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INSERT INTO `cache_content` VALUES ('content:1345:1346','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:22:\"<p>  敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:22:\"<p>  敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:22:\"<p>  敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1467:\"<p>冀宇森</p><p>    很难想象他才12岁， 真是一个天才！当然我们还是需要对你的表演和这几首曲子给予评论。<br />    练习曲一开始有一些非常棒的瞬间， 甚至是一些最难的片段他弹得最好。后来他有一点累了， 以至于整个演奏就有些失控。但我现在已能想象出， 从现在起的几年后， 他会把这首练习曲弹得多么精彩！我建议， 他可以更好的倾听左手低音八度旋律的连接， 现在音跟音之间没有联系。而且要慢一点练， 把全曲缩成一个朴素的圣咏，才能更好地体会和感受和声的进行。在他这个年龄应该学乐理与和声，多练视唱练耳。<br />    夜曲太笨重一点了。这首曲子带有忧郁的表情。左手应轻一点， 还要避免弹错的重音。不需要感觉到每个小节线的分割。我认为，每个音的手臂重量太多了。哪怕弹八度也不需要那么多手臂， 如果音乐的性质是比较慢，轻柔如歌的话，用手指的力量就够了。<br />    对我的听觉而言， 德彪西太炫技，太激动了。 前奏曲与托卡塔太雷同了。 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，是庄严的，但要高贵一些， 另外不要忘记这种舞曲节奏上的特征， 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>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1949:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:22:\"<p>  敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:22:\"<p>  敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:125:\"2.  <strong>冀宇森</strong>：肖邦夜曲 Op.9 No.1 B 154   / <strong>JI Yusen</strong>：Chopin: Nocturne Op.9 No.1 B154\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6575:\"<p>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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1377:\"<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 – only the amount of sound. Rubati seemed worked out and taught, rather than resulting from the pianist’s 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>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:2066:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1689:\"<p>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.<br />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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1877:\"<p>JI Yusen</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1434:\"<p>JI Yusen</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:872:\"<p>JI Yusen</p><p>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.</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:61:\"2. <strong>JI Yusen</strong>：Chopin Nocturne Op.9 No.1 B154\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"02_2.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1371296361','');
INSERT INTO `cache_content` VALUES ('content:1346:1347','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:36:\"<p>   </p><p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1467:\"<p>冀宇森</p><p>    很难想象他才12岁， 真是一个天才！当然我们还是需要对你的表演和这几首曲子给予评论。<br />    练习曲一开始有一些非常棒的瞬间， 甚至是一些最难的片段他弹得最好。后来他有一点累了， 以至于整个演奏就有些失控。但我现在已能想象出， 从现在起的几年后， 他会把这首练习曲弹得多么精彩！我建议， 他可以更好的倾听左手低音八度旋律的连接， 现在音跟音之间没有联系。而且要慢一点练， 把全曲缩成一个朴素的圣咏，才能更好地体会和感受和声的进行。在他这个年龄应该学乐理与和声，多练视唱练耳。<br />    夜曲太笨重一点了。这首曲子带有忧郁的表情。左手应轻一点， 还要避免弹错的重音。不需要感觉到每个小节线的分割。我认为，每个音的手臂重量太多了。哪怕弹八度也不需要那么多手臂， 如果音乐的性质是比较慢，轻柔如歌的话，用手指的力量就够了。<br />    对我的听觉而言， 德彪西太炫技，太激动了。 前奏曲与托卡塔太雷同了。 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，是庄严的，但要高贵一些， 另外不要忘记这种舞曲节奏上的特征， 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>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1949:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:118:\"2.  <strong>冀宇森</strong>：德彪西，《为钢琴而作》/ <strong>JI Yusen</strong>：Debussy, Pour Le piano\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6575:\"<p>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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1377:\"<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 – only the amount of sound. Rubati seemed worked out and taught, rather than resulting from the pianist’s 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>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:2066:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1689:\"<p>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.<br />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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1877:\"<p>JI Yusen</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1434:\"<p>JI Yusen</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:872:\"<p>JI Yusen</p><p>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.</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:53:\"2. <strong>JI Yusen</strong>：Debussy, Pour Le piano\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"02_3.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1369016291','');
INSERT INTO `cache_content` VALUES ('content:1347:1348','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1150:\"<p>李颖</p><p>    李颖已经是程度很深的学生了。 我能听出她非凡的技术能力， 以及更多的优点。<br />    她能演奏非常长的乐句而从不丢失细节。我能感受到她的那种能把一首乐曲的第一个音到最后一个音都连系起来的力量， 甚至把紧张度一直维持好几页。 这是她的才华的最重要方面。<br />    但是细节是珍贵的， 也是重要的。这方面可以更加提高， 比如，我赞同她的夜曲的（快速）速度， 看起来这也是肖邦的意图，使这首夜曲不会太“深沉”。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），是虚幻的影子而不是阳光明媚。<br />    练习曲应受到很大的赞扬。<br />    “弄臣”改编曲演奏的有点太技术性了，应更随想性。  例如前奏里的八度速度上可处理得自由一些。速度太快了就不太容易做了。总体来说，需要下功夫的是此曲的诗意一面，一些轻盈的、轻声的部分， 还有准确的节奏和自然的呼吸。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:2310:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:109:\"3.  <strong>李颖</strong>：肖邦夜曲第七首  / <strong>LI Ying</strong>：Chopin Nocturne Op.27, No.1\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:5190:\"<p>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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1048:\"<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 – 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 – it needed more variety in tension and release.  A sense of the whole vision was missing</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1609:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1186:\"<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:<br />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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:2404:\"<p>LI Ying</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1223:\"<p>LI Ying</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:920:\"<p>LI Ying</p><p>A natural talent, gets through difficult pieces with relative ease. The etude is quite brilliant.</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:57:\"3. <strong>LI Ying</strong> : Chopin Nocturne Op.27, No.1\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"03_1.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1365747107','');
INSERT INTO `cache_content` VALUES ('content:1348:1349','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1150:\"<p>李颖</p><p>    李颖已经是程度很深的学生了。 我能听出她非凡的技术能力， 以及更多的优点。<br />    她能演奏非常长的乐句而从不丢失细节。我能感受到她的那种能把一首乐曲的第一个音到最后一个音都连系起来的力量， 甚至把紧张度一直维持好几页。 这是她的才华的最重要方面。<br />    但是细节是珍贵的， 也是重要的。这方面可以更加提高， 比如，我赞同她的夜曲的（快速）速度， 看起来这也是肖邦的意图，使这首夜曲不会太“深沉”。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），是虚幻的影子而不是阳光明媚。<br />    练习曲应受到很大的赞扬。<br />    “弄臣”改编曲演奏的有点太技术性了，应更随想性。  例如前奏里的八度速度上可处理得自由一些。速度太快了就不太容易做了。总体来说，需要下功夫的是此曲的诗意一面，一些轻盈的、轻声的部分， 还有准确的节奏和自然的呼吸。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:2310:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:113:\"3.  <strong>李颖</strong>：肖邦练习曲作品10之2  / <strong>LI Ying</strong>：Chopin: Etude Op.10 No.2 \";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:5190:\"<p>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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1048:\"<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 – 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 – it needed more variety in tension and release.  A sense of the whole vision was missing</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1609:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1186:\"<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:<br />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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:2404:\"<p>LI Ying</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1223:\"<p>LI Ying</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:920:\"<p>LI Ying</p><p>A natural talent, gets through difficult pieces with relative ease. The etude is quite brilliant.</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:54:\"3. <strong>LI Ying</strong>：Chopin: Etude Op.10 No.2\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"03_2.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1369591041','');
INSERT INTO `cache_content` VALUES ('content:1349:1350','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1150:\"<p>李颖</p><p>    李颖已经是程度很深的学生了。 我能听出她非凡的技术能力， 以及更多的优点。<br />    她能演奏非常长的乐句而从不丢失细节。我能感受到她的那种能把一首乐曲的第一个音到最后一个音都连系起来的力量， 甚至把紧张度一直维持好几页。 这是她的才华的最重要方面。<br />    但是细节是珍贵的， 也是重要的。这方面可以更加提高， 比如，我赞同她的夜曲的（快速）速度， 看起来这也是肖邦的意图，使这首夜曲不会太“深沉”。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），是虚幻的影子而不是阳光明媚。<br />    练习曲应受到很大的赞扬。<br />    “弄臣”改编曲演奏的有点太技术性了，应更随想性。  例如前奏里的八度速度上可处理得自由一些。速度太快了就不太容易做了。总体来说，需要下功夫的是此曲的诗意一面，一些轻盈的、轻声的部分， 还有准确的节奏和自然的呼吸。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:2310:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:147:\"3. <strong>李颖</strong>：李斯特改编威尔第歌剧“弄臣”/<strong>LI Ying</strong>：Liszt Paraphrase De Opera Verdi “Rigo letto”\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:5190:\"<p>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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1049:\"<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 – 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 – it needed more variety in tension and release.  A sense of the whole vision was missing.</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1609:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1186:\"<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:<br />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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:2404:\"<p>LI Ying</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1223:\"<p>LI Ying</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:920:\"<p>LI Ying</p><p>A natural talent, gets through difficult pieces with relative ease. The etude is quite brilliant.</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:78:\"3. <strong>LI Ying</strong>：Liszt Paraphrase De Opera Verdi “Rigo letto”\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"03_3.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1369339649','');
