INSERT INTO `node_revisions` VALUES ('1657','1667','1','coop11zh','<p>张楚晗</p><p>这次表演广受好评，当然当我们研究DVD的时候，发现它也存在着一些瑕疵。很显然，从她表现出来的艺术性来看，她是一个具备很好天赋的年轻钢琴家,她演奏时全情投入，她需要将这种与作品之间的感情联系应用到今后所有演奏的曲目中</p><p>夜曲，在演奏的开始阶段，每个旋律音都采用了明确的手腕/手臂的动作，这种处理会创造一种细微的视觉和听觉上的厚重感和可预见性。她认真聆听的同时对声音做出了灵敏的反馈，但是缺乏绵长的旋律线条。</p><p>练习曲：这是一次精准的同时又令人难忘的演奏，但是未来需要在艺术性上继续雕琢这个作品能够展现出真正的魔力和活泼性，特别是当演奏者具备了作品所要求的技术上的轻快以后。要给予这个精华曲目应有的想象力。</p><p>李斯特：通过这作品在众人面前展示了她的能力，这是一次非常精彩的表演，气势十足同时又不乏微妙和灵气。在不损害激情，多样性以及创造性的同时，对于作品的结构感表现十分清晰。演奏者在技术上的游刃有余，使得听众感觉不到有困难的地方。我被折服了。</p>','<p>张楚晗</p><p>这次表演广受好评，当然当我们研究DVD的时候，发现它也存在着一些瑕疵。很显然，从她表现出来的艺术性来看，她是一个具备很好天赋的年轻钢琴家,她演奏时全情投入，她需要将这种与作品之间的感情联系应用到今后所有演奏的曲目中</p>','','1293249586','1');
INSERT INTO `node_revisions` VALUES ('1658','1668','1','coop12zh','<p>张云龄</p><p>你是一个令人印象深刻且具有相当潜力的音乐家。我觉得她这次选择的曲目无法完全展现她的表现力，但是这同样也无法完全掩盖她的风采。</p><p>练习曲：表现的准确且有力，但是这次表演的激情掩盖了作品本该有的高雅气质，右手在曲子原本的结构和设计中应该是非常高贵华丽，且充满戏剧性的。但我感觉这次表演几乎所有表现却集中在了左手。表现这个作品需要更丰富更多的双手配合</p><p>夜曲：这是一次很专注的演奏，在细致，声音处理以及连贯性方面做不错，未来应该鼓励她更多的在演奏时的想象力和对于作品的个人体会方面下功夫。</p><p>谐谑曲：这段演奏极好的表现了她在头尾部分中精湛且可靠的技巧。但在中段时却小心谨慎，说明她在灵感和独创性方面稍显不足。她需要在不那么抒情的片段，和用肌肉演奏的时候，在声音和弹性方面做更多的尝试。</p>','<p>张云龄</p><p>你是一个令人印象深刻且具有相当潜力的音乐家。我觉得她这次选择的曲目无法完全展现她的表现力，但是这同样也无法完全掩盖她的风采。</p>','','1293249619','1');
INSERT INTO `node_revisions` VALUES ('1664','1674','1','Unga8zh','<p>杨诗宇</p><p>No.1 Chopin: Etude in G-flat major, Op. 10 No.5<br />在这短短的4页里，肖邦创造了一个充满魔力的世界。对于我们任何一个人来讲，营造出一种这样充满迷人魅力的氛围都是一种挑战。<br />你的基本功很扎实，同时你也能够很好的使右手与听觉一样来保持双手间的完美平衡。我非常欣赏你演奏中的几个部分，尤其是从第24小节开始，你左手控制旋律的进行以及在结束部之前（第65小节）都处理的非常美妙。<br />我也很赞赏你在最后8个小节里并没有演奏的太夸张。因为这毕竟不是一首很大很长的曲子，你应该时刻意识到作品所呈现出的整体性，这种宏观的视角在任何的艺术创作中都是不可或缺的。<br />这首作品在速度上的把握也是相当重要的，尤其是要遵循肖邦标注的部分。例如：“poco rallentando”是稍渐慢，不应该像你演奏的这么夸张，听起来有点像急刹车的感觉。与此同时很重要的一点，渐慢不只是速度慢下来，要把它真正的放在音乐的意境中去理解。在第48小节，你的速度慢下来了，使你左手持续低音建立起来紧张度完全消失了。既然想要慢下来，如果你能注意时机和自然的旋律流动，才会处理的更好，主题再现的进入也不是令人非常满意。<br />要非常注意肖邦对力度的小心谨慎的标注，这一点很重要。同时你的目标是要把音乐的对比做的更好。看看这些所有的渐强符号，他们都表明了音乐向前的流动以及更加激烈，增加音乐的紧张度，而并非只是把声音的增强。</p><p>No.2 Chopin: Nocturne in F-sharp major, Op.15 No.2<br />你的确是一个非常优秀的钢琴演奏者，你很努力地在音乐中找寻更好的解决办法。同时在演奏中也注意到了踏板的运用，这在肖邦的作品中是一个非常有难度的任务。<br />你需要通过你的演奏来构架更宏伟的乐句——句子在什么地方带给我们冲击力，要找到关键的这个音，把它一直往前发展直到最后解决。 A段中的每个大乐句都是8个小节，而你要注意的乐句的高点都在第六个小节。头两句的第六小节高点的音是升F，在左手根音的升G上，形成了一个不和谐的音，而在之后的两小节中，把这种音乐紧张度解除了。而你的演奏没能使我感到乐句的升与降，紧张与松弛的对比。<br />有些地方你的声音太直白了，要注意到力度的变化。曲子中几乎很少写forte, 这应该是肖邦想要表现出作品温柔的特性。中段朴素的旋律如潺潺流水一般，（声音标注的是轻声）表明这里需要一种温暖宁静的融洽气氛。<br />关于速度，尤其是在演奏“Doppio movimento”的时候（速度加倍），你在这里的速度给人的感觉是觉得喘不过气来，在我看来不适合这首曲子。在这部分的前四个小节你就开始加速，这样做的结果使你没能体现出“Doppio movimento”<br />的速度对比。在这里肖邦并没有写任何的加速标记。实际上，左手和弦的大范围的琶音形成了一种持续音的效果，所以要找到最好的，最自然的方法使整个速度统一起来。</p><p>No.3 Ginastera: Danzes Argentinas, Op.2<br />这是一个非常棒的作品，充满了对比和强大的活力。 作为一个出色的演奏者你基本上表现出了这一切。<br />第一部分的舞曲是“Dance of the Old Herdsman”，充满了节奏的惊喜，从6/8拍跳到3/4拍。你一定要尽可能的时刻保持节奏脉搏的紧凑感。乐章的结尾部分也证实了保持速度是多么的重要，这些安静的休止符也是音乐的一部分，直到最后三小节的时候问题才得到解决。要注意倒数第二小节的休止符。<br />第二部分的舞曲是“Dance of the Beautiful Maiden” ，正如名字所呈现的一样，这是一段独自的咏叹调和舞蹈。作曲家要求用歌唱的风格来体现“cantando”（如歌的），这就是一个人在跳舞唱歌，所以你应该把握机会不受约束，更加自由随意，或许就直接给听众呈现出一种即兴演奏的印象。B部分中标注的“soave”（柔和的，甜美的，温和的），意味着要很平稳很流畅，所以要逐渐建立起音乐的紧张度和力度表情变化，左手跨度很大的独立的音符也要很平稳。结尾部分的再现是非常非常美的。<br />最后一部分的舞曲是“Dance of the Arrogant Cowboy”这首曲子表现出了猛烈的，粗暴的以及狂野的基调。这首曲子也的确是一首充满了节奏与速度变化的野蛮的舞蹈。在某些部分你倾向于速度加快，结果这样导致你失去了精心构建的音乐紧迫感和紧张度。在C段中，有两个持续的低音，C和降A，这可能是全曲最有活力声音最响的部分，所以演奏时要放纵的尽情的演绎，可遗憾的是这里你演奏的有点轻柔了。此外，在C段中的加速也使得乐章的结尾部分出现了问题。永远不要忘记，舞曲的成功演奏取决于清晰的节奏脉搏，在这部作品中更是关键。<br />杨诗宇你是一个非常好的钢琴演奏者，在中国的年轻的钢琴学生中，你无疑是其中的佼佼者。你的演奏说明你是一个很好的学生。但是艺术的道路并不是也不应该是如此简单。多听听音乐作品，认真分析下什么是使艺术家进行交流的要素，一旦你明白了这些，你可能会使自己提升到一个新的高度，并且能够运用你娴熟的技巧把音乐演绎的更好</p>','<p>杨诗宇</p>','','1295251692','1');
INSERT INTO `node_revisions` VALUES ('1670','1680','1','第一届周广仁钢琴艺术新人奖获奖名单','','','','1295871434','1');
INSERT INTO `node_revisions` VALUES ('1673','1683','1','逄勃工作室视频更新通知(2011/02/21)','<p>逄勃工作室钢琴教学视频将于2011年02月28日(下周一)开始播出<br />第三期：杜维诺依钢琴练习曲 手指技巧练习 作品276(8-20)13集</p><p> <br />播出日期：2011年02月28日（周一）——2011年03月24日 （周四）</p><p>播放时间：<br />    周一、周四    10：00——12：00<br />    周二            20：00——22：00<br />为方便大家学习，视频课程连续播放四周。</p><p>操作步骤：<br />    1、 加入教师联盟（<a href=\"/about/member\" target=\"_blank\"><strong>点击</strong></a>）； <br />    2、 登陆网址www.zgrchina.com；<br />    3、 输入自己的用户名和密码登陆；<br />    4、 首页点击“教师联盟”，或“钢琴教程”；<br />    5、 再点击“逄勃工作室”，选择“逄勃教学视频”即可收看；<br />    6、 登录过程中出现任何问题请联系技术人员 Tel：010-67896015。</p>','<p>逄勃工作室钢琴教学视频将于2011年02月28日(下周一)开始播出<br />第三期：杜维诺依钢琴练习曲 手指技巧练习 作品276(8-20)13集</p><p> <br />播出日期：2011年02月28日（周一）——2011年03月24日 （周四）</p>','','1298259634','1');
INSERT INTO `node_revisions` VALUES ('1676','1686','1','ungar10zh','<p>张瑞雪</p><p>No.1 肖邦F大调夜曲, Op.15 No.1</p><p><br />对于你来说这首作品是完美的，因为它完全展现了你的艺术可能性。你有能力做很大的对比，并且以此和观众沟通。同时你优雅而清晰的勾勒出旋律，这是肖邦作品风格的重要部分。另一个重要的元素是你的演奏非常有把握。所有这些加在一起，对于听众来说是非常享受的体验。</p><p>A段中两手的平衡需要更加注意，因为你左手的三连音（动力），太突出了，阻碍了右手高耸的旋律线。</p><p>当你很自然的注意到最高声部的旋律线，一定要更加意识到低声部的旋律走向，利用肖邦写的来指引你走向适合的音乐表现和走向。头8个小节被分成了两个相等的大小，就像提出了问题，然后解答。在头三个小节中，旋律在左手的持续低音F上，产生了一种徘徊和阻碍的感觉，然而从第四小节开始，左手的下行的低音线条推动音乐向前发展，有了一种方向感。要注意到和声对于音乐的起伏起了怎样的帮助，在乐句中形成了对比。</p><p>在“B”段里，你应该注意把声音演奏的暗一些，毕竟，乐曲是在小调上。乐曲的湍流主要是在左手，所以要确保你的右手别弹的太响。</p><p>更正一下你的左手节奏，每次你弹附点8分音符后面接16分音符的时候，例如在29小节和30小节，你都弹成了“连接的三连音”。</p><p>你的力度记号要观察的更仔细，更精确。充分的利用“cresecendos”，要有步骤的去渐强。要区分出“forte”和“fortissmo”, 还有“pianissimo”和“sotto voce”。所有这些记号都是重要的指示，会帮助你更好的诠释肖邦的音乐。</p><p><br />No.2 肖邦A小调练习曲, Op. 10 No.2</p><p>你的演奏依然是我所说的，正在磨练中的好作品。一切都是按照正确的方向前进着，当你未来速度更加快速时，你会演奏的非常完美。你很小心仔细，确保所有的音符都均匀清晰，并且对于乐句也很有意识，此外我也非常喜欢你左手自始至终断奏触键的音质。</p><p>你需要作更多的努力，给肖邦标注的所有力度标记带来活力。他的音乐很少会到达“forte”这个力度，而每当到了forte之后，力度会立即撤回。他一直都看重音色的变化，而你可以通过从头到尾许多的“crescendos” and “diminuendos”来做到这一点。让这些音色变化听起来非常自然又毫不费力地（而且是在一个更快的速度中）使你能够创造出有魔力般的感觉。</p><p><br />No.3 李斯特  西班牙狂想曲</p><p>在浪漫主义时期“序曲”的意思是即兴创作的引子，是大部分作品最基本的组成部分。这个想法是对于曲子的整体特性给一点暗示，除此之外也通过等待主题的出现，而使主题显得更加重要。因此，你应该更独特的处理这个即兴部分。对于紧张度的差异，以及和声的色调要更加敏感。总的来说，要多多尝试，使音乐更具想象力和创造力。</p><p>“西班牙福利亚舞曲”是由著名的音乐主题为基础的变奏曲，曾为众多作曲家使用。在这里，李斯特巧妙地使用了八小节长度主题，显示出了不同的风格，以及钢琴的各种困难技巧。当你的演奏要顾及很多方面的进展时，你需要更小心力度的增长。你的主题很有节奏感，但太响了。结果，在随后的段落中，谱子上还没有出现forte时，你就已经到达“forte”这个强度了。同样，“有表现力的”变奏也不应该太响，然而最后的“稍稍活跃一点”终于建立了从“forte”到“fortissimo”。</p><p>接下来的断奏部分，应该更轻，而且有一点激动。两手之间的运动是更为重要的，要塑造出段落的轮廓。从这里我要祝贺你的音乐行进，能够很好的把握住节奏，因为它发展到了“活跃的快板”。这是第一部分的高潮，声音应该听起来是一个最顶点，这点你处理得很好。大体上来说，你需要把一切演奏的更加光彩夺目，更华丽炫技。有时，你看起来太严肃了。</p><p>“阿拉贡的霍塔舞曲”，像其他民间音乐一样，具有简单的结构，李斯特用它来作为另一个变奏曲的基础。在这里，他巧妙地保持了这个舞蹈是由美女来跳的原始特色，虽然你的演奏是非常值得称赞的，并显示出了良好的技能，但我会建议你要以更加轻盈和塑造诗句为目的。在这段中的“forte”没有在“西班牙福利亚舞曲”里面强。用踏板的目的不是为了保持和声，而是为了声音的光彩和色彩。</p><p>在结尾段之前的慢的段落，是建立在“福利亚舞曲”部分中的主旋律主题自由即兴演奏的基础上。这里再一次是变奏的形式，有四次重复。你应该使每一次都不同，因为他们都在不同的调上，这些不同的调性提供了各种各样的丰富的色彩。</p><p>真正要为你的结尾段的演奏喝彩！这段里充满了可怕的技术难点，但你却出色的跨越过了困难技术的高山。我也很欣赏到最末尾处你的速度的前进，一直建立着紧张度直到最后D大调的舞曲，在这里李斯特又把波兰舞曲带了回来。我只有一个建议：你一定要表现出更多的色彩和细心观察力度的范围，从“中强”开始上升到“fortissmo”。重要的是，你会发现如何采用李斯特的建议和逐步建立力度，等到合适的时机达到高潮。</p><p>张瑞雪，你真的非常有才华，而且很有演奏的天赋。西班牙狂想曲已经几乎到达了非凡的准确性，但一旦你达到了这种高度的技术领域，你需要转移视线致力于音符的背后。听你的演奏时，大多数时间我都在问：“她是怎么做到的”，而不是感觉被吸引到你的音乐中去。但是这一点很快就会到来。要继续努力练习，我相信你有能力用你的音乐来赢得我们的心。</p>','<p>张瑞雪</p><p>No.1 肖邦F大调夜曲, Op.15 No.1</p>','','1299475379','1');
INSERT INTO `node_revisions` VALUES ('1677','1687','1','测试Jazz 李丽芬《爱江山更爱美人》（即兴演奏：小围裙）','<p> </p><div style=\"color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 100%; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; outline-width: 0px; outline-style: initial; outline-color: initial; vertical-align: baseline; height: 100%; line-height: 1.6em; padding: 0px; margin: 0px; border: 0px initial initial;\"><p style=\"margin-top: 5px; margin-right: 0px; margin-bottom: 15px; margin-left: 0px; outline-width: 0px; outline-style: initial; outline-color: initial; font-size: 16px; vertical-align: baseline; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; background-position: initial initial; background-repeat: initial initial; padding: 0px; border: 0px initial initial;\">演奏曲目选自李丽芬专辑《爱江山更爱美人》。由广仁音乐独家录制。</p></div><p> </p>','<p> </p>','','1299488985','1');
INSERT INTO `node_revisions` VALUES ('1678','1688','1','《Blue in Green》','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。在此期间主要是古典钢琴教学和爵士钢琴演奏。<br />2003年毅然远赴加拿大蒙特利尔音乐学院深造，师从当今世界顶级大师Dang thaison{邓泰山}先生。六年留学生涯先后以全优的成绩取得了蒙特利尔音乐学院硕士，博士学位。期间演奏足迹遍及加拿大和美国各地，好评如潮，受到瞩目，被推举为魁北克华人音乐家协会主席。<br />Dong thaison先生的评价：他是为钢琴而生的 ，有着如大山一般的才能，只需一部分足以闪耀于世。<br />著名指挥家，大提琴家Yuli Turovsky的评价：他无所不能，辉煌的技巧，美妙的声音，引人入胜的音乐诠释，是这一代最好的钢琴家。{He is an exceptionally talented musician and one of the best pianist of his generation. Hepossesses the qualities of areal perfermer ---brilliant technique,beautiful sound, compelling stage presence and very attractive musicality,He can paly every kind of music...</p>','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。','','1305944253','1');
