541','1','Elton5en','<p>PAN Linzi </p><p>Chopin Nocturne Op.48/1: Please do not “try too hard”! The Nocturne was SO weighted to sound portentous – giving the impression that you were perhaps trying to seem extra mature! Of course you can play, but this came across as somewhat artificial. Somehow like someone who has heard and watched the great pianists and endeavours to make a great copy. But this is not a funeral march! Very good to hear some genuinely soft playing in the C major section- even if it was just a little too static. Once you get to the octaves you actually become so much more natural and gifted. Your pianistic ability and sense of natural performance suddenly become impressive. And it actually sounds fully engaged musically – and really talented.</p><p>EtudeOp.10/8: The Chopin Etude was really delightful. A lovely natural pianism and something that went well beyond the “normal” technical gloss one so often hears here.  Energy – but controlled within stylistic boundaries. The lovely change of character in last page could have been more enchanting and relaxed. But I really am captivated by the sheer sense of enjoyment that you convey as you play this!</p><p>Liszt B minor Ballade: Impressive sense of space and presentation.  Atmosphere well created and the start of the Allegro was well judged. One senses a real ear for sound and colour. Electric, without being too over the top. And there is real pathos / pain in some of the rhetorical utterances. Increasingly I am drawn to this playing and sense a real passionate musician who can convey - without any affectation or contrivance – the ability of music to convey emotion and something deep in concept. So often this work can sound brash and unappealing, but there is a sense here of this coming from “deep within” and penetrating far below the notes.  This is someone who plays with quite unusual intensity and a sense of having “been there and experienced” something special. Also one who can communicate. Curiously in the B major final section again I was somehow conscious initially of a certain less than natural impression that you were trying to be musically “mature” and less naturally yourself.  But once able to release through your fine pianism this slight artificiality disappears. The very end was not SO well controlled.</p><p>Overall, this is impressive and mature playing. There is a real sense of involvement and communication. One hears a committed and passionate musician as well as clearly an extremely capable pianist.</p>','<p>PAN Linzi </p>','','1292741411','1');
INSERT INTO `node_revisions` VALUES ('1532','1542','1','Elton6en','<p>PAN Yumeng</p><p>Chopin B major Nocturne Op.32/1: Pleasingly natural, musical playing, with some unusual and individual touches. There is a sense of tenderness and nostalgia in the playing that is apt. Somehow - it could just be allowed to flow with more fluidity at times, but she catches the emotional turns in the music well.  LH occasionally a little too notey and heavy. The extraordinary twist at the end, and the B minor ending were convincingly conveyed.</p><p>Etude Op.25 / 5 (E minor): The voicing here sometimes seemed somewhat overdone to be really natural.  E major section tended to be rather over-weighty - more sense of “free flow” and less effort is possible here. Don’t try to make this too “important”! It is such really such wonderful, natural Chopinesque writing. But again much to admire in the playing.</p><p>Liszt Hungarian Rhapsody No.12: I love your confidence and the directness of your playing. At times you produce quite a remarkably rich and deep sound. Of course there is scope for more musical subtlety, and quixotic twists in mood, but what you do is natural and conveys very considerable pleasure. Any little technical blemishes were never unduly serious.</p>','<p>PAN Yumeng</p>','','1292740902','1');
INSERT INTO `node_revisions` VALUES ('1533','1543','1','Elton7en','<p>XU Zhiang:  </p><p>Chopin Etude Op.25.6: I have to be honest and say how distressed I was by this Chopin Etude. Such an able pianist but musically a travesty. A wonderful pre-impressionistic piece of piano writing of incredible delicacy was transformed into a horrible virtuoso display. Misjudged and tasteless. Machine-like finger brilliance (and not quite all impeccable either).</p><p>Nocturne Op.48/1:How this same pianist could give as serious and measured a performance (most of the time) of the great C minor Nocturne was hard to believe. This was SO much better, and at best it went beyond just good “reproductive” playing, with some individual effective touches.  The gravitas of the opening was well caught, though the C major section could have been more simple without so many long delays. The rhythm is not continuous enough. The final doppio movimento section  showed passion, though again the overall impulse / flow are interrupted far too often, and these delaying gestures become simply intrusive and no longer meaningful.</p><p>Liszt: Hungarian Rhapsody No.2: Here again there was much to admire both pianistically, and in terms of temperament. He has a “deep” sound and real richness of sonority and dark intensity. I like the way he makes the bass sound so significant. There is a mature ability to create space without losing musical tension. The occasional unrhythmic moment or small blemish. At times his playing could be lighter and more delicate and even wittier. </p><p>Overall, I find remarkable qualities in the playing, though there is a tendency for him not to adapt “his” style of piano playing with enough variety to the music he plays. But I warm to the expressive depth he shows and the sense of harmony. And I envy much of his technical prowess. A pity the Chopin Etude was so misjudged musically.</p>','<p>XU Zhiang:  </p><p>Chopin Etude Op.25.6: I have to be honest and say how distressed I was by this Chopin Etude. Such an able pianist but musically a travesty. A wonderful pre-impressionistic piece of piano writing of incredible delicacy was transformed into a horrible virtuoso display. Misjudged and tasteless. Machine-like finger brilliance (and not quite all impeccable either).</p>','','1292740943','1');
INSERT INTO `node_revisions` VALUES ('1534','1544','1','Elton8en','<p>YANG Shiyu</p><p>Op.10/5; Nocturne Op.15/2; Ginastera Danzas Argentinas</p><p>Chopin Etude Op.10/5: was clean at a somewhat modest tempo, but generally unremarkable. It is somewhat heavy-handed and wooden. There is so much more scope for wit and charm in this piece. </p><p>Nocturne Op.15/2 Diligent playing and here he showed some response to the needs for lyrical shaping. But LH sounds too static and each quaver too equally stressed. The decorative  embellishments in RH need much more delicate and Chopinesque treatment.  As yet there is only a limited finesse in sound and imagination to the playing, and there needs to be more subtlety of texture - for example at start of the middle section.</p><p>Ginastera Danzas Argentinas: Perhaps a disappointingly unadventurous choice of repertoire for a competition of this stature. But it was proficiently played. Scope for more zippy rhythmic vitality in outer movements (and more idiomatic Latin American character),. No.3 sounded too relentless. Aim for more genuine and touching tenderness in No. 2. (If you have not heard it, try to listen to Argerich playing this!!)</p>','<p>YANG Shiyu</p><p>Op.10/5; Nocturne Op.15/2; Ginastera Danzas Argentinas</p><p>Chopin Etude Op.10/5: was clean at a somewhat modest tempo, but generally unremarkable. It is somewhat heavy-handed and wooden. There is so much more scope for wit and charm in this piece. </p>','','1292741003','1');
INSERT INTO `node_revisions` VALUES ('1535','1545','1','Elton9en','<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>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>','','1292741060','1');
INSERT INTO `node_revisions` VALUES ('1536','1546','1','Elton10en','<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>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>','','1292741110','1');
INSERT INTO `node_revisions` VALUES ('1537','1547','1','Elton11en','<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>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>','','1292741425','1');
INSERT INTO `node_revisions` VALUES ('1538','1548','1','Elton12en','<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>Chopin Op/10/12: Nocturne Op. 15/1 (F major); 1st Scherzo</p>','','1292741216','1');
INSERT INTO `node_revisions` VALUES ('1539','1549','1','goetzke1en','<p>GU Jingdan</p><p>The general impression is immediately very positive. Here everything seems to be on the right way: <br />She plays con anima, she is phrasing very well, she is listening to herself, her technique is professional,<br />there is a real pianistic culture and a lot of discipline. The connection of hands, body and mind is excellent.</p><p>So, it’s not about correcting mistakes, but about suggesting different ideas, a different approach in certain places.<br />We have to think about the tempo relations in the Nocturne. The middle section is più mosso, but there should be a <br />connecting energy between the parts (the whole bars a little faster than the half bars before), which means a not too <br />slow tempo in the beginning. Pianissimo and quite flowing tempo (maybe not as fast as Chopin indicated, but still...) <br />can make a more melancholic expression, which I prefer to deep sadness.</p><p>In the Etude op. 10,8 I’m always very interested in the left hand. There are so many important melodic elements, syncopations, <br />off beat accents, interesting dynamics. And it’s also interesting to remember that we can find the same thing in many <br />other etudes. So, the left hand should be much more than accompanyment. </p><p>In the Polonaise just very few suggestions, most of them related to tempo, tempo relations, rhythm etc..<br />I understand the last beat in bar 8 as upbeat (anacrusis) to the real beginning of the Polonaise in bar 9. It can be poco sostenuto,<br />but connected. The transition from bar 79 to 83 should be “conducted” naturally (not too far from the tempo before and afterwards).<br />In the Mazurka part I hear beauty, a very well shaped melody with accompanyment. There could be more of a swinging dance with its typical accents (and a little faster), more happiness (between the dark and dramatic elements).</p>','<p>GU Jingdan</p><p>The general impression is immediately very positive. Here everything seems to be on the right way: <br />She plays con anima, she is phrasing very well, she is listening to herself, her technique is professional,<br />there is a real pianistic culture and a lot of discipline. The connection of hands, body and mind is excellent.</p>','','1292741735','1');
INSERT INTO `node_revisions` VALUES ('1540','1550','1','goetzke2en','<p>2 JI Yusen</p><p>Hard to believe that he is only 12 years old. Certainly a real talent! But we have to judge THIS performance of THESE pieces.</p><p>In the Etude there are excellent moments in the beginning, some of the most difficult places are even the best, then he seems to get a little tired, and so the performance isn’t as controlled as it should be. But I can already imagine, how well he will play this etude in a few years from now. My advice: he should listen better to the melodic connection of the bass octaves which sound a little seperate now and practise the piece reducing it to a simple choral. This would give him a better feeling and understanding for the harmonies. At this age it’s a good time to start studying theory of music and to do lot of ear training.</p><p>The Nocturne is a bit too “pesante”. This should be a more melancholic espressivo. The left hand should be more even, false accents should be avoided, we don’t want to feel the barlines. I think there is too much weight of the arm in single notes. Even in octaves I suggest to use more the energy of the fingers than of the arm, if the music is quite slow, not loud and molto cantibile.</p><p>Debussy is too virtuosic for my ears, too exciting, the Prelude too similar to the Toccata. We have to find a solution for the pedal point (la) in the beginning of the prelude. Actually it should be a longer pedal. The Sarabande starts too slowly. Grave, but with elegance, and the typical character of a Sarabande (the second beat!), this is what we have to keep in mind. The Toccata can be fast, although it’s only vif, not really presto. Here it’s too fast, just too difficult to control.</p>','<p>2 JI Yusen</p><p>Hard to believe that he is only 12 years old. Certainly a real talent! But we have to judge THIS performance of THESE pieces.</p>','','1292741792','1');