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INSERT INTO `cache_content` VALUES ('content:1350:1351','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1571:\"<p>李斯倩</p><p>    李斯倩是一个很专业的年轻钢琴家了。她的演奏非常有感染力， 看上去她明显不了解真正的技术问题。而且她对自己演奏的音乐都是非常有意识的。（我能想像20年后她会成为一名很好的钢琴教授）<br />    她的表情和声音总是很高贵，很平衡， 我甚至觉得有点太过了。我倒建议她不需要那么“理智”， 可以冒点险（当然在话筒前是很难的）。 可以更随意一些，有时候dolce(柔和)还做的不够，需要dolcissimo（非常柔和）。<br />    夜曲可稍稍快一点，有点类似船歌的倾向， 一小节打两拍。 我知道我是唯一的一个有这个想法的人。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）。这首曲子的音乐性质大概是安静的， 但你的声音不能真的很安静。<br />    练习曲的手指功夫很好， 左手里有一些小小的迟疑。 实际上这首曲子的非连音不需要绝对的清楚，在练习的时候强调手指清楚还是很好的，但演奏时还是要强调暴风雨般的情绪， 不必那么小心翼翼。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体力。当然也是有限制的。你在各个方面再夸张一些， 从最典雅的诗意到非常戏剧性。不要害怕音乐的对比和冲突。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1659:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:115:\"4.  <strong>李斯倩</strong>：肖邦练习曲，Op10,No.4 / <strong>LI Siqian</strong>：Chopin Etude Op10, No.4\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:4681:\"<p>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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:925:\"<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>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1639:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1646:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1645:\"<p>LI Siqian</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1018:\"<p>LI Siqian</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:1011:\"<p>LI Siqian</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:55:\"4. <strong>LI Siqian</strong> : Chopin Etude Op10, No.4\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"04_1.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1369274376','');
INSERT INTO `cache_content` VALUES ('content:1351:1352','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1571:\"<p>李斯倩</p><p>    李斯倩是一个很专业的年轻钢琴家了。她的演奏非常有感染力， 看上去她明显不了解真正的技术问题。而且她对自己演奏的音乐都是非常有意识的。（我能想像20年后她会成为一名很好的钢琴教授）<br />    她的表情和声音总是很高贵，很平衡， 我甚至觉得有点太过了。我倒建议她不需要那么“理智”， 可以冒点险（当然在话筒前是很难的）。 可以更随意一些，有时候dolce(柔和)还做的不够，需要dolcissimo（非常柔和）。<br />    夜曲可稍稍快一点，有点类似船歌的倾向， 一小节打两拍。 我知道我是唯一的一个有这个想法的人。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）。这首曲子的音乐性质大概是安静的， 但你的声音不能真的很安静。<br />    练习曲的手指功夫很好， 左手里有一些小小的迟疑。 实际上这首曲子的非连音不需要绝对的清楚，在练习的时候强调手指清楚还是很好的，但演奏时还是要强调暴风雨般的情绪， 不必那么小心翼翼。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体力。当然也是有限制的。你在各个方面再夸张一些， 从最典雅的诗意到非常戏剧性。不要害怕音乐的对比和冲突。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1659:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:114:\"4.  <strong>李斯倩</strong>：肖邦夜曲,作品27之2 / <strong>LI Siqian</strong>:Chopin Nocturne Op.27 No.2\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:4681:\"<p>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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:925:\"<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>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1639:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1646:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1645:\"<p>LI Siqian</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1018:\"<p>LI Siqian</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:1011:\"<p>LI Siqian</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:59:\" 4. <strong>LI Siqian</strong> : Chopin Nocturne Op.27 No.2\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"04_2.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1369521024','');
INSERT INTO `cache_content` VALUES ('content:1352:1353','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1571:\"<p>李斯倩</p><p>    李斯倩是一个很专业的年轻钢琴家了。她的演奏非常有感染力， 看上去她明显不了解真正的技术问题。而且她对自己演奏的音乐都是非常有意识的。（我能想像20年后她会成为一名很好的钢琴教授）<br />    她的表情和声音总是很高贵，很平衡， 我甚至觉得有点太过了。我倒建议她不需要那么“理智”， 可以冒点险（当然在话筒前是很难的）。 可以更随意一些，有时候dolce(柔和)还做的不够，需要dolcissimo（非常柔和）。<br />    夜曲可稍稍快一点，有点类似船歌的倾向， 一小节打两拍。 我知道我是唯一的一个有这个想法的人。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）。这首曲子的音乐性质大概是安静的， 但你的声音不能真的很安静。<br />    练习曲的手指功夫很好， 左手里有一些小小的迟疑。 实际上这首曲子的非连音不需要绝对的清楚，在练习的时候强调手指清楚还是很好的，但演奏时还是要强调暴风雨般的情绪， 不必那么小心翼翼。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体力。当然也是有限制的。你在各个方面再夸张一些， 从最典雅的诗意到非常戏剧性。不要害怕音乐的对比和冲突。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1659:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:150:\"4.  <strong>李斯倩</strong>:费加罗的婚礼幻想曲/<strong>LI Siqian</strong>：Liszt Fantasy on themes from Mozart’s the Marriage of Figaro\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:4681:\"<p>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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:925:\"<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>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1639:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1646:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1645:\"<p>LI Siqian</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1018:\"<p>LI Siqian</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:1011:\"<p>LI Siqian</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:94:\"4. <strong>LI Siqian</strong>：Liszt Fantasy on themes from Mozart’s the Marriage of Figaro\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"04_3.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1369391329','');
INSERT INTO `cache_content` VALUES ('content:1353:1354','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1141:\"<p>潘林子</p><p>    她具有钢琴演奏方面非常好的基础， 非常好的艺术趣味，很有责任感，受到了很好的训练。毫无疑问，技术上还可以更加完善。<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渡是一个大问题。doppio movimento (双倍速度)的那段是决定性的。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。而你的演奏把慢板（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单弹， 在其他声部中总能发现有意思的东西。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1570:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:118:\"5.  <strong>潘林子</strong>：肖邦夜曲，Op48,No.1  /  <strong>PAN Linzi</strong>：Chopin: Nocturne Op48, No.1\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6792:\"<p>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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:810:\"<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 – 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>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:2538:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1240:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1647:\"<p>PAN Linzi</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1162:\"<p>PAN Linzi</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>PAN Linzi<br />Very nice performance. <br />Nocturne. Nice, dramatic, good feeling. Little too equal phrasing and touch in the beginning.<br />Etude<br />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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:867:\"<p>PAN Linzi</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:60:\" 5. <strong>PAN Linzi</strong>：Chopin: Nocturne Op48, No.1\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"05_1.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1371251523','');
INSERT INTO `cache_content` VALUES ('content:1354:1355','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1141:\"<p>潘林子</p><p>    她具有钢琴演奏方面非常好的基础， 非常好的艺术趣味，很有责任感，受到了很好的训练。毫无疑问，技术上还可以更加完善。<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渡是一个大问题。doppio movimento (双倍速度)的那段是决定性的。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。而你的演奏把慢板（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单弹， 在其他声部中总能发现有意思的东西。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1570:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:117:\"5. <strong>潘林子</strong>：肖邦练习曲,作品10之8  / <strong>PAN Linzi</strong>：Chopin: Etude Op.10 No.8\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6792:\"<p>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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:810:\"<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 – 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>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:2538:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1240:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1647:\"<p>PAN Linzi</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1162:\"<p>PAN Linzi</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>PAN Linzi<br />Very nice performance. <br />Nocturne. Nice, dramatic, good feeling. Little too equal phrasing and touch in the beginning.<br />Etude<br />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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:867:\"<p>PAN Linzi</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:56:\"5. <strong>PAN Linzi</strong>：Chopin: Etude Op.10 No.8\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"05_2.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1368742644','');