INSERT INTO `node_revisions` VALUES ('1679','1689','1','《Girl from ipanema》','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。在此期间主要是古典钢琴教学和爵士钢琴演奏。<br />2003年毅然远赴加拿大蒙特利尔音乐学院深造，师从当今世界顶级大师Dang thaison{邓泰山}先生。六年留学生涯先后以全优的成绩取得了蒙特利尔音乐学院硕士，博士学位。期间演奏足迹遍及加拿大和美国各地，好评如潮，受到瞩目，被推举为魁北克华人音乐家协会主席。<br />Dong thaison先生的评价：他是为钢琴而生的 ，有着如大山一般的才能，只需一部分足以闪耀于世。<br />著名指挥家，大提琴家Yuli Turovsky的评价：他无所不能，辉煌的技巧，美妙的声音，引人入胜的音乐诠释，是这一代最好的钢琴家。{He is an exceptionally talented musician and one of the best pianist of his generation. Hepossesses the qualities of areal perfermer ---brilliant technique,beautiful sound, compelling stage presence and very attractive musicality,He can paly every kind of music...</p>','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。','','1305944051','1');
INSERT INTO `node_revisions` VALUES ('1680','1690','1','《Alice in wonderland》','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。在此期间主要是古典钢琴教学和爵士钢琴演奏。<br />2003年毅然远赴加拿大蒙特利尔音乐学院深造，师从当今世界顶级大师Dang thaison{邓泰山}先生。六年留学生涯先后以全优的成绩取得了蒙特利尔音乐学院硕士，博士学位。期间演奏足迹遍及加拿大和美国各地，好评如潮，受到瞩目，被推举为魁北克华人音乐家协会主席。<br />Dong thaison先生的评价：他是为钢琴而生的 ，有着如大山一般的才能，只需一部分足以闪耀于世。<br />著名指挥家，大提琴家Yuli Turovsky的评价：他无所不能，辉煌的技巧，美妙的声音，引人入胜的音乐诠释，是这一代最好的钢琴家。{He is an exceptionally talented musician and one of the best pianist of his generation. Hepossesses the qualities of areal perfermer ---brilliant technique,beautiful sound, compelling stage presence and very attractive musicality,He can paly every kind of music...</p>','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。','','1305943912','1');
INSERT INTO `node_revisions` VALUES ('1681','1691','1','《Blues for big scotia》','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。在此期间主要是古典钢琴教学和爵士钢琴演奏。<br />2003年毅然远赴加拿大蒙特利尔音乐学院深造，师从当今世界顶级大师Dang thaison{邓泰山}先生。六年留学生涯先后以全优的成绩取得了蒙特利尔音乐学院硕士，博士学位。期间演奏足迹遍及加拿大和美国各地，好评如潮，受到瞩目，被推举为魁北克华人音乐家协会主席。<br />Dong thaison先生的评价：他是为钢琴而生的 ，有着如大山一般的才能，只需一部分足以闪耀于世。<br />著名指挥家，大提琴家Yuli Turovsky的评价：他无所不能，辉煌的技巧，美妙的声音，引人入胜的音乐诠释，是这一代最好的钢琴家。{He is an exceptionally talented musician and one of the best pianist of his generation. Hepossesses the qualities of areal perfermer ---brilliant technique,beautiful sound, compelling stage presence and very attractive musicality,He can paly every kind of music...</p>','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。','','1305944339','1');
INSERT INTO `node_revisions` VALUES ('1682','1692','1','《Hymn to freedom》','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。在此期间主要是古典钢琴教学和爵士钢琴演奏。<br />2003年毅然远赴加拿大蒙特利尔音乐学院深造，师从当今世界顶级大师Dang thaison{邓泰山}先生。六年留学生涯先后以全优的成绩取得了蒙特利尔音乐学院硕士，博士学位。期间演奏足迹遍及加拿大和美国各地，好评如潮，受到瞩目，被推举为魁北克华人音乐家协会主席。<br />Dong thaison先生的评价：他是为钢琴而生的 ，有着如大山一般的才能，只需一部分足以闪耀于世。<br />著名指挥家，大提琴家Yuli Turovsky的评价：他无所不能，辉煌的技巧，美妙的声音，引人入胜的音乐诠释，是这一代最好的钢琴家。{He is an exceptionally talented musician and one of the best pianist of his generation. Hepossesses the qualities of areal perfermer ---brilliant technique,beautiful sound, compelling stage presence and very attractive musicality,He can paly every kind of music...</p>','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。','','1305944420','1');
INSERT INTO `node_revisions` VALUES ('1683','1693','1','《Oscar\'s Boogie》','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。在此期间主要是古典钢琴教学和爵士钢琴演奏。<br />2003年毅然远赴加拿大蒙特利尔音乐学院深造，师从当今世界顶级大师Dang thaison{邓泰山}先生。六年留学生涯先后以全优的成绩取得了蒙特利尔音乐学院硕士，博士学位。期间演奏足迹遍及加拿大和美国各地，好评如潮，受到瞩目，被推举为魁北克华人音乐家协会主席。<br />Dong thaison先生的评价：他是为钢琴而生的 ，有着如大山一般的才能，只需一部分足以闪耀于世。<br />著名指挥家，大提琴家Yuli Turovsky的评价：他无所不能，辉煌的技巧，美妙的声音，引人入胜的音乐诠释，是这一代最好的钢琴家。{He is an exceptionally talented musician and one of the best pianist of his generation. Hepossesses the qualities of areal perfermer ---brilliant technique,beautiful sound, compelling stage presence and very attractive musicality,He can paly every kind of music...</p>','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。','','1305944167','1');
INSERT INTO `node_revisions` VALUES ('1684','1694','1','《月亮代表我的心》','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。在此期间主要是古典钢琴教学和爵士钢琴演奏。<br />2003年毅然远赴加拿大蒙特利尔音乐学院深造，师从当今世界顶级大师Dang thaison{邓泰山}先生。六年留学生涯先后以全优的成绩取得了蒙特利尔音乐学院硕士，博士学位。期间演奏足迹遍及加拿大和美国各地，好评如潮，受到瞩目，被推举为魁北克华人音乐家协会主席。<br />Dong thaison先生的评价：他是为钢琴而生的 ，有着如大山一般的才能，只需一部分足以闪耀于世。<br />著名指挥家，大提琴家Yuli Turovsky的评价：他无所不能，辉煌的技巧，美妙的声音，引人入胜的音乐诠释，是这一代最好的钢琴家。{He is an exceptionally talented musician and one of the best pianist of his generation. Hepossesses the qualities of areal perfermer ---brilliant technique,beautiful sound, compelling stage presence and very attractive musicality,He can paly every kind of music...</p>','<p>崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。','','1299566316','1');
INSERT INTO `node_revisions` VALUES ('1685','1695','0','新栏目《爵士经典》今起开通！','<p>本音乐网站自今日起在“视频中心”里增设新栏目《爵士经典》，请有兴趣的朋友们关注。</p><p>主讲人及演奏者：崔鸿根，中央音乐学院附小，附中，本科十二年的专业训练后，即留校任教。本科期间即奠定了其在中国的钢琴家地位，1988年12月，第一届全国钢琴大赛中取得第二名，1989年希腊，玛利亚—卡拉斯钢琴大赛决赛选手。2002年在任教九年后，首届金钟钢琴赛成年组比赛中荣获评委特别奖。在此期间主要是古典钢琴教学和爵士钢琴演奏。<br />2003年毅然远赴加拿大蒙特利尔音乐学院深造，师从当今世界顶级大师Dang thaison{邓泰山}先生。六年留学生涯先后以全优的成绩取得了蒙特利尔音乐学院硕士，博士学位。期间演奏足迹遍及加拿大和美国各地，好评如潮，受到瞩目，被推举为魁北克华人音乐家协会主席。<br />Dong thaison先生的评价：他是为钢琴而生的 ，有着如大山一般的才能，只需一部分足以闪耀于世。<br />著名指挥家，大提琴家Yuli Turovsky的评价：他无所不能，辉煌的技巧，美妙的声音，引人入胜的音乐诠释，是这一代最好的钢琴家。{He is an exceptionally talented musician and one of the best pianist of his generation. Hepossesses the qualities of areal perfermer ---brilliant technique,beautiful sound, compelling stage presence and very attractive musicality,He can paly every kind of music...</p>','<p>本音乐网站自今日起在“视频中心”里增设新栏目《爵士经典》，请有兴趣的朋友们关注。</p>','','1299730255','1');
INSERT INTO `node_revisions` VALUES ('1687','1697','0','ungar11zh','<p>张楚晗</p><p>No.1 肖邦降E大调夜曲, Op.9 No.2</p><p>你真的非常享受演奏这首美丽的曲子，这是我对你的第一个好印象。你的音色很动人，同时我也很欣赏你试图留意观察了所有的力度与速度的表情记号。</p><p>你的演奏有许多正面的东西——由于你的胳膊和手的灵活运动，使你的声音美妙而抒情。你对于两手的平衡也有着极好的意识，用你左手美妙的和声行进支持着右手既屹立又优雅的旋律线条。只有一次，在三个音一组的最后一个音上，你弹出了一个重音。要注意这一点，因为它是一种常见的陷阱，尤其是当你的手要跳起来去准备下一个音符的时候。</p><p>关于这首曲子的情绪，我希望你能把它想像的更慢一点，更安静。肖邦标示的是12 / 8拍，而不是4 / 4拍，这意味着每个八分音符都确实有其存在的价值。通过把速度稍微的慢下来，你能够做出最自然的起伏，这也是肖邦风格内在的一部分。</p><p>装饰音应该反映出作品的情绪，是非常旋律化的一部分。你的装饰音给我的印象是有点后知后觉，就像是你已经学完了整首曲子之后，才把装饰音给加进去的。要记住，在这首夜曲中，最好是把颤音演奏的平衡均匀，而不是把颤音弹得加快，造成不必要的危险和令人不悦渐强。</p><p>乐谱中有许多重音记号，他们都具有节奏上或情感上的意义。希望你能把每一个都试着表现出来。你在结尾段的演奏非常美丽，是一个很漂亮的结束，非常棒！</p><p>No.2 肖邦A小调练习曲, Op. 10 No.2</p><p>多么漂亮的演奏——轻盈流畅！你真正捕捉到了使这首作品如此特别的所有元素——“leggiero”，手指跑动段落的均匀度，以及对乐句首尾的理解。同样，你很会塑造左手断奏的乐句，这是非常难得的品质。你的演奏有着很自然的声音，非常优雅而又悠然。</p><p>我能给你的唯一意见，就是速度可以再快一点，然后力度的范围要做的更大。不要把所有的渐强都做的完全一样，有几次你渐强做的太强烈了，导致你的“forte”从渐强到减弱形成了一个拱形，后来的一个渐强被突如其来的“piano\"结束了。注意到所有的这些细节，最终能够让你的演出更加精彩。</p><p>另外要花些时间去挖掘不同的音色，从你的情绪反应中产生的，以及乐谱上的各种指示。和你轻盈闪光的触键形成对比，你可以把第19小节弹成有点黑暗和阴影的感觉。这样就形成了一个重要的转折，正好也是发展部的开始，它是乐曲的结构组织允许的。</p><p>No.3 :李斯特西班牙狂想曲</p><p>如果你浏览了很多浪漫主义时期的作品，有为数众多的序曲的例子。然而这一段的性质属于绝对的自由和即兴风格的典范。我喜欢你演奏这一段的感觉，你有一种天然的自由不羁的本能，而事实上你的声音确实令人觉得你仿佛就是在即兴演奏。只有一个小小的建议，尽量找到每个和声的颜色感觉，使和声的变换充满对比和惊奇。</p><p>“西班牙福利亚舞曲”建立在具有忧伤气质的古老曲调上，开始了一系列连续不断的变奏曲。所有的狂想曲最重要的特点就是对比，只要一有机会你就要把它表现出来。在这两个主题里面，一个是悲伤的，可能用隆重的方式来表现，另一个主题是精力充沛，充满了幸福的。对于每个变奏之间的变化你都把握得极好！不过，还要看你如何处理这一段的力度增长。实际上你过早的在“espressivo”那里就弹了一个全面的“forte”，然后当李斯特终于在“un poco animato”这里写了他第一个“forte”的时候，你却没有再增加力度的空间了。李斯特的音乐中，理解他的力度结构是必不可少的要素。</p><p>从断奏这段开始，在速度上逐步的递增，这是大多数李斯特作品的特征。而真正高明的艺术处理是要令人几乎察觉不到你节奏的逐渐加快。也许可以形容它是一种紧张度的加剧，因为乐曲往前发展一直到了最后的舞曲“Allegro animato”。你的技术非常棒，我惊叹于你的准确度，但需要把力度激增到ff。还有就是不要把速度慢下来，要达到最后演奏的速度是成功表现这个主题所必须的。</p><p>“阿拉贡的霍塔舞曲”结构很简单，有四句旋律，每句有四个小节。美丽的旋律归功于这个舞蹈通常是由女人来跳的。你确实把一切都演奏的很有活力，充满了光彩，段落之间自由的过渡。所有变奏中的对比，你都可以把它做的放大一些。尽管李斯特并没有写力度上的指示，但这是一种期待。通常这样的作品，李斯特都留给演奏家自由发挥，所以一定要充分利用它去发挥你的创造力。</p><p>这种创造性的自由，进一步体现在对狂想曲最终总结之前的慢的段落。再一次，李斯特没有提供任何力度的标记，但他要求乐曲的性质是“dolce”，“grazioso”，“espressivo”，“cantando”——所有的这些都指示着我们，这是暴风雨来临之前的片刻宁静。你需要给自己一点休息的时间，当然作为听众的我们，也很需要它。</p><p>终曲显示出了你拥有华丽的技术，你只需要听一听他的降E大调协奏曲，以理解李斯特如何看待这种类型的终曲。这个结构是基于速度和力度两方面的逐步加剧。在速度上逐渐的增加，因为他不断的在写“animato”和“stringendo”。并且正如你能够看到有很多的“crescendo”，但只有在“molto vivace”的时候才到了“fortississimo”。所以你要尽可能的抑制住，最终你会发现它的效果会带给你更多的回报，更令人满意。</p><p>结尾演奏的非常壮丽，我很喜欢你在D大调这段胜利的表现。但是你必须要保持严谨的速度，最低限度的rubato，来保持住力量和这一段的辉煌，否则就会削弱乐曲的结构并且听起来缺少说服力。除此之外，你的表演好极了。</p><p>张楚晗，你的未来很美好。你弹奏钢琴的方法很自然，通过灵活的手腕来减少你肩膀的紧张状态。在很多方面这是最自然和基本的，但看起来很多年轻的钢琴家都理解不了这一点。你也很会倾听你的声音，并且有能力控制它。我相信你在音乐道路上前途是非常光明的。</p>','<p>张楚晗</p><p>No.1 肖邦降E大调夜曲, Op.9 No.2</p><p>你真的非常享受演奏这首美丽的曲子，这是我对你的第一个好印象。你的音色很动人，同时我也很欣赏你试图留意观察了所有的力度与速度的表情记号。</p>','','1300282119','1');
INSERT INTO `node_revisions` VALUES ('1689','1699','1','沈文裕演奏肖邦作品精选之24首练习曲DVD今起发售','<p>沈文裕演奏肖邦作品精选之24首练习曲DVD于今日正式发售。此次发售DVD为大家非常熟悉的“肖邦二十四首练习曲 Op.10 Op.25”，1DVD+1VCD。售价60元。如需订购请致电010-67896015 垂询。<br />加入教师联盟享受打折优惠，请垂询了解。</p>','<p>沈文裕演奏肖邦作品精选之24首练习曲DVD于今日正式发售。此次发售DVD为大家非常熟悉的“肖邦二十四首练习曲 Op.10 Op.25”，1DVD+1VCD。售价60元。如需订购请致电010-67896015 垂询。<br />加入教师联盟享受打折优惠，请垂询了解。</p>','','1315188458','1');