INSERT INTO `node_revisions` VALUES ('1541','1551','1','goetzke3en','<p>LI Ying</p><p>Li Ying is an already very advanced young pianist. I can hear a fabulous technical facility, but more than this:</p><p>Li Ying can play huge phrases, never gets lost in details. I can feel an energy that connects the first and the last note of a piece. She can keep the tension over whole pages, a most important part of the talent.</p><p>But details can be precious and are also important. In this field she could improve her performances.</p><p>An example:  I agree with her (fast) tempo in the Nocturne, as this seemed to be Chopin’s intention and doesn’t make the piece too “deep”, but the sound could be more distant, not “real”. Moonlight, twilight (minor/major!), shadows instead of sunshine – that’s what I’d like to see in this piece.</p><p>A lot of respect for the Etude! </p><p>Rigoletto:  Sounds a bit too “technical”, should more a capriccio. For example: The octaves in the beginning could be shaped with some rubato. This doesn’t work under the pressure of a too fast tempo. In general:  It’s the poetic side of the piece that should be developed, the leggiero places, the pianissimo, careful timing and natural breathing.</p>','<p>LI Ying</p><p>Li Ying is an already very advanced young pianist. I can hear a fabulous technical facility, but more than this:</p><p>Li Ying can play huge phrases, never gets lost in details. I can feel an energy that connects the first and the last note of a piece. She can keep the tension over whole pages, a most important part of the talent.</p>','','1292741895','1');
INSERT INTO `node_revisions` VALUES ('1542','1552','1','goetzke4en','<p>LI Siqian</p><p>Li Siqian is a very professional young pianist. Her performance is impressive, obviously she doesn’t know real technical problems. And she seems to be totally conscious about what she is doing (I can imagine she will be an excellent piano professor in 20 years...!).</p><p>Her expression, her sound are always noble and well balanced – for my feeling even too well. I’d like to encourage her to be a little less “reasonable”, to take some risks (difficult in front of a microphone...), to be more spontaneous. Sometimes dolce isn’t enough, it has to be dolcissimo. </p><p>The Nocturne could be slightly faster, there should be a movement similar to a Barcarolle, swinging in 2 beats. I know that I’m almost alone with this idea, but I’m always hoping for the impressionistic echo (long pedal, mixed harmonies) from bar 66 (Henle edition). It’s more or less quiet music, but it should not really sound tranquillo.</p><p>Excellent finger work in the Etude, just some small hesitations in the left hand. Actually I don’t need this extremely clear non legato sound in this piece. This is an excellent way to practise, but in the real performance it sounds a bit too careful.  Can be more stormy. I think each piano is written to give us the space for the next crescendo, and it’s never lyrical. So, it’s a very dynamic piece – in both hands.</p><p>A lot of respect for her Liszt. The basic energy for this kind of music must be extremely high. We can go to limits. A few steps further in all directions: from the most poetic grazioso to molto drammatico. Don’t be afraid of contrasts and conflicts.</p>','<p>LI Siqian</p><p>Li Siqian is a very professional young pianist. Her performance is impressive, obviously she doesn’t know real technical problems. And she seems to be totally conscious about what she is doing (I can imagine she will be an excellent piano professor in 20 years...!).</p>','','1292741946','1');
INSERT INTO `node_revisions` VALUES ('1543','1553','1','goetzke5en','<p>PAN Linzi</p><p>Excellent basic quality of piano playing. Very good taste, responsibility, discipline. Even more technical perfection will be possible, there is no reason to doubt about this. </p><p>The c-minor Nocturne is an enormous artistic challenge – not only for a 15 years old girl! It’s so difficult to get the transitions between the parts right. There is a natural tempo limit for the doppio movimento part, and this is also limiting the poco più lento part and its octaves. The Lento in the beginning can be faster, in order not to be too far from a human singing voice and to be able to follow the typical long phrasing signs by the composer. Here the Lento sounds a bit like Largo or Grave.</p><p>Good Etude. Again the advice to use the rhythmic inspirations that should be coming from the left hand, especially from the 4th beat<br />(like in op. 10,4).</p><p>Noble Liszt Ballade, serious and deep. A certain tendancy to relax too much in the slower parts. There are many dolce parts, but just<br />one dolce placido place. Also the pedal points (Allegretto) can help to keep the tension. Another advice would be, never to leave the<br />broken otaves alone, there is always something exciting in the other voices.</p>','<p>PAN Linzi</p><p>Excellent basic quality of piano playing. Very good taste, responsibility, discipline. Even more technical perfection will be possible, there is no reason to doubt about this. </p>','','1292742000','1');
INSERT INTO `node_revisions` VALUES ('1544','1554','1','goetzke6en','<p>PAN Yumeng</p><p>A very musical young pianist, everything sounds authentic. Her fingers are well connected to her soul and her imagination.<br />This Chopin Nocturne is a good a choice for her. Flexible timing of the melody, already a good sense for rubato in this piece. </p><p>In the Etude we can hear the difference between the variations very clearly, one of the challenges of this piece. <br />The sound seems to be a little too early too intense, especially in the “cello part” and the last part. Chopin wrote forte just in very few places. The idea of a cello can really help us:  There is a bow and there are strings, no action would be vertical in any way. We want to hear a beautiful legato and cantabile, a continuously developing sound.</p><p>The leggiero and the leggierissimo accompaniments should give space for the melodies. A bit more dancing scherzando would certainly be possible. </p><p>In the 3 bars before the middle section there should be only one fermata between the last 3 chords (the 2nd and the 3rd).</p><p>In the Liszt Rhapsody it’s always interesting to listen to her, never boring. She is playing with a warm heart, with courage and temperament. But I would like to advise that she should work on basing any expression on an even higher pianistic culture and general musical responsibility. Especially in the field of rhythm she is too free. There are several rubati in her performance that can’t be conducted (one of my criteria for a good rubato). I noticed that especially dotted rhythms are sometimes “suffering”.</p>','<p>PAN Yumeng</p><p>A very musical young pianist, everything sounds authentic. Her fingers are well connected to her soul and her imagination.<br />This Chopin Nocturne is a good a choice for her. Flexible timing of the melody, already a good sense for rubato in this piece. </p>','','1292742046','1');
INSERT INTO `node_revisions` VALUES ('1545','1555','1','goetzke7en','<p>XU Ziang</p><p>Xu Ziang has the talent of a real virtuoso. But in the Nocturne he shows that he is more than this. A Chopin Etude should sound like a concert piece, a small Ballade or Scherzo. Here it sounds more like an Etude. I think it should be a very poetic piece with long legato phrases in the left hand, a good breathing, many soft endings.</p><p>The Nocturne is well built and shows maturity. The sound seems to be molto espressivo, a little too pesante. Very good his timing of the different parts, the melodic control of the octaves. The doppio movimento part is the real climax.</p><p>The Liszt Rhapsody is played with excitement and brilliance. Sometimes there could be more capriccioso moments, also elegance and joy. Sound and expression seem a bit too sharp in some places, remind me of too spicy food. And it’s quite difficult to avoid the impression of emptiness in certain places with many notes. Especially in these places we have to go for technical perfection and good sound quality.</p><p>But anyway, the performance is impressive.</p>','<p>XU Ziang</p><p>Xu Ziang has the talent of a real virtuoso. But in the Nocturne he shows that he is more than this. A Chopin Etude should sound like a concert piece, a small Ballade or Scherzo. Here it sounds more like an Etude. I think it should be a very poetic piece with long legato phrases in the left hand, a good breathing, many soft endings.</p>','','1292742104','1');
INSERT INTO `node_revisions` VALUES ('1546','1556','1','goetzke8en','<p>YANG Shiyu</p><p>Yang Shiyu is able to play the Etude quite easily. How to reach the next higher level? To my ears the performance sounds a bit too “physical” and could be more detailed. Some examples:  The echo in the beginning, the charming accent in bar 4 (left hand), the transition from bar 8 to 9 (timing without stopping), the accent in bar 18 (important for the phrasing), the long pedal also in bars 38/39, not such a big extra ritardando before bar 49, the rhythmic control of the triplets in bar 65 after the rubato on the first beat, a little faster octaves at the end (?). </p><p>My comment to the Nocturne would be similar. Everything is absolutely sympathetic , but could be more refined. Already the first 3 notes should be 3 different sounds (for rhythmic and harmonic reasons, and see the difference in bar 9!). Like in Mozart’s music the expression can change quite surprisingly. So, we have to be spontaneous. A dolcissimo is a reaction to an espressivo. The middle section more sotto voce in the beginning, we have to create an expectation before showing anything concrete.<br /> <br />In the Ginastera dances I hear a few rhythmic surprises. In the first dance I can’t accept any rubato besides the written ritardandos.<br />Also the rubato in the second piece is too obvious for me and too often the same (I mean the first and third bar of the melodic phrases). Here the last note is many times so late that I start to feel an extra beat in these bars (a seventh beat) or a dotted rhythm in the melody instead of 2 simple syncopations.</p>','<p>YANG Shiyu</p>','','1292742155','1');
INSERT INTO `node_revisions` VALUES ('1547','1557','1','goetzke9en','<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>','','1292742198','1');
INSERT INTO `node_revisions` VALUES ('1548','1558','1','goetzke10en','<p>10 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>10 ZHANG Ruixue</p>','','1292742262','1');
INSERT INTO `node_revisions` VALUES ('1549','1559','1','goetzke11en','<p>11 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>11 ZHANG Chuhan</p>','','1292742321','1');
INSERT INTO `node_revisions` VALUES ('1550','1560','1','goetzke12en','<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>','','1292742374','1');