INSERT INTO `cache_content` VALUES ('content:1355:1356','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1141:\"<p>潘林子</p><p>    她具有钢琴演奏方面非常好的基础， 非常好的艺术趣味，很有责任感，受到了很好的训练。毫无疑问，技术上还可以更加完善。<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渡是一个大问题。doppio movimento (双倍速度)的那段是决定性的。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。而你的演奏把慢板（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单弹， 在其他声部中总能发现有意思的东西。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1570:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:123:\"5.  <strong>潘林子</strong>：李斯特：第二叙事曲  / <strong>PAN Linzi</strong>：Liszt: Ballade No.2 in B minor\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6792:\"<p>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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:810:\"<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 – 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>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:2538:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1240:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1647:\"<p>PAN Linzi</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1162:\"<p>PAN Linzi</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>PAN Linzi<br />Very nice performance. <br />Nocturne. Nice, dramatic, good feeling. Little too equal phrasing and touch in the beginning.<br />Etude<br />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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:867:\"<p>PAN Linzi</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:62:\"5. <strong>PAN Linzi</strong>：Liszt: Ballade No.2 in B minor\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"05_3.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1371298526','');
INSERT INTO `cache_content` VALUES ('content:1356:1357','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1319:\"<p>潘雨萌</p><p>    她是一个非常乐感的年轻钢琴家。 一切听起来都是可信的。她的手指与灵魂和想象力结合在一起。肖邦夜曲对于她来说选得很合适。 旋律的刻画比较灵活， 对这首夜曲来说， rubato(伸缩节奏)用的很好。<br />    练习曲中各变奏之间的演奏区别分明，这是演奏此曲的挑战之一。声音响的太早，太紧迫， 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。有运弓和揉弦， 但没有竖的动作。我们希望听优美的连奏和轻柔如歌，绵延不断的声音。轻盈和非常轻盈的伴奏要给旋律让位。可能的话，可以再加一点舞蹈的诙谐感。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， 听她的演奏总是觉得很有意思， 从不单调。她有热情， 有勇气， 也很有性格。但我要建议她今后演奏中，把一切表情建立在更高的钢琴修养和全面的音乐责任感的基础上。<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）。 我注意到你的符点节奏有时挺受折磨的。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1530:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1553:\"<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。<br />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。</p><p>夜曲，<br />    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。</p><p>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。</p><p>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>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:118:\"6.  <strong>潘雨萌</strong>：肖邦夜曲 作品32之1  / <strong>PAN Yumeng</strong>：Chopin Nocture Op.32, No.1\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:5003:\"<p>PAN Yumeng</p><p>No.1 Chopin: Nocturne in B major, Op.32 No.1<br />- 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 <br />- 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<br />- 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,<br />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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1100:\"<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 – no inner direction and force.  I was disappointed after such an auspicious start.</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1208:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1568:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1516:\"<p>PAN Yumeng</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1621:\"<p>PAN Yumeng</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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<br />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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>  coming soon...</p>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:59:\"6. <strong>PAN Yumeng</strong>：Chopin Nocture Op.32, No.1\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"06_1.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1369927085','');
INSERT INTO `cache_content` VALUES ('content:1357:1358','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1319:\"<p>潘雨萌</p><p>    她是一个非常乐感的年轻钢琴家。 一切听起来都是可信的。她的手指与灵魂和想象力结合在一起。肖邦夜曲对于她来说选得很合适。 旋律的刻画比较灵活， 对这首夜曲来说， rubato(伸缩节奏)用的很好。<br />    练习曲中各变奏之间的演奏区别分明，这是演奏此曲的挑战之一。声音响的太早，太紧迫， 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。有运弓和揉弦， 但没有竖的动作。我们希望听优美的连奏和轻柔如歌，绵延不断的声音。轻盈和非常轻盈的伴奏要给旋律让位。可能的话，可以再加一点舞蹈的诙谐感。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， 听她的演奏总是觉得很有意思， 从不单调。她有热情， 有勇气， 也很有性格。但我要建议她今后演奏中，把一切表情建立在更高的钢琴修养和全面的音乐责任感的基础上。<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）。 我注意到你的符点节奏有时挺受折磨的。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1530:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1553:\"<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。<br />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。</p><p>夜曲，<br />    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。</p><p>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。</p><p>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>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:119:\"6.  <strong>潘雨萌</strong>：肖邦练习曲作品25之5  / <strong>PAN Yumeng</strong>：Chopin: Etude Op.25, No.5\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:5003:\"<p>PAN Yumeng</p><p>No.1 Chopin: Nocturne in B major, Op.32 No.1<br />- 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 <br />- 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<br />- 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,<br />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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1100:\"<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 – no inner direction and force.  I was disappointed after such an auspicious start.</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1208:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1568:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1516:\"<p>PAN Yumeng</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1621:\"<p>PAN Yumeng</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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<br />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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>  coming soon...</p>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:58:\"6. <strong>PAN Yumeng</strong>：Chopin: Etude Op.25, No.5\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"06_2.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1369032488','');
INSERT INTO `cache_content` VALUES ('content:1358:1359','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1319:\"<p>潘雨萌</p><p>    她是一个非常乐感的年轻钢琴家。 一切听起来都是可信的。她的手指与灵魂和想象力结合在一起。肖邦夜曲对于她来说选得很合适。 旋律的刻画比较灵活， 对这首夜曲来说， rubato(伸缩节奏)用的很好。<br />    练习曲中各变奏之间的演奏区别分明，这是演奏此曲的挑战之一。声音响的太早，太紧迫， 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。有运弓和揉弦， 但没有竖的动作。我们希望听优美的连奏和轻柔如歌，绵延不断的声音。轻盈和非常轻盈的伴奏要给旋律让位。可能的话，可以再加一点舞蹈的诙谐感。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， 听她的演奏总是觉得很有意思， 从不单调。她有热情， 有勇气， 也很有性格。但我要建议她今后演奏中，把一切表情建立在更高的钢琴修养和全面的音乐责任感的基础上。<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）。 我注意到你的符点节奏有时挺受折磨的。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1530:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1553:\"<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。<br />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。</p><p>夜曲，<br />    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。</p><p>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。</p><p>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>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:130:\"6.  <strong>潘雨萌</strong>：李斯特匈牙利狂想曲No.12  /  <strong>PAN Yumeng</strong>：Liszt Hungarian Rhapsody No.12\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:5003:\"<p>PAN Yumeng</p><p>No.1 Chopin: Nocturne in B major, Op.32 No.1<br />- 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 <br />- 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<br />- 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,<br />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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1100:\"<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 – no inner direction and force.  I was disappointed after such an auspicious start.</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1208:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1568:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1516:\"<p>PAN Yumeng</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1621:\"<p>PAN Yumeng</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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<br />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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:26:\"<p>   coming soon...</p>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:63:\"6. <strong>PAN Yumeng</strong>：Liszt Hungarian Rhapsody No.12\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"06_3.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1368907468','');