INSERT INTO `node_revisions` VALUES ('1690','1700','1','沈文裕演奏肖邦作品精选之24首练习曲Op.10 Op.25','<p>【示范者介绍】沈文裕自幼显示了非凡的音乐天赋。六岁开始先后师从于刘建平，郑大昕，能演奏莫扎特A大调钢琴协奏曲。八岁即能演奏莫扎特所有的奏鸣曲。九岁在四川音乐学院和重庆等地开独奏会。十岁就能演奏肖邦的第一和第二钢琴协奏曲及许多钢琴名曲。同年两次被邀请去南非巡回演出，引起南非全国轰动，被誉为“莫扎特第二”。十一岁他随CD自学了拉赫玛尼诺夫第三钢琴协奏曲。十二岁去德国卡尔斯鲁厄国立音乐大学留学，师从豪尔教授。十三岁就能弹贝多芬全部奏鸣曲，并多次演出巴赫的哥德堡变奏曲。十四岁跟波兰乐团合作演出并录制了拉赫玛尼诺夫第三协奏曲和肖邦第一钢琴协奏曲专辑。十五岁转到汉诺威音乐喜剧大学，师从名师凯默林教授。十七岁参加比利时伊丽莎白女后国际钢琴比赛荣获第二名。十八岁回国后，参加美国洛杉矶举办的拉赫玛尼诺夫国际比赛获第一名，香港第一届国际钢琴比赛获第二名及2008年CCTV小提琴&amp;钢琴比赛成人组第一名。为了能够在没有乐队的协奏下演出群众喜闻乐见的《黄河协奏曲》他改变了一个《黄河》协奏曲的独奏版，演出深受欢迎。他还经常为中国作曲家们视奏新作品，首演了张朝的协奏曲并录制了莫什科夫斯基全套练习曲作品72 的DVD 供教学用。</p><p><strong>【作曲家介绍】</strong>波兰钢琴家、作曲家弗雷德列克·肖邦 （Frederic Chopin 1810-1849）是钢琴艺术史中19世纪浪漫派音乐的杰出代表人物。 他父亲是法国人， 在波兰开办法文学校，母亲是波兰人。小肖邦自由显示了非凡的音乐天赋， 8岁就与乐队演出钢琴协奏曲， 并开始创作波兰舞曲、马祖卡舞曲和圆舞曲。19岁赴欧洲的音乐中心维也纳演出。 1830年， 当他在国外演出期间， 听到波兰人民反抗沙皇俄国的统治的起义失败了， 从此他流亡到法国， 定居在巴黎。</p><p>肖邦自幼熟悉波兰的民间音乐。 他的一生用独创的民族音乐语言和崭新的钢琴表现手法倾注了自己对祖国无限的热爱和思念。他被称为\"钢琴诗人\"， 是一位用音乐为武器的爱国主义者，要求死后把他的心脏送回祖国波兰。他的音乐受到世界各国人民的喜爱。</p>','<p>【示范者介绍】沈文裕自幼显示了非凡的音乐天赋。六岁开始先后师从于刘建平，郑大昕，能演奏莫扎特A大调钢琴协奏曲。八岁即能演奏莫扎特所有的奏鸣曲。九岁在四川音乐学院和重庆等地开独奏会。十岁就能演奏肖邦的第一和第二钢琴协奏曲及许多钢琴名曲。','','1315046142','1');
INSERT INTO `node_revisions` VALUES ('1693','1703','1','逄勃工作室视频更新通知(2011/03/26)','<p>逄勃工作室钢琴教学视频将于2011年03月28日(下周一)开始播出<br />第四期：巴赫初级钢琴教程上(1-12)12集</p><p>播出日期：2011年03月28日（周一）——2011年04月21日 （周四）<br />播放时间：<br />    周一、周四    10：00——12：00<br />    周二             20：00——22：00<br />为方便大家学习，视频课程连续播放四周。<br />操作步骤：<br />    1、 加入教师联盟（点击）； <br />    2、 登陆网址<a href=\"/\">www.zgrchina.com</a>；<br />    3、 输入自己的用户名和密码登陆；<br />    4、 首页点击“教师联盟”，或“钢琴教程”；<br />    5、 再点击“逄勃工作室”，选择“逄勃教学视频”即可收看；<br />    6、 登录过程中出现任何问题请联系技术人员 Tel：010-67896015。</p>','<p>逄勃工作室钢琴教学视频将于2011年03月28日(下周一)开始播出<br />第四期：巴赫初级钢琴教程上(1-12)12集</p>','','1301280748','1');
INSERT INTO `node_revisions` VALUES ('1694','1704','1','2011年第二届“新人奖”通知！','<p>&lt;第二届周广仁钢琴艺术新人奖&gt;定于2011年7月1日——15日报名，具体信息请进入本网站“周广仁钢琴艺术新人奖”栏目查看</p><p>（连接：<a href=\"/node/1737\">http://www.zgrchina.com/node/1737）。</a></p><p>周广仁钢琴艺术奖组委会</p>','<p>&lt;第二届周广仁钢琴艺术新人奖&gt;定于2011年7月1日——15日报名，具体信息请进入本网站“周广仁钢琴艺术新人奖”栏目查看</p><p>（连接：<a href=\"/node/1737\">http://www.zgrchina.com/node/1737）。</a></p><p>周广仁钢琴艺术奖组委会</p>','','1310717716','1');
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INSERT INTO `node_revisions` VALUES ('1701','1712','0','第五届周广仁钢琴夏季学院--乌鲁木齐','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。活动期间将有周广仁先生和钢琴演奏家逄勃女士，上海音乐学院教授杨韵琳，钢琴演奏家、中央音乐学院教授盛原，法籍钢琴演奏家种佳，上海音乐学院教授孙韵，中央音乐学院教师佟博轮流主持授课，并担任少年组比赛评委，为钢琴教师和学生做专题讲座，届时将举办多场音乐会。<br />主办单位：周广仁教育科技（北京）有限公司<br />承办单位：北京周广仁钢琴艺术中心    周广仁钢琴艺术中心乌鲁木齐分部  <br />协办单位：<br />举办地点：周广仁钢琴艺术中心乌鲁木齐分部  （乌鲁木齐市光明路253号）<br />艺术总监：逄勃<br />艺术总顾问：周广仁</p><p>一 钢琴夏季学院活动<br />（一） 专家公开课和个别课<br /> 1、钢琴夏季学院期间将安排多位专家轮流讲公开课，参加钢琴夏季学院比赛<br />  的选手（根据曲目）有机会上专家公开课，也可以报名上专家个别课。<br />2、所有上专家公开课和个别课的学员需自备乐谱两套。<br />（二）青少年钢琴比赛<br /> 1、按年龄分为五组（年龄划分以今年七月三十一日为准）：<br />    A组：6岁以下<br />B组：7—8岁<br />    C组：9-10岁<br />D组：11—12岁<br />E组：13岁以上<br />2、各组比赛曲目要求<br />   A组：一首乐曲，2分钟以内；   <br /> B组：一首练习曲、一首乐曲（中外乐曲，小奏鸣曲及奏鸣曲快板乐章均可），<br />3分钟以内   <br />C组：一首练习曲（等同于车尔尼849及以上程度）、一首乐曲（中外乐曲、<br />小奏鸣曲及奏鸣曲快板乐章均可），4分钟以内<br />  D组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），6分钟以内<br />E组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），8分钟以内</p><p>3、比赛注意事项：<br />    A、演奏曲目除标有D.C记号外，一律不反复；<br />    B、必须背谱演奏；<br />C、报名时需交比赛乐谱复印件一份。<br />4、比赛奖项设置：<br />A、比赛设一、二、三等奖；优秀奖； <br />B、比赛设“优秀指导教师奖”：凡所教学生获奖三人以上者（含三人）均可获得 “优秀指导教师奖”。<br />C、比赛设“优秀组织奖”：凡组织十名以上学员参加的单位或个人均可获得“优秀组织奖”。<br />D、比赛获奖选手的视频录像将在“广仁音乐”网站“夏季学院专栏”中播出。<br />（三）师资培训<br />钢琴夏季学院为钢琴教师安排了3个单元9课时的专家讲座。<br />（四）青少年学员活动<br />钢琴夏季学院在为青少年学员安排钢琴比赛之余，还特别安排了音乐欣赏、视唱练耳和乐理等课程。<br />（五）观光游览活动<br />钢琴夏季学院为学员安排了”新疆一日游”观光活动，让每位学员度过一个充实而愉快的假期。</p><p>二  收费标准<br />1、报名费、学费<br />类别             报名费    学费  <br />参赛学员         200元   2100元<br />学员             100元   2100元<br />陪同                100元   900 元 <br />2、食宿费<br />●住宿宾馆，配有：两人间：170 元/间/天；三人间：70元/床/天；由学员自行与宾馆结账（由于正值旅游旺季，房间数量有限，预定从速，以免受房价浮动影响）。<br />●就餐统一安排费用待定<br />3、专家个别课（一对一）：500元/课时，根据专家授课名额报满为止，由组委会按报名先后统一安排。 <br />4、退费原则：<br />学员可在7月19日之前办理退费手续（报名费不退），退费金额为学费的80﹪，之后概不退费。</p><p>三  报名<br />报名资格：<br />1、热爱钢琴的青少年儿童（比赛选手需附身份证或户口簿复印件）<br />2、钢琴教师<br />3、陪同家长<br />报名时间：<br />2011年4月25日至7月12日</p><p>四  报名手续<br />1、 填写报名表（网站上下载）<br />2、 邮寄报名费、学费<br />开户行：建行北京分行营业部 <br />开户名：苑红<br />账号：6227000010820132860 <br />3、 汇款后将报名表及汇款收据存根（复印）传真（010-88115202）、发至邮箱或邮寄；<br />4、 收到报到通知（发电子邮箱）后，于8月2日前往乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部报到；<br />5、 新疆地区及乌鲁木齐市学员报名、交费地址：乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部  邮政编码：830002<br />报名咨询电话： 0991- 8880109   8873023  闫老师、陈老师<br />邮箱：<a href=\"mailto:xj_stw@sohu.com\">xj_stw@sohu.com</a>（xj后边是下划线）</p><p>五  活动举办地点<br />●本次活动地点设在乌鲁木齐市周广仁钢琴艺术中心乌鲁木齐分部（新疆斯坦韦文化艺术教育中心）（确切地址再定）<br />●琴房全天免费为学员开放<br />●学员统一安排在新疆教育学院学术交流中心就餐</p><p>六  入营须知<br />自带日常生活必需品（洗漱用品、换洗衣服、拖鞋、笔、笔记本等）<br />报到日期：2011年8月2日（报到时请交2张一寸照片，领取学员证）<br />报到地点：周广仁钢琴艺术中心乌鲁木齐分部（乌鲁木齐市光明路253号）<br />   <br />钢琴夏季学院咨询<br />报名咨询电话：（010）88115202<br />传　　真：    （010）88115202<br />邮寄地址：北京市海淀区恩济庄46号21世纪国际学校406  <br />“北京周广仁钢琴艺术中心”  <br />邮    编：100142<br />电子信箱：<a href=\"mailto:master@zgr.com.cn\">master@zgr.com.cn</a> <br />中心网站：<a href=\"http://www.zgr.com.cn\">www.zgr.com.cn</a> <br />广仁音乐：<a href=\"http://www.zgrchina.com\">www.zgrchina.com</a></p>','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。','','1302598708','1');
INSERT INTO `node_revisions` VALUES ('1701','1713','0','第五届周广仁钢琴夏季学院--乌鲁木齐','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。活动期间将有周广仁先生和钢琴演奏家逄勃女士，上海音乐学院教授杨韵琳，钢琴演奏家、中央音乐学院教授盛原，法籍钢琴演奏家种佳，上海音乐学院教授孙韵，中央音乐学院教师佟博轮流主持授课，并担任少年组比赛评委，为钢琴教师和学生做专题讲座，届时将举办多场音乐会。<br />主办单位：周广仁教育科技（北京）有限公司<br />承办单位：北京周广仁钢琴艺术中心    周广仁钢琴艺术中心乌鲁木齐分部  <br />协办单位：<br />举办地点：周广仁钢琴艺术中心乌鲁木齐分部  （乌鲁木齐市光明路253号）<br />艺术总监：逄勃<br />艺术总顾问：周广仁</p><p>一 钢琴夏季学院活动<br />（一） 专家公开课和个别课<br /> 1、钢琴夏季学院期间将安排多位专家轮流讲公开课，参加钢琴夏季学院比赛<br />  的选手（根据曲目）有机会上专家公开课，也可以报名上专家个别课。<br />2、所有上专家公开课和个别课的学员需自备乐谱两套。<br />（二）青少年钢琴比赛<br /> 1、按年龄分为五组（年龄划分以今年七月三十一日为准）：<br />    A组：6岁以下<br />B组：7—8岁<br />    C组：9-10岁<br />D组：11—12岁<br />E组：13岁以上<br />2、各组比赛曲目要求<br />   A组：一首乐曲，2分钟以内；   <br /> B组：一首练习曲、一首乐曲（中外乐曲，小奏鸣曲及奏鸣曲快板乐章均可），<br />3分钟以内   <br />C组：一首练习曲（等同于车尔尼849及以上程度）、一首乐曲（中外乐曲、<br />小奏鸣曲及奏鸣曲快板乐章均可），4分钟以内<br />  D组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），6分钟以内<br />E组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），8分钟以内</p><p>3、比赛注意事项：<br />    A、演奏曲目除标有D.C记号外，一律不反复；<br />    B、必须背谱演奏；<br />C、报名时需交比赛乐谱复印件一份。<br />4、比赛奖项设置：<br />A、比赛设一、二、三等奖；优秀奖； <br />B、比赛设“优秀指导教师奖”：凡所教学生获奖三人以上者（含三人）均可获得 “优秀指导教师奖”。<br />C、比赛设“优秀组织奖”：凡组织十名以上学员参加的单位或个人均可获得“优秀组织奖”。<br />D、比赛获奖选手的视频录像将在“广仁音乐”网站“夏季学院专栏”中播出。<br />（三）师资培训<br />钢琴夏季学院为钢琴教师安排了3个单元9课时的专家讲座。<br />（四）青少年学员活动<br />钢琴夏季学院在为青少年学员安排钢琴比赛之余，还特别安排了音乐欣赏、视唱练耳和乐理等课程。<br />（五）观光游览活动<br />钢琴夏季学院为学员安排了”新疆一日游”观光活动，让每位学员度过一个充实而愉快的假期。</p><p>二  收费标准<br />1、报名费、学费<br />类别             报名费    学费  <br />参赛学员         200元   2100元<br />学员             100元   2100元<br />陪同                100元   900 元 <br />2、食宿费<br />●住宿宾馆，配有：两人间：170 元/间/天；三人间：70元/床/天；由学员自行与宾馆结账（由于正值旅游旺季，房间数量有限，预定从速，以免受房价浮动影响）。<br />●就餐统一安排费用待定<br />3、专家个别课（一对一）：500元/课时，根据专家授课名额报满为止，由组委会按报名先后统一安排。 <br />4、退费原则：<br />学员可在7月19日之前办理退费手续（报名费不退），退费金额为学费的80﹪，之后概不退费。</p><p>三  报名<br />报名资格：<br />1、热爱钢琴的青少年儿童（比赛选手需附身份证或户口簿复印件）<br />2、钢琴教师<br />3、陪同家长<br />报名时间：<br />2011年4月25日至7月12日</p><p>四  报名手续<br />1、 填写报名表（网站上下载）<br />2、 邮寄报名费、学费<br />开户行：建行北京分行营业部 <br />开户名：苑红<br />账号：6227000010820132860 <br />3、 汇款后将报名表及汇款收据存根（复印）传真（010-88115202）、发至邮箱或邮寄；<br />4、 收到报到通知（发电子邮箱）后，于8月2日前往乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部报到；<br />5、 新疆地区及乌鲁木齐市学员报名、交费地址：乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部  邮政编码：830002<br />报名咨询电话： 0991- 8880109   8873023  闫老师、陈老师<br />邮箱：<a href=\"mailto:xj_stw@sohu.com\">xj_stw@sohu.com</a>（xj后边是下划线）</p><p>五  活动举办地点<br />●本次活动地点设在乌鲁木齐市周广仁钢琴艺术中心乌鲁木齐分部（新疆斯坦韦文化艺术教育中心）（确切地址再定）<br />●琴房全天免费为学员开放<br />●学员统一安排在新疆教育学院学术交流中心就餐</p><p>六  入营须知<br />自带日常生活必需品（洗漱用品、换洗衣服、拖鞋、笔、笔记本等）<br />报到日期：2011年8月2日（报到时请交2张一寸照片，领取学员证）<br />报到地点：周广仁钢琴艺术中心乌鲁木齐分部（乌鲁木齐市光明路253号）<br />   <br />钢琴夏季学院咨询<br />报名咨询电话：（010）88115202<br />传　　真：    （010）88115202<br />邮寄地址：北京市海淀区恩济庄46号21世纪国际学校406  <br />“北京周广仁钢琴艺术中心”  <br />邮    编：100142<br />电子信箱：<a href=\"mailto:master@zgr.com.cn\">master@zgr.com.cn</a> <br />中心网站：<a href=\"http://www.zgr.com.cn\">www.zgr.com.cn</a> <br />广仁音乐：<a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a></p>','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。','','1302598928','1');