INSERT INTO `node_revisions` VALUES ('1551','1561','1','mkv1en','<p>GU Jingdan, female, 16 </p><p>Chopin: Nocturne, Op. 27, No. 1.  </p><p>You show a beautiful tone and a fine legato.  Everything sounds very smooth and musical.  The singing voice (melody) is rather monochromatic in conception.  You don’t seem to be aware of different shades of sound, particularly the ones “coming down” at the end of phrases.  An added diminuendo could make your playing more touching and poetic.  Those moments of intimacy can make a difference between a routine and a great performance.  You always take the music very seriously.  I advise you to listen to recordings of the great pianists of the so-called Golden Age (Rachmaninoff, Hoffman, Friedman, Moisiewitch, Cherkassky, etc.) in order to become familiar with an expressive style which is not “crying” all the time.  A smile once in a while can be welcome.  The middle section creates intensity by an increase in volume rather than by stressing the growing agitato character.  The left hand octaves start too slowly and are played too carefully.  I commend you for achieving a nostalgic feeling upon your return to the A section.  </p><p>Chopin: Etude in F Major, Op. 10, No. 8</p><p>The left hand should sing more.  The final result sounds more like an “etude” than a beautiful piece.  More color changes are needed in the right hand, from legato to non-legato, from a deeper to a lighter touch, etc.  The ending is rather routine.  I also find the performance a bit too slow.  </p><p>Chopin: Polonaise in F Sharp Minor, Op. 44</p><p>A great choice of piece for the competition.  Be careful with the pedal so that you do not erase the rhythmic feeling of the Polonaise.  The right hand octave scales going up should be more melodic rather than brilliant (Chopin, not Liszt!).  The pedal in the connecting section, between the Polonaise and the main Mazurka, should follow Chopin’s markings, which are more interesting and daring by the momentary blur achieved.  The Mazurka section is too square.  Smile! This is not such serious music!  Give a sense of improvisation!</p><p>In sum: you are talented and a serious student.  You need humor and personality.  Everything you do is predictable.  You seem to be following your teacher’s instructions.  They are excellent, but you must make the music come from yourself so that you can approach an artistic level instead of merely sounding like a very talented student. </p>','<p>GU Jingdan, female, 16 </p><p>Chopin: Nocturne, Op. 27, No. 1.  </p>','','1292743913','1');
INSERT INTO `node_revisions` VALUES ('1552','1562','1','mkv2en','<p>JI Yusen, male, 12 </p><p>Chopin: Etude in C Major, Op. 10, No. 1</p><p>Your large hands make this an ideal etude for you.  You tried to have a variety of touches in the right hand but did not really succeed.  In the softest sections, you missed some notes or, at least, touched adjacent notes.  Furthermore, the light non legato (with a lighter pedal) needed for contrast was absent.  You should practice soft throughout without pedal in order to really hear yourself.  Your return to the beginning arpeggio needed more “preparation” in order to make the “return home” more meaningful.  Some of your dynamic decisions made no sense.  I would recommend that you listen to the recording by the Mexican-American pianist, Agustin Anievas, and pay attention to his variety of color and to his dynamic organization.  </p><p>Chopin: Nocturne in B Flat Minor, Op. 9, No. 1</p><p>This nocturne is problematic because of the rhythmic freedom needed for the long embellishments.  They must sound as if improvised by adding an inner rubato which you must learn to feel from within.  Become familiar with the playing of the old masters from the Golden Age, the ones who were performing during the decades between 1930 and 1950.  The octave section became repetitive and a bit boring.  It needs more variety and imagination.  </p><p>Debussy: Pour le Piano</p><p>Learning some preludes by Debussy would have been better for your artistic development, even though it might not be the best choice for this competition.  You played this music from a pianistic point of view, finding in it bravura and digital virtuosity.  More concentration on color and atmosphere would bring you closer to the style.  It sounds too much like Liszt.</p><p>In sum: you are very gifted and doing very well for your age.  Make sure your facility does not lead you into the wrong direction.  Seek to become a musician above all. </p>','<p>JI Yusen, male, 12 </p><p>Chopin: Etude in C Major, Op. 10, No. 1</p>','','1292743997','1');
INSERT INTO `node_revisions` VALUES ('1553','1563','1','mkv3en','<p>LI Ying, female, 13</p><p>Chopin: Nocturne Op. 27, No. 1</p><p>Quite a beautiful performance, with a flexible approach to the left hand (loose wrists) that connected the intervals as if the notes were close to each other rather than far away.  Your left hand was like a conductor accompanying a singer that does not let him/her have some freedom of expression.  A bit too rhythmic.  The left hand must follow the right hand and not vice versa.  There was color in the initial melody but soon I realized that you could have achieved more intimacy in certain moments with the use of una corda.  Towards the end, when trying to get gradually softer, your diminuendo affected not only the harmony, as desired, but also the melody, which lost its presence.  The una corda would have allowed you to still sing the melody more deeply while getting softer.  Your crescendo in the middle section was more related to intensity than to volume, and I liked that.  </p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>Impressive performance, but a bit too heavy.  Again, una corda in some places would have helped you to achieve more variety of sound, so that some of the ascending scales would sometimes sound pianissimo.  I somehow feel that you would make an audience sense that you are working too hard.  It should sound easy!  Try to find and listen to the live recording (at Carnegie Hall) of the Chilean pianist Rosita Renard, in the 1940\'s.  She flies over the keys!</p><p>Liszt: Paraphrase of the Opera “Rigoletto” by Verdi</p><p>Are you familiar with the story of Rigoletto and its main characters?  After you completed the introduction, your approach to the melody was too heavy and lacking in the sarcasm inherent in the bad intentions of the Duke, trying to make Gilda believe that he loves her when he actually is unwilling and incapable of loving any woman.  His attitude is hypocritical! Gilda answers with naive coquettishness which is also missing in your approach.  Your solid performance lacks the \"salon\" style required in the early virtuoso runs, which you always pedal for brilliance instead of looking for their inherent charm!  A lighter pedal will get you greater results.  Listen to Shura Cherkassky\'s recording which he did when he was too old to play as brilliantly as you do.  But he really captured the spirit!</p><p>In sum: there is something very engaging about your playing that makes me want to listen!</p>','<p>LI Ying, female, 13</p><p>Chopin: Nocturne Op. 27, No. 1</p>','','1292744059','1');
INSERT INTO `node_revisions` VALUES ('1554','1564','1','mkv3en','<p>Li Siqian, female, 17</p><p>Chopin: Etude in C Sharp Minor, Op. 10, No. 4.</p><p>You have a steady approach with both hands in clarity and lightness.  To my taste, I hear the beats too much.  Maybe just a bit faster would erase that feeling.  It is a challenge for you to play this etude in a way that makes the audience forget that there are four beats in every measure.  </p><p>Chopin: Nocturne Op. 27, No. 2</p><p>I particularly enjoyed you \"vocal\" treatment of the melodic material, with special attention to large intervals and the \"breathing\" required to \"reach\" a high note, as well as your approach to the introduction of new harmonies.  I was disappointed with the fast run in the middle section as it was too carefully planned and rather disjointed in execution.  Listen to those measures in Josef Hoffman\'s live recording at the Metropolitan Opera House in New York from the 1930\'s. </p><p>Liszt: Fantasy on Themes from Mozart’s “The Marriage of Figaro”</p><p>This was a super virtuoso performance in terms of color, lightness, imagination, in addition to speed and volume.  In spite of this praise, it made me concerned as to your taste in selecting repertoire.  One piece like this is all  you need to show bravura playing.  I am sure that the audiences welcome it at this point in your formative years.  However, you need to develop a romantic repertoire based on the polyphonic writing of composers such as Chopin, Schumann and Brahms.  That will lead to mature artistry which is the only way to achieve recognition when you are older.  </p><p>In sum: you are obviously very gifted and have extraordinary pianistic resources at your disposal.</p>','<p>Li Siqian, female, 17</p><p>Chopin: Etude in C Sharp Minor, Op. 10, No. 4.</p><p>You have a steady approach with both hands in clarity and lightness.  To my taste, I hear the beats too much.  Maybe just a bit faster would erase that feeling.  It is a challenge for you to play this etude in a way that makes the audience forget that there are four beats in every measure.  </p>','','1292744096','1');
INSERT INTO `node_revisions` VALUES ('1555','1565','1','mkv4en','<p>Li Siqian, female, 17</p><p>Chopin: Etude in C Sharp Minor, Op. 10, No. 4.</p><p>You have a steady approach with both hands in clarity and lightness.  To my taste, I hear the beats too much.  Maybe just a bit faster would erase that feeling.  It is a challenge for you to play this etude in a way that makes the audience forget that there are four beats in every measure.  </p><p>Chopin: Nocturne Op. 27, No. 2</p><p>I particularly enjoyed you \"vocal\" treatment of the melodic material, with special attention to large intervals and the \"breathing\" required to \"reach\" a high note, as well as your approach to the introduction of new harmonies.  I was disappointed with the fast run in the middle section as it was too carefully planned and rather disjointed in execution.  Listen to those measures in Josef Hoffman\'s live recording at the Metropolitan Opera House in New York from the 1930\'s. </p><p>Liszt: Fantasy on Themes from Mozart’s “The Marriage of Figaro”</p><p>This was a super virtuoso performance in terms of color, lightness, imagination, in addition to speed and volume.  In spite of this praise, it made me concerned as to your taste in selecting repertoire.  One piece like this is all  you need to show bravura playing.  I am sure that the audiences welcome it at this point in your formative years.  However, you need to develop a romantic repertoire based on the polyphonic writing of composers such as Chopin, Schumann and Brahms.  That will lead to mature artistry which is the only way to achieve recognition when you are older.  </p><p>In sum: you are obviously very gifted and have extraordinary pianistic resources at your disposal.</p>','<p>Li Siqian, female, 17</p><p>Chopin: Etude in C Sharp Minor, Op. 10, No. 4.</p><p>You have a steady approach with both hands in clarity and lightness.  To my taste, I hear the beats too much.  Maybe just a bit faster would erase that feeling.  It is a challenge for you to play this etude in a way that makes the audience forget that there are four beats in every measure.  </p>','','1292744262','1');