INSERT INTO `cache_content` VALUES ('content:1359:1360','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:974:\"<p>徐子昂</p><p>    他具备一个真正的钢琴炫技大师的才能， 在夜曲中显示出了他的更多面。但肖邦练习曲应该像一首乐曲， 如小的叙事曲、谐谑曲， 而你只弹成练习曲。我认为，它应该是一首非常诗意的乐曲， 左手句子要非常连贯，要有非常自然的呼吸，和大量柔和的句尾。 <br />    夜曲组织得很好， 显示了成熟性， 声音好像非常有表情， 但有点太厚重了。每一段的速度很好。八度的旋律也很好。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。有些地方声音和表情太硬太锐利， 让我想起了很辣的菜。音符特别多的地方，很难避免音乐表情上的空白，演奏那些段落既要有完美的技巧又要有好听的音质。<br />    但无论如何， 演奏还是很有感染力的。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1792:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1751:\"<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。<br />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。</p><p>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。</p><p>夜曲<br />    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。</p><p>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>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:116:\"7.  <strong>徐子昂</strong>：肖邦练习曲作品25之6  / <strong>XU Ziang</strong>：Chopin Etude Op.25, No.6\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6442:\"<p>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”, 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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1072:\"<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’s excitement and thrill – this takes courage and confidence.   </p><p>Op.25 No.6 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.48 No.1: 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 – a spirited performance full of character, technical acumen, musical intelligence and maturity.  Bravo!</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1854:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1063:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1755:\"<p>XU Ziang</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1791:\"<p>XU Ziang</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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.<br />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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:26:\"<p>   coming soon...</p>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:55:\"7. <strong>XU Ziang</strong>：Chopin Etude Op.25, No.6\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:11:\"07_1_v2.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1369433575','');
INSERT INTO `cache_content` VALUES ('content:1360:1361','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:974:\"<p>徐子昂</p><p>    他具备一个真正的钢琴炫技大师的才能， 在夜曲中显示出了他的更多面。但肖邦练习曲应该像一首乐曲， 如小的叙事曲、谐谑曲， 而你只弹成练习曲。我认为，它应该是一首非常诗意的乐曲， 左手句子要非常连贯，要有非常自然的呼吸，和大量柔和的句尾。 <br />    夜曲组织得很好， 显示了成熟性， 声音好像非常有表情， 但有点太厚重了。每一段的速度很好。八度的旋律也很好。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。有些地方声音和表情太硬太锐利， 让我想起了很辣的菜。音符特别多的地方，很难避免音乐表情上的空白，演奏那些段落既要有完美的技巧又要有好听的音质。<br />    但无论如何， 演奏还是很有感染力的。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1792:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1751:\"<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。<br />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。</p><p>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。</p><p>夜曲<br />    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。</p><p>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>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:116:\"7.  <strong>徐子昂</strong>：肖邦夜曲 作品48之1 /<strong>XU Ziang</strong>： Chopin Nocturne Op.48, No.1\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6442:\"<p>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”, 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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1072:\"<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’s excitement and thrill – this takes courage and confidence.   </p><p>Op.25 No.6 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.48 No.1: 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 – a spirited performance full of character, technical acumen, musical intelligence and maturity.  Bravo!</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1854:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1063:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1755:\"<p>XU Ziang</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1791:\"<p>XU Ziang</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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.<br />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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:26:\"<p>   coming soon...</p>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:58:\"7. <strong>XU Ziang</strong>：Chopin Nocturne Op.48, No.1\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:11:\"07_2_v2.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1369713701','');
INSERT INTO `cache_content` VALUES ('content:1361:1362','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:974:\"<p>徐子昂</p><p>    他具备一个真正的钢琴炫技大师的才能， 在夜曲中显示出了他的更多面。但肖邦练习曲应该像一首乐曲， 如小的叙事曲、谐谑曲， 而你只弹成练习曲。我认为，它应该是一首非常诗意的乐曲， 左手句子要非常连贯，要有非常自然的呼吸，和大量柔和的句尾。 <br />    夜曲组织得很好， 显示了成熟性， 声音好像非常有表情， 但有点太厚重了。每一段的速度很好。八度的旋律也很好。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。有些地方声音和表情太硬太锐利， 让我想起了很辣的菜。音符特别多的地方，很难避免音乐表情上的空白，演奏那些段落既要有完美的技巧又要有好听的音质。<br />    但无论如何， 演奏还是很有感染力的。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1792:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1751:\"<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。<br />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。</p><p>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。</p><p>夜曲<br />    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。</p><p>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>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:148:\"7.  <strong>徐子昂</strong>：李斯特/霍洛维兹 匈牙利狂想曲 No.2 /<strong>XU Ziang</strong>：Liszt /Horowitz:Hungerian Rhapsody No.2\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6442:\"<p>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”, 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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1072:\"<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’s excitement and thrill – this takes courage and confidence.   </p><p>Op.25 No.6 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.48 No.1: 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 – a spirited performance full of character, technical acumen, musical intelligence and maturity.  Bravo!</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1854:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1063:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1755:\"<p>XU Ziang</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1791:\"<p>XU Ziang</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>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.<br />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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:26:\"<p>   coming soon...</p>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:70:\"7. <strong>XU Ziang</strong>：Liszt /Horowitz:Hungerian Rhapsody No.2\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:11:\"07_3_v2.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1369949619','');
INSERT INTO `cache_content` VALUES ('content:1362:1363','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1459:\"<p>杨诗宇</p><p>    他能够非常轻而易举的把练习曲演奏完，那么如何继续提升到更高的层次呢？ 对我来讲，他的“演奏”太机械了，还可以更细腻。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。各个方面都很正确， 但是可以更细致。 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。我们需要发自内心地变化。dolcissimo (非常柔和）是 expressivo （有表现力的）的回应。中段一开始应再轻一点，为后面创造一种期待的氛围。<br />    在吉纳斯特拉的舞曲中，一些节奏使我感到诧异。 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， 对我来说太刻意太频繁了， 尤其是旋律的第一和第三小节， 最后一个音好多次都太晚了， 好像这小节多出一拍来了（第七拍），或者像旋律中的附点节奏， 其实只是两个简单的切分。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1426:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:119:\"8.  <strong>杨诗宇</strong>：肖邦练习曲作品10之5  / <strong>YANG Shiyu</strong>：Chopin: Etude Op.10, No.5\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6048:\"<p>YANG Shiyu</p><p>No.1 Chopin: Etude in G-flat major, Op. 10 No.5<br />- 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<br />- 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<br />- 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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1371:\"<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 – 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.15 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 – 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 – now the idea is to let go and give some real fire and looseness to the performance.  They are dances, after all!</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1130:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1575:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1430:\"<p>YANG Shiyu</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1372:\"<p>YANG Shiyu</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>YANG Shiyu<br />Etude<br />Nice 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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:850:\"<p>YANG Shiyu</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:58:\"8. <strong>YANG Shiyu</strong>：Chopin: Etude Op.10, No.5\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"08_1.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1351393028','');