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INSERT INTO `node_revisions` VALUES ('1701','1717','1','第五届周广仁钢琴夏季学院--乌鲁木齐','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。活动期间将有周广仁先生和钢琴演奏家逄勃女士，上海音乐学院教授杨韵琳，钢琴演奏家、中央音乐学院教授盛原，法籍钢琴演奏家种佳，上海音乐学院教授孙韵，中央音乐学院教师佟博轮流主持授课，并担任少年组比赛评委，为钢琴教师和学生做专题讲座，届时将举办多场音乐会。<br />主办单位：周广仁教育科技（北京）有限公司<br />承办单位：北京周广仁钢琴艺术中心    周广仁钢琴艺术中心乌鲁木齐分部  <br />协办单位：<br />举办地点：周广仁钢琴艺术中心乌鲁木齐分部  （乌鲁木齐市光明路253号）<br />艺术总监：逄勃<br />艺术总顾问：周广仁</p><p>一 钢琴夏季学院活动<br />（一） 专家公开课和个别课<br /> 1、钢琴夏季学院期间将安排多位专家轮流讲公开课，参加钢琴夏季学院比赛<br />  的选手（根据曲目）有机会上专家公开课，也可以报名上专家个别课。<br />2、所有上专家公开课和个别课的学员需自备乐谱两套。<br />（二）青少年钢琴比赛<br /> 1、按年龄分为五组（年龄划分以今年七月三十一日为准）：<br />    A组：6岁以下<br />B组：7—8岁<br />    C组：9-10岁<br />D组：11—12岁<br />E组：13岁以上<br />2、各组比赛曲目要求<br />   A组：一首乐曲，2分钟以内；   <br /> B组：一首练习曲、一首乐曲（中外乐曲，小奏鸣曲及奏鸣曲快板乐章均可），<br />3分钟以内   <br />C组：一首练习曲（等同于车尔尼849及以上程度）、一首乐曲（中外乐曲、<br />小奏鸣曲及奏鸣曲快板乐章均可），4分钟以内<br />  D组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），6分钟以内<br />E组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），8分钟以内</p><p>3、比赛注意事项：<br />    A、演奏曲目除标有D.C记号外，一律不反复；<br />    B、必须背谱演奏；<br />C、报名时需交比赛乐谱复印件一份。<br />4、比赛奖项设置：<br />A、比赛设一、二、三等奖；优秀奖； <br />B、比赛设“优秀指导教师奖”：凡所教学生获奖三人以上者（含三人）均可获得 “优秀指导教师奖”。<br />C、比赛设“优秀组织奖”：凡组织十名以上学员参加的单位或个人均可获得“优秀组织奖”。<br />D、比赛获奖选手的视频录像将在“广仁音乐”网站“夏季学院专栏”中播出。<br />（三）师资培训<br />钢琴夏季学院为钢琴教师安排了3个单元9课时的专家讲座。<br />（四）青少年学员活动<br />钢琴夏季学院在为青少年学员安排钢琴比赛之余，还特别安排了音乐欣赏、视唱练耳和乐理等课程。<br />（五）观光游览活动<br />钢琴夏季学院为学员安排了”新疆一日游”观光活动，让每位学员度过一个充实而愉快的假期。</p><p>二  收费标准<br />1、报名费、学费<br />类别             报名费    学费  <br />参赛学员         200元   2100元<br />学员             100元   2100元<br />陪同                100元   900 元 <br />2、食宿费<br />●住宿宾馆，配有：两人间：170 元/间/天；三人间：70元/床/天；由学员自行与宾馆结账（由于正值旅游旺季，房间数量有限，预定从速，以免受房价浮动影响）。<br />●就餐统一安排费用待定<br />3、专家个别课（一对一）：500元/课时，根据专家授课名额报满为止，由组委会按报名先后统一安排。 <br />4、退费原则：<br />学员可在7月19日之前办理退费手续（报名费不退），退费金额为学费的80﹪，之后概不退费。</p><p>三  报名<br />报名资格：<br />1、热爱钢琴的青少年儿童（比赛选手需附身份证或户口簿复印件）<br />2、钢琴教师<br />3、陪同家长<br />报名时间：<br />2011年4月25日至7月12日</p><p>四  报名手续<br />1、 填写报名表（网站上下载）<br />2、 邮寄报名费、学费<br />开户行：建行北京分行营业部 <br />开户名：苑红<br />账号：6227000010820132860 <br />3、 汇款后将报名表及汇款收据存根（复印）传真（010-88115202）、发至邮箱或邮寄；<br />4、 收到报到通知（发电子邮箱）后，于8月2日前往乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部报到；<br />5、 新疆地区及乌鲁木齐市学员报名、交费地址：乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部  邮政编码：830002<br />报名咨询电话： 0991- 8880109   8873023  闫老师、陈老师<br />邮箱：<a href=\"mailto:xj_stw@sohu.com\">xj_stw@sohu.com</a>（xj后边是下划线）</p><p>五  活动举办地点<br />●本次活动地点设在乌鲁木齐市周广仁钢琴艺术中心乌鲁木齐分部（新疆斯坦韦文化艺术教育中心）（确切地址再定）<br />●琴房全天免费为学员开放<br />●学员统一安排在新疆教育学院学术交流中心就餐</p><p>六  入营须知<br />自带日常生活必需品（洗漱用品、换洗衣服、拖鞋、笔、笔记本等）<br />报到日期：2011年8月2日（报到时请交2张一寸照片，领取学员证）<br />报到地点：周广仁钢琴艺术中心乌鲁木齐分部（乌鲁木齐市光明路253号）<br />   <br />钢琴夏季学院咨询<br />报名咨询电话：（010）88115202<br />传　　真：    （010）88115202<br />邮寄地址：北京市海淀区恩济庄46号21世纪国际学校406  <br />“北京周广仁钢琴艺术中心”  <br />邮    编：100142<br />电子信箱：<a href=\"mailto:master@zgr.com.cn\">master@zgr.com.cn</a> <br />中心网站：<a href=\"http://www.zgr.com.cn\">www.zgr.com.cn</a> <br />广仁音乐：<a href=\"/\">www.zgrchina.com</a></p>','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。','','1302599498','1');
INSERT INTO `node_revisions` VALUES ('1701','1718','1','第五届周广仁钢琴夏季学院--乌鲁木齐','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。活动期间将有周广仁先生和钢琴演奏家逄勃女士，上海音乐学院教授杨韵琳，钢琴演奏家、中央音乐学院教授盛原，法籍钢琴演奏家种佳，上海音乐学院教授孙韵，中央音乐学院教师佟博轮流主持授课，并担任少年组比赛评委，为钢琴教师和学生做专题讲座，届时将举办多场音乐会。<br />主办单位：周广仁教育科技（北京）有限公司<br />承办单位：北京周广仁钢琴艺术中心    周广仁钢琴艺术中心乌鲁木齐分部  <br />协办单位：<br />举办地点：周广仁钢琴艺术中心乌鲁木齐分部  （乌鲁木齐市光明路253号）<br />艺术总监：逄勃<br />艺术总顾问：周广仁</p><p>一 钢琴夏季学院活动<br />（一） 专家公开课和个别课<br /> 1、钢琴夏季学院期间将安排多位专家轮流讲公开课，参加钢琴夏季学院比赛<br />  的选手（根据曲目）有机会上专家公开课，也可以报名上专家个别课。<br />2、所有上专家公开课和个别课的学员需自备乐谱两套。<br />（二）青少年钢琴比赛<br /> 1、按年龄分为五组（年龄划分以今年七月三十一日为准）：<br />    A组：6岁以下<br />B组：7—8岁<br />    C组：9-10岁<br />D组：11—12岁<br />E组：13岁以上<br />2、各组比赛曲目要求<br />   A组：一首乐曲，2分钟以内；   <br /> B组：一首练习曲、一首乐曲（中外乐曲，小奏鸣曲及奏鸣曲快板乐章均可），<br />3分钟以内   <br />C组：一首练习曲（等同于车尔尼849及以上程度）、一首乐曲（中外乐曲、<br />小奏鸣曲及奏鸣曲快板乐章均可），4分钟以内<br />  D组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），6分钟以内<br />E组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），8分钟以内</p><p>3、比赛注意事项：<br />    A、演奏曲目除标有D.C记号外，一律不反复；<br />    B、必须背谱演奏；<br />C、报名时需交比赛乐谱复印件一份。<br />4、比赛奖项设置：<br />A、比赛设一、二、三等奖；优秀奖； <br />B、比赛设“优秀指导教师奖”：凡所教学生获奖三人以上者（含三人）均可获得 “优秀指导教师奖”。<br />C、比赛设“优秀组织奖”：凡组织十名以上学员参加的单位或个人均可获得“优秀组织奖”。<br />D、比赛获奖选手的视频录像将在“广仁音乐”网站“夏季学院专栏”中播出。<br />（三）师资培训<br />钢琴夏季学院为钢琴教师安排了3个单元9课时的专家讲座。<br />（四）青少年学员活动<br />钢琴夏季学院在为青少年学员安排钢琴比赛之余，还特别安排了音乐欣赏、视唱练耳和乐理等课程。<br />（五）观光游览活动<br />钢琴夏季学院为学员安排了”新疆一日游”观光活动，让每位学员度过一个充实而愉快的假期。</p><p>二  收费标准<br />1、报名费、学费<br />类别             报名费    学费  <br />参赛学员         200元   2100元<br />学员             100元   2100元<br />陪同                100元   900 元 <br />2、食宿费<br />●住宿宾馆，配有：两人间：170 元/间/天；三人间：70元/床/天；由学员自行与宾馆结账（由于正值旅游旺季，房间数量有限，预定从速，以免受房价浮动影响）。<br />●就餐统一安排费用待定<br />3、专家个别课（一对一）：500元/课时，根据专家授课名额报满为止，由组委会按报名先后统一安排。 <br />4、退费原则：<br />学员可在7月19日之前办理退费手续（报名费不退），退费金额为学费的80﹪，之后概不退费。</p><p>三  报名<br />报名资格：<br />1、热爱钢琴的青少年儿童（比赛选手需附身份证或户口簿复印件）<br />2、钢琴教师<br />3、陪同家长<br />报名时间：<br />2011年4月25日至7月12日</p><p>四  报名手续<br />1、 填写报名表（网站上下载）<br />2、 邮寄报名费、学费<br />开户行：建行北京分行营业部 <br />开户名：苑红<br />账号：6227000010820132860 <br />3、 汇款后将报名表及汇款收据存根（复印）传真（010-88115202）、发至邮箱或邮寄；<br />4、 收到报到通知（发电子邮箱）后，于8月2日前往乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部报到；<br />5、 新疆地区及乌鲁木齐市学员报名、交费地址：乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部  邮政编码：830002<br />报名咨询电话： 0991- 8880109   8873023  闫老师、陈老师<br />邮箱：<a href=\"mailto:xj_stw@sohu.com\">xj_stw@sohu.com</a>（xj后边是下划线）</p><p>五  活动举办地点<br />●本次活动地点设在乌鲁木齐市周广仁钢琴艺术中心乌鲁木齐分部（新疆斯坦韦文化艺术教育中心）（确切地址再定）<br />●琴房全天免费为学员开放<br />●学员统一安排在新疆教育学院学术交流中心就餐</p><p>六  入营须知<br />自带日常生活必需品（洗漱用品、换洗衣服、拖鞋、笔、笔记本等）<br />报到日期：2011年8月2日（报到时请交2张一寸照片，领取学员证）<br />报到地点：周广仁钢琴艺术中心乌鲁木齐分部（乌鲁木齐市光明路253号）<br />   <br />钢琴夏季学院咨询<br />报名咨询电话：（010）88115202<br />传　　真：    （010）88115202<br />邮寄地址：北京市海淀区恩济庄46号21世纪国际学校406  <br />“北京周广仁钢琴艺术中心”  <br />邮    编：100142<br />电子信箱：<a href=\"mailto:master@zgr.com.cn\">master@zgr.com.cn</a> <br />中心网站：<a href=\"http://www.zgr.com.cn\">www.zgr.com.cn</a> <br />广仁音乐：<a href=\"/\">www.zgrchina.com</a></p>','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。','','1302599550','1');
INSERT INTO `node_revisions` VALUES ('1701','1719','1','第五届周广仁钢琴夏季学院--乌鲁木齐','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。活动期间将有周广仁先生和钢琴演奏家逄勃女士，上海音乐学院教授杨韵琳，钢琴演奏家、中央音乐学院教授盛原，法籍钢琴演奏家种佳，上海音乐学院教授孙韵，中央音乐学院教师佟博轮流主持授课，并担任少年组比赛评委，为钢琴教师和学生做专题讲座，届时将举办多场音乐会。<br />主办单位：周广仁教育科技（北京）有限公司<br />承办单位：北京周广仁钢琴艺术中心    周广仁钢琴艺术中心乌鲁木齐分部  <br />协办单位：<br />举办地点：周广仁钢琴艺术中心乌鲁木齐分部  （乌鲁木齐市光明路253号）<br />艺术总监：逄勃<br />艺术总顾问：周广仁</p><p>一 钢琴夏季学院活动<br />（一） 专家公开课和个别课<br /> 1、钢琴夏季学院期间将安排多位专家轮流讲公开课，参加钢琴夏季学院比赛<br />  的选手（根据曲目）有机会上专家公开课，也可以报名上专家个别课。<br />2、所有上专家公开课和个别课的学员需自备乐谱两套。<br />（二）青少年钢琴比赛<br /> 1、按年龄分为五组（年龄划分以今年七月三十一日为准）：<br />    A组：6岁以下<br />B组：7—8岁<br />    C组：9-10岁<br />D组：11—12岁<br />E组：13岁以上<br />2、各组比赛曲目要求<br />   A组：一首乐曲，2分钟以内；   <br /> B组：一首练习曲、一首乐曲（中外乐曲，小奏鸣曲及奏鸣曲快板乐章均可），<br />3分钟以内   <br />C组：一首练习曲（等同于车尔尼849及以上程度）、一首乐曲（中外乐曲、<br />小奏鸣曲及奏鸣曲快板乐章均可），4分钟以内<br />  D组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），6分钟以内<br />E组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），8分钟以内</p><p>3、比赛注意事项：<br />    A、演奏曲目除标有D.C记号外，一律不反复；<br />    B、必须背谱演奏；<br />C、报名时需交比赛乐谱复印件一份。<br />4、比赛奖项设置：<br />A、比赛设一、二、三等奖；优秀奖； <br />B、比赛设“优秀指导教师奖”：凡所教学生获奖三人以上者（含三人）均可获得 “优秀指导教师奖”。<br />C、比赛设“优秀组织奖”：凡组织十名以上学员参加的单位或个人均可获得“优秀组织奖”。<br />D、比赛获奖选手的视频录像将在“广仁音乐”网站“夏季学院专栏”中播出。<br />（三）师资培训<br />钢琴夏季学院为钢琴教师安排了3个单元9课时的专家讲座。<br />（四）青少年学员活动<br />钢琴夏季学院在为青少年学员安排钢琴比赛之余，还特别安排了音乐欣赏、视唱练耳和乐理等课程。<br />（五）观光游览活动<br />钢琴夏季学院为学员安排了”新疆一日游”观光活动，让每位学员度过一个充实而愉快的假期。</p><p>二  收费标准<br />1、报名费、学费<br />类别             报名费    学费  <br />参赛学员         200元   2100元<br />学员             100元   2100元<br />陪同                100元   900 元 <br />2、食宿费<br />●住宿宾馆，配有：两人间：170 元/间/天；三人间：70元/床/天；由学员自行与宾馆结账（由于正值旅游旺季，房间数量有限，预定从速，以免受房价浮动影响）。<br />●就餐统一安排费用待定<br />3、专家个别课（一对一）：500元/课时，根据专家授课名额报满为止，由组委会按报名先后统一安排。 <br />4、退费原则：<br />学员可在7月19日之前办理退费手续（报名费不退），退费金额为学费的80﹪，之后概不退费。</p><p>三  报名<br />报名资格：<br />1、热爱钢琴的青少年儿童（比赛选手需附身份证或户口簿复印件）<br />2、钢琴教师<br />3、陪同家长<br />报名时间：<br />2011年4月25日至7月12日</p><p>四  报名手续<br />1、 填写报名表（网站上下载）<br />2、 邮寄报名费、学费<br />开户行：建行北京分行营业部 <br />开户名：苑红<br />账号：6227000010820132860 <br />3、 汇款后将报名表及汇款收据存根（复印）传真（010-88115202）、发至邮箱或邮寄；<br />4、 收到报到通知（发电子邮箱）后，于8月2日前往乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部报到；<br />5、 新疆地区及乌鲁木齐市学员报名、交费地址：乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部  邮政编码：830002<br />报名咨询电话： 0991- 8880109   8873023  闫老师、陈老师<br />邮箱：<a href=\"mailto:xj_stw@sohu.com\">xj_stw@sohu.com</a>（xj后边是下划线）</p><p>五  活动举办地点<br />●本次活动地点设在乌鲁木齐市周广仁钢琴艺术中心乌鲁木齐分部（新疆斯坦韦文化艺术教育中心）（确切地址再定）<br />●琴房全天免费为学员开放<br />●学员统一安排在新疆教育学院学术交流中心就餐</p><p>六  入营须知<br />自带日常生活必需品（洗漱用品、换洗衣服、拖鞋、笔、笔记本等）<br />报到日期：2011年8月2日（报到时请交2张一寸照片，领取学员证）<br />报到地点：周广仁钢琴艺术中心乌鲁木齐分部（乌鲁木齐市光明路253号）<br />   <br />钢琴夏季学院咨询<br />报名咨询电话：（010）88115202<br />传　　真：    （010）88115202<br />邮寄地址：北京市海淀区恩济庄46号21世纪国际学校406  <br />“北京周广仁钢琴艺术中心”  <br />邮    编：100142<br />电子信箱：<a href=\"mailto:master@zgr.com.cn\">master@zgr.com.cn</a> <br />中心网站：<a href=\"http://www.zgr.com.cn\">www.zgr.com.cn</a> <br />广仁音乐：<a href=\"/\">www.zgrchina.com</a></p>','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。','','1302599563','1');