INSERT INTO `node_revisions` VALUES ('1556','1566','1','mkv5en','<p>PAN Linzi, female, 15</p><p>Chopin: Nocturne in C Minor, Op. 48, No. 1</p><p>I was a bit disappointed with the opening section.  For my taste, it was too emotionally charged.  I prefer a more “distant” approach which gradually prepares the listener for the storm that is awaiting at the end.  I also feel that the octave middle section was a bit too brilliant, more appropriate for a Hungarian rhapsody by Liszt than for anything that Chopin ever wrote.  </p><p>Chopin: Etude in F Major, Op. 10, No. 8</p><p>Congratulations!  This was one of the most beautiful performances I have ever heard of this etude.  You have a special ear for nuance and variety of color and you have learned to use the right technical resources to achieve it.   Your playing reminded me of the “old fashioned” style of the great pianists of the past.  Your dry moments without pedal in the high register were particularly effective and showed a great degree of sophistication.  </p><p>Liszt: Ballade No. 2 in B Minor</p><p>When I noticed this piece in your listed repertoire, I wondered as to why you had chosen such a repetitive work which usually loses the attention of the audiences in public performance.  You proved me wrong!  You made this work sound more important than it actually is.  It gave you the opportunity to caress the keys and to use the floating technique that produced some of the most beautiful sounds a piano is capable of.  </p><p>In sum: there is artistry everywhere in your playing.  I must commend your teacher for having been able to produce such wonderful results and, at the same time, allow you to give the impression that everything is coming from you.</p>','<p>PAN Linzi, female, 15</p><p>Chopin: Nocturne in C Minor, Op. 48, No. 1</p>','','1292744347','1');
INSERT INTO `node_revisions` VALUES ('1557','1567','1','mkv6en','<p>PAN Yumeng, female, 14</p><p>Chopin: Nocturne in B Major, Op. 32, No. 1</p><p>Quite a beautiful performance.  From the start, I sense that you take good advantage of Chopin’s momentary interruptions to the flow although you fail to add the little accelerando he requests,  This can be done effectively and the end result is more unique.  I would have welcomed bringing out a bit more counterpoint in the left hand and a few charming touches to what is otherwise, a consistently “expressive” interpretation.  </p><p>Chopin: Etude in E Minor, Op. 25, No. 5</p><p>The idea of bringing out the lower voice of the right hand at the very beginning was interesting.  Pianists usually delineate the melody at the top.  Your idea also makes sense.  I found your performance on the slow side, a bit heavy and lacking the ultimate elegance.  I wonder why musical students are so able to convey the expressive elements in music but have such a hard time projecting charm and lightness of character.  </p><p>Liszt, Hungarian Rhapsody No. 12</p><p>I have no quarrels with the quality of your performance as you are technically on top of the piece and you do infuse each section with the proper character.  I, however, see no real challenge to you in working hours and hours in mastering the pianistic demands of this work and not having to deal with music that is more demanding of your maturity and musicianship.  </p><p>In sum: very gifted, musical playing, beautiful sound, a bit heavy, and always intense without respite. Have more fun!</p>','<p>PAN Yumeng, female, 14</p><p>Chopin: Nocturne in B Major, Op. 32, No. 1</p>','','1292744406','1');
INSERT INTO `node_revisions` VALUES ('1558','1568','1','mkv7en','<p>XU Ziang, male, 18</p><p>Chopin: Etude in G Sharp Minor, Op. 25, No. 6</p><p>Although you have impressive fingers and the capability for high speed double notes, your performance ultimately lacks the lightness and elegance needed.  I admired some fine details involving color changes and a singing left hand.  The thirds, however, had an exercise-like feeling in their execution.  Listen to Joseph Lhevinne\'s recording for a sense of the sound you should strive for.</p><p>Chopin: Nocturne in C Minor, Op. 48, No. 1</p><p>Here your approach was just the opposite.  You are looking for musical effects everywhere and, while some of them work, many of them don’t.  The end result is a bit superficial as if you were trying to make the music more “musical” than it actually is.  I welcome your exploration of all these possibilities, but the end results must be in good taste, something that is not always true in your performance.</p><p>Liszt-Horowitz: Hungarian Rhapsody No. 2</p><p>I can see you spent a lot of time listening and trying to emulate Horowitz’s recording.  In spite of the brilliance in your execution, I am afraid you are seeking the wrong values.  There are plenty of piano players who can play fast and loud.  In your case, you work very hard for it.  Be aware that the truly great virtuosi made things sound easy.  You make them sound harder than they are.  Don’t play for the masses, play for the elite, the one that appreciates beauty above bombast.  Maybe a different choice of piece would challenge your musicianship rather than your physical power.  </p><p>In sum: your music making is a bit too fussy and convoluted.  You seem to find pleasure mostly in the physical elements  of piano playing.  Regardless, you are a major pianistic talent!</p>','<p>XU Ziang, male, 18</p><p>Chopin: Etude in G Sharp Minor, Op. 25, No. 6</p>','','1292744570','1');
INSERT INTO `node_revisions` VALUES ('1559','1569','1','mkv8en','<p>YANG Shiyu, male, 16</p><p>Chopin: Etude in G Flat Major, Op. 10, No. 5</p><p>I wish you would seek more variety of color and use more imagination.  Your performance is rather heavy handed.  The ritardando before the return to the opening material is exaggerated if one considers that this piece is short and moves quickly.  This is a good but routine performance.</p><p>Chopin: Nocturne, Op. 15, No. 2</p><p>You show some musicality but it seems to come more from your teacher than from you.  This beautiful piece gives you many opportunities for tenderness which you passed by.  </p><p>Ginastera: Danzas Argentinas, Op. 2</p><p>I admired Ginastera’s talent and he made a particular contribution as a nationalistic composer.  This particular set is very attractive and is often a first twentieth century work for many students.  Unfortunately, it is really not challenging for someone who is already 16 years old.  The choice of this piece for this competition prevents you from demonstrating whether you are a real musician or not.  The first piece is too simple, the second one has a nice melody which almost sings by itself, and the last piece is a bangy bangy motto perpetuo which is more effective than substantial.  If you were 10-11 years old, I would welcome your offering.  At your age, you should be way beyond this superficial music.  </p><p>In sum: talented and serious student who needs to focus on his development as a musician. </p>','<p>YANG Shiyu, male, 16</p><p>Chopin: Etude in G Flat Major, Op. 10, No. 5</p><p>I wish you would seek more variety of color and use more imagination.  Your performance is rather heavy handed.  The ritardando before the return to the opening material is exaggerated if one considers that this piece is short and moves quickly.  This is a good but routine performance.</p>','','1292744627','1');
INSERT INTO `node_revisions` VALUES ('1560','1570','1','mkv9en','<p>Mozar Tsang, male, 17</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, male, 17</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>','','1292744683','1');
INSERT INTO `node_revisions` VALUES ('1561','1571','1','mkv10en','<p>ZHANG, Ruixue, female, 15</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, female, 15</p><p>Chopin: Nocturne in F Major, Op. 15, No. 1</p>','','1292744743','1');
INSERT INTO `node_revisions` VALUES ('1562','1572','1','mkv11en','<p>ZHANG Chuhan, female, 15</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>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>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, female, 15</p><p>Chopin: Nocturne in E Flat Major, Op. 9, No. 2</p>','','1292744795','1');
INSERT INTO `node_revisions` VALUES ('1563','1573','1','mkv12en','<p>ZHANG Yunlin, female, 14</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 Yunlin, female, 14</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>','','1292744845','1');
INSERT INTO `node_revisions` VALUES ('1566','1576','1','andre1en','<p>GU Jingdan<br />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. And 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.<br />GU Jingdan,<br />Chopin Nocturne Op. 27#1<br />Chopin Etude Op. 10#8<br />Chopin Polonaise Op.44<br />Very nice Nocturne, good rubato, but sometimes dotte rithme in melody is not correct. Though there is a tradition to play sixteenth notes in this rithme together with last note of triple in left hand, I&lt; FONT size=4 face=\"Times New Roman\"&gt; prefer to listen more expressive melody and flexible rubato. Of course not too short sixteen’s, it’s difficult to find right speaking <br />Etude Very good fingers. Sometimes too fast arpeggiato in left hand. Also please try to play right hand more melodically. <br />Polonaise good. Also in octaves in the main theme try do more “recitativo” Mazurka in the middle section was not quite impressive and also it needs little more developing.<br />Thanks a lot for playing. Very solid performance</p>','<p>GU Jingdan','','1292756982','1');
INSERT INTO `node_revisions` VALUES ('1567','1577','1','andre2en','<p>JI Yusen<br />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. And 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.<br />JI Yusen<br />I was impressed so much of 12 year old pianist. Very good and big potential for the future.<br />Chopin Etude op.10#1 <br />Should be more legato in left hand as well as in the right. Good fingers, may be need more preciseness.<br />Nocturne. Also you tried to make rubato, try it &lt; FONT size=4&gt;more naturally. It sometimes sounds little metric. And also difficult to find good balance between long notes in right hand and left eight’s notes.<br />Debussy.<br />Need to be more exactly and precise. Not very accurate. And could be more refined in sound. Especially sarabande. But I am expecting too much of young boy. Good luck. I am sure in near future you will be good pianist.</p>','<p>JI Yusen','','1292757031','1');
INSERT INTO `node_revisions` VALUES ('1568','1578','1','andre3en','<p>LI Ying<br />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. And 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.<br />LI Ying<br />Nocturne 27#1<br />Nice played. Middle section seemed little too loud, may be rude. And remember not to play too much forte too early in developing crescendo.<br />Etude <br />Very good, very difficult but you succeed! Also try to find more interesting colures. Not loud etude! More nostalgic mood, sad, not too bright always.<br />“Rigoletto”<br />It is Fantasia. It needs improvising, more rubato. Recitatives means “speaking”<br />Also find more differences in sound.</p>','<p>LI Ying','','1292757119','1');
INSERT INTO `node_revisions` VALUES ('1569','1579','1','andre4en','<p>LI Siqian<br />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. And 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.<br />LI Siqian<br />Very exiting performance! Thank you very much for playing. Difficult program.<br />Etude good “speaking” fingers.<br />Nocturne Good! Pay attention sometimes to phrasing slurs. Nice &lt; /FONT&gt;touch.<br />And Liszt good fantasy. All the very best for the future.</p>','<p>LI Siqian','','1292757159','1');
INSERT INTO `node_revisions` VALUES ('1570','1580','1','andre5en','<p>PAN Linzi<br />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. And 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.<br />PAN Linzi<br />Very nice performance. <br />Nocturne. Nice, dramatic, good feeling. Little too equal phrasing and touch in the beginning.<br />Etude Very nice, elegant playing. Could I suggest to find more interesting touch sometimes, not too&lt; /FONT&gt; loud.<br />Liszt Ballade h-moll<br />Also very thoughtful performance. Good balance and contrast of different episodes.<br />Best wishes for the future and good luck.</p>','<p>PAN Linzi','','1292757220','1');