INSERT INTO `cache_content` VALUES ('content:1363:1364','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1459:\"<p>杨诗宇</p><p>    他能够非常轻而易举的把练习曲演奏完，那么如何继续提升到更高的层次呢？ 对我来讲，他的“演奏”太机械了，还可以更细腻。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。各个方面都很正确， 但是可以更细致。 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。我们需要发自内心地变化。dolcissimo (非常柔和）是 expressivo （有表现力的）的回应。中段一开始应再轻一点，为后面创造一种期待的氛围。<br />    在吉纳斯特拉的舞曲中，一些节奏使我感到诧异。 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， 对我来说太刻意太频繁了， 尤其是旋律的第一和第三小节， 最后一个音好多次都太晚了， 好像这小节多出一拍来了（第七拍），或者像旋律中的附点节奏， 其实只是两个简单的切分。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1426:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:119:\"8.  <strong>杨诗宇</strong>：肖邦夜曲Op.15, No.2  /  <strong>YANG Shiyu</strong>：Chopin: Nocturne Op.15, No.2\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6048:\"<p>YANG Shiyu</p><p>No.1 Chopin: Etude in G-flat major, Op. 10 No.5<br />- 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<br />- 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<br />- 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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1371:\"<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 – 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.15 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 – 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 – now the idea is to let go and give some real fire and looseness to the performance.  They are dances, after all!</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1130:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1575:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1430:\"<p>YANG Shiyu</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1372:\"<p>YANG Shiyu</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>YANG Shiyu<br />Etude<br />Nice 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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:850:\"<p>YANG Shiyu</p><p>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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:61:\"8. <strong>YANG Shiyu</strong>：Chopin: Nocturne Op.15, No.2\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"08_2.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1350651087','');
INSERT INTO `cache_content` VALUES ('content:1364:1365','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1459:\"<p>杨诗宇</p><p>    他能够非常轻而易举的把练习曲演奏完，那么如何继续提升到更高的层次呢？ 对我来讲，他的“演奏”太机械了，还可以更细腻。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。各个方面都很正确， 但是可以更细致。 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。我们需要发自内心地变化。dolcissimo (非常柔和）是 expressivo （有表现力的）的回应。中段一开始应再轻一点，为后面创造一种期待的氛围。<br />    在吉纳斯特拉的舞曲中，一些节奏使我感到诧异。 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， 对我来说太刻意太频繁了， 尤其是旋律的第一和第三小节， 最后一个音好多次都太晚了， 好像这小节多出一拍来了（第七拍），或者像旋律中的附点节奏， 其实只是两个简单的切分。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1426:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:145:\"8.  <strong>杨诗宇</strong>：吉纳斯特拉《阿根廷舞曲》Op.2  /<strong>YANG Shiyu</strong>： Ginastera 《Danzas Argentinas》 Op.2\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6048:\"<p>YANG Shiyu</p><p>No.1 Chopin: Etude in G-flat major, Op. 10 No.5<br />- 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<br />- 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<br />- 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>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:1371:\"<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 – 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.15 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 – 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 – now the idea is to let go and give some real fire and looseness to the performance.  They are dances, after all!</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1130:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1575:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1430:\"<p>YANG Shiyu</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>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1372:\"<p>YANG Shiyu</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>YANG Shiyu<br />Etude<br />Nice 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>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:1430:\"<p>YANG Shiyu</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>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:71:\"8. <strong>YANG Shiyu</strong>：Ginastera 《Danzas Argentinas》 Op.2\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"08_3.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1351045783','');
INSERT INTO `cache_content` VALUES ('content:1365:1366','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1073:\"<p>曾宪逸<br /> <br />    为他写评语我感到很高兴，他有很深的程度，并强有力的掌握了演奏音乐的基本要素。我能感觉到他在发音前的内心走向。他的心总是跟音乐保持着联系。 练习曲弹得熟练，有感染力， 还挖掘出一条中声部，会使作曲家感到惊喜。<br />    夜曲构建的很好，和声感和复调感很棒，乐句很有造型感， 速度也很好， 听起来非常雅致。音乐自始至终都很有张力。 要把双三度双六度弹的真正连贯非常不容易。 如果手指无法连起来， 那就要制造一种错觉，使人听起来觉得很连贯。 这点上还可以改进。<br />    普罗科菲耶夫奏鸣曲对他来说是极佳的选择。 我听到了他精神上和体力上非常自然的平衡（两者都很高），已经很成熟了。 在这首乐曲中，良好的复调感很明显（也很必要）。虽然我不完全同意他（在尾声）的一些声部和节奏方面的处理， 我还是饶有兴趣地聆听他的演奏。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1268:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:123:\"9.  <strong>曾憲逸</strong>：肖邦练习曲，作品10之2  / <strong>Mozar TSANG</strong>：Chopin: Etude Op.10, No.2\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6685:\"<p>Mozar TSANG</p><p>No.1 Chopin: Etude in A minor, Op. 10 No.2<br />- A very beautiful performance of this difficult etude. Except for a few places in the development section, your right hand proved to be reliable and secure. You managed to separate the active 3-4-5 fingers from the harmonic/melodic chords. </p><p>- I also commend you for approaching the work with intensity, yet within the boundaries of set by Chopin - only 3 “fortes” in the piece but lots of “crescendos”.</p><p>- My only criticism is that you do not go into details of the dynamic markings. Just two examples - it is not clear why you make an out of proportion “crescendo” in measure 8 after all it is the end of the phrase and clearly Chopin requests “diminuendo”.  Similarly in the coda the crescendo and ensuing “forte” in measures 42 – 43 are totally missing.</p><p>- Lastly, make a stronger effort to maintain the same articulation in the left hand for consistency – you have a tendency to vary the length as well as the touch. I would suggest that you practice hands separately.</p><p>No.2 Chopin: Nocturne in G major, Op.37 No.2<br />-  What a perfect choice for you, this is such a wondrous piece. It requires exquisite musical taste and you have this. </p><p>-  You manage to capture the atmosphere and the right amount of ebb and flow of the melodic line. You understand the limitations placed by Chopin on the dynamic range, yet within that you manage a great deal of variety.</p><p>- In measure 1 and 2 and similar passages throughout there is a “diminuendo” hairpin, yet you consistently play “crescendo”. In many ways this is a signature of Chopin - a personal trait that he often uses, for example in the Barcarolle to great effect. Since there are no dynamic markings, it is certain that Chopin’s detailed use of hairpins is a way to show flexibility both in dynamics and tempo. </p><p>- The other idea centers around the understanding how he uses harmonic movement as well as the major/minor key system. While Chopin was deeply rooted in the tonic-dominant system, his predilection for shifting the harmonies chromatically was clearly meant to be personal and surprising. After several measures of no harmonic motion from measure 1 to 7, Chopin suddenly moves rapidly utilizing enharmonic modulations. The reverse is also possible as the chromatic movements in measures 26 to 27 are followed by simple harmonies that sound exquisite. </p><p>- It is also important for you to be sensitive to the idea of serene modulations followed by active chromatic movement. This is especially true in the “B” section where the music passes from C major to E major and then suddenly moves chromatically to B-flat major and D major. It is important for you to be aware of the different colors these keys produce, there should not be any doubt that C major is different to E major, and while Chopin uses the same melody and harmony the difference should be quite clear. </p><p>- I do enjoy your lovely transparent sound in this nocturne. The middle section, in particular, is filled with sensitivity and imagination.</p><p>No.3 Prokofiev: Sonata No.3 in A minor, Op.28<br />- Subtitled “from Old Notebooks” this Sonata vies with the No.7 in popularity. Many pianists play it and often teachers introduce the Prokofiev style through this work. It seems to me that it is the virtuoso aspect of the work that captivates you, which you do with vigor and full conviction. While I respect the direction you have taken, for me you do so by sacrificing many aspects of Prokofiev that remain submerged in your playing.</p><p>- The most important characteristic of Prokofiev is color, and all of our focus should be to enable this to come through at all cost. A cursory look at the Prokofiev’s writing for the piano will reveal that he utilizes different articulation, detailed instruction of dynamics and careful use of tempo. From the percussive nature to the singing style and between, he has created a singular world that has to be studied and understood to make it come alive. The constant juxtaposition of ideas that dominated Prokofiev’s creativity between 1907 and 1917 perhaps can be more easily comprehended by viewing the paintings of Wassily Kandinsky and Franti?ek Kupka who were working at the same time. A clear example of this juxtaposition is how the first two measures are followed suddenly by four measures that are completely different. Another example is in measure 27 where the detached exchange between the right and left hand is interrupted by a legato passage, and he continues to do this seven times. Just simply understanding this perspective would make it imperative for you to take a slower tempo and concentrate on giving all your attention to the colors inherent in the details.</p><p>- I strongly believe that indications of composers should be taken very seriously. There are numerous passages that you ignore, such as the different dynamic markings. You play staccato when clearly legato is indicated, and you often take different tempos. </p><p>- For Prokofiev it is important to give tempo indications that are interrelated and provide a homogeneous whole for the Sonata. Thus the “Allegro” has to be tempered at the beginning to give the next indication “Moderato” some meaning. Do not be misled by “tempestoso” as this is instruction about the character, namely stormy or boisterous manner.