INSERT INTO `node_revisions` VALUES ('1701','1720','1','第五届周广仁钢琴夏季学院--乌鲁木齐','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。活动期间将有周广仁先生和钢琴演奏家逄勃女士，上海音乐学院教授杨韵琳，钢琴演奏家、中央音乐学院教授盛原，法籍钢琴演奏家种佳，上海音乐学院教授孙韵，中央音乐学院教师佟博轮流主持授课，并担任少年组比赛评委，为钢琴教师和学生做专题讲座，届时将举办多场音乐会。<br />主办单位：周广仁教育科技（北京）有限公司<br />承办单位：北京周广仁钢琴艺术中心    周广仁钢琴艺术中心乌鲁木齐分部  <br />协办单位：<br />举办地点：周广仁钢琴艺术中心乌鲁木齐分部  （乌鲁木齐市光明路253号）<br />艺术总监：逄勃<br />艺术总顾问：周广仁</p><p>一 钢琴夏季学院活动<br />（一） 专家公开课和个别课<br /> 1、钢琴夏季学院期间将安排多位专家轮流讲公开课，参加钢琴夏季学院比赛<br />  的选手（根据曲目）有机会上专家公开课，也可以报名上专家个别课。<br />2、所有上专家公开课和个别课的学员需自备乐谱两套。<br />（二）青少年钢琴比赛<br /> 1、按年龄分为五组（年龄划分以今年七月三十一日为准）：<br />    A组：6岁以下<br />B组：7—8岁<br />    C组：9-10岁<br />D组：11—12岁<br />E组：13岁以上<br />2、各组比赛曲目要求<br />   A组：一首乐曲，2分钟以内；   <br /> B组：一首练习曲、一首乐曲（中外乐曲，小奏鸣曲及奏鸣曲快板乐章均可），<br />3分钟以内   <br />C组：一首练习曲（等同于车尔尼849及以上程度）、一首乐曲（中外乐曲、<br />小奏鸣曲及奏鸣曲快板乐章均可），4分钟以内<br />  D组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），6分钟以内<br />E组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），8分钟以内</p><p>3、比赛注意事项：<br />    A、演奏曲目除标有D.C记号外，一律不反复；<br />    B、必须背谱演奏；<br />C、报名时需交比赛乐谱复印件一份。<br />4、比赛奖项设置：<br />A、比赛设一、二、三等奖；优秀奖； <br />B、比赛设“优秀指导教师奖”：凡所教学生获奖三人以上者（含三人）均可获得 “优秀指导教师奖”。<br />C、比赛设“优秀组织奖”：凡组织十名以上学员参加的单位或个人均可获得“优秀组织奖”。<br />D、比赛获奖选手的视频录像将在“广仁音乐”网站“夏季学院专栏”中播出。<br />（三）师资培训<br />钢琴夏季学院为钢琴教师安排了3个单元9课时的专家讲座。<br />（四）青少年学员活动<br />钢琴夏季学院在为青少年学员安排钢琴比赛之余，还特别安排了音乐欣赏、视唱练耳和乐理等课程。<br />（五）观光游览活动<br />钢琴夏季学院为学员安排了”新疆一日游”观光活动，让每位学员度过一个充实而愉快的假期。</p><p>二  收费标准<br />1、报名费、学费<br />类别             报名费    学费  <br />参赛学员         200元   2100元<br />学员             100元   2100元<br />陪同                100元   900 元 <br />2、食宿费<br />●住宿宾馆，配有：两人间：170 元/间/天；三人间：70元/床/天；由学员自行与宾馆结账（由于正值旅游旺季，房间数量有限，预定从速，以免受房价浮动影响）。<br />●就餐统一安排费用待定<br />3、专家个别课（一对一）：500元/课时，根据专家授课名额报满为止，由组委会按报名先后统一安排。 <br />4、退费原则：<br />学员可在7月19日之前办理退费手续（报名费不退），退费金额为学费的80﹪，之后概不退费。</p><p>三  报名<br />报名资格：<br />1、热爱钢琴的青少年儿童（比赛选手需附身份证或户口簿复印件）<br />2、钢琴教师<br />3、陪同家长<br />报名时间：<br />2011年4月25日至7月12日</p><p>四  报名手续<br />1、 填写报名表（网站上下载）<br />2、 邮寄报名费、学费<br />开户行：建行北京分行营业部 <br />开户名：苑红<br />账号：6227000010820132860 <br />3、 汇款后将报名表及汇款收据存根（复印）传真（010-88115202）、发至邮箱或邮寄；<br />4、 收到报到通知（发电子邮箱）后，于8月2日前往乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部报到；<br />5、 新疆地区及乌鲁木齐市学员报名、交费地址：乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部  邮政编码：830002<br />报名咨询电话： 0991- 8880109   8873023  闫老师、陈老师<br />邮箱：<a href=\"mailto:xj_stw@sohu.com\">xj_stw@sohu.com</a>（xj后边是下划线）</p><p>五  活动举办地点<br />●本次活动地点设在乌鲁木齐市周广仁钢琴艺术中心乌鲁木齐分部（新疆斯坦韦文化艺术教育中心）（确切地址再定）<br />●琴房全天免费为学员开放<br />●学员统一安排在新疆教育学院学术交流中心就餐</p><p>六  入营须知<br />自带日常生活必需品（洗漱用品、换洗衣服、拖鞋、笔、笔记本等）<br />报到日期：2011年8月2日（报到时请交2张一寸照片，领取学员证）<br />报到地点：周广仁钢琴艺术中心乌鲁木齐分部（乌鲁木齐市光明路253号）<br />   <br />钢琴夏季学院咨询<br />报名咨询电话：（010）88115202<br />传　　真：    （010）88115202<br />邮寄地址：北京市海淀区恩济庄46号21世纪国际学校406  <br />“北京周广仁钢琴艺术中心”  <br />邮    编：100142<br />电子信箱：<a href=\"mailto:master@zgr.com.cn\">master@zgr.com.cn</a> <br />中心网站：<a href=\"http://www.zgr.com.cn\">www.zgr.com.cn</a> <br />广仁音乐：<a href=\"/\">www.zgrchina.com</a></p>','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。','','1302599629','1');
INSERT INTO `node_revisions` VALUES ('1701','1721','1','第五届周广仁钢琴夏季学院--乌鲁木齐','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。活动期间将有周广仁先生和钢琴演奏家逄勃女士，上海音乐学院教授杨韵琳，钢琴演奏家、中央音乐学院教授盛原，法籍钢琴演奏家种佳，上海音乐学院教授孙韵，中央音乐学院教师佟博轮流主持授课，并担任少年组比赛评委，为钢琴教师和学生做专题讲座，届时将举办多场音乐会。<br />主办单位：周广仁教育科技（北京）有限公司<br />承办单位：北京周广仁钢琴艺术中心    周广仁钢琴艺术中心乌鲁木齐分部   新疆斯坦韦文化艺术教育中心<br />协办单位：<br />举办地点：周广仁钢琴艺术中心乌鲁木齐分部  （乌鲁木齐市昆仑路26号）<br />艺术总监：逄勃<br />艺术总顾问：周广仁</p><p>一 钢琴夏季学院活动<br />（一） 专家公开课和个别课<br /> 1、钢琴夏季学院期间将安排多位专家轮流讲公开课，参加钢琴夏季学院比赛<br />  的选手（根据曲目）有机会听取专家公开课，也可以报名上专家个别课。<br />2、所有上专家公开课和个别课的学员需自备乐谱两套。<br />（二）青少年钢琴比赛<br /> 1、按年龄分为五组（年龄划分以今年七月三十一日为准）：<br />    A组：6岁以下<br />B组：7—8岁<br />    C组：9-10岁<br />D组：11—12岁<br />E组：13岁以上<br />2、各组比赛曲目要求<br />A组：一首乐曲，2分钟以内；   <br />B组：一首练习曲、一首乐曲（中外乐曲，小奏鸣曲及奏鸣曲快板乐章均可），<br />3分钟以内   <br />C组：一首练习曲（等同于车尔尼849及以上程度）、一首乐曲（中外乐曲、<br />小奏鸣曲及奏鸣曲快板乐章均可），4分钟以内<br />D组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），6分钟以内<br />E组：一首练习曲（等同于车尔尼299及以上程度）、一首乐曲（中外乐曲、<br />奏鸣曲快板乐章均可），8分钟以内</p><p>3、比赛注意事项：<br />    A、演奏曲目除标有D.C记号外，一律不反复；<br />    B、必须背谱演奏；<br />C、报名时需交比赛乐谱复印件一份。<br />4、比赛奖项设置：<br />A、比赛设一、二、三等奖；优秀奖； <br />B、比赛设“优秀指导教师奖”：凡所教学生获奖三人以上者（含三人）均可获得 “优秀指导教师奖”。<br />C、比赛设“优秀组织奖”：凡组织十名以上学员参加的单位或个人均可获得“优秀组织奖”。<br />D、比赛获奖选手的视频录像将在“广仁音乐”网站“夏季学院专栏”中播出。<br />（三）师资培训<br />钢琴夏季学院为钢琴教师安排了3个单元9课时的专家讲座。<br />（四）青少年学员活动<br />钢琴夏季学院在为青少年学员安排钢琴比赛之余，还特别安排了音乐欣赏、视唱练耳和乐理等课程。<br />（五）观光游览活动<br />钢琴夏季学院为学员安排了”新疆一日游”观光活动，让每位学员度过一个充实而愉快的假期。</p><p>二  收费标准<br />1、报名费、学费、 餐费<br />类别               报名费    学费           餐费<br />参赛学员         200元   2100元        400元<br />学员              100元    2100元        400元<br />陪同              100元      900元        400元<br />2、住宿费<br />住宿宾馆，配有：两人间：170 元/间/天；三人间：70元/床/天；由学员自行与宾馆结账（由于正值旅游旺季，房间数量有限，预定从速，以免受房价浮动影响）。<br />3、专家个别课（一对一）：500元/课时，根据专家授课名额报满为止，由组委会按报名先后统一安排。 <br />4、退费原则：<br />学员可在7月19日之前办理退费手续（报名费不退），退费金额为学费的80﹪，之后概不退费。</p><p>三  报名<br />报名资格：<br />1、热爱钢琴的青少年儿童（比赛选手需附身份证或户口簿复印件）<br />2、钢琴教师<br />3、陪同家长<br />报名时间：<br />2011年4月25日至7月12日</p><p>四  报名手续<br />1、 填写报名表（<a href=\"/files/webform/form5.doc\" target=\"_blank\"><strong>网站上下载</strong></a>）<br />2、 邮寄报名费、学费、餐费<br />开户行：建行北京分行营业部 <br />开户名：苑红<br />账号：6227000010820132860 <br />3、 汇款后将报名表及汇款收据存根（复印）传真（010-88115202）或发至邮箱、邮寄；<br />4、 收到报到通知（发电子邮箱）后，于8月2日前往乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部报到；<br />5、 新疆地区及乌鲁木齐市学员报名、交费地址：乌鲁木齐市光明路253号周广仁钢琴艺术中心乌鲁木齐分部  邮政编码：830002<br />报名咨询电话： 0991- 8880109   8873023  闫老师、陈老师<br />邮箱：<a href=\"mailto:xj_stw@sohu.com\">xj_stw@sohu.com</a><br />新疆斯坦韦文化艺术教育中心网址：<a href=\"http://www.stwzx.com\">www.stwzx.com</a></p><p>五  活动举办地点<br />●本次活动地点设在乌鲁木齐市周广仁钢琴艺术中心乌鲁木齐分部（乌鲁木齐市昆仑路26号）<br />●琴房全天免费为学员开放<br />●学员统一安排在新疆教育学院学术交流中心住宿就餐</p><p>六  入营须知<br />自带日常生活必需品（洗漱用品、换洗衣服、拖鞋、笔、笔记本等）<br />报到日期：2011年8月2日（报到时请交2张一寸照片，领取学员证）<br />报到地点：周广仁钢琴艺术中心乌鲁木齐分部  新疆斯坦韦文化艺术教育中心（乌鲁木齐市光明路253号）<br />   <br />钢琴夏季学院咨询<br />报名咨询电话：（010）88115202<br />传　　真：    （010）88115202<br />邮寄地址：北京市海淀区恩济庄46号21世纪国际学校406  </p><p>“北京周广仁钢琴艺术中心”  <br />邮    编：100142<br />电子信箱：<a href=\"mailto:master@zgr.com.cn\">master@zgr.com.cn</a> </p><p>中心网站：<a href=\"http://www.zgr.com.cn\">www.zgr.com.cn</a> <br />广仁音乐：<a href=\"/\">www.zgrchina.com</a> </p><p> </p><p><a href=\"/files/webform/form5.doc\" target=\"_blank\"><strong><span style=\"text-decoration: underline;\">报名表下载</span><br /></strong></a></p><p> </p>','<p>第五届周广仁钢琴夏季学院将于2011年8月3日至8月9日在美丽的城市乌鲁木齐举办。','','1302773420','1');
INSERT INTO `node_revisions` VALUES ('1704','1723','1','逄勃工作室视频更新通知(2011/04/18)','<p>逄勃工作室钢琴教学视频将于2011年04月25日(下周一)开始播出<br />第五期：巴赫初级钢琴教程上(13-21)9集<br />播出日期：2011年04月25日（周一）——2011年05月26日 （周四）<br />          （“五一”期间停播一周，5月9日恢复播放）<br />播放时间：<br />    周一、周四    10：00——12：00<br />    周二             20：00——22：00<br />为方便大家学习，视频课程重复播放四周。<br />操作步骤：<br />    1、 加入教师联盟（<strong><a href=\"/about/member\" target=\"_blank\">点击</a></strong>）； <br />    2、 登陆网址<a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a>；<br />    3、 输入自己的用户名和密码登陆；<br />    4、 首页点击“教师联盟”，或“钢琴教程”；<br />    5、 再点击“逄勃工作室”，选择“逄勃教学视频”即可收看；<br />    6、 登录过程中出现任何问题请联系技术人员 Tel：010-67896015。</p>','<p>逄勃工作室钢琴教学视频将于2011年04月25日(下周一)开始播出<br />第五期：巴赫初级钢琴教程上(13-21)9集<br />播出日期：2011年04月25日（周一）——2011年05月26日 （周四）<br />          （“五一”期间停播一周，5月9日恢复播放）<br />播放时间：<br />    周一、周四    10：00——12：00','','1303095195','1');