INSERT INTO `node_revisions` VALUES ('1571','1581','1','andre6en','<p>PAN Yumeng<br />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. And 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.<br />PAN Yumeng<br />Nice playing. Though I would give some advise.<br />Nocturne.<br />Little too much metric, counting, needs more flexible and natural rubato. And the way you sit at the piano- try not to lean to much backward from the piano. Sit more naturally, it will also make more naturally sound.<br />Etude At the first appearance of theme you are formally right, but still it is Chopin, romantic music. There is a melody played by 5th finger, it should be singed and expressively.<br />The middle section is too loud, too much pressing, also try to sing more and naturally.<br />Liszt Rhapsody<br />Tremolo is impressive powerful, but in your performance little too much.<br />Good piano and when you play piano, you make better and more natural rubato, try to play forte with same breathing. And in difficult passages find more freedom.<br />Thanks for playing, all the best.</p>','<p>PAN Yumeng','','1292757280','1');
INSERT INTO `node_revisions` VALUES ('1572','1582','1','andre7en','<p>XU Ziang<br />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. And 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.<br />XU Ziang<br />Very impressive performance. You have a nerve. Definitely very &lt; /FONT&gt;gifted.<br />But still some advice I would like to give, it does not mean you should do what I or somebody else suggest, but you should think why other people point such things.<br />Etude Obviously one of the most difficult etude. But the most difficult to make it as nice piece not study. The character is sad, nostalgic, not jumping left hand, not stccato, more singing tone. And with your finger the quality of thirds in right hand should be more precise.<br />Nocturne Many good things. I would suggest when octaves starts, they should not be loud immediate, save power for the climax.<br />And also about the way you sit at the piano, it’s not very natural, too much bow towards the keyboard sometimes.<br />Liszt Very exited! And also for me if you play such a difficult version, it should convince listeners that it is because you understand music THIS way but not to show how difficult passages you CAN play.<br />Thanks for playing and all the best.</p>','<p>XU Ziang','','1292757317','1');
INSERT INTO `node_revisions` VALUES ('1573','1583','1','andre8en','<p>YANG Shiyu<br />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. And 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.<br />YANG Shiyu<br />EtudeNice performance. Unfortunately there is not enough exact touch, intonation. In the left hand w e have not only accompaniment but nice music piece. And right hand is absolutely nice melo dy, pianist should try to show this in performing.<br />Nocturne also quite nice, and for me it needs also more flexibility. In phrasing, sound, changing character in developing as well as movements of hand, wrist. It will help.<br />Ginastera. Also very bright playing. Also I would like &lt; /FONT&gt;to hear more flexibility. Forte should not be too hard, try more free hands. Good feeling of this music.<br />Thank you.</p>','<p>YANG Shiyu','','1292757358','1');
INSERT INTO `node_revisions` VALUES ('1574','1584','1','andre9en','<p>Mozar TSANG<br />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. And 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.<br />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','','1292757399','1');
INSERT INTO `node_revisions` VALUES ('1575','1585','1','andre10en','<p>ZHANG Ruixue<br />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. And 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.<br />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','','1292757441','1');
INSERT INTO `node_revisions` VALUES ('1576','1586','1','andre11en','<p>ZHANG Chuhan<br />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. And 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.<br />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','','1292757475','1');
INSERT INTO `node_revisions` VALUES ('1577','1587','1','andre12en','<p>ZHANG Yunling<br />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. And 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.<br />ZHANG Yunling<br />Etude 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','','1292757546','1');
INSERT INTO `node_revisions` VALUES ('1578','1588','1','wei1en','<p>GU Jingdan<br />A very musically sensitive performance. The nocturne shows a good sense of style. The fingers are strong and clear in the etude. You have a solid command of the instrument, which comes from a superb training.<br />On the other hand, I would like to see more changes of color, mood, and dynamics in your playing. It stays the same too much sometimes. The nocturne is a little too slow for me. Maybe if you let the phrases flow more or have better directions, it would sound more natural and not stagnant. The etude is quite brilliant. But if you can hold back the tempo a little, the right hand might become more articulate and the music more lively. The polonaise is well performed. I would like to see more of the emotional range to bring out Chopin’s poetic temperament. <br />Overall a very solid performance. My advice is to be more daring and imaginative in your interpretation and your music will become multi-faceted, and a joy to listen to.</p>','<p>GU Jingdan<br />A very musically sensitive performance. The nocturne shows a good sense of style. The fingers are strong and clear in the etude. You have a solid command of the instrument, which comes from a superb training.','','1292757787','1');
INSERT INTO `node_revisions` VALUES ('1579','1589','1','wei2en','<p>JI Yusen<br />An energetic performance with a sound technique. The nocturne shows a good deal of musical sensitivity. The toccata is quite brilliant with a natural flow. A promising young talent.<br />The thing I would like to see more of in your playing is more emotional intensity. I believe it is this inner intensity that connects phrases, makes color changes, and gives breathes to the musical flow. In other words, it carries the music through a performance. So your Chopin etude would sound like endless ocean waves rather than just arpeggios, your nocturne would be portraying the aspiring dreams of a young Chopin rather than just a pretty tune, and the Debussy would be a painting with infinite shades of colors rather than an exercise of heavy touch. Think along these terms and let the music come from the heart. The audience will be moved by it then.</p>','<p>JI Yusen<br />An energetic performance with a sound technique. The nocturne shows a good deal of musical sensitivity. The toccata is quite brilliant with a natural flow. A promising young talent.','','1292757828','1');
INSERT INTO `node_revisions` VALUES ('1580','1590','1','wei3en','<p>LI Ying<br />A natural talent, gets through difficult pieces with relative ease. The etude is quite brilliant.<br />I would like to see a clearer musical picture in your playing. The nocturne to me is not just a lyrical piece. It is filled with yearning, suffering, passion, and in the middle, triumph. The inter-action between all those emotions is the beauty of this music. So one needs to have a very clear idea of what expression to bring out at a particular place and secure the technical means to bring that expression out. The same goes for Rigoletto. One needs to find the different voices sung by different character in this famous quartet Bella Figlia Dell\'Amore, and bring them out in a clear fashion to the audience. Here I find the tempo little too fast. It could sing out more and be warmer in a slightly slower tempo. The music will be more interesting, and your audience will appreciate it more.</p>','<p>LI Ying<br />A natural talent, gets through difficult pieces with relative ease. The etude is quite brilliant.','','1292757861','1');
INSERT INTO `node_revisions` VALUES ('1581','1591','1','wei4en','<p>LI Siqian<br />An overall brilliant performance. The etude is in a nicely held back tempo, thus ensuring the runs are clearly articulated. The rhythmic pulse is felt throughout the piece. You have solid control of the keyboard and a good show of dynamic range. The nocturne is sensitive musically. But here I would like to see more of the emotional range of the piece. A nocturne in Chopin’s hands is no longer just a “night song”. From passionate outcry to intimate murmuring, it contains the full range of human emotion. More intensity is needed to carry out the task of bringing those emotions to life. The Figaro is one of the hardest pieces I have ever played, and you did a fabulous job on it. I feel that you understand the meaning of the arias and therefore portrayed the characters clearly. I would make the opening more fantasy-like, and be more emotionally charged at the end. But I am sure you will do all that with time. It is a brilliant performance of an incredibly difficult piece.</p>','<p>LI Siqian','','1292757896','1');
INSERT INTO `node_revisions` VALUES ('1582','1592','1','wei5en','<p>PAN Linzi<br />This is a talented young pianist with a thoughtful musicality and masterful keyboard skills. With that technique, I feel the etude could be more expressive. I think the sign that someone has a great technique is that she can make an etude sound like a piece of music. Chopin Op. 10, No.8 is certainly full of charm and elegance. With a little extra attention, it could be all brought out. The nocturne seems slow to me. It makes it hard to play the mid-section “Poco piu lento”. Additionally, I always think it is easier to make rubato in a tempo that is flowing rather than in one that is stagnant. I like the way you played the Liszt Ballade. It is well thought out and well organized. Perhaps if the phrases have more direction, the music could be more intense. Overall an excellent performance, the future is full of promises for you. </p>','<p>PAN Linzi','','1292757925','1');
INSERT INTO `node_revisions` VALUES ('1583','1593','1','wei8en','<p>YANG Shiyu<br />It’s a very well played program. I like the energy and enthusiasm you brought forth in the etude and Ginastera. The etude is very solid with good control. The nocturne is also played sensitively. Perhaps there could be more breathes in the phrasing, so they don’t sound so tight. The hard thing about the nocturnes of Chopin is that they tend to be pretty but boring. Only if we set free our imagination, can we then explore the different colors, touches, and nuances that these masterpieces contain. And we become better musicians because of them. The “Danzas Argentinas” you played with precision and intensity. I would like to swing the rhythm more in the 2nd one so it sounds more like a dance. It might be too heavy at times for a dance of the maiden. But the outer movements are fabulous with abundant jubilance.</p>','<p>YANG Shiyu','','1292757960','1');
INSERT INTO `node_revisions` VALUES ('1584','1594','1','wei9en','<p>TSANG Mozar<br />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>','<p>TSANG Mozar','','1292758001','1');
INSERT INTO `node_revisions` VALUES ('1585','1595','1','wei10en','<p>ZHANG Ruixue<br />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>','<p>ZHANG Ruixue','','1292758046','1');
INSERT INTO `node_revisions` VALUES ('1586','1596','1','wei11en','<p>ZHANG Chuhan<br />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>','<p>ZHANG Chuhan','','1292758085','1');
INSERT INTO `node_revisions` VALUES ('1587','1597','1','wei12en','<p>ZHANG Yunling<br />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>','<p>ZHANG Yunling','','1292758121','1');
INSERT INTO `node_revisions` VALUES ('1588','1598','1','goetzke1zh','<p>古静丹<br />总的印象马上就很肯定。一切都在正确的轨道上。她的演奏有活力， 分句好，善于倾听自己， 有专业化的技术， 具备真正的钢琴修养和专业训练。手、身体和头脑之间的联系非常默契。<br />所以不存改毛病的问题。而是给一些不同的建议， 在某些地方用别的方法。<br />我们需要考虑夜曲中的速度关系。 中段是piu mosso (稍快)， 但是段落之间应有一种联系的力量（中段的一个小节要比前面的半个小节快一些）， 也就是说乐曲的开始不能太慢。 pp （很弱）及比较流动的速度（也许不像肖邦表的那么快， 但。。。）能够制造一种悲哀的情调，但不悲伤。<br />作品10之8练习曲我总是对左手有兴趣。这里包含着许多重要的旋律因素，切分音， 弱拍重音及有意思的力度变化。而且应记住， 其他练习曲中也有类似的问题。所以左手应比伴奏更重要。<br />对波兰舞曲只有一点建议。主要是有关速度、速度关系、节奏等等。<br />如第8小节的最后一拍，我理解是作为第9小节波兰舞曲真正的开始的起拍。这拍可以稍撑长一些， 但跟后面连起来。第79到83小节的过度需要处理得自然（跟前后两段的速度不能距离太远。 在马祖卡我听到很美的旋律和伴奏。 在节奏方面还可以更有舞蹈性及具有马祖卡特有的重音。 速度还可稍快， 在暗和戏剧性之间欢乐一点。</p>','<p>古静丹<br />总的印象马上就很肯定。一切都在正确的轨道上。她的演奏有活力， 分句好，善于倾听自己， 有专业化的技术， 具备真正的钢琴修养和专业训练。手、身体和头脑之间的联系非常默契。<br />所以不存改毛病的问题。而是给一些不同的建议， 在某些地方用别的方法。','','1292758427','1');