</p><p>- The decision of your tempo in the recapitulation made it impossible for you to play some of the passage with absolute technical precision – see the ascending staccato right hand while the left hand has chords and the melody played by the thumb. It’s advisable that you establish a sense of pulse that is constant which is central to Prokofiev’s style – pulse that is controlled and intelligently used. </p><p>- I hope that you will try to revise your thoughts about this great work as I feel that with a more suitable tempo Prokofiev’s multilayer details that exemplifies his style would come through and that this would be more challenging and satisfying for you.</p><p>Mozar Tsang, you are a real musician and should develop into a wonderful artist. The fact that I do not agree with your performance of the Prokofiev Sonata is of little consequence. We often disagree with numerous major artists’ performances and yet we know that they are great musicians. What is important for you at the moment is to further develop your understanding of styles and ability to hear not only how music sounds but also how YOU sound. Good luck with all your endeavours and I am sure I will hear you often in the future.</p>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:917:\"<p>Mozar TSANG</p><p>A polished and serene performer with lots of imagination!  I listened with fascination and admiration to this sophisticated young artist, and would like to hear more.</p><p>Op10. No.2 was ravishing – so radiant and elegant.  Absolute accuracy was perhaps sacrificed for artistic integrity, something that I applaud.</p><p>Nocturne Op.37 No.2: Elegant and spontaneous, with fabulous sound landscape and control.  I found this to be an utterly compelling performance which made the very best use of the beautiful Bechstein piano.</p><p>Prokofiev: This was the least successful, but still impressive.  Perhaps the fiery side of the pianist’s musical personality needs a little more encouragement.  He should not always be concerned about a harsh sound; in this work it is not only allowed, but necessary!  Push the limits of dynamics, sound quality and tempo to their utmost extremity.</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1459:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1099:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1224:\"<p>Mozar Tsang</p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>I enjoyed your ability to achieve a certain degree of lightness while incorporating some changes in touch (deeper in one ascending scale, early on) that showed your search for variety and color.  I wish it would have sounded more \"effortlessly\" in order for the performance to be truly great. </p><p>Chopin: Nocturne in G Major, Op. 37, No. 2</p><p>I welcomed your selection as this nocturne is played less often than others in spite of its incredible beauty.  It is a challenge as it demands the sustainment of a cantilena melody in double notes.  Your performance was full of nuance and tenderness, with an appealing sense of rubato.<br /> </p><p>Prokofieff: Sonata No. 3, Op. 28</p><p>This was electrical playing which reminded me of Pogorelich’s performance of the Sonata No. 6.  Incisive when needed, dreamy in other places, full of details and attention to counterpoint, it kept me interested from beginning to end.  Bravo!</p><p>In sum: a major talent.  Try not give such a sense of hard work when you are playing.  You don\'t need to make such facial expressions to show the audience what the music is all about.  It speaks for itself!</p>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1317:\"<p>Mozar TSANG</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>MOZAR Tsang<br />Etude-very interesting, good feeling of freedom in music.<br />Nocturne Very nice! Very good listening of himself and &lt; /FONT&gt;ood control. Beautiful music, not easy, and succeeded. May be sometimes sixteens double notes could be little slower speaking out. Good rubato, very sensitive feeling music.<br />Prokoffiev.<br />Very good. Good sense. As for Prokoffiev style, it require rubato only when you see author’s remark. Without it is not necessary and not makes better music. (it’s not for this style)<br />In general very exiting performance. Thanks!</p>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:794:\"<p>Mozar TSANG</p><p>The Etude Op.10, No.2 is performed marvlously. The right hand is well articulated. The inner voice you brought out is very refreshing. An etude is performed the best when it becomes a piece of music in stead of just an exercise. And I enjoyed this piece of music very much. The nocturne has a nice atmosphere. It’s elegand yet intense, and unfolds in a natural flow. I like the fact you listen to yourself well when you play. Music is especially moving when it comes from the heart and with inner intensity. The Prokofiev is very enegetic, intense, and exciting. Perhaps a little too fast for my taste. While speed can certainly bring excitement, it is not nearly as powerful as a strong rhythmic pulse. Overall it’s a brilliant performance, and a joy to listen to.</p>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:59:\"9. <strong>Mozar TSANG</strong>：Chopin: Etude Op.10, No.2\";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"09_1.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1351077282','');
INSERT INTO `cache_content` VALUES ('content:1366:1367','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1073:\"<p>曾宪逸<br /> <br />    为他写评语我感到很高兴，他有很深的程度，并强有力的掌握了演奏音乐的基本要素。我能感觉到他在发音前的内心走向。他的心总是跟音乐保持着联系。 练习曲弹得熟练，有感染力， 还挖掘出一条中声部，会使作曲家感到惊喜。<br />    夜曲构建的很好，和声感和复调感很棒，乐句很有造型感， 速度也很好， 听起来非常雅致。音乐自始至终都很有张力。 要把双三度双六度弹的真正连贯非常不容易。 如果手指无法连起来， 那就要制造一种错觉，使人听起来觉得很连贯。 这点上还可以改进。<br />    普罗科菲耶夫奏鸣曲对他来说是极佳的选择。 我听到了他精神上和体力上非常自然的平衡（两者都很高），已经很成熟了。 在这首乐曲中，良好的复调感很明显（也很必要）。虽然我不完全同意他（在尾声）的一些声部和节奏方面的处理， 我还是饶有兴趣地聆听他的演奏。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1268:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:123:\"9.  <strong>曾憲逸</strong>：肖邦夜曲：Op.37, No.2  / <strong>Mozar TSANG</strong>：Chopin Nocturne  Op. 37, No.2\";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6685:\"<p>Mozar TSANG</p><p>No.1 Chopin: Etude in A minor, Op. 10 No.2<br />- A very beautiful performance of this difficult etude. Except for a few places in the development section, your right hand proved to be reliable and secure. You managed to separate the active 3-4-5 fingers from the harmonic/melodic chords. </p><p>- I also commend you for approaching the work with intensity, yet within the boundaries of set by Chopin - only 3 “fortes” in the piece but lots of “crescendos”.</p><p>- My only criticism is that you do not go into details of the dynamic markings. Just two examples - it is not clear why you make an out of proportion “crescendo” in measure 8 after all it is the end of the phrase and clearly Chopin requests “diminuendo”.  Similarly in the coda the crescendo and ensuing “forte” in measures 42 – 43 are totally missing.</p><p>- Lastly, make a stronger effort to maintain the same articulation in the left hand for consistency – you have a tendency to vary the length as well as the touch. I would suggest that you practice hands separately.</p><p>No.2 Chopin: Nocturne in G major, Op.37 No.2<br />-  What a perfect choice for you, this is such a wondrous piece. It requires exquisite musical taste and you have this. </p><p>-  You manage to capture the atmosphere and the right amount of ebb and flow of the melodic line. You understand the limitations placed by Chopin on the dynamic range, yet within that you manage a great deal of variety.</p><p>- In measure 1 and 2 and similar passages throughout there is a “diminuendo” hairpin, yet you consistently play “crescendo”. In many ways this is a signature of Chopin - a personal trait that he often uses, for example in the Barcarolle to great effect. Since there are no dynamic markings, it is certain that Chopin’s detailed use of hairpins is a way to show flexibility both in dynamics and tempo. </p><p>- The other idea centers around the understanding how he uses harmonic movement as well as the major/minor key system. While Chopin was deeply rooted in the tonic-dominant system, his predilection for shifting the harmonies chromatically was clearly meant to be personal and surprising. After several measures of no harmonic motion from measure 1 to 7, Chopin suddenly moves rapidly utilizing enharmonic modulations. The reverse is also possible as the chromatic movements in measures 26 to 27 are followed by simple harmonies that sound exquisite. </p><p>- It is also important for you to be sensitive to the idea of serene modulations followed by active chromatic movement. This is especially true in the “B” section where the music passes from C major to E major and then suddenly moves chromatically to B-flat major and D major. It is important for you to be aware of the different colors these keys produce, there should not be any doubt that C major is different to E major, and while Chopin uses the same melody and harmony the difference should be quite clear. </p><p>- I do enjoy your lovely transparent sound in this nocturne. The middle section, in particular, is filled with sensitivity and imagination.</p><p>No.3 Prokofiev: Sonata No.3 in A minor, Op.28<br />- Subtitled “from Old Notebooks” this Sonata vies with the No.7 in popularity. Many pianists play it and often teachers introduce the Prokofiev style through this work. It seems to me that it is the virtuoso aspect of the work that captivates you, which you do with vigor and full conviction. While I respect the direction you have taken, for me you do so by sacrificing many aspects of Prokofiev that remain submerged in your playing.