INSERT INTO `node_revisions` VALUES ('1706','1725','1','“五·一”逄勃教学视频停播通知','<p>五·一节期间（自5月2日——至5月5日）本站暂停逄勃工作室视频教学的播放，5月9日（周一）开始恢复正常播出。<br />广仁音乐网祝大家节日快乐！</p>','<p>五·一节期间（自5月2日——至5月5日）本站暂停逄勃工作室视频教学的播放，5月9日（周一）开始恢复正常播出。<br />广仁音乐网祝大家节日快乐！</p>','','1303709030','1');
INSERT INTO `node_revisions` VALUES ('1711','1730','1','逄勃工作室视频更新通知(2011/05/23)','<p>逄勃工作室钢琴教学视频将于2011年05月30日(下周一)开始播出<br />第六期：周广仁钢琴艺术中心钢琴教材(1-8)8集<br />播出日期：2011年05月30日（周一）——2011年06月23日 （周四）<br />          <br />播放时间：<br />    周一、周四    10：00——12：00<br />    周二             20：00——22：00<br />为方便大家学习，视频课程重复播放四周。<br />操作步骤：<br />    1、 加入教师联盟（点击）； <br />    2、 登陆网址<a href=\"/\">www.zgrchina.com</a>；<br />    3、 输入自己的用户名和密码登陆；<br />    4、 首页点击“教师联盟”，或“钢琴教程”；<br />    5、 再点击“逄勃工作室”，选择“逄勃教学视频”即可收看；<br />    6、 登录过程中出现任何问题请联系技术人员 Tel：010-67896015</p>','<p>逄勃工作室钢琴教学视频将于2011年05月30日(下周一)开始播出<br />第六期：周广仁钢琴艺术中心钢琴教材(1-8)8集<br />播出日期：2011年05月30日（周一）——2011年06月23日 （周四）<br />          <br />播放时间：<br />    周一、周四    10：00——12：00','','1306198761','1');
INSERT INTO `node_revisions` VALUES ('1714','1733','1','Home - Zhou Guangren Young Pianist Award - 2010','','','','1307510883','1');
INSERT INTO `node_revisions` VALUES ('1715','1734','1','Prizes - Zhou Guangren Young Pianist Award - 2010','<p> </p><p style=\"text-align: left;\"><strong><strong>1st Place - 10000 RMB<br />2nd Place - 6000 RMB<br />3rd Place - 6000 RMB <br />4th Place - 3000 RMB<br />5th Place - 3000 RMB<br />6th Place - 3000 RMB</strong></strong></p><p style=\"text-align: left;\"><a href=\"http://www.yz-china.com/\"> Yuan Zhou Decoration Group</a> will offer a scholarship of 1000 RMB for each of the competitors.</p><p>And also the Committee will organize several concerts in different cities for the Winners of the Young Pianist Award in 2011.</p><p> </p>','<p> </p><p style=\"text-align: left;\"><strong><strong>1st Place - 10000 RMB<br />2nd Place - 6000 RMB<br />3rd Place - 6000 RMB <br />4th Place - 3000 RMB<br />5th Place - 3000 RMB<br />6th Place - 3000 RMB</strong></strong></p><p style=\"text-align: left;\"><a href=\"http://www.yz-china.com/\"> Yuan Zhou Decoration Group</a> will offer a scholarship of 1000 RMB for each of the competitors.</p>','','1307510822','3');
INSERT INTO `node_revisions` VALUES ('1716','1735','1','Board - Zhou Guangren Young Pianist Award - 2010','','','','1307510787','1');
INSERT INTO `node_revisions` VALUES ('1717','1736','1','Contact us - Zhou Guangren Young Pianist Award - 2010','<p><strong>Mailing Address:</strong></p><p><strong>ZHOU GUANGREN Young Pianist Award Organizing Committee</strong></p><p><strong> </strong></p><p><strong>2 JIA202, YING HAI ZHUANGYUAN, No.1 LIANGSHUIHE Street, YI ZHUANG JING JI JI SHU KAI FA QU, Beijing, China</strong></p><p><strong>PostCode: 100176</strong></p><p><strong>Phone:</strong></p><p><strong>010-87220017 </strong></p><p><strong>FAX:</strong></p><p><strong>010-67896015</strong></p><p><strong>Email: </strong><strong><a href=\"mailto:service@zgrchina.com\">szyin18@sina.com</a></strong></p>','<p><strong>Mailing Address:</strong></p><p><strong>ZHOU GUANGREN Young Pianist Award Organizing Committee</strong></p><p><strong> </strong></p><p><strong>2 JIA202, YING HAI ZHUANGYUAN, No.1 LIANGSHUIHE Street, YI ZHUANG JING JI JI SHU KAI FA QU, Beijing, China</strong></p><p><strong>PostCode: 100176</strong></p><p><strong>Phone:</strong></p><p><strong>010-87220017 </strong></p>','','1307510754','1');
INSERT INTO `node_revisions` VALUES ('1718','1737','1','Contestants - Zhou Guangren Young Pianist Award - 2010','<p>（In alphabet order）</p>','<p>（In alphabet order）</p>','','1307510665','1');
INSERT INTO `node_revisions` VALUES ('1719','1738','1','Information - Zhou Guangren Young Pianist Award - 2010','<p><strong>Judging Process<br />1. The DVD pre-selection is held from July 12th to August 12th 2010, organized by Prof. Zhou Guangren<br />2. 12 contestants will be selected. The total number may be modified. Each contestant will be charged 500 RMB for the participation of the final around.<br />3. The result of the selected contestants will be announced on </strong><a href=\"/\"><strong>www.zgrchina.com</strong></a><strong> on August 16th, 2010.<br />4. All selected contestants will be invited to come to Beijing to do a live video recording at Guangren Music Studio. <br /></strong><strong>5. Judging period will be from October 10th to November 30th，2010<br />6. Announcement of winners: December 17th，2010</strong></p>','<p><strong>Judging Process<br />1. The DVD pre-selection is held from July 12th to August 12th 2010, organized by Prof. Zhou Guangren<br />2. 12 contestants will be selected. The total number may be modified. Each contestant will be charged 500 RMB for the participation of the final around.','','1307510530','1');
INSERT INTO `node_revisions` VALUES ('1720','1739','1','Insight - Zhou Guangren Young Pianist Award - 2010','','','','1307432445','1');
INSERT INTO `node_revisions` VALUES ('1721','1740','1','General Instruction - Zhou Guangren Young Pianist Award - 2010','<p>In order to promote the piano art in China, to discover young talents and give them a chance to show their ability, The Zhou Guangren Educational Technology (Beijing) Co. Ltd  is establishing a new competition on the website <a href=\"http://www.zgrchina.com\">www.zgrchina.com</a> called \"Zhou Guangren Young Pianist Award\" Piano Competition, for young pianists under the age of 18. It will be held annually, starting with the Chopin Year 2010. This is a very special and entirely different way of judging the competition where the judges can stay at home and give their comments and votes through the website. </p><p><br />Organizing Committee <br />Organizer: Zhou Guangren Educational Technology (Beijing) Co. Ltd    <br />Presenter: Beijing SHUIZHIYIN Cultural Communication Co. Ltd<br />Website support: <a href=\"http://www.zgrchina.com\">www.zgrchina.com</a></p><p>Committee <br />The Zhou Guangren Young Pianist Award is held from July  - December 2010, and this will be an annual event. The Competition Organizing Committee reserves the right to organize performances related to the competition. All videos recorded and taped will be the exclusive property of the Competition Organizing Committee. No payment will be given to any competitor for the recordings.</p>','<p>In order to promote the piano art in China, to discover young talents and give them a chance to show their ability, The Zhou Guangren Educational Technology (Beijing) Co. Ltd  is establishing a new competition on the website <a href=\"http://www.zgrchina.com\">www.zgrchina.com</a> called \"Zhou Guangren Young Pianist Award\" Piano Competition, for young pianists under the age of 18.','','1307510277','1');
INSERT INTO `node_revisions` VALUES ('1722','1741','1','Jury Introduction - Zhou Guangren Young Pianist Award - 2010','','','','1307510398','1');
INSERT INTO `node_revisions` VALUES ('1723','1742','1','Partners - Zhou Guangren Young Pianist Award - 2010','<p><a href=\"/node/1427\"><img src=\"/files/uploads/bechstein.jpg\" width=\"142\" height=\"100\" /></a></p><p>C.Bechstein</p><p><a href=\"http://www.bechstein.com/\" target=\"_self\">http://www.bechstein.com</a></p>','<p><a href=\"/node/1427\"><img src=\"/files/uploads/bechstein.jpg\" width=\"142\" height=\"100\" /></a></p><p>C.Bechstein</p><p><a href=\"http://www.bechstein.com/\" target=\"_self\">http://www.bechstein.com</a></p>','','1488366439','3');