INSERT INTO `node_revisions` VALUES ('1589','1599','1','goetzke2zh','<p>冀宇森<br />想象不到他才12岁。 真是一个天才！但是我们需要评这个比赛和这些作品。<br />练习曲一开始有一些很好的片刻， 有些最难的片段他弹得最好。后来他就累了， 因此整个演奏就不够理想。但我现在已能想象， 从现在起过几年， 他会弹得多好。我建议， 他应听左手低音八度旋律的连接， 现在音跟音之间没有联系。<br />要慢一点练， 把全曲缩成一个圣咏， 更好地体会和声的进行。在他这个年龄应该学乐理与和声，多练视唱和练耳。<br />夜曲太笨重一点了。这首曲子带有悲哀的情调。左手应轻一点， 还要避免弹错的重音。我们不需要感觉小节线。我认为，每个音上手臂重量太多了。哪怕弹八度也不需要那么多手臂， 而加强手指的力量， 如果音乐的性质是比较慢、轻的如歌的话。<br />对我的听觉而言， 德彪西太玄技性，太激动。 前奏曲与托卡塔太像了。 前奏曲中的低音延长踏板可以研究一下， 还应该长一点， 萨拉班德开始太慢，是庄严但还要高贵一些， 另外不要忘记这种舞曲节奏上的特证， 重音在第二拍上。 托卡塔太快了，快板不是急板， 否则很难控制..</p>','<p>冀宇森<br />想象不到他才12岁。 真是一个天才！但是我们需要评这个比赛和这些作品。','','1292758498','1');
INSERT INTO `node_revisions` VALUES ('1590','1600','1','goetzke3zh','<p>李颖<br />李颖已是程度很深的学生了。 我能听出很强的技术能力， 甚至更多。她能弹很长的乐句而不丢失细节。我能感到她的力量，她能把一首乐曲的第一个音和最后一个音连系起来， 甚至把紧张度维持几页。 这是她的天才的重要方面。<br />但是细节是珍贵的， 也是重要的。 举例：我同意他的夜曲演奏的快速。 这也是肖邦的意图， 不让这首夜曲太深刻， 但是声音应该远一些， 不要那么真实。我希望在这首曲子里听到月光和黎明（大调和小调）而不是阳光。<br />练习曲应受赞扬。<br />“弄臣”改编曲演奏的太技术性， 应更随想性。  前奏里的八度速度上可处理得自由一些。速度太快就不好办。  需要下功夫的是此曲的诗意一面，一些轻盈的、轻声的， 准确的节奏和自然的呼吸。</p>','<p>李颖<br />李颖已是程度很深的学生了。 我能听出很强的技术能力， 甚至更多。她能弹很长的乐句而不丢失细节。我能感到她的力量，她能把一首乐曲的第一个音和最后一个音连系起来， 甚至把紧张度维持几页。 这是她的天才的重要方面。','','1292758557','1');
INSERT INTO `node_revisions` VALUES ('1591','1601','1','goetzke4zh','<p>李斯倩<br />李斯倩已是一个很专业的青年钢琴家了。她的演奏有感染了， 看来她不知道有技术问题。她看上去对其做的事非常有意识。（我能想像20年后她会成为一名好的钢琴教授）<br />她的表情，他的声音总是很高贵和平衡， 我甚至感到太多一点。我倒建议她不要那么“理智”， 可冒一点险（当然在话筒前很难。。。）。 更随意一些。 有时候需要非常柔和， 一般的柔和不够。<br />夜曲可少许快一点。有一个地方有点像船歌， 一小节打两拍。 我是唯一的一个人有这个看法。从第66小节起， 我想制造一种印象派的效果，用长踏板， 混合和声。此曲是安静的音乐， 但不能太静了。<br />练习曲的手指功夫很好， 左手里有一些迟疑。 练习的时候强调手指清楚， 演奏时还是要强调暴风雨般的情绪， 不必那么当心。乐谱里写的p 是为后面的渐强做准备的， 并不是抒情的意思。因此这是一首双手都非常强烈的曲子。<br />这首李斯特的曲子也弹得很好。但这类曲子需要极大的力量。当然也有界限。<br />你在各个方面再夸张一些， 从典雅到非常戏剧性。不要怕对比和冲突。</p>','<p>李斯倩<br />李斯倩已是一个很专业的青年钢琴家了。她的演奏有感染了， 看来她不知道有技术问题。她看上去对其做的事非常有意识。（我能想像20年后她会成为一名好的钢琴教授）','','1292758631','1');
INSERT INTO `node_revisions` VALUES ('1592','1602','1','goetzke5zh','<p>潘林子<br />她具有钢琴演奏方面非常好的基础， 非常好的艺术趣味，责任性和训练。技术还有更完善的可能。<br />C小调夜曲在艺术上是很大的挑战——不仅对一个15岁的姑娘。此曲中几个段落之间的过度是一个大问题。那段doppio movimento (双倍速度)是决定性的。它限制着后面的 poco piu lento (稍慢一点) 部分和那些八度。乐曲开始的慢板可以快一些， 根据人声所能唱的可能性，这是作曲家的乐句标志。而潘林子的演奏把慢板（Lento） 弹成 庄板（Grave）或广板（Largo）了。<br />练习曲很好。 只是节奏上的灵感应来自左手第四拍。<br />李斯特的高雅的叙事曲弹得很严肃和深刻。 慢的段落有松弛的倾向。曲中有好多作曲家标的dolce （柔和）的地方， 只有一处写了dolce placido 意思要安静。一些踏板指示也能帮助我们维持紧张度。 还有一个提醒，永远不要把分解八度乾弹， 在其他声部中总能发现有意思的东西。</p>','<p>潘林子<br />她具有钢琴演奏方面非常好的基础， 非常好的艺术趣味，责任性和训练。技术还有更完善的可能。','','1292758698','1');
INSERT INTO `node_revisions` VALUES ('1593','1603','1','goetzke6zh','<p>潘雨萌<br />她是一个很乐感的年轻钢琴家。 一切听起来都是可信的。他的手指与灵魂和想象力结合在一起。肖邦也夜曲为她选得很合适。 旋律的刻画比较灵活， 对这首夜曲来说， 伸缩节奏用的很好。<br />练习曲中变奏演奏区别分明。也使此曲中的一个挑战。声音响的太早和太紧， 尤其是“大提琴”部分和最后一段。肖邦只在个别几处写了 forte . 想象是大提琴声能帮助我们。有弓和弦， 没有竖的动作。我们希望听美丽的连奏和歌唱的声音。轻盈和非常轻盈的伴奏要给旋律让位。再加一点诙谐性。中断前三小节中只在第2，3，小节有延长记号。<br />李斯特的狂想曲， 能让人喜欢听她演奏， 从来不单调，他热情， 勇敢， 有火气。但我要建议她今后把一切表情建立在更高的钢琴修养和责任感的基础上。<br />尤其是在节奏方面， 你太自由了。演奏中有好几处的rubato (伸缩节奏)是无法指挥的（这是rubato 的试金石）。你的符点节奏也在受罪。</p>','<p>潘雨萌<br />她是一个很乐感的年轻钢琴家。 一切听起来都是可信的。他的手指与灵魂和想象力结合在一起。肖邦也夜曲为她选得很合适。 旋律的刻画比较灵活， 对这首夜曲来说， 伸缩节奏用的很好。','','1292758753','1');
INSERT INTO `node_revisions` VALUES ('1594','1604','1','goetzke7zh','<p>徐子昂<br />他有一个真正的钢琴玄技大师的才能， 但在夜曲中他不仅有这些。肖邦练习曲应像一首乐曲， 如小的叙事曲、谐谑曲， 而你只弹成练习曲。我想，应该是一首非常诗意的乐曲， 左手很连贯， 要呼吸 带很多柔和的句尾。 夜曲组织得很好， 显示了成熟性， 声音好像非常有表情， 但太重了。每一段的速度很好。八度的旋律也好。真正的高潮在速度快一倍的那一段。<br />李斯特的狂想曲弹得有激情和辉煌。 有时候可以更随想、典雅和欢快。有些地方声音太硬， 让我想起太辣的菜。很难让人忘记许多空白点， 只有音符没有音乐表现。其实那些地方既要有完美的技巧又要有好听的音质。<br />无论如何， 演奏还是有感染力的。</p>','<p>徐子昂','','1292758798','1');
INSERT INTO `node_revisions` VALUES ('1595','1605','1','goetzke8zh','<p>杨诗宇<br />他把练习曲很轻松地弹下来了。如何再提高呢？ 对我来讲，“演奏”太生理性。 还可以更细致。例如：练习曲一开始的回声，第4小节（左手）的有魅力的重音，第8到第9小节的过渡不要停，第18小节的重音（对分句很重要）第38和39小节的长踏板，第40小节前不需要那么大的渐慢， 第65小节的三连音的控制， 第一拍可以长一点。结尾处的八度可以稍快一点（？）。<br />我对夜曲的意见差不多。都很正确， 但可以更细致。 就是头三个音， 每个音应有不同的音色， （由节奏与和声所决定。看看第9小节的区别）像莫扎特的音乐一样， 有时变化很惊人。我们需要自发地变。dolcissimo (非常柔和）是 expressivo （有表现力的）的反作用。中断一开始应再轻一点，为后面创造一种期待。<br />在吉纳斯特拉的舞曲中我发现一些惊奇的节奏。 第一首舞曲中除了乐谱上写的渐慢， 我不能接受其他的伸缩节奏。第二首乐曲中的伸缩节奏， 我也不能接受， 尤其是旋律的第一和第三小节， 最后一拍多次太长， 好像多出一拍来了（第七拍），或者像附点节奏， 其实只是两个简单的切分。</p>','<p>杨诗宇','','1292758850','1');
INSERT INTO `node_revisions` VALUES ('1596','1606','1','goetzke9zh','<p>曾宪逸<br />为他写评语我很高兴，他有很深的程度，他掌握演奏音乐的基本要素。我能感觉到他在发音前的心理活动。他总是跟音乐保持联系。 练习曲弹得熟练，有感染力， 还挖掘出一条中声部，会使作曲家惊喜。<br />夜曲结构好，和声感和复调感好，乐句有造型， 速度好， 很雅致。<br />他自始至终有拉力。 要把双三度双六度弹连可不容易。 如果真连不起来， 那要造一种错觉。 这还需要改进。<br />普罗科菲耶夫奏鸣曲对他是很好的选择。 我听到自然的精神上和体力上的平衡（两者都很高）。说明他很成熟。 良好的复调感很明显（也很必要）， 这首乐曲也如此。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， 我依然对他的演奏有兴趣。</p>','<p>曾宪逸<br />为他写评语我很高兴，他有很深的程度，他掌握演奏音乐的基本要素。我能感觉到他在发音前的心理活动。他总是跟音乐保持联系。 练习曲弹得熟练，有感染力， 还挖掘出一条中声部，会使作曲家惊喜。<br />夜曲结构好，和声感和复调感好，乐句有造型， 速度好， 很雅致。','','1292759212','1');
INSERT INTO `node_revisions` VALUES ('1597','1607','1','goetzke10zh','<p>张瑞雪<br />她也是一名有希望的青年钢琴家。 夜曲弹得很好。趣味高， 分句正确，集中，乐感， 也许在F 大调段太严肃。 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 />练习曲受到赞扬。 看得出来， 她练习得很负责。16分音符很韵。速度控制的好。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， 还要培养自己的和声感。<br />要考虑到张瑞雪才5岁， 西班牙狂想曲已经弹得很精彩了。她技术上有潜力， 弹奏很自然。过一会她好像忘了摄像机和话筒。 这段她弹得最好。有可能把句子弹得长一些， 让附点节奏把音乐不停顿地摇起来。</p>','<p>张瑞雪<br />她也是一名有希望的青年钢琴家。 夜曲弹得很好。趣味高， 分句正确，集中，乐感， 也许在F 大调段太严肃。 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。','','1292758956','1');
INSERT INTO `node_revisions` VALUES ('1598','1608','1','goetzke11zh','<p>张楚晗<br />听和看她演奏很有意思。她的手腕如此灵活， 任何肩膀的紧张度会消失。这是很好的基础。是一种非常放松的弹奏方法， 一种非常自然的弹法。<br />在夜曲中应该去发现长句和连奏的方法。声音还好， 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。 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， 低音也弹得有意识， 没有做作的东西。<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。正确的分句、有轮廓的句子，有表现力的技能。</p>','<p>张楚晗<br />听和看她演奏很有意思。她的手腕如此灵活， 任何肩膀的紧张度会消失。这是很好的基础。是一种非常放松的弹奏方法， 一种非常自然的弹法。','','1292759012','1');
INSERT INTO `node_revisions` VALUES ('1599','1609','1','goetzke12zh','<p>张云龄<br />她受到很好的训练。 肖邦的练习曲中重音那么清楚是少见， 但这还能接受。有一些片段她弹得非常好，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。总的说， 她还可以更戏剧性一点。（弹ff 时候要明白为什么要那么响。）你演奏夜曲的声音在一个大礼堂里合适， 对近距离的DVD，旋律就“坐下来了”，“飞不起来”。 中段声音的平衡还有一些问题。右手的震音太“忙” 和积极，后面旋律中的长音双手的复调性还不够清楚。<br />谐谑曲中两个和最后两个和弦怎么数拍子？ 延长记号多长？我想不能太长<br />中断的“稍慢”也不能太慢。要让人能够指挥。 这是最好的检验速度的办法。过去的老传统总是把中断弹得太慢，我很高兴听到张瑞雪没有弹得太慢。合适的速度能够发出魔术般的声音。我建议， 中段前的小节用原版的踏板，让休止符呼吸。 </p>','<p>张云龄','','1292759054','1');
INSERT INTO `node_revisions` VALUES ('1600','1610','1','mkv1zh','<p>古静丹</p><p>肖邦：夜曲 作品27之1<br />    你表现了优美的音调和细腻的连音。一切听起来都很流畅，具有音乐性。你的歌唱（旋律）在构思上色调有点单一，你似乎没有注意到声音不同的色度，特别是在乐句末尾“下收”的地方。如果加一个渐弱，就可以使你的演奏更加动人，更有诗意。这些亲切感人的瞬间，可以把平淡的的演奏和伟大的演奏区分开来。你总是把音乐做得太严肃认真了。我建议你去听一下所谓“黄金时代”的那些伟大钢琴家（拉赫玛尼诺夫、霍夫曼、佛里德曼、莫瓦西维奇、彻卡斯基等人）的演奏录音，去熟悉一种富有表现力的音乐风格，它不是总在“叫喊”的。不时地微笑一下，是会受到欢迎的。作品的中间部分，你以音量的增强表现了感情的强烈，而没有注重激情性的增长。左手的八度音起得太慢，做得太谨慎了。我赞赏你在回到A段的时候，所表达出来的怀旧的乡愁感。<br />肖邦：F大调练习曲 作品10之8<br />    左手应该多些歌唱。演奏最终的结果，听起来更像一首“练习曲”，而不是一首优美的作品。右手部分需要有更多的色彩变化，从连音变化到不连，从比较深的触键变化到比较轻快的触键，等等。结尾有点平淡。我还感到演奏有点太慢了。<br />肖邦：升f小调波兰舞曲 作品44<br />    对于本次比赛，这首作品是非常好的选择。要谨慎使用踏板，就不会抹掉了波兰舞曲的节奏感。右手的八度音阶上行，应该是更有旋律的，而不是辉煌的（是肖邦，不是李斯特！）。在波罗乃兹和主要玛祖卡之间的连接段落中，踏板的使用应按照肖邦所做的标记，其更有趣味，更加大胆，这一效果是通过瞬间产生的模糊音而达到的。玛祖卡部分弹得太方正古板了。要微笑！这不是一首需要如此严肃认真的音乐作品！要给出一点即兴演奏的感觉！<br />总评：你有才华，是个认真的学生。你需要幽默和个性。你所做的一切都是合乎预料的。你也许是在遵循你老师的指导。这些指导是很好的，但你必须让音乐发自你自己的内心，这样，你才能迈向艺术的高度，而不仅仅是听起来像一个非常有才的学生。</p>','<p>古静丹</p>','','1292759342','1');
INSERT INTO `node_revisions` VALUES ('1601','1611','1','mkv2zh','<p>冀宇森</p><p>肖邦：C大调练习曲 作品10之1<br />    你的大手使这首作品成为适合你的理想练习曲。你试图用右手表现多样化的触键，但并没有真正做到成功。在最弱的部分，你有一些漏音，或至少有碰错音。而且，用作对比所需的轻的非连音（需用较轻的踏板）没有做出来。你应该以轻弹从头到尾练习全曲，不要使用踏板，以便真正听到自己的所弹。当你回到开头的琶音时，你需要更多的“准备”，以使那“回家”的感觉更有意味。你决定发力的一些地方，没有什么意义。我建议你听一下美籍墨西哥钢琴家Agustin Anievas 的演奏录音，注意他色彩上的丰富多样和他对发力的组织安排。<br />肖邦：降b小调夜曲 作品9之1<br />    这首夜曲是有难点的，因为它的长装饰音要求节拍上的自由。这些长装饰音必须听起来像是即兴演奏的，需要添加一个内在的弹性速度（rubato）以达到这种效果，你必须学会从内心来感觉它。去熟悉一下“黄金时代”老牌大师们的演奏，他们的演奏年代在1930年到1950年之间。你的八度部分显得重复，有点乏味。它需要更加丰富多变，更具有想象力。<br />德彪西：《为钢琴而作》<br />    学习一些德彪西的前奏曲，其实对于你的艺术发展会有更大的好处，尽管它们对于这个比赛来说，可能并不是最好的选择。你从钢琴表现的角度演奏这首作品，从中领悟高难的技巧和指法的精湛。如果对色彩和氛围的表现能够更加集中，会使你越发接近作品的风格。你的演奏听起来过于像李斯特了。<br />总评：你很有天资，以你的年龄来说，你已经做得很好。一定注意不要让你的能力把你引到错误的方向。最重要的是，努力使自己成为一个音乐家。</p>','<p>冀宇森</p>','','1292760015','1');
INSERT INTO `node_revisions` VALUES ('1602','1612','1','mkv3zh','<p>李颖</p><p>肖邦：夜曲 作品27之1<br />    相当漂亮的一个演奏，左手（手腕松弛）灵巧的处理，把音程连接起来，音符紧挨音符，而不松散。你的左手就像一个音乐指挥，引领着一个歌手，不给他/她肆意表达的自由。有点太注重节奏了。左手必须跟随右手，而不是相反。在起始的旋律中虽有色彩，但很快我就意识到，你本可以通过使用柔音踏板在某些地方表现出更多的亲切感。在接近结束，要做渐弱的时候，你的渐弱不只是按所期望的那样，对和声产生了作用，而且也影响了旋律，使其不复存在。柔音踏板的作用，在减弱声音的同时，仍可歌唱，它会让你把旋律歌唱得更加深沉。你在中段的渐强，情绪上的关联大于音量上的关联，这是我所喜欢的。<br />肖邦：a小调练习曲 作品10之2<br />    令人印象深刻的演奏，但有点太沉重了。再说一次，柔音踏板会帮助你在一些地方获得更多的声音变化，有时会让一些上行音阶听起来极其轻柔。出于某种原因，我觉得你会让一些观众感到你太卖力气了。这首作品听起来应该是轻松从容的！去找来听一下智利钢琴家Rosita Renard 在1940年代所做的现场录音（录制于卡耐基大厅）。她是在键盘上飞翔！<br />李斯特：改编自威尔第的歌剧《弄臣》<br />    你是否熟悉《弄臣》的故事情节和其中的主要人物？当你奏完引子部分，你对旋律的处理太重了，缺少了公爵的恶意中所内在讽刺意味，他企图让吉尔达相信自己爱她，而实际上他不愿意也没能力爱任何女人。他的态度是伪善的！吉尔达的回应，是天真的卖弄风情，这在你的处理中也没有表现出来。你单一的演奏，缺少早期大师演奏中所要求的“沙龙”风格，你总是用踏板表现辉煌，而没有去寻求他们内在的魅力！较轻的踏板会让你获得更大的效果。去听一下舒拉?彻卡斯基的录音，录音的时候他已经很老了，不能弹得像你一样辉煌。但是，他真正抓住了作品的精神！<br />总评：在你的演奏中有一些十分迷人的东西，吸引我想要去听！</p>','<p>李颖</p>','','1292759411','1');
INSERT INTO `node_revisions` VALUES ('1603','1613','1','mkv4zh','<p>李斯倩</p><p>肖邦：升c小调练习曲 作品10之4<br />    在清晰和轻巧方面，你两手都有稳定的处理。就我的口味来说，我认为听到的拍点太多了。也许稍微再快一点，就可以抹去这种感觉。演奏这首练习曲，要让观众忘记每小节有四拍，这对你来说，是一个挑战。<br />肖邦：夜曲 作品27之2<br />    我特别喜欢你对旋律素材的“歌唱性”处理，你专门注意了大音程以及“抵达”一个高音时所需要的“呼吸”，我也喜欢你在引入新和声时的处理。我对中间段落的快速跑动部分感到失望，因为它被设计得太仔细了，在实际演奏的时候就有点脱节了。听一下约瑟夫?霍夫曼现场演奏录音中相同的这些小节，其录制于1930年代纽约大都会歌剧院。<br />李斯特：莫扎特《费加罗的婚礼》主题幻想曲<br />    不仅在速度和音量方面，这是一个堪比名家的超级炫技演奏，在色彩、轻巧、想象力方面，它同样也是。尽管有这样的称赞，但你在选择曲目方面的趣味仍令我担心。这样的一首作品，是你用来展示令人赞赏的演奏技巧的全部所需。我相信，在你成长过程的这个阶段，观众会欢迎这样的作品。然而，你需要开发一套浪漫派的曲目，要以肖邦、舒曼、勃拉姆斯这样的作曲家所写的韵律丰富的作品作为基础。这将把你引入艺术成熟之境，这也是在你年龄渐长后获得认可的唯一途径。<br />总评：显然，你很有天赋，并具有任你控制的非凡的钢琴资质。</p>','<p>李斯倩</p>','','1292759482','1');
INSERT INTO `node_revisions` VALUES ('1604','1614','1','mkv5zh','<p>潘林子</p><p>肖邦：c小调夜曲 作品48之1<br />    对于开头段落，我略有失望。就我的口味而言，它在情绪上过于紧张了。我更喜欢一种较“远”的处理方式，使听众渐渐地为埋伏在最后的暴风雨般的感情爆发作好准备。我还感到，八度音的中间段落有点太辉煌了，这更适合于李斯特匈牙利狂想曲那样的作品，而并不适合肖邦写过的任何东西。<br />肖邦：F大调练习曲 作品10之8<br />    祝贺你！这是我所听过的这首练习曲最美妙的演奏之一。你对音色的细微差别和多样性变化具有特别敏锐的耳朵，而且你已经学会使用正确的技术方法去获得这种效果。你的演奏使我想起过去时代伟大钢琴家们的“老派”风格。你在高音部不用踏板的那些不动声色的演奏瞬间特别有效果，表现了高度的圆熟和老练。<br />李斯特：b小调第二叙事曲<br />    当我在你的曲目表中注意到这首作品的时候，我不明白你为什么选择了这样一首内容重复性很强的作品，它在公开演奏中往往无法抓住观众的注意力。你证明我想错了！你让这首作品听起来比它实际的地位更重要。它给你机会去爱抚琴键，去使用漂浮的技巧，创造出钢琴所能产生的一些最美妙的声音。<br />总评：在你的演奏中，处处充满了艺术效果。我必须赞扬你的老师能够教出这样好的结果，同时还让你显得一切都是你本身所具有的。</p>','<p>潘林子</p>','','1292759557','1');
INSERT INTO `node_revisions` VALUES ('1605','1615','1','mkv6zh','<p>潘雨萌</p><p>肖邦：B大调夜曲 作品32之1<br />    相当漂亮的一个演奏。从一开始，我就感觉到，你很好地利用了肖邦在流动中的瞬间中止，尽管你没能加上他所要求的微小渐快。其实这是可以被有效地做出来的，那么最终的效果就会更加别致。我希望看到的是，左手能够带出一点更多的对位旋律，再加上一些迷人的触键，就会造就一个从头到尾始终都具有“表现力”的音乐诠释。<br />肖邦：e小调练习曲 作品25之5<br />    在开头的右手部分显现较低乐音的想法，很有趣。钢琴演奏者通常是勾勒旋律的高音。你的想法也是有道理的。我发现你的演奏偏慢，有点沉重，欠缺根本的优雅。我不明白为什么音乐学生们都能够传递音乐中那些表情丰富的元素，但在表达性格魅力和轻松愉快的时候却感到那么困难。<br />李斯特：匈牙利狂想曲 第12首<br />    对你的演奏质量，我没有异议，因为你在技术上已达到作品要求的高度，在每个段落中，你都注入了适当的性格。然而，在你为掌握这首作品的钢琴技巧要求而做出的长时间的不断练习中，我看不到它对你具有真正的挑战意义，因为你并没有去处理对你的成熟和音乐才能具有更多要求的音乐。<br />总评：很有天赋，音乐性的演奏，美妙的乐音，有点沉重，持续地强烈，没有喘息。要多一些乐趣！</p>','<p>潘雨萌</p>','','1292759611','1');
INSERT INTO `node_revisions` VALUES ('1606','1616','1','mkv7zh','<p>徐子昂</p><p>肖邦：升g小调练习曲 作品25之6<br />    尽管你有令人印象深刻的手指表现和快速双音的弹奏能力，但你的演奏最终缺少了所需的轻松和优雅。我欣赏你的一些包含音色变化的精致细节和左手的歌唱。然而，你的三度在演奏中有练习的感觉。去听听Joseph Lhevinne 的演奏录音，感觉一下你应该努力达到的那种声音效果。<br />肖邦：c小调夜曲 作品48之1<br />    在这里，你的处理正好与前一首相反了。你在所有的地方都寻求音乐效果，而一些地方有效，许多地方则无效。最终的结果是，有点肤浅，就好象你要把音乐做得比音乐本身更“有音乐”。我欢迎你对所有这些可能性进行探索，但最终的效果必须是有好的品位，而在你的演奏中则存在一些并非总是真诚的东西。<br />李斯特/霍洛维茨：匈牙利狂想曲 第2首<br />    我可以看出，你花了很多时间去听霍洛维茨的录音，并试图效法他。尽管你的演奏表现了才华，但我担心你在追求错误的价值观念。有大量的钢琴演奏者都可以演奏得快而响亮。在你的情况里，你很费力地去求取这种效果。要知道，真正伟大的演奏大师们，听起来都是举重若轻的。而你却使重的听起来比它们原本更重了。不要去为大众而演奏，要为精英而演奏，他们欣赏的是美丽，而非夸大。也许选择一首不同的作品，就会挑战和激发你的音乐才华，而非你的身体力量。<br />总评：你的音乐表现有点过于讲究和过于回旋了。你似乎主要是在钢琴演奏的身体要素里发现快乐。无论如何，你是一个一流的钢琴天才！</p>','<p>徐子昂</p>','','1292759666','1');