</p><p>- The most important characteristic of Prokofiev is color, and all of our focus should be to enable this to come through at all cost. A cursory look at the Prokofiev’s writing for the piano will reveal that he utilizes different articulation, detailed instruction of dynamics and careful use of tempo. From the percussive nature to the singing style and between, he has created a singular world that has to be studied and understood to make it come alive. The constant juxtaposition of ideas that dominated Prokofiev’s creativity between 1907 and 1917 perhaps can be more easily comprehended by viewing the paintings of Wassily Kandinsky and Franti?ek Kupka who were working at the same time. A clear example of this juxtaposition is how the first two measures are followed suddenly by four measures that are completely different. Another example is in measure 27 where the detached exchange between the right and left hand is interrupted by a legato passage, and he continues to do this seven times. Just simply understanding this perspective would make it imperative for you to take a slower tempo and concentrate on giving all your attention to the colors inherent in the details.</p><p>- I strongly believe that indications of composers should be taken very seriously. There are numerous passages that you ignore, such as the different dynamic markings. You play staccato when clearly legato is indicated, and you often take different tempos. </p><p>- For Prokofiev it is important to give tempo indications that are interrelated and provide a homogeneous whole for the Sonata. Thus the “Allegro” has to be tempered at the beginning to give the next indication “Moderato” some meaning. Do not be misled by “tempestoso” as this is instruction about the character, namely stormy or boisterous manner.</p><p>- The decision of your tempo in the recapitulation made it impossible for you to play some of the passage with absolute technical precision – see the ascending staccato right hand while the left hand has chords and the melody played by the thumb. It’s advisable that you establish a sense of pulse that is constant which is central to Prokofiev’s style – pulse that is controlled and intelligently used. </p><p>- I hope that you will try to revise your thoughts about this great work as I feel that with a more suitable tempo Prokofiev’s multilayer details that exemplifies his style would come through and that this would be more challenging and satisfying for you.</p><p>Mozar Tsang, you are a real musician and should develop into a wonderful artist. The fact that I do not agree with your performance of the Prokofiev Sonata is of little consequence. We often disagree with numerous major artists’ performances and yet we know that they are great musicians. What is important for you at the moment is to further develop your understanding of styles and ability to hear not only how music sounds but also how YOU sound. Good luck with all your endeavours and I am sure I will hear you often in the future.</p>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:917:\"<p>Mozar TSANG</p><p>A polished and serene performer with lots of imagination!  I listened with fascination and admiration to this sophisticated young artist, and would like to hear more.</p><p>Op10. No.2 was ravishing – so radiant and elegant.  Absolute accuracy was perhaps sacrificed for artistic integrity, something that I applaud.</p><p>Nocturne Op.37 No.2: Elegant and spontaneous, with fabulous sound landscape and control.  I found this to be an utterly compelling performance which made the very best use of the beautiful Bechstein piano.</p><p>Prokofiev: This was the least successful, but still impressive.  Perhaps the fiery side of the pianist’s musical personality needs a little more encouragement.  He should not always be concerned about a harsh sound; in this work it is not only allowed, but necessary!  Push the limits of dynamics, sound quality and tempo to their utmost extremity.</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1459:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1099:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1224:\"<p>Mozar Tsang</p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>I enjoyed your ability to achieve a certain degree of lightness while incorporating some changes in touch (deeper in one ascending scale, early on) that showed your search for variety and color.  I wish it would have sounded more \"effortlessly\" in order for the performance to be truly great. </p><p>Chopin: Nocturne in G Major, Op. 37, No. 2</p><p>I welcomed your selection as this nocturne is played less often than others in spite of its incredible beauty.  It is a challenge as it demands the sustainment of a cantilena melody in double notes.  Your performance was full of nuance and tenderness, with an appealing sense of rubato.<br /> </p><p>Prokofieff: Sonata No. 3, Op. 28</p><p>This was electrical playing which reminded me of Pogorelich’s performance of the Sonata No. 6.  Incisive when needed, dreamy in other places, full of details and attention to counterpoint, it kept me interested from beginning to end.  Bravo!</p><p>In sum: a major talent.  Try not give such a sense of hard work when you are playing.  You don\'t need to make such facial expressions to show the audience what the music is all about.  It speaks for itself!</p>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1317:\"<p>Mozar TSANG</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>MOZAR Tsang<br />Etude-very interesting, good feeling of freedom in music.<br />Nocturne Very nice! Very good listening of himself and &lt; /FONT&gt;ood control. Beautiful music, not easy, and succeeded. May be sometimes sixteens double notes could be little slower speaking out. Good rubato, very sensitive feeling music.<br />Prokoffiev.<br />Very good. Good sense. As for Prokoffiev style, it require rubato only when you see author’s remark. Without it is not necessary and not makes better music. (it’s not for this style)<br />In general very exiting performance. Thanks!</p>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:794:\"<p>Mozar TSANG</p><p>The Etude Op.10, No.2 is performed marvlously. The right hand is well articulated. The inner voice you brought out is very refreshing. An etude is performed the best when it becomes a piece of music in stead of just an exercise. And I enjoyed this piece of music very much. The nocturne has a nice atmosphere. It’s elegand yet intense, and unfolds in a natural flow. I like the fact you listen to yourself well when you play. Music is especially moving when it comes from the heart and with inner intensity. The Prokofiev is very enegetic, intense, and exciting. Perhaps a little too fast for my taste. While speed can certainly bring excitement, it is not nearly as powerful as a strong rhythmic pulse. Overall it’s a brilliant performance, and a joy to listen to.</p>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:65:\"9. <strong>Mozar TSANG</strong>：Chopin : Nocturne Op. 37, No.2 \";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"09_2.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1351885686','');
INSERT INTO `cache_content` VALUES ('content:1367:1368','a:18:{s:22:\"field_ypa_comment_gb_1\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_2\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_3\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1073:\"<p>曾宪逸<br /> <br />    为他写评语我感到很高兴，他有很深的程度，并强有力的掌握了演奏音乐的基本要素。我能感觉到他在发音前的内心走向。他的心总是跟音乐保持着联系。 练习曲弹得熟练，有感染力， 还挖掘出一条中声部，会使作曲家感到惊喜。<br />    夜曲构建的很好，和声感和复调感很棒，乐句很有造型感， 速度也很好， 听起来非常雅致。音乐自始至终都很有张力。 要把双三度双六度弹的真正连贯非常不容易。 如果手指无法连起来， 那就要制造一种错觉，使人听起来觉得很连贯。 这点上还可以改进。<br />    普罗科菲耶夫奏鸣曲对他来说是极佳的选择。 我听到了他精神上和体力上非常自然的平衡（两者都很高），已经很成熟了。 在这首乐曲中，良好的复调感很明显（也很必要）。虽然我不完全同意他（在尾声）的一些声部和节奏方面的处理， 我还是饶有兴趣地聆听他的演奏。</p>\";}}s:22:\"field_ypa_comment_gb_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1268:\"<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>\";}}s:22:\"field_ypa_comment_gb_6\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:22:\"field_ypa_comment_gb_7\";a:1:{i:0;a:1:{s:5:\"value\";s:24:\"<p>   敬请期待</p>\";}}s:18:\"field_ypa_title_gb\";a:1:{i:0;a:1:{s:5:\"value\";s:159:\"9.  <strong>曾憲逸</strong>：普罗科菲耶夫钢琴奏鸣曲第三号，作品二十八  /<strong>Mozar TSANG</strong>： Prokofiev Sonata No. 3, Op. 28 \";}}s:22:\"field_ypa_comment_en_1\";a:1:{i:0;a:1:{s:5:\"value\";s:6685:\"<p>Mozar TSANG</p><p>No.1 Chopin: Etude in A minor, Op. 10 No.2<br />- A very beautiful performance of this difficult etude. Except for a few places in the development section, your right hand proved to be reliable and secure. You managed to separate the active 3-4-5 fingers from the harmonic/melodic chords. </p><p>- I also commend you for approaching the work with intensity, yet within the boundaries of set by Chopin - only 3 “fortes” in the piece but lots of “crescendos”.</p><p>- My only criticism is that you do not go into details of the dynamic markings. Just two examples - it is not clear why you make an out of proportion “crescendo” in measure 8 after all it is the end of the phrase and clearly Chopin requests “diminuendo”.  Similarly in the coda the crescendo and ensuing “forte” in measures 42 – 43 are totally missing.</p><p>- Lastly, make a stronger effort to maintain the same articulation in the left hand for consistency – you have a tendency to vary the length as well as the touch. I would suggest that you practice hands separately.</p><p>No.2 Chopin: Nocturne in G major, Op.37 No.2<br />-  What a perfect choice for you, this is such a wondrous piece. It requires exquisite musical taste and you have this. </p><p>-  You manage to capture the atmosphere and the right amount of ebb and flow of the melodic line. You understand the limitations placed by Chopin on the dynamic range, yet within that you manage a great deal of variety.