INSERT INTO `node_revisions` VALUES ('1724','1743','1','Rules - Zhou Guangren Young Pianist Award - 2010','<p>The Zhou Guangren Young Pianist Award established in 2010, each year will be held during July -December, in Beijing, China.<br />Chinese and English are the official languages of the competition. Please read all rules and regulations carefully. It is your responsibility to make sure that your program complies with all repertoire and time requirements. Please include the timing for each work.<br />The Zhou Guangren Young Pianist Award is open to young pianists who are under 13 years old.<br />All video, audio recordings, as well as photographs and interviews made during any of the events of The Zhou Guangren Young Pianist Award will remain the sole property of The Zhou Guangren Young Pianist Award Committee, Beijing.</p><p> </p><p><br />Application Rules and Procedures</p><p>1.   Applicants should send videos (DVD) to the Committee to participate.</p><p>2.    Applicants must be born after August 1st, 1998</p><p>3.  Applications should be completed either in Chinese or in English.</p><p>4.    Application Forms can be downloaded from the website (<a href=\"http://www.zgrchina.com\">www.zgrchina.com</a>), copies are also permitted, with resume, three recent photos (4×5cm), one copy of ID card or Passport (printed on A4 paper) send together with the DVD.</p><p>5.    All application materials must be sent by EMS or UPS etc.</p><p>6.    Incomplete or illegible application forms will not be accepted</p><p>7.    Application materials will not be returned. The committee <br />       reserves the final right for all decisions.</p><p><br />8.   Application deadline: July 15, 2011 - postmarked</p><p> </p><p> Recording Rules</p><p>1. The person in the video must be the applicant himself/herself, <br />    dressed formally. </p><p><br />2. The video must be taken from one angle only. Neither thevideo<br />     nor the sound should be edited. Each piece should not exceed<br />     15 min. </p><p><br />3. The program and recording time must be written clearly, and <br />     sent together with the DVD.</p>','<p>The Zhou Guangren Young Pianist Award established in 2010, each year will be held during July -December, in Beijing, China.','','1307510165','1');
INSERT INTO `node_revisions` VALUES ('1725','1744','1','周广仁钢琴新人艺术奖 (Zhou Guangren Young Pianist Award)  - 2010','','','','1307511465','1');
INSERT INTO `node_revisions` VALUES ('1726','1745','1','首页 - 周广仁钢琴新人艺术奖 - 2010','','','','1308064790','1');
INSERT INTO `node_revisions` VALUES ('1727','1746','1','评奖奖项 - 周广仁钢琴新人艺术奖 - 2010','<p>第一名：￥10000<br />第二名： ￥6000<br />第三名： ￥6000<br />第四名： ￥3000<br />第五名： ￥3000<br />第六名： ￥3000</p><p>同时组委会将为获奖选手在不同城市举办获奖选手音乐会，音乐会举办时间为2011年</p>','<p>第一名：￥10000<br />第二名： ￥6000<br />第三名： ￥6000<br />第四名： ￥3000<br />第五名： ￥3000<br />第六名： ￥3000</p><p>同时组委会将为获奖选手在不同城市举办获奖选手音乐会，音乐会举办时间为2011年</p>','','1308064541','1');
INSERT INTO `node_revisions` VALUES ('1728','1747','1','留言板 - 周广仁钢琴新人艺术奖 - 2010','','','','1308064735','1');
INSERT INTO `node_revisions` VALUES ('1729','1748','1','联系我们 - 周广仁钢琴新人艺术奖 - 2010','<p>周广仁钢琴艺术新人奖组委会 </p><p>地址：北京亦庄经济开发区凉水河一街37号赢海庄园2甲202室</p><p>邮编：100176 <br />电话：010-87220017 67896015<br />Email:  <a href=\"mailto:szyin18@sina.com\">szyin18@sina.com</a></p>','<p>周广仁钢琴艺术新人奖组委会 </p><p>地址：北京亦庄经济开发区凉水河一街37号赢海庄园2甲202室</p><p>邮编：100176 <br />电话：010-87220017 67896015<br />Email:  <a href=\"mailto:szyin18@sina.com\">szyin18@sina.com</a></p>','','1308064683','1');
INSERT INTO `node_revisions` VALUES ('1730','1749','1','选手介绍 - 周广仁钢琴新人艺术奖 - 2010','<p>（以下是2010年第一届周广仁钢琴艺术新人奖的入围选手名单）</p>','<p>（以下是2010年第一届周广仁钢琴艺术新人奖的入围选手名单）</p>','','1308064649','1');
INSERT INTO `node_revisions` VALUES ('1731','1750','0','赛事信息 - 周广仁钢琴新人艺术奖 - 2010','<p>周先生的颁奖感言</p><p>    大家好，两个月来，世界各地通过我们的网站，看到和听到了参加决赛的12名选手的精彩表演，他们分别来自北京、上海、沈阳， 四川， 广州，深圳，和香港的专业院校的学生。他们的精彩表演展示了中国少年钢琴家们的风采。我特别要感谢七位国际评委，他们都是来自美国、加拿大、英国、德国、俄罗斯、和中国著名音乐院校的教授，他们花了大量时间给每位选手写了详细的评语。我认为，评委们的评语是“新人奖” 一大收获。因为无论获奖还是没有获奖的选手都能从评委们的评语中都能得到很大的启发。这样的作法是史无前例的，任何一个比赛都没有做到， 因为是通过视频的形式， 评委们可以多次看选手的演奏并做出更加准确的判断。 当然，艺术的观点也会有分歧， 因此读七位评委的评语特别对老师们会更有启发和学习价值。我希望所有参加新人奖评选活动的选手，通过这次的活动在今后的艺术道路上获得更大的成绩！</p><p> </p><p>第一届周广仁钢琴艺术新人奖获奖选手的名单：</p><p>第一名： 曾宪逸   （香港）   奖金    10 000  元   <br />第二名： 潘林子   （深圳）   奖金     6 000  元   <br />第三名： 李斯倩   （北京）   奖金     6 000  元   <br />第四名： 张楚晗   （上海）   奖金     3 000  元    <br />第五名： 古静丹   （四川）   奖金     3 000  元    <br />第五名： 徐子昂   （沈阳）   奖金     3 000  元    </p><p>获奖选手将参加2011年由周广仁钢琴艺术新人奖组委会主办的专场音乐会中国区巡演，其中包括北京，天津，深圳，东莞，武汉，重庆，郑州。</p><p> </p>','<p>周先生的颁奖感言</p>','','1324030767','1');
INSERT INTO `node_revisions` VALUES ('1732','1751','1','赛场内外 - 周广仁钢琴新人艺术奖 - 2010','','','','1307435406','1');
INSERT INTO `node_revisions` VALUES ('1733','1752','1','新人奖介绍 - 周广仁钢琴新人艺术奖 - 2010','<p align=\"center\"><strong> </strong></p><p align=\"center\"><strong>总则</strong></p><p> </p><p>1、半个世纪以来，周广仁先生将普及钢琴教育事业作为自己的人生使命和至高追求，倾注了全部心血。周广仁教育科技（北京）有限公司为弘扬周广仁先生广施仁爱，春风化雨的崇高精神，发掘和培养有才华的钢琴艺术新人，特设立周广仁钢琴艺术新人奖。</p><p>2、设立\"周广仁钢琴艺术新人奖\"，旨在推动钢琴艺术在中华大地的深入普及，促进青少年钢琴艺术教育的健康发展，发现人才,奖掖先进，激励热爱钢琴艺术的青少年走向更加辉煌的未来，并通过这个奖项为他们的深造提供一个展示自己的舞台。</p><p>3、\" 周广仁钢琴艺术新人奖\"，从入围演奏者的展示，到中外专家的点评，将采用数字网络化方式进行。最具独特性的是所有评委并不像以往那样聚在一起评判，而是各自分处不同国家和地区在评奖网站上对演奏者进行审评。这一举措，既保证了评奖过程的公开透明，同时也开创了一个新颖实用的评奖模式。</p><p> </p><p style=\"text-align: center;\"><strong>评奖机构</strong></p><p> </p><p>主办单位：周广仁教育科技（北京）有限公司</p><p>承办单位：北京水知音文化传播有限公司</p><p>网络支持：广仁音乐<a href=\"/\">www.zgrchina.com</a></p><p> </p><p style=\"text-align: center;\"><strong>组委会</strong></p><p> </p><p>1、周广仁钢琴艺术新人奖组委会由主办、承办单位组成，具体评奖工作由组委会组织开展。</p><p>2、 组委会负责制订本章程及其他相关文件用于指导评奖工作。</p><p>3、 组委会邀请国内外的著名钢琴家和教授担任评委；评委评语及评审结果均在网上公布。</p><p>4、组委会全权负责对整个评奖过程及其他相关活动的网络传播、及评奖相关音像制品的制作、出版和发行，所有因评奖而产生的音像制品及衍生产品的著作权归组委会所有，就此组委会不再向演奏者另付报酬。</p><p> </p><p> </p><p> </p>','<p align=\"center\"><strong> </strong></p><p align=\"center\"><strong>总则</strong></p><p> </p>','','1308065570','1');
INSERT INTO `node_revisions` VALUES ('1734','1753','1','评委介绍 - 周广仁钢琴新人艺术奖 - 2010','<p>（以下是2010年第一届周广仁钢琴艺术新人奖的评委名单）</p>','<p>（以下是2010年第一届周广仁钢琴艺术新人奖的评委名单）</p>','','1308064595','1');
INSERT INTO `node_revisions` VALUES ('1735','1754','1','合作伙伴 - 周广仁钢琴新人艺术奖 - 2010','<p> <a href=\"/node/1426\"><img src=\"/files/uploads/bechstein.jpg\" alt=\"贝希斯坦钢琴\" width=\"142\" height=\"100\" /></a></p><p> 德国贝希斯坦钢琴制造股份公司</p><p>德国官方网站: <a href=\"http://www.bechstein.com/\" target=\"_blank\">http://www.bechstein.com</a></p><p>中国官方网站: <a href=\"http://www.bechstein-china.com/\" target=\"_blank\">http://www.bechstein-china.com</a></p>','<p> <a href=\"/node/1426\"><img src=\"/files/uploads/bechstein.jpg\" alt=\"贝希斯坦钢琴\" width=\"142\" height=\"100\" /></a></p><p> 德国贝希斯坦钢琴制造股份公司</p><p>德国官方网站: <a href=\"http://www.bechstein.com/\" target=\"_blank\">http://www.bechstein.com</a></p>','','1488366392','3');
INSERT INTO `node_revisions` VALUES ('1736','1755','1','新人奖章程 - 周广仁钢琴新人艺术奖 - 2010','<p>总则</p><p>1、半个世纪以来，周广仁先生将普及钢琴教育事业作为自己的人生使命和至高追求，倾注了全部心血。周广仁教育科技（北京）有限公司为弘扬周广仁先生广施仁爱，春风化雨的崇高精神，发掘和培养有才华的钢琴艺术新人，特设立周广仁钢琴艺术新人奖。<br />2、设立“周广仁钢琴艺术新人奖”，旨在推动钢琴艺术在中华大地的深入普及，促进青少年钢琴艺术教育的健康发展，发现人才,奖掖先进，激励热爱钢琴艺术的青少年走向更加辉煌的未来，并通过这个奖项为他们的深造提供一个展示自己的舞台。<br />3、“周广仁钢琴艺术新人奖”，从入围演奏者的展示，到中外专家的点评，将采用数字网络化方式进行。最具独特性的是所有评委并不像以往那样聚在一起评判，而是各自分处不同国家和地区在评奖网站上对演奏者进行审评。这一举措，既保证了评奖过程的公开透明，同时也开创了一个新颖实用的评奖模式。</p><p>评奖机构<br />主办单位：周广仁教育科技（北京）有限公司 <br />承办单位：北京水知音文化传播有限公司<br />网络支持：广仁音乐<a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a></p><p>组委会：<br />1、 周广仁钢琴艺术新人奖定于2010年7月—2010年12月举办首届评奖活动，并将在此后每年举办一届。<br />2、 周广仁钢琴艺术新人奖组委会由主办、承办单位组成，具体评奖工作由组委会组织开展。<br />3、 组委会负责制订本章程及其他相关文件用于指导评奖工作。<br />4、 组委会邀请国内外的著名钢琴家和教授担任评委；评委评语及评审结果均在网上公布。首届评委会组成：<br />5、 组委会全权负责对整个评奖过程及其他相关活动的网络传播、及评奖相关音像制品的制作、出版和发行，所有因评奖而产生的音像制品及衍生产品的著作权归组委会所有，就此组委会不再向演奏者另付报酬。</p><p>评委会主席<br />Tamas Ungar 托马斯.翁格（美国）<br />— 美国TCU 德州基督教大学音乐系钢琴教授<br />美籍匈牙利钢琴演奏家，教育家，现任美国德州基督教大学音乐系教授，自1997年以来，他在世界范围内开了70多场音乐会。是美国最有名望的钢琴教授之一。2006年他被聘为北京中国音乐学院国际钢琴节的艺术总监。</p><p>评委</p><p>韦丹文 （中国）<br />— 沈阳音乐学院教授，著名演奏钢琴家<br />著名钢琴演奏家，沈阳音乐学院教授，毕业于美国著名朱利亚音乐学院，获硕士学位。师从著名钢琴大师霍洛维兹，曾在众多国际大赛中获奖。</p><p>Jane Coop 简.库普 （加拿大）<br />— 英属哥伦比亚大学音乐学院钢琴系主任，著名钢琴演奏家<br />加拿大最杰出的钢琴艺术家之一，作为钢琴独奏家及室内乐演奏家，她的足迹遍及全世界。</p><p>Solomon Mikowsky 所罗门.米科夫斯基（美国）<br />— 美国纽约麦哈顿音乐学院教授<br />他的学生在一些最重要的国际比赛上赢得过100多个奖项,他担任过众多国际钢琴比赛的评委，并且在国际著名的音乐学院举行大师班.</p><p>Bernd　Goetzke　伯恩德.格茨克（德国）<br />— 德国汉诺威音乐学院钢琴系主任<br />荣获过多项国际性钢琴赛事奖项，是德国著名的钢琴教育家，音乐家,并担任多项国际性钢琴赛事的评委，在国际上享有盛誉。</p><p>Christopher Elton 克里斯托佛.艾尔顿（英国）<br />— 英国伦敦皇家音乐学院副院长<br />曾在多个国内及国际获奖，培养了大批优秀学生，在国际国内比赛中获奖，如在范.克莱本比赛一等奖等。并经常在世界范围内被邀请担任钢琴比赛评委和讲大师班课，及演出活动。 </p><p>Andre Pisarev 安德鲁.皮萨列夫（俄罗斯）<br />— 俄罗斯莫斯科音乐学院钢琴教授<br />他曾获得拉赫玛尼诺夫钢琴比赛第一名,及多项国际赛事大奖。他的演出活动涉及世界五大洲的许多国家，都受到热烈的欢迎，并经常被邀请担任钢琴比赛评委和讲大师班课。 </p><p>参评方式<br />1、参评方式：以录制、邮寄DVD的形式报名参加评奖活动。<br />2、报名要求：凡18周岁以下（1992年8月1日后出生者）的青少年均可申请报名参加评奖。</p><p>报名者必须以中文如下材料：<br />› 填写报名表（登陆 评奖网站 下载表格，复印有效）；<br />› 个人简历； <br />› 近期彩色半身免冠照片三张（两寸:4×5cm）；<br />› 身份证或户口本复印件两份（请印于A4纸上）；<br />› 参评曲目DVD <br />3、参评曲目：每一届指定一位作曲家。<br />因2010年为肖邦年，首届参评曲目定为：一首肖邦《夜曲》、一首肖邦练习曲（作品10之3，6；作品25之7除外），并自选一首任何其他作曲家的乐曲，一共三首。</p><p>参评DVD具体录制要求<br />1、必须本人演奏，衣着正式整洁，单机位拍摄，画面、音质清晰可辨，不得剪辑，每首曲目时长不超过15分钟。<br />2、DVD光盘盒上按顺序写明演奏者姓名、作品名称（英文）、作品时长；<br />3、参评演奏者资格确认：<br />组委会组织预选评委根据报名材料进行预审，以确定参评者的参评资格；组委会将于2010年8月16日在评选网站公布预审结果。</p><p>评奖程序<br />1、首届报名及预审DVD选拔时间：7月12日—8月12日 ；<br />2、入围结果将于8月16日在广仁音乐<a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a>公布<br />3、所有入围选手均需要在8月底到北京参加录制。（具体录制时间地点在网站<a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a>另行通知）<br />4、评奖时间：10月10日—11月30日；<br />5、正式公布获奖者名单时间：12月17日；<br />6、入围演奏者人数为18人，评委会可视实际情况建议组委会增加或减少2~3个入围名额；DVD入选后收取500元报名费<br />7、预审DVD评选由周广仁先生亲自主持</p><p>奖项与奖金<br />第一名：￥10000<br />第二名： ￥6000<br />第三名： ￥6000<br />第四、五、六名每人各￥3000；</p><p>获奖选手音乐会<br />组委会将为获奖选手在不同城市举办获奖选手音乐会，音乐会举办时间为2011年。</p><p>特别说明<br />1、 报名资料填写不清或所附材料不齐全的，报名视为无效，报名材料不予退还。<br />2、 报名从2010年7月12日起至2010年8月12日截止。以快递方式（以发送日为准）向组委会提交报名材料，逾期报名无效。<br />3、 请将报名材料寄往：周广仁钢琴艺术新人奖组委会 地址：北京亦庄经济开发区凉水河一街37号赢海庄园小会所北楼1号 。<br />邮编： 100176 <br />电话： 010-87220017 67896015<br />Email: <a href=\"mailto:media@zgr.com.cn\">media@zgr.com.cn</a><br />4、 参评演奏者必须完全遵守本章程，所有的参评作品和相关资料恕不退还，本章程的最终修订权和解释权属于周广仁钢琴艺术新人奖组委会。</p><p><br /><a href=\"/sites/all/themes/zgrchina/images/xinrenjiangbaoming.doc\"><strong><span style=\"text-decoration: underline;\">新人奖报名表下载</span></strong></a></p><p> </p><p> </p>','<p>总则</p>','','1308065900','1');