INSERT INTO `node_revisions` VALUES ('1607','1617','1','mkv8zh','<p>杨诗宇</p><p>肖邦：降G大调练习曲 作品10之5<br />    我希望你能追求更多的色彩变化和运用更多的想象能力。你的演奏，手有点重。在回到开头素材之前的渐慢，对于认为此作品是短而快的人来说，就做得太夸张了。这是一个很好的，但却是平淡的演奏。<br />肖邦：夜曲 作品15之2<br />    你表现了一些音乐品质，但其中你得之于你老师的，似乎多于出自于你自己的。这首优美的作品给你许多表现柔情的机会，却被你错过了。<br />吉纳斯特拉：阿根廷舞曲 作品2<br />    我钦佩吉纳斯特拉的才华，作为一个民族作曲家，他做出了特殊的贡献。这一独特的套曲十分有吸引力，往往是许多学生所弹的第一个二十世纪作品。遗憾的是，对一个已经16岁的人来说，它实在不具备挑战性。选择这首作品参加本次比赛，无法使你证明自己是不是一个真正的音乐家。套曲的第一首太简单了，第二首有一个几乎本身就在歌唱的优美旋律，最后一首是一个bangy bangy 重复不已的无穷动，其效果成分多于实质性内容。如果你在10到11岁，我会欢迎你的献演。在你现在的年龄，你应该远离这种表面化的音乐。<br />总评：赋有天资而又认真的学生，需要集中力量注意向音乐家的方向发展。</p>','<p>杨诗宇</p>','','1292759705','1');
INSERT INTO `node_revisions` VALUES ('1608','1618','1','mkv9zh','<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>曾憲逸</p>','','1292759743','1');
INSERT INTO `node_revisions` VALUES ('1609','1619','1','mkv10zh','<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>张瑞雪</p>','','1292759798','1');
INSERT INTO `node_revisions` VALUES ('1610','1620','1','mkv11zh','<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>张楚晗</p>','','1292759835','1');
INSERT INTO `node_revisions` VALUES ('1611','1621','1','mkv12zh','<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>张云龄</p>','','1292759872','1');
INSERT INTO `node_revisions` VALUES ('1612','1622','1','andre1zh','<p>古静丹</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>古静丹<br />肖邦夜曲 Op. 27#1<br />肖邦练习曲 Op. 10#8<br />肖邦波兰舞曲 Op.44</p><p>非常美的夜曲，RUBATO很好，但有时候在旋律中，休止符的节奏不太正确。尽管传统上这里的16分音符在节奏里是对着左手三连音的最后一个音，但我更喜欢听到这里更有表现力的旋律和更灵活的rubato。当然16分音符也不能太短，很难用语言表述清楚。</p><p>练习曲的手指技术很好，有的时候左手的琶音太快了，右手也是要更加的旋律化。<br />波兰舞曲不错，主题中的八度，要更多叙述性。<br />玛祖卡的中段给人的印象不是很深刻，还需要再磨练。<br />非常感谢你的表演，演奏状态非常稳定。</p>','<p>古静丹</p>','','1292760170','1');
INSERT INTO `node_revisions` VALUES ('1613','1623','1','andre2zh','<p>冀宇森</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。<br />  <br />冀宇森</p><p>12岁的钢琴家给我印象很深。非常好，将来有很大的潜力。<br />肖邦练习曲OP.10,NO.1<br />左手要更加连贯，和右手一样，手指不错，需要更加准确。<br />夜曲<br />要尽可能做一些自然的rubato，弹得过于循规蹈矩了。右手的长音和左手的八分音符，要找到很好的平衡。<br />德彪西<br />要更加精准，你的演奏不是非常准确。要找一找声音的音响效果。特别是萨拉班德。<br />我对于这个年轻男孩非常期待，在不远的将来你就会成为一个优秀的钢琴家，祝你好运。</p>','<p>冀宇森</p>','','1292760710','1');
INSERT INTO `node_revisions` VALUES ('1614','1624','1','andre3zh','<p>李颖</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>李颖</p><p>夜曲27之一，<br />弹得很美，中段有点太吵了，有点粗鲁。渐强的时候一开始不要强的太早。<br />练习曲，非常好，这是一首很难的曲子，但你演奏的很成功，试着找一些更有意思的音色。这不是一首很响的练习曲，有一点怀旧的心情，和悲伤的味道，演奏中不要总是很明亮的感觉。<br />弄臣<br />这是一首幻想曲，需要很多即兴的东西，更多rubato, 叙述感不强，要像说话一样。</p>','<p>李颖</p>','','1292760757','1');
INSERT INTO `node_revisions` VALUES ('1615','1625','1','andre4zh','<p>李斯倩</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>李斯倩</p><p>非常激动人心的演奏，谢谢你。你的曲目都很难。<br />练习曲很好，你的手指会“说话”。<br />夜曲也很好! 注意有时候分句会模糊，触键很美。<br />李斯特的想象力很棒！祝你将来一切都好。</p>','<p>李斯倩</p>','','1292760810','1');
INSERT INTO `node_revisions` VALUES ('1616','1626','1','andre5zh','<p>潘林子</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>潘林子</p><p>非常美的表演。<br />夜曲很美，很有戏剧性，感觉很好，一开始的触键和分句有点雷同了。<br />练习曲非常美，演奏的很优雅。我建议你可以找一找更有意思的的触键，不要太响。<br />李斯特<br />非常有想法的演奏，不同段落之间的平衡和对比做的非常好。<br />对于你的未来寄予最美好的祝愿，祝你好运。</p>','<p>潘林子</p>','','1292760861','1');
INSERT INTO `node_revisions` VALUES ('1617','1627','1','andre6zh','<p>潘雨萌</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>潘雨萌</p><p>非常美的演奏，给你一些建议。<br />夜曲，有点过于程式化，数拍子感觉太明显。需要更多自然的灵活自如的rubato.你坐的离琴太远，倾向于和琴相反的方向，坐的舒服自然些，声音也会更自然。<br />练习曲<br />形式上看来，主题的第一感觉还是正确的，但肖邦的作品毕竟是浪漫时期的音乐，小指的旋律应该更加歌唱和有表现力。中段太响了，有点太紧迫了，要更加歌唱和自然。<br />李斯特<br />颤音给人非常强势的印象，在你的表演中有些过了<br />很好的钢琴，你弹琴时rubato很多很自然，forte也要用同样的感觉去弹，不同的段落要更加自由。<br />感谢你的演奏，祝福你。</p>','<p>潘雨萌</p>','','1292760898','1');
INSERT INTO `node_revisions` VALUES ('1618','1628','1','andre7zh','<p>徐子昂</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>徐子昂</p><p>你的演奏给人印象很深，很放得开，非常有天赋！<br />还是要给你一些建议，不是说你一定要按我或其他人说的去做，但你可以思考一下，别人为什么会指出这些问题。<br />练习曲<br />很显然这是最难得练习曲之一，但最困难的是，把它演奏成一首好听的曲子而不是枯燥的练习曲。乐曲是悲哀的，怀旧的特性，左手不是跳跃的，也不是断奏，而是歌唱的音色，右手三指的音质要更准确。<br />夜曲有很多好的地方，我建议八度开始的地方，不要马上就响，为高潮的段落做准备，积蓄力量。你的坐姿也不是很自然，有时有点驼背。<br />李斯特<br />非常激动人心，对我来说，你要使听众相信，之所以演奏这个很难的版本，是因为你是“这样”理解这个曲子，而不是显示你“可以”弹得这么难。<br />感谢你的演奏，祝福你。</p>','<p>徐子昂</p>','','1292760940','1');
INSERT INTO `node_revisions` VALUES ('1619','1629','1','andre8zh','<p>杨诗宇</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>杨诗宇</p><p>练习曲<br />很美的演奏，遗憾的是触键和语气有些不够准确。左手不仅是伴奏，更是美的音乐，而右手更是绝对的旋律，在演奏中要更加展示出来。<br />夜曲<br />非常安静，美丽。对我来说还是需要更多的弹性处理。分句，声音，发展部音乐特性的转换，手和手腕的活动都会有帮助。<br />吉娜斯特拉<br />整个演奏非常生气勃勃。我还是认为需要更灵活，更机动。强不要太硬，手放松一些。对这首曲子的整体感觉还是不错的。<br />谢谢</p>','<p>杨诗宇</p>','','1292760981','1');
INSERT INTO `node_revisions` VALUES ('1620','1630','1','andre9zh','<p>曾宪逸</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>曾宪逸</p><p>练习曲非常有意思，音乐中的自由感觉很好。<br />夜曲，非常好，能够很好地聆听自己的演奏，控制力也很棒。音乐很美，不太容易，但你演奏的很成功。有时16分音符的双音也许可以稍微慢点。很好的rubato，音乐感觉很细腻。<br />普罗科菲耶夫<br />非常好，对于普罗的风格来说，只有作曲家标记了rubato的时候，你才可以做rubato。没有写的时候，就不需要做，而且对于音乐没有帮助。（对这个类型的音乐来说没有）<br />总体上来说是很激动人心的表演，谢谢。</p>','<p>曾宪逸</p>','','1292761021','1');
INSERT INTO `node_revisions` VALUES ('1621','1631','1','andre10zh','<p>张瑞雪</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>张瑞雪</p><p>弹得非常好，形式上都很正确，对于将来的发展有着很好的基础。可以试试把所有的音乐都演奏的像是你自己亲自作曲的感觉，把音乐变成你自己和你生活的一部分，并且像在剧院演出的女演员一样去表演。音乐不止是音符，是在音符之间并高于音符的。没有人可以解释的很正确，只有你能感觉到它。祝你的未来好运。<br />夜曲可能需要更安静一些。<br />练习曲非常好，有一点太响了。<br />李斯特西班牙狂想曲，要更多西班牙的精神，要再夸张一些。<br />谢谢你的演奏，祝你好运。</p>','<p>张瑞雪</p>','','1292761066','1');
INSERT INTO `node_revisions` VALUES ('1622','1632','1','andre11zh','<p>张楚晗</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>张楚晗</p><p>夜曲<br />速度可以更安静一些，你的rubato不错，触键也很好，但是速度有点机械化。<br />练习曲的速度不错，这是首很难得练习曲，更难得是把它变成一首美丽的乐曲。不要太响。<br />李斯特<br />多看看前面的注释，理解西班牙精神。<br />尽管感觉很好，但是乐曲进来的时候有点太具有侵略性了。困难的地方非常自由，但还是要注意乐感在乐段之间的连接。</p>','<p>张楚晗</p>','','1292761105','1');
INSERT INTO `node_revisions` VALUES ('1623','1633','1','andre12zh','<p>张云龄</p><p>首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。</p><p>非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>张云龄</p><p>练习曲<br />非常好，建议你右手和左手都要更加连贯。<br />夜曲也非常美，对于我来说中段有点太快了，尽管技术上很好，但左手要更加娓娓道来。<br />谐谑曲<br />手指非常好，感觉也很棒。但这是肖邦的旋律，在这么快速的情况下，不太可能把每个声音都发的很好。<br />中段你要找到自然的韵律和速度，考虑到你每个小节的第三拍为了准备下一个小节都有点停顿，导致有些不连贯，除此之外，应该连接整个句子。<br />寄予你最好的祝福，你有很好的机能弹出好的“音乐”！<br />谢谢你！</p>','<p>张云龄</p>','','1292761141','1');
INSERT INTO `node_revisions` VALUES ('1624','1634','1','Elton1zh','<p>古静丹  </p><p>肖邦 作品27 / 1夜曲：演奏沉稳，有层次和美感，在各方面来说堪称纯净优美。但演奏稍嫌安静，仿佛精心安排，“职业化”色彩太浓，缺少个性化的东西。</p><p>练习曲 作品10/ 8：演奏技巧堪比成熟的钢琴家。 手指技法生动，不流于机械。演奏者拥有如此水平的技巧，应该可以表达更多的东西，而不仅限于优雅或机智，最后一页或许应当表现“融化”的感觉和迥异的风格，当然还是可以听出演奏者对此也有所感悟，但表现有所不足。不知为何，演奏者传达出更多纯粹欢乐的情绪！总体来说，有一点循规蹈矩。</p><p>肖邦F小调波兰舞曲：演奏从力量和控制方面来讲令人印象深刻，但缺乏说服力，有些过分“刻意安排”和老套乏味，没有传达出那种大摇大摆的贵族气。节奏过于平淡，和声缺乏层次。小调部分弹奏过于呆板，反复的章节未能表现差异，此处需要弹出高潮的感觉，分句缺乏弹性，玛祖卡也是可以弹成华尔兹的！再次感觉到演奏者确实技巧熟练，但需要更直观、更具创造力的反应，从而逼真表现小调反复部分的鲜明对比。</p><p>虽然有上述的不足，但演奏从整体上看令人印象深刻，表现出非凡的自信和娴熟的技艺。让人感觉（至少就我感觉）演奏者接受过非常正规的专业指导。美中不足的是演奏者在很大程度上未能表达个性的“声音”，没有尝试任何音乐上的“冒险”。</p>','<p>古静丹  </p><p>肖邦 作品27 / 1夜曲：演奏沉稳，有层次和美感，在各方面来说堪称纯净优美。但演奏稍嫌安静，仿佛精心安排，“职业化”色彩太浓，缺少个性化的东西。</p>','','1292980835','1');
INSERT INTO `node_revisions` VALUES ('1625','1635','1','Elton2zh','<p>冀宇森</p><p>肖邦作品。 10 / 1</p><p>演奏技巧熟练。该练习曲确实需要百分之百的规矩弹奏。但演奏者的弹奏过于机械，缺乏感情，令人有些不快。左手部分音色完满，但右手音色硬脆。该练习曲不应弹得完全机械。</p><p>肖邦夜曲 作品9/ 1（降B小调）：演奏显然经过精心准备，但对夜曲的意境还缺乏艺术性或音乐性上的共鸣。左手缺乏流动性，而右手过于仓促，尤其是在弹奏八度音阶时。左手往往过于响亮吵闹，而不是如同流水—尤其是在中段。乐曲的真实意境不够，应当弹得轻柔、圆润、流畅，更加细腻、敏感地表现乐曲中细微的差别。演奏者的反复部分弹得最好，右手部分的音符加入了更多的华丽色彩，在此表现出某些真正意义上的张力。</p><p>德彪西钢琴组曲：1演奏者再一次表现出他的敏捷，但选择该曲目也许并不明智，因为它需要更多的音乐上的世故老到，以及更加关注于比赛得分（即便是对初学者也是如此）例如，演奏者忽视了要逐渐回到开始的节拍，在下一页的小节开始后让动感仍然停留在钢琴上。遗憾的是，演奏者的演奏仓促急躁，感情苍白，无论是音乐性方面还是钢琴演奏方面都缺乏优雅精致。 2节拍方面不够稳定，尽管“elegance grave et lent”并不明显，但无大的节拍错误，演奏呆板的地方较多。3弹奏的速度太快，声音太大！技巧没有问题，但在音乐性方面需要加强。缺少情感。</p><p>以下仅仅是我个人的看法：耳听一个拥有如此技巧的钢琴家如此对待德彪西的作品实在是一种折磨。这个年轻人毫无疑问拥有天分，但必须马上敦促他完全改变对音乐的思考方式，否则就太晚了。</p>','<p>冀宇森</p><p>肖邦作品。 10 / 1</p><p>演奏技巧熟练。该练习曲确实需要百分之百的规矩弹奏。但演奏者的弹奏过于机械，缺乏感情，令人有些不快。左手部分音色完满，但右手音色硬脆。该练习曲不应弹得完全机械。</p>','','1292980869','1');
INSERT INTO `node_revisions` VALUES ('1626','1636','1','Elton3zh','<p>李颖</p><p>肖邦夜曲 作品27/ 1：选择这个曲目是个非常好的主意。声音的质量有点过于直接，要达到真正的音乐境界，需要音色上更加的精致以及对于细微的差别之处富有想象力的察觉。演奏的音乐性还不错，但对于这首奇妙的夜曲，演奏者还缺少充分探索其细微之处的野心。</p><p>肖邦 作品10/ 2：演奏符合练习曲的要求。左手稍稍有些呆板和程式化，右手应该再流畅一些，让整首曲子更加悦耳，这种方法比单纯的肖邦化更有用。演奏的整体的力度过强，声音过大了。</p><p>李斯特：弄臣演绎曲：演奏技巧同样令人非常欣赏。但听不到咏叹调中所蕴含的真正的修辞色彩和情感内容-即悲情和深刻程度（咏叹调的演奏听起来过于反映“客观的事实”，而不是悲伤的倾泻。）尽管再次感觉演奏者过于“高效”地表现音乐而未能充分享受乐曲精妙之处带给人的愉悦，还是能够感觉到演奏者拥有基本的音乐感觉。也许通过聆听歌剧或者管弦乐来激发这首作品的演奏灵感对演奏者来说并不容易。（例如，八度跳跃的弹奏听起来都是仿佛痛苦焦虑的哭诉！）</p><p>应当更加注重右手的乐段，扩展精致程度，不过演奏者有令人欣赏的技艺精湛之处。哭诉跳跃部分的弹奏不到位。</p><p>从该曲目的演奏中感觉这位年轻的演奏者未来有成功的希望，她还有时间开放她的思想和耳朵从而超越仅仅是“高效”弹奏钢琴的境界。</p>','<p>李颖</p><p>肖邦夜曲 作品27/ 1：选择这个曲目是个非常好的主意。声音的质量有点过于直接，要达到真正的音乐境界，需要音色上更加的精致以及对于细微的差别之处富有想象力的察觉。演奏的音乐性还不错，但对于这首奇妙的夜曲，演奏者还缺少充分探索其细微之处的野心。</p>','','1292980910','1');
INSERT INTO `node_revisions` VALUES ('1627','1637','1','Elton4zh','<p>李斯倩</p><p>肖邦作品.10/ 4：技艺高超，弹奏很干净，手指工夫很棒。尽量不要去想这是十六分音符。如果和弦弹得太紧太垂直，演奏听起来很容易显得过于机械化、节拍化合程式化。即使这是一个“练习曲”，它仍是一个了不起的音乐作品。弹奏得真是一尘不染。</p><p>肖邦降D夜曲 作品27 / 2：喜欢演奏中的平衡感和空间感，即使演奏没有任何特殊的魔力，仍体现了音乐的感受力（听听前辈伟大的钢琴家是如何演奏这首作品或类似音乐作品的。）演奏没有沉迷于任何过度的自由散漫，这一点令人欣赏，不过在一些细微的地方仍然存在过强的节拍。结尾很可爱，有非常令人欣喜之处。不过总体来来说，弹奏过于直白了。</p><p>李斯特的“费加罗“幻想：感觉你弹这首曲目很自在，对于自己有能力掌握其技术的挑战充满信心。演奏技巧确实令人羡慕！但能否成功地表达莫扎特各种咏叹调的本质特色仍未可知。 （例如，唐璜主题变奏曲是其中一首最温柔、最雅致的爱的咏叹调。演奏听起来令人印象深刻，听得出你是真心喜欢这首作品。你能将自己的才能扩展到更广的范围吗？感觉你弹到结尾的时候有点儿累了，未能完全表现出那种乐曲所需要的蓬勃。</p><p>有天份的女孩儿，我喜欢她弹奏中流露中的清新和自然。</p>','<p>李斯倩</p><p>肖邦作品.10/ 4：技艺高超，弹奏很干净，手指工夫很棒。尽量不要去想这是十六分音符。如果和弦弹得太紧太垂直，演奏听起来很容易显得过于机械化、节拍化合程式化。即使这是一个“练习曲”，它仍是一个了不起的音乐作品。弹奏得真是一尘不染。</p>','','1292980937','1');
INSERT INTO `node_revisions` VALUES ('1628','1638','1','Elton5zh','<p>潘林子 </p><p>肖邦夜曲 作品48/ 1：请不要“过分努力！”你的弹奏过于刻意，弹得煞有其事，感觉你希望让人觉得自己很成熟。当然你可以这样弹，但这样的话人工的痕迹太重了。不知为何，总有些演奏者，他们听了看了大师的演奏后就开始努力地模仿。问题是这并不是葬礼进行曲。C大调部分弹得略微静了些，但能听到如此温柔的演奏感觉太好了。你一弹到八度音阶就变得特别地自然和有天份，技巧和感觉就突然变得令人印象深刻，音乐上也很投入-确实很有天赋。</p><p>练习曲 作品10/8：这首练习曲弹得真是令人愉快。演奏技巧生动自然，其中蕴含着某种超越“标准”弹奏技法的东西。有活力—但控制得很好，没有超出作品体裁。最后一页风格的变化很可爱，不过可以弹得再迷人和放松些。你在演奏中所传达的那种十足愉悦的感觉确实打动了我！</p><p>李斯特B小调叙事曲：空间感和表现力令人印象深刻。氛围营造得很好，开头的快板处理得不错，让人真实感受到作品的声音和色彩，激动人心而又不过分夸张。部分修辞句流露出真正的痛苦与感伤。我越来越被吸引，从中感受到一个真正的音乐家的激情，以及传达作品深处感情的能力，且没有任何的矫揉造作。许多人把这首作品弹得嘈杂而毫无吸引力，但你的演奏深沉而有穿透力。只有拥有与众不同的强烈感受的人才能弹出如此的感觉，仿佛他真的“到过那里并亲身体验过”某些非同寻常的东西，而且能够把这种东西传达给他人。有意思的是，在B大调的最后一部分，我起初感到你试图想表现得在音乐上更“成熟”一些，少了些自然，但一旦你的技艺完全释放出来后，这种略微的人工修饰就消失了。结尾部分控制得不是很完美。</p><p>总的来说，演奏成熟且令人印象深刻，让听众投入，感情的传达也到位。让人感觉这是一位全心投入、充满激情且技艺精湛的钢琴家。</p>','<p>潘林子 </p>','','1292980972','1');
INSERT INTO `node_revisions` VALUES ('1629','1639','1','Elton6zh','<p>潘雨萌</p><p>肖邦B大调夜曲作品.32 / 1：演奏自然而令人愉悦，其中蕴含着不寻常的个人感触，有一种温柔和怀旧在其中。可以让音符在有些地方更流动一些，不过对情绪转折处把握得不错。左手有时会有一点儿杂音和过重。结尾的特别转折和B小调的结尾表达得不错。</p><p>练习曲 作品25/5(E小调)：有些地方的音色过分雕琢而不太自然。E大调部分过于沉重，这里可以多一些“自由流动”的感觉，不要过分用力，别试图把它表现得太“重要”！这是一首美妙自然的肖邦作品。演奏的技巧很好。</p><p>李斯特匈牙利狂想曲第12号：我喜欢你弹奏中的自信和直接。有些地方你弹出了丰富而有深度的音色。不过表达音乐上微妙之处有其限度，唐吉诃德式的曲折情绪被你演绎得过于自然和喜悦。技巧上有小小的瑕疵，但这从来都不算大问题。</p>','<p>潘雨萌</p><p>肖邦B大调夜曲作品.32 / 1：演奏自然而令人愉悦，其中蕴含着不寻常的个人感触，有一种温柔和怀旧在其中。可以让音符在有些地方更流动一些，不过对情绪转折处把握得不错。左手有时会有一点儿杂音和过重。结尾的特别转折和B小调的结尾表达得不错。</p>','','1292981010','1');
INSERT INTO `node_revisions` VALUES ('1630','1640','1','Elton7zh','<p>徐子昂</p><p>肖邦练习曲 作品25.6: 坦白的说，你的弹奏让我很痛苦。技巧如此高超但在音乐上却很滑稽。一首反映不可思议的微妙感情的前印象主义流派的美妙作品，变成了可怕的纯粹技巧展示，鉴赏错误，毫无趣味。手指像机械般出色（但也不是完全没有缺点）</p><p>夜曲 作品48/1：很难相信是同一个演奏者弹出了这首庄严有序的C小调夜曲。演奏很棒，超越了“再现”的水平，饱含个人的体验。开头的庄严拿捏得很好，不过C大调部分可以再简单朴实些，不要有那么多的延迟，节奏不够连续。最后的倍速部分有激情，不过总体的流动还是总被打断，这些延迟的奏法打断了作品，使其不再意味深长。</p><p>李斯特：匈牙利狂想曲之二：再次看到了演奏者的精湛技巧和音乐气质。音色深沉，饱含丰富的亮度与强度。他把低音部分弹得突出，我喜欢这种处理方式。成熟的技艺创造出空间感而又不失音乐的张力。个别地方节奏有误或存在小小的瑕疵。在有些地方，演奏可以处理得更轻盈，更灵敏，甚至更诙谐。</p><p>总的来讲，尽管演奏者在其演奏的作品中有缺乏“个人”风格的倾向，我还是发现了与众不同之处。我喜欢他表达出的深度和和谐的感觉，也羡慕他的技巧。不过，对肖邦练习曲的音乐上的误判令人遗憾。</p>','<p>徐子昂</p><p>肖邦练习曲 作品25.6: 坦白的说，你的弹奏让我很痛苦。技巧如此高超但在音乐上却很滑稽。一首反映不可思议的微妙感情的前印象主义流派的美妙作品，变成了可怕的纯粹技巧展示，鉴赏错误，毫无趣味。手指像机械般出色（但也不是完全没有缺点）</p>','','1292981045','1');
INSERT INTO `node_revisions` VALUES ('1631','1641','1','Elton8zh','<p>杨诗宇</p><p>作品10//5; 夜曲 作品15//2；金纳史特拉阿根廷舞曲</p><p>肖邦练习曲 作品10//5: 演奏干净而适度，但总体上无特别之处。手法略显沉重呆板。作品中的风趣与魅力远远没有表现出来。</p><p>夜曲 作品15//2：演奏很用心，有对抒情气氛的营造。但左手听起来过于安静，每一个颤音过于平均强调。右手的装饰部分需要更加精致，应该更有肖邦风格的味道。音色的处理技巧和想象力不够，层次应当更加精巧-比如在中段的开始部分。</p><p>金纳史特拉阿根廷舞曲：因为此次比赛的名气而保守地选择这首曲目令人失望，不过弹得不错。外部动作应当表现更强的活泼与生动（更地道的拉美风格）。第3部分太冷漠，第2部分需要更真实的动人的温柔（听一听Argerich的演奏吧）</p>','<p>杨诗宇</p><p>作品10//5; 夜曲 作品15//2；金纳史特拉阿根廷舞曲</p><p>肖邦练习曲 作品10//5: 演奏干净而适度，但总体上无特别之处。手法略显沉重呆板。作品中的风趣与魅力远远没有表现出来。</p>','','1292981079','1');