</p><p>- In measure 1 and 2 and similar passages throughout there is a “diminuendo” hairpin, yet you consistently play “crescendo”. In many ways this is a signature of Chopin - a personal trait that he often uses, for example in the Barcarolle to great effect. Since there are no dynamic markings, it is certain that Chopin’s detailed use of hairpins is a way to show flexibility both in dynamics and tempo. </p><p>- The other idea centers around the understanding how he uses harmonic movement as well as the major/minor key system. While Chopin was deeply rooted in the tonic-dominant system, his predilection for shifting the harmonies chromatically was clearly meant to be personal and surprising. After several measures of no harmonic motion from measure 1 to 7, Chopin suddenly moves rapidly utilizing enharmonic modulations. The reverse is also possible as the chromatic movements in measures 26 to 27 are followed by simple harmonies that sound exquisite. </p><p>- It is also important for you to be sensitive to the idea of serene modulations followed by active chromatic movement. This is especially true in the “B” section where the music passes from C major to E major and then suddenly moves chromatically to B-flat major and D major. It is important for you to be aware of the different colors these keys produce, there should not be any doubt that C major is different to E major, and while Chopin uses the same melody and harmony the difference should be quite clear. </p><p>- I do enjoy your lovely transparent sound in this nocturne. The middle section, in particular, is filled with sensitivity and imagination.</p><p>No.3 Prokofiev: Sonata No.3 in A minor, Op.28<br />- Subtitled “from Old Notebooks” this Sonata vies with the No.7 in popularity. Many pianists play it and often teachers introduce the Prokofiev style through this work. It seems to me that it is the virtuoso aspect of the work that captivates you, which you do with vigor and full conviction. While I respect the direction you have taken, for me you do so by sacrificing many aspects of Prokofiev that remain submerged in your playing.</p><p>- The most important characteristic of Prokofiev is color, and all of our focus should be to enable this to come through at all cost. A cursory look at the Prokofiev’s writing for the piano will reveal that he utilizes different articulation, detailed instruction of dynamics and careful use of tempo. From the percussive nature to the singing style and between, he has created a singular world that has to be studied and understood to make it come alive. The constant juxtaposition of ideas that dominated Prokofiev’s creativity between 1907 and 1917 perhaps can be more easily comprehended by viewing the paintings of Wassily Kandinsky and Franti?ek Kupka who were working at the same time. A clear example of this juxtaposition is how the first two measures are followed suddenly by four measures that are completely different. Another example is in measure 27 where the detached exchange between the right and left hand is interrupted by a legato passage, and he continues to do this seven times. Just simply understanding this perspective would make it imperative for you to take a slower tempo and concentrate on giving all your attention to the colors inherent in the details.</p><p>- I strongly believe that indications of composers should be taken very seriously. There are numerous passages that you ignore, such as the different dynamic markings. You play staccato when clearly legato is indicated, and you often take different tempos. </p><p>- For Prokofiev it is important to give tempo indications that are interrelated and provide a homogeneous whole for the Sonata. Thus the “Allegro” has to be tempered at the beginning to give the next indication “Moderato” some meaning. Do not be misled by “tempestoso” as this is instruction about the character, namely stormy or boisterous manner.</p><p>- The decision of your tempo in the recapitulation made it impossible for you to play some of the passage with absolute technical precision – see the ascending staccato right hand while the left hand has chords and the melody played by the thumb. It’s advisable that you establish a sense of pulse that is constant which is central to Prokofiev’s style – pulse that is controlled and intelligently used. </p><p>- I hope that you will try to revise your thoughts about this great work as I feel that with a more suitable tempo Prokofiev’s multilayer details that exemplifies his style would come through and that this would be more challenging and satisfying for you.</p><p>Mozar Tsang, you are a real musician and should develop into a wonderful artist. The fact that I do not agree with your performance of the Prokofiev Sonata is of little consequence. We often disagree with numerous major artists’ performances and yet we know that they are great musicians. What is important for you at the moment is to further develop your understanding of styles and ability to hear not only how music sounds but also how YOU sound. Good luck with all your endeavours and I am sure I will hear you often in the future.</p>\";}}s:22:\"field_ypa_comment_en_2\";a:1:{i:0;a:1:{s:5:\"value\";s:917:\"<p>Mozar TSANG</p><p>A polished and serene performer with lots of imagination!  I listened with fascination and admiration to this sophisticated young artist, and would like to hear more.</p><p>Op10. No.2 was ravishing – so radiant and elegant.  Absolute accuracy was perhaps sacrificed for artistic integrity, something that I applaud.</p><p>Nocturne Op.37 No.2: Elegant and spontaneous, with fabulous sound landscape and control.  I found this to be an utterly compelling performance which made the very best use of the beautiful Bechstein piano.</p><p>Prokofiev: This was the least successful, but still impressive.  Perhaps the fiery side of the pianist’s musical personality needs a little more encouragement.  He should not always be concerned about a harsh sound; in this work it is not only allowed, but necessary!  Push the limits of dynamics, sound quality and tempo to their utmost extremity.</p>\";}}s:22:\"field_ypa_comment_en_3\";a:1:{i:0;a:1:{s:5:\"value\";s:1459:\"<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>\";}}s:22:\"field_ypa_comment_en_4\";a:1:{i:0;a:1:{s:5:\"value\";s:1099:\"<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>\";}}s:22:\"field_ypa_comment_en_5\";a:1:{i:0;a:1:{s:5:\"value\";s:1224:\"<p>Mozar Tsang</p><p>Chopin: Etude in A Minor, Op. 10, No. 2</p><p>I enjoyed your ability to achieve a certain degree of lightness while incorporating some changes in touch (deeper in one ascending scale, early on) that showed your search for variety and color.  I wish it would have sounded more \"effortlessly\" in order for the performance to be truly great. </p><p>Chopin: Nocturne in G Major, Op. 37, No. 2</p><p>I welcomed your selection as this nocturne is played less often than others in spite of its incredible beauty.  It is a challenge as it demands the sustainment of a cantilena melody in double notes.  Your performance was full of nuance and tenderness, with an appealing sense of rubato.<br /> </p><p>Prokofieff: Sonata No. 3, Op. 28</p><p>This was electrical playing which reminded me of Pogorelich’s performance of the Sonata No. 6.  Incisive when needed, dreamy in other places, full of details and attention to counterpoint, it kept me interested from beginning to end.  Bravo!</p><p>In sum: a major talent.  Try not give such a sense of hard work when you are playing.  You don\'t need to make such facial expressions to show the audience what the music is all about.  It speaks for itself!</p>\";}}s:22:\"field_ypa_comment_en_6\";a:1:{i:0;a:1:{s:5:\"value\";s:1317:\"<p>Mozar TSANG</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>MOZAR Tsang<br />Etude-very interesting, good feeling of freedom in music.<br />Nocturne Very nice! Very good listening of himself and &lt; /FONT&gt;ood control. Beautiful music, not easy, and succeeded. May be sometimes sixteens double notes could be little slower speaking out. Good rubato, very sensitive feeling music.<br />Prokoffiev.<br />Very good. Good sense. As for Prokoffiev style, it require rubato only when you see author’s remark. Without it is not necessary and not makes better music. (it’s not for this style)<br />In general very exiting performance. Thanks!</p>\";}}s:22:\"field_ypa_comment_en_7\";a:1:{i:0;a:1:{s:5:\"value\";s:794:\"<p>Mozar TSANG</p><p>The Etude Op.10, No.2 is performed marvlously. The right hand is well articulated. The inner voice you brought out is very refreshing. An etude is performed the best when it becomes a piece of music in stead of just an exercise. And I enjoyed this piece of music very much. The nocturne has a nice atmosphere. It’s elegand yet intense, and unfolds in a natural flow. I like the fact you listen to yourself well when you play. Music is especially moving when it comes from the heart and with inner intensity. The Prokofiev is very enegetic, intense, and exciting. Perhaps a little too fast for my taste. While speed can certainly bring excitement, it is not nearly as powerful as a strong rhythmic pulse. Overall it’s a brilliant performance, and a joy to listen to.</p>\";}}s:18:\"field_ypa_title_en\";a:1:{i:0;a:1:{s:5:\"value\";s:66:\"9. <strong>Mozar TSANG</strong>： Prokofiev Sonata No. 3, Op. 28 \";}}s:15:\"field_ypa_video\";a:1:{i:0;a:1:{s:5:\"value\";s:8:\"09_3.mp4\";}}s:18:\"field_ypa_yt_video\";a:1:{i:0;a:1:{s:5:\"value\";s:0:\"\";}}}','0','1350815119','');