INSERT INTO `node_revisions` VALUES ('1632','1642','1','Elton9zh','<p>曾宪逸</p><p>肖邦练习曲 作品10/ 2：选择此曲目有些苛求自己了，技术上暴露出一些缺陷。听起来手指跨越过分了，连接行不够。在我看来，演奏者试图弹出“有趣“的声音而使得听起来有点做作，企图心过于“明显”了。这首练习曲需要完美的技术控制，演奏有明显的瑕疵！</p><p>夜曲 作品37/ 2：演奏感性，如同节奏轻快的暗流，可以体会到肖邦风格的色彩与感觉。大气而动感，听起来和谐。点睛之处在于，真的很柔和，有一种特别的亲切和动人。有些地方听起来快要接近过慢的底限了，不过仍然是相当有质量的演奏。</p><p>普罗科菲耶夫第三奏鸣曲：快速和令人兴奋，不过在反复的段落（段落2/3）太快了一点儿而不够纯净。第二主题弹奏得相当漂亮，但也许有点过于苍白和倦怠 （太肖邦化了！）情绪过于分明极端：不是快速激烈，就是敏感微弱。有一些技术上的瑕疵和失误。在重现概括的部分弹得很不错，清新而淋漓尽致。</p><p>整体而言，演奏者的技巧顶尖，相当有吸引力。不过，相比其他参赛者，瑕疵较多，肖邦的练习曲让你失分了。</p>','<p>曾宪逸</p><p>肖邦练习曲 作品10/ 2：选择此曲目有些苛求自己了，技术上暴露出一些缺陷。听起来手指跨越过分了，连接行不够。在我看来，演奏者试图弹出“有趣“的声音而使得听起来有点做作，企图心过于“明显”了。这首练习曲需要完美的技术控制，演奏有明显的瑕疵！</p>','','1292981126','1');
INSERT INTO `node_revisions` VALUES ('1633','1643','1','Elton10zh','<p>张瑞雪</p><p>夜曲作品15/ 1：基本的音质不错，但听起来有些做作，缺乏真正的美声唱法的感觉。弹奏很稳当，但听上去有点儿呆板，缺少柔情，没有说服力。</p><p>练习曲 作品10/2: 速度温和，过于谨慎，有点乏味（左手太循规蹈矩了）。清晰度和均匀度方面完美，值得称赞，但演奏听上去太像一个练习了。没有真正流动的感觉，过于节拍化了。</p><p>李斯特西班牙狂想曲：她似乎对这首作品得心应手。技巧出色，但演奏没有天才的感觉和喜悦。其中地道的西班牙风味很少，尤其是在慢速和抒情段落，但当弹到快速的章节，她对这种风味的把握就很好。</p><p>她需要放松，这样就不会听上去好像在严格遵照纪律弹奏。</p><p>总体而言，这是个有才华的钢琴家，严肃的弹奏着。令人失望的是，感觉她没有从她弹奏的作品中获得真正的乐趣，她的演奏好像一切是“设定好了的”，没有悬念，只是个“熟练的”产品。她的准确度不可思议的高，这是不小的成就。</p>','<p>张瑞雪</p><p>夜曲作品15/ 1：基本的音质不错，但听起来有些做作，缺乏真正的美声唱法的感觉。弹奏很稳当，但听上去有点儿呆板，缺少柔情，没有说服力。</p>','','1292981214','1');
INSERT INTO `node_revisions` VALUES ('1634','1644','1','Elton11zh','<p>张楚晗</p><p>作品10/ 2：节奏良好，技术完美，但右手有过多的节拍器滴答感，有很脆的断音。但演奏仍令人印象深刻，右手从未出现机械化，尽管听起来（至少是从录音里听起来）有点太不清晰，流动性不够。</p><p>夜曲 作品9/ 2：一首温柔而融化般感觉的乐曲被弹得有些硬梆梆的平淡，右手有点单调乏味。一些瞬间似乎在暗示对这首作品有更好的感觉，但总体来说令人失望的程式化。说得过分些，这是你最令人失望的作品。</p><p>李斯特西班牙狂想曲：演奏相当不错，体现一些真正的西班牙风味和神韵。强大的弹奏——技艺高超，音色纯净，机智。令人印象深刻，无所畏惧。最后几页多少有些“强弩之末”的感觉。</p><p>李斯特西班牙狂想曲的演奏是此次比赛中所有作品中最出色之一，但两首肖邦的作品欠缺音乐上的说服力。</p>','<p>张楚晗</p><p>作品10/ 2：节奏良好，技术完美，但右手有过多的节拍器滴答感，有很脆的断音。但演奏仍令人印象深刻，右手从未出现机械化，尽管听起来（至少是从录音里听起来）有点太不清晰，流动性不够。</p>','','1292981250','1');
INSERT INTO `node_revisions` VALUES ('1635','1645','1','Elton12zh','<p>张云龄</p><p>肖邦作品10//12: 夜曲 作品15/1(F小调)；第一谐谑曲</p><p>练习曲技术过硬。虽然总体上说感受强烈，但右手听起来有点儿垂直，需要更好的形态。最后一页的渐弱部分，无论是在琴键触摸控制还是在踏板方面需要更好地处理。 左手的每次击键过于显著（尤其是在开始和最后一页。重音应当更符合音乐的背景）</p><p>夜曲弹得很纯熟，但缺乏对旋律美感的感性处理，有些造作。中间部分的进行正确无误，右手有些过于突出。弹奏仔细但没有体现地道的作品风格。</p><p>谐谑曲在技术上完成得不错，有一些气质上的发挥。这首作品的反复很多，应当赋予更多的变化，发音和踏板的变化空间是很大的（在节拍反复（第3页）的开头，左手三次的延音，演奏者每次的处理都是相同的）。B大调部分不够好，在大多少小节的结尾，小停顿都有误判或没有意识到，使得弹奏听上去过于无趣，缺乏线条感。终结句过于节拍化和造作。</p><p>有才能的钢琴家，但缺少清晰的个人风格。</p>','<p>张云龄</p><p>肖邦作品10//12: 夜曲 作品15/1(F小调)；第一谐谑曲</p>','','1292981278','1');
INSERT INTO `node_revisions` VALUES ('1636','1646','1','wei1zh','<p>古静丹<br />很有乐感的演奏。对夜曲的风格把握的很好。 练习曲中手指很扎实、清楚。对乐器的控制能力非常强， 说明你受到的训练很全面。<br />另一方面， 我希望能听到你的演奏有更多音色、情绪和力度变化。有时同样的东西太多了。对我而言， 夜曲速度太慢。也许，如果你让句子稍流动一些并更有方向感，听起来会更自然和不那么停滞。 练习曲相当有光彩。但如果你把速度放慢一点， 右手将会更清楚而音乐更活泼。 波兰舞曲演奏得很好， 但我希望听到肖邦诗意的性格中更多的感情幅度。<br />总体上你的演奏是很扎实而具有实力的。 我的建议是你可以在你的音乐处理方面更大胆和更富有想象力。 这样你的音乐会更多样化并更受欢迎。</p>','<p>古静丹<br />很有乐感的演奏。对夜曲的风格把握的很好。 练习曲中手指很扎实、清楚。对乐器的控制能力非常强， 说明你受到的训练很全面。','','1292939451','1');
INSERT INTO `node_revisions` VALUES ('1637','1647','1','wei2zh','<p>冀宇森<br />是很有力的演奏，技术也很扎实。夜曲显示了很多音乐上的敏感性。托卡他很辉煌和自然流畅，你是一名有希望的青年天才。<br />我希望在你的演奏中听到更多感情上的紧张度。我相信，这种内心的紧张度才能够把句子联起来， 能够改变音色并在音乐的流动过程中给予呼吸。换句话说，它带着音乐往前走。所以你的肖邦练习曲听起来会像一波波的海浪， 而不仅仅是一些琶音。 夜曲会描绘出年轻的肖邦的梦想， 而不仅仅是漂亮的音调； 德彪西就会成为一幅五彩缤纷的绘画而不仅仅是一首很重触键的练习。 想想这方面， 让音乐从心里流出来， 这样观众会被你所感动。</p>','<p>冀宇森<br />是很有力的演奏，技术也很扎实。夜曲显示了很多音乐上的敏感性。托卡他很辉煌和自然流畅，你是一名有希望的青年天才。','','1292939505','1');
INSERT INTO `node_revisions` VALUES ('1638','1648','1','wei3zh','<p>李颖<br />是一个自然的天才，能比较轻松地演奏难度较大的曲子。练习曲弹得相当光彩。<br />我希望在你的演奏中能看到更清晰的意图。这首夜曲， 对我来讲不仅是一首抒情曲。 它充满着想念、痛苦和激情， 而中段表现的则是必胜的信念。音乐的美就存在于这些感情的转换之中。因此， 演奏者必须非常清楚知道每一段所表现的情绪并用恰当的技术手段把它表现出来。  同样在“弄臣”中必须了解这部歌剧里的四重唱中的不同角色，并把他们不同的个性很清楚的呈现给听众。 我认为速度太快了一点。 如果稍慢一点， 会唱出来更多，音色会更温暖，音乐会更有意思，观众也会更享受。</p>','<p>李颖<br />是一个自然的天才，能比较轻松地演奏难度较大的曲子。练习曲弹得相当光彩。','','1292939682','1');
INSERT INTO `node_revisions` VALUES ('1639','1649','1','wei4zh','<p>李斯倩<br />总体上是一个精彩的演奏。练习曲采用了有节制的速度， 保证了跑句的清晰度。 节奏的脉搏贯穿在全曲中。 你对钢琴键盘很有控制， 乐曲有较好的音量幅度。夜曲的音乐很细腻， 但我希望感情变化的幅度可大一些。夜曲在肖邦的手中并非简单的“晚上的歌”。它包含着热情的呼唤到情切的窃窃私语等各种感情。要表现这种感情需要更加多的紧张度。”费加罗”是我演奏过的乐曲中最难的一首，而你演奏得很好。我感觉到你懂得其中的歌词， 因此把人物刻画得很清楚。我喜欢把引子弹的更具幻想性一些而赋予结尾更多激情。但我相信， 这些通过时间的磨练你都能做到。 总之，你把一个高难度的曲子演奏的十分精彩了。</p>','<p>李斯倩','','1292939742','1');
INSERT INTO `node_revisions` VALUES ('1640','1650','1','wei5zh','<p>潘林子<br />这是一个天才的年轻钢琴家。她具有成熟的乐感和高超的技能。但既然拥有这样好的技巧， 我认为练习曲还可以更有表现力。我想，具有非常好的技术的人可以把一首练习曲变成一首美妙的乐曲。肖邦练习曲作品10之8是充满魅力和优雅的作品。只要再注意一点， 你就可以弹出出更多的音乐表情。 夜曲我觉得慢了一点。你这样弹，中段要想弹的更慢就很不容易了。而且我认为， 在流动的速度中容易做rubato （节奏伸缩处理）, 在停滞的速度中就难。我喜欢你对叙事曲的处理， 因为是通过精心思考和安排的。也许句子还可以更有方向感些。 总之，演奏是很精彩的，你的未来充满希望。</p>','<p>潘林子','','1292939793','1');
INSERT INTO `node_revisions` VALUES ('1641','1651','1','wei8zh','<p>杨诗宇<br />曲目演奏得很好。我喜欢你演奏练习曲和希那斯泰拉时的力量和积极性。练习曲弹得扎实和有控制。夜曲也很细腻。 也许乐句之间可多一点呼吸，句子不要接得那么紧。演奏肖邦夜曲困难在于容易弹得漂亮而单调。只有当我们运用我们的想象力的时候，我们才会发现这些名作中所包含的不同音色、触键和细微的区别。而我们也会因此成为更好的音乐家。“阿根廷舞曲”你弹得很准确和有紧张度。但第二首曲子是个少女的舞蹈，所以不要太重。 头尾两首充满力量， 非常精彩。</p>','<p>杨诗宇','','1292939901','1');
INSERT INTO `node_revisions` VALUES ('1642','1652','1','wei9zh','<p>曾宪逸<br />肖邦练习曲作品10之2 演奏得很漂亮。右手触键很清楚，你把中声部勾出来，听上去很清新。想把练习曲弹得好， 最好是能把它弹成乐曲而不仅仅是手指练习，而我很欣赏你的这首乐曲。 夜曲气氛很好， 既典雅又紧凑和流畅。我喜欢你能够演奏时倾听自己。当音乐来自内心并具有内在的紧张度时， 音乐就感动人。普罗可非耶夫非常有力、紧张和激情。对我来说，速度太快了一点。虽然速度能带给音乐激情， 但不如强有力的节奏有力量。总体上是精彩的演奏， 很高兴能听到。</p>','<p>曾宪逸','','1292940040','1');
INSERT INTO `node_revisions` VALUES ('1643','1653','1','wei10zh','<p>张瑞雪<br />很扎实的演奏， 具有很强的技术控制力。这首夜曲是肖邦曲目中的瑰宝。你在处理上组织的很好并且音乐很细腻，风格把握的也很到位，声音很温暖。也许句子还可以更有方向感， 使音乐刚流畅。我觉得缺少的是一些细微的表情变化，和声色彩及一些适当的rubato （节奏伸缩性）。. 有你这样强的技术能力， 你可以允许自己的想象力把音乐带入一个充满梦想和诗意的境界， 否则本来很美的东西可能就只是好看而已。 西班牙狂想曲弹得很扎实有力， 声音很集中，也很清晰。但这是首辉煌光彩的曲子， 它需要更多的魅力，所以演奏者需要投入更多的激情。如果你在音乐处理上更大胆。 你得到的回报也会更多。</p>','<p>张瑞雪','','1292940144','1');
INSERT INTO `node_revisions` VALUES ('1644','1654','1','wei11zh','<p>张楚晗<br />你在夜曲里创造了很好的气氛， 很自然、朴素，声音很好听。 也许再多一点紧张度就会更美。另外我认为音乐中的对比一般会帮助我们让音乐更加动人。这里指的不仅是力度上的对比， 还有竖线条与横线条的对比， 紧张与松弛的对比， 短句与长句的对比。 我喜欢你的练习曲，因为有很好的分句及干净的手指功夫和节奏感。弹得轻松愉快。李斯特也让人听起来愉快， 句子之间有呼吸。 特别喜欢你高音区像铃声的声音。总体上，是一个让人喜欢的演奏。</p>','<p>张楚晗','','1292940206','1');
INSERT INTO `node_revisions` VALUES ('1645','1655','1','wei12zh','<p>张云龄<br />我喜欢肖邦练习曲演奏中的力量， 有热情和紧张度。但你需要注意不要让声音太硬。分句也应该再好一点， 还需再歌唱一些。演奏热情时要注意声音的质量。夜曲音乐上较敏感， 但有点太直了。 音乐要反映年轻的肖邦的<br />激情、希望和梦想。稍多一点色彩和 rubato（节奏伸缩性）会使音乐更有意思。 谐谑曲弹得很扎实。 我常想，把这首曲子弹成像练习曲那样好，还是更有诗意些和让跑句有珍珠般的音色那样好呢？显然观众还是会喜欢后者。</p>','<p>张云龄<br />我喜欢肖邦练习曲演奏中的力量， 有热情和紧张度。但你需要注意不要让声音太硬。分句也应该再好一点， 还需再歌唱一些。演奏热情时要注意声音的质量。夜曲音乐上较敏感， 但有点太直了。 音乐要反映年轻的肖邦的','','1292940345','1');
INSERT INTO `node_revisions` VALUES ('1647','1657','1','coop1zh','<p>古静丹</p><p>总的来说古静丹对音色的控制，平衡和力度变化都很完美，她的演奏很自信，很镇定，很权威。踏板用的很仔细，大部分都很微妙，而且她的连奏更加无懈可击。</p><p>夜曲作品27no.1，声音美丽而又清澈的，节奏弹性很好，音乐非常朴素和自然。双三度非常平稳，令人惊讶的表现力，句子的长线条收放自如。左手可以稍稍领先于右手弹奏以避免其变的平庸和急躁</p><p>练习曲OP.10 No.8弹得很轻快很干净，但是稍微缺少了点优美，雅致的感觉。左手可以更平稳一些，不用太急促，也不要太敲。右手的色彩和变化可以更清晰。总体来讲演奏的有点太学究气了。</p><p>波兰舞曲作品44，演奏很稳定，充满自信。中段和声可以更突出一些。大调感觉可以更明亮，更阳光，不要总是很厚重。音质的变化对听众来说是很重要的，声音太过分了也不好。</p>','<p>古静丹</p><p>总的来说古静丹对音色的控制，平衡和力度变化都很完美，她的演奏很自信，很镇定，很权威。踏板用的很仔细，大部分都很微妙，而且她的连奏更加无懈可击。</p>','','1293249256','1');
INSERT INTO `node_revisions` VALUES ('1648','1658','1','coop2zh','<p>冀宇森</p><p>冀宇森的手指强壮有力，并且身体非常放松，能够演奏出很响的声音，毫无疑问，他掌握了基本的钢琴技巧。然而，在乐感方面还有很大的距离，我发现他并不完全是投入音乐的本身，而只是在弹曲子。音乐的思维还没有成型。</p><p>练习曲在机能和准确性方面给人留下了很深的印象，但是看起来几乎完全像是一个运动员的项目。这首作品是由一个个非常悦耳的协和和弦构成的，就像一个完美的建筑，乐曲里还有太多的东西需要你去挖掘。</p><p>夜曲，声音很温暖，给人感觉很真挚。分句总是被一些短的音打断，要有大的线条。乐曲的动力还是很清楚的，但是乐曲的特性和音色没有太大的变化，只是音的数量变了。Rubato有点做作，像是被教出来的，缺乏自然的对线条的感觉。连贯做的还不够，legato中手指的搭接还是必要的。</p><p>德彪西，演奏很熟练，但有些呆板。踏板太明显而且有些一成不变，没有细微的渐变感。表达这首作品很重要的一部分就是和声的显露，然而你的演奏对于这点的认识还太少。</p>','<p>冀宇森</p><p>冀宇森的手指强壮有力，并且身体非常放松，能够演奏出很响的声音，毫无疑问，他掌握了基本的钢琴技巧。然而，在乐感方面还有很大的距离，我发现他并不完全是投入音乐的本身，而只是在弹曲子。音乐的思维还没有成型。</p>','','1293249290','1');
INSERT INTO `node_revisions` VALUES ('1649','1659','1','coop3zh','<p>李颖</p><p>一个严肃认真并且被教的很好的年轻音乐家。每个音，每个分句都仔细的刻画并演奏，演奏很自信很连贯。</p><p>夜曲的想法极好，非常漂亮的声音，脉搏，速度，整首曲子的状态非常吸引人，很流畅。我很期待一种个人感情的自发的表现，当然这需要有很多的阅历，并且要更多的去听各种类型的音乐（歌剧，交响曲，器乐作品，民谣等等）。</p><p>练习曲的演奏简直展示了完美手指的典范——均匀，飞速，有力！太棒了！现在这首好听的练习曲需要的是色彩和想象力。</p><p>李斯特：敏锐的技巧在这首弄臣确实给人印象很深刻，演奏者可以从中体会到肢体协调效率方面的感觉，完全没有多余无关的动作。力量和耐力很充足，衔接段落的色彩还不够，变化要更多，收放自如。缺乏整体的视觉感。</p>','<p>李颖</p><p>一个严肃认真并且被教的很好的年轻音乐家。每个音，每个分句都仔细的刻画并演奏，演奏很自信很连贯。</p>','','1293249322','1');
INSERT INTO `node_revisions` VALUES ('1650','1660','1','coop4zh','<p>李斯倩</p><p>总体来说演奏很流畅，很精确，非常自信，很稳。声音始终很有控制，所有的技术难点看起来都很轻松熟练，毫不费力。准确率几乎是百分之百。</p><p>练习曲在音乐上很单调，16分音符几乎完全一样，在平均的同时还要很辉煌，缺乏在句型里明确的指示性，和在线条中的功能性。</p><p>夜曲非常平静自信的表演，但是高潮的部分缺少了光彩和狂喜的感觉，结尾部分缺少一些真正的悲伤，个人投入的还不够。</p><p>李斯特：很多相同的问题都在之前说过了。技术令人称赞，但是音乐有些支离破碎，缺少一个贯穿全曲的戏剧性的想法。对于这么长的曲子来说，感情强烈程度还不够。</p>','<p>李斯倩</p><p>总体来说演奏很流畅，很精确，非常自信，很稳。声音始终很有控制，所有的技术难点看起来都很轻松熟练，毫不费力。准确率几乎是百分之百。</p><p>练习曲在音乐上很单调，16分音符几乎完全一样，在平均的同时还要很辉煌，缺乏在句型里明确的指示性，和在线条中的功能性。</p>','','1293249356','1');
INSERT INTO `node_revisions` VALUES ('1651','1661','1','coop5zh','<p>潘林子</p><p>一个内心极为平和的年轻钢琴家，对乐曲的构建具有坚定并强烈的理解力，这使她的演奏非常抓人。我连一刻也没有走神。</p><p>夜曲表现出的连绵不绝的空灵氛围非常令人神往，非常有说服力，很吸引人，中段可以更放开一些，有点太过于控制和克制自己了。应该通过作品的特点来表现其内涵而非音量。</p><p>练习曲生动，令人陶醉，很镇定，曲子的形态很美，而且非常精准。很有智慧，和内在的认识。具有内在的领悟和对乐曲的理解，才能显露出更多的和声，以及更丰富的变化。</p><p>李斯特</p><p>很敏感的，清新的，不空洞的演奏。非常温暖的抒情，整个作品有很强的感觉。</p>','<p>潘林子</p><p>一个内心极为平和的年轻钢琴家，对乐曲的构建具有坚定并强烈的理解力，这使她的演奏非常抓人。我连一刻也没有走神。</p>','','1293249392','1');
INSERT INTO `node_revisions` VALUES ('1652','1662','1','coop6zh','<p>潘雨萌</p><p>年轻的钢琴家展示了对音乐全然的热情，她的手很大，很有能力，并且有着优秀的音乐思维。是一位非常有前途的演奏者。</p><p>夜曲，丰富多彩，和完美的步调。变化非常多，而且很坚定。声音温暖浓厚。但在需要的时候转换音乐特性，和音乐的多样化方面，还有提升的空间。</p><p>练习曲，首尾段很精确很活泼，但是声部手有点沉，有些太夸张了，中段的手和音乐上都感觉有点断，而且太活跃了，而且你演奏连贯的旋律，有点太依赖踏板了。高潮到结尾要非常仔细，缺乏令人激动的强烈戏剧性。</p><p>李斯特：直到结尾段之前都是非常优秀的表演，很不幸到后来突然就慢下来了。从这里到结尾都没有演奏出戏剧性的线条——没有内在的倾向和力量。虎头蛇尾，有点令我失望。</p>','<p>潘雨萌</p><p>年轻的钢琴家展示了对音乐全然的热情，她的手很大，很有能力，并且有着优秀的音乐思维。是一位非常有前途的演奏者。</p><p>夜曲，丰富多彩，和完美的步调。变化非常多，而且很坚定。声音温暖浓厚。但在需要的时候转换音乐特性，和音乐的多样化方面，还有提升的空间。</p>','','1293249429','1');
INSERT INTO `node_revisions` VALUES ('1653','1663','1','coop7zh','<p>徐子昂</p><p>很精彩很有个性的小钢琴家，我感觉到活力，对每个作品有很强的概念，愿意为了音乐的激动和热烈而冒险——这需要勇气和信心。</p><p>练习曲：表演不但在技术上令人称赞，而且很生动，很有特色，很多变化。如果三指的低声部能再轻一些，就更高雅了，特别是线条下行的时候。</p><p>夜曲：开场很美，显示出了和声的色彩，很合适的弹性。圣咏部分看上去有点想法太多了，这段应该朴素而高贵（音乐想要演奏的朴素往往比演奏的复杂更难）。三连音的段落rubato有点夸张，尤其是当他稍微拖一点的时候，导致音乐一股一股的，有点数拍子的感觉。</p><p>李斯特：非常辉煌——精力充沛的表演，充满特性，技术很敏锐，音乐很智慧，很成熟，太棒了！！</p>','<p>徐子昂</p><p>很精彩很有个性的小钢琴家，我感觉到活力，对每个作品有很强的概念，愿意为了音乐的激动和热烈而冒险——这需要勇气和信心。</p><p>练习曲：表演不但在技术上令人称赞，而且很生动，很有特色，很多变化。如果三指的低声部能再轻一些，就更高雅了，特别是线条下行的时候。</p>','','1293249458','1');
INSERT INTO `node_revisions` VALUES ('1654','1664','1','coop8zh','<p>杨诗宇</p><p>钢琴家的技术很优秀很保险，手指速度很快，声音很棒。总体来说他的演奏需要更多的想象力和变化，和他“自己”的音乐感觉——而不只是像个好学生一样尽责。即使他自己的想法不特别恰当或品味不对，也应该鼓励他多考虑自己的想法，会增强他内在的信心。</p><p>练习曲很稳定很准确，但不太灵活，也不够兴奋。演奏这样的练习曲，不仅需要好的手指，更需要有创造力的艺术感觉。踏板要很细微，来帮助塑造曲子的特性。</p><p>夜曲，演奏很真挚，很坦诚，但是需要大量的加强的感情变化（即使是在最短的旋律动机中），清晰度以及和声的色彩。但是这些都要建立在自发的感情基础上——真实的情感，不假思索的选择，这来自于各种不同的练习方法。你的音乐几乎没有生气。。</p><p>吉纳斯特拉：总而言之非常熟练和清楚，所有的技术成分都很到位。现在要做的是在演奏中要放的开，去释放真正的热情，毕竟它们是舞曲。</p>','<p>杨诗宇</p><p>钢琴家的技术很优秀很保险，手指速度很快，声音很棒。总体来说他的演奏需要更多的想象力和变化，和他“自己”的音乐感觉——而不只是像个好学生一样尽责。即使他自己的想法不特别恰当或品味不对，也应该鼓励他多考虑自己的想法，会增强他内在的信心。</p>','','1293249492','1');
INSERT INTO `node_revisions` VALUES ('1655','1665','1','coop9zh','<p>曾憲逸</p><p>文雅而又宁静的演奏者，同时，具有很多的想象力。对于这位高雅的年轻钢琴家的演奏，我都听入迷了，非常欣赏他，还想要听的更多。</p><p>练习曲，极其美丽——如此闪光而又优雅。为了艺术美感的完整性，可能牺牲了一点绝对的准确，这是让我赞许的。</p><p>夜曲：优雅而又自然，难以置信的声音，很有画面感和控制力，这是一次让人无法忽视的演奏，它使BECHSTEIN钢琴得到了最佳性能的发挥。</p><p>普罗科菲耶夫：这个曲子相比之下演奏的不像前两首那么成功，但是依然给人印象很深刻，可能需要激励一下演奏者个人的激情燃烧的另一面。不需要总是担心声音会刺耳，在这个曲子中不仅允许，而且是必要的。要去打破你的力度界限，把音质和速度都发挥到极致。</p>','<p>曾憲逸</p><p>文雅而又宁静的演奏者，同时，具有很多的想象力。对于这位高雅的年轻钢琴家的演奏，我都听入迷了，非常欣赏他，还想要听的更多。</p><p>练习曲，极其美丽——如此闪光而又优雅。为了艺术美感的完整性，可能牺牲了一点绝对的准确，这是让我赞许的。</p>','','1293249526','1');
INSERT INTO `node_revisions` VALUES ('1656','1666','1','coop10zh','<p>张瑞雪</p><p>一位精准的，一丝不苟的年轻演奏者，在演奏中他的准确和对于细节的把握令人印象深刻，我发现夜曲 Op.15 No.1这个作品，非常适合表现她对于分句的谨慎的塑造，波音和回音很美又具有弹性，很棒的步调感和戏剧性感觉，音色丰富以及演奏的连贯性都非常完美，太了不起了！</p><p>练习曲在准确性方面无可挑剔，但是在音乐性方面令人有些失望。具备这种能力，她能够很容易的表现作品在音色，节奏甚至清晰度方面的多样性，本来可以演奏的非常绝妙，但是可惜仅仅停留在技术层面</p><p>李斯特：总的来说本次演奏充满了自信，饱满的音色以及99%的准确性，在rubato方面具有着完美的本能理解，在这部分演奏中，对于速度的把握显然经过思考，并且执行的很好。颤音控制的非常到位。当然我基于事实的负面意见是我无法感受到这部作品的真实印象。几乎每段都采用了同样的强度和同样的特质，这种演奏完全无法令我进入作曲家所想呈现的那个世界。相对于李斯特的伟大作品来说，我更在乎的是演奏者的能力</p>','<p>张瑞雪</p><p>一位精准的，一丝不苟的年轻演奏者，在演奏中他的准确和对于细节的把握令人印象深刻，我发现夜曲 Op.15 No.1这个作品，非常适合表现她对于分句的谨慎的塑造，波音和回音很美又具有弹性，很棒的步调感和戏剧性感觉，音色丰富以及演奏的连贯性都非常完美，太了不起了！</p>','','1293249762','1');