INSERT INTO `node_revisions` VALUES ('1737','1756','1','周广仁钢琴新人艺术奖 (Zhou Guangren Young Pianist Award)  - 2011','','','','1307440733','1');
INSERT INTO `node_revisions` VALUES ('1738','1757','1','Home - Zhou Guangren Young Pianist Award - 2011','','','','1307444018','1');
INSERT INTO `node_revisions` VALUES ('1739','1758','1','Prizes - Zhou Guangren Young Pianist Award - 2011','<p>1st Place - 5000 RMB<br />2nd Place - 3000 RMB<br />3rd Place - 3000 RMB <br />4th Place - 2000 RMB<br />5th Place - 2000 RMB<br />6th Place - 2000 RMB</p><p>And also the Committee will organize several concerts in different cities for the Winners of the Young Pianist Award in 2012.</p>','<p>1st Place - 5000 RMB<br />2nd Place - 3000 RMB<br />3rd Place - 3000 RMB <br />4th Place - 2000 RMB<br />5th Place - 2000 RMB<br />6th Place - 2000 RMB</p><p>And also the Committee will organize several concerts in different cities for the Winners of the Young Pianist Award in 2012.</p>','','1308706631','1');
INSERT INTO `node_revisions` VALUES ('1740','1759','1','Board - Zhou Guangren Young Pianist Award - 2011','','','','1307444491','1');
INSERT INTO `node_revisions` VALUES ('1741','1760','1','Contact us - Zhou Guangren Young Pianist Award - 2011','<p><strong>Mailing Address:</strong></p><p><strong>ZHOU GUANGREN Young Pianist Award Organizing Committee</strong></p><p><strong> </strong></p><p><strong>2 JIA202, YING HAI ZHUANGYUAN, No.1 LIANGSHUIHE Street, YI ZHUANG JING JI JI SHU KAI FA QU, Beijing, China</strong></p><p><strong>PostCode: 100176</strong></p><p><strong>Phone:</strong></p><p><strong>010-87220017 </strong></p><p><strong>FAX:</strong></p><p><strong>010-67896015</strong></p><p><strong>Email: </strong><strong><a href=\"mailto:service@zgrchina.com\">szyin18@sina.com</a></strong></p>','<p><strong>Mailing Address:</strong></p><p><strong>ZHOU GUANGREN Young Pianist Award Organizing Committee</strong></p><p><strong> </strong></p><p><strong>2 JIA202, YING HAI ZHUANGYUAN, No.1 LIANGSHUIHE Street, YI ZHUANG JING JI JI SHU KAI FA QU, Beijing, China</strong></p><p><strong>PostCode: 100176</strong></p><p><strong>Phone:</strong></p><p><strong>010-87220017 </strong></p>','','1307444617','1');
INSERT INTO `node_revisions` VALUES ('1742','1761','1','Contestants - Zhou Guangren Young Pianist Award - 2011','<p>（In alphabet order According to name in Chinese）</p>','<p>（In alphabet order According to name in Chinese）</p>','','1315470473','1');
INSERT INTO `node_revisions` VALUES ('1743','1762','0','Information - Zhou Guangren Young Pianist Award - 2011','<p><strong>Judging Process</strong></p><p>1. The DVD pre-selection is held from July 1st to July 15th 2011, organized by Prof. Zhou Guangren.<br />2. 12 contestants will be selected. The total number may be modified. Each contestant will be charged 500 RMB for the participation of the final around.<br />3.The result of the selected contestants will be announced on <a href=\"/\">www.zgrchina.com</a> on August 1st, 2011.<br />4. All selected contestants will be invited to come to Beijing to do a live video recording at Guangren Music Studio by the end of August.<br />5. Judging period will be from October 10th to November 30th，2011.<br />6. Announcement of winners: December 17th，2011.</p><p><strong>The Awards Winners:</strong></p><p>First Prize       Lu Xingyu          From Beijing             ￥5,000<br />Second Prize   Wong Wai Yuen  From Hong Kang        ￥3,000<br />Third Prize      Wu Junlin          From Guangzhou       ￥3,000<br />Fourth Prize    Liu Tianyuan      From Beijing             ￥2,000<br />Fifth Prize       An Tianxu          From Hebei              ￥2,000<br />Sixth Prize      Gu Xinhao          From Shanghai          ￥2,000</p>','<p><strong>Judging Process</strong></p>','','1324082356','1');
INSERT INTO `node_revisions` VALUES ('1744','1763','1','Insight - Zhou Guangren Young Pianist Award - 2011','','','','1307445286','1');
INSERT INTO `node_revisions` VALUES ('1745','1764','1','General Instruction - Zhou Guangren Young Pianist Award - 2011','<p>In order to promote the piano art in China, to discover young talents and give them a chance to show their ability, The Zhou Guangren Educational Technology (Beijing) Co. Ltd  is establishing a new competition on the website <a href=\"http://www.zgrchina.com\">www.zgrchina.com</a> called \"Zhou Guangren Young Pianist Award\" Piano Competition, for young pianists under the age of 18. It will be held annually, starting with the Chopin Year 2010. This is a very special and entirely different way of judging the competition where the judges can stay at home and give their comments and votes through the website. </p><p>Organizing Committee <br />Organizer: Zhou Guangren Educational Technology (Beijing) Co. Ltd    <br />Presenter: Beijing SHUIZHIYIN Cultural Communication Co. Ltd<br />Website support: <a href=\"http://www.zgrchina.com\">www.zgrchina.com</a></p><p>Committee <br />The Zhou Guangren Young Pianist Award is held from July  - December 2010, and this will be an annual event. The Competition Organizing Committee reserves the right to organize performances related to the competition. All videos recorded and taped will be the exclusive property of the Competition Organizing Committee. No payment will be given to any competitor for the recordings.</p>','<p>In order to promote the piano art in China, to discover young talents and give them a chance to show their ability, The Zhou Guangren Educational Technology (Beijing) Co. Ltd  is establishing a new competition on the website <a href=\"http://www.zgrchina.com\">www.zgrchina.com</a> called \"Zhou Guangren Young Pianist Award\" Piano Competition, for young pianists under the age of 18.','','1308705169','1');
INSERT INTO `node_revisions` VALUES ('1746','1765','1','Jury Introduction - Zhou Guangren Young Pianist Award - 2011','','','','1307445503','1');
INSERT INTO `node_revisions` VALUES ('1747','1766','1','Partners - Zhou Guangren Young Pianist Award - 2011','<p><a href=\"/node/1427\"><img src=\"/files/uploads/bechstein.jpg\" width=\"142\" height=\"100\" /></a></p><p>C.Bechstein</p><p><a href=\"http://www.bechstein.com/\" target=\"_self\">http://www.bechstein.com</a></p><p> </p>','<p><a href=\"/node/1427\"><img src=\"/files/uploads/bechstein.jpg\" width=\"142\" height=\"100\" /></a></p><p>C.Bechstein</p><p><a href=\"http://www.bechstein.com/\" target=\"_self\">http://www.bechstein.com</a></p><p> </p>','','1308706675','3');
INSERT INTO `node_revisions` VALUES ('1748','1767','1','Rules - Zhou Guangren Young Pianist Award - 2011','<p>The Zhou Guangren Young Pianist Award established in 2010, each year will be held during July -December, in Beijing, China.<br />Chinese and English are the official languages of the competition. Please read all rules and regulations carefully. It is your responsibility to make sure that your program complies with all repertoire and time requirements. Please include the timing for each work.<br />The 2nd Zhou Guangren Young Pianist Award is open to young pianists who are under 13 years old.<br />All video, audio recordings, as well as photographs and interviews made during any of the events of The Zhou Guangren Young Pianist Award will remain the sole property of The Zhou Guangren Young Pianist Award Committee, Beijing.</p><p>Application Rules and Procedures<br />1. Applicants should send videos (DVD) to the Committee to participate.<br />2. Applicants must be born after July 16th, 1997<br />3. Applications should be completed in both Chinese and English.<br />4. Application Forms can be downloaded from the website (<a href=\"http://www.zgrchina.com\">www.zgrchina.com</a>), copies are also permitted, with resume, three recent photos (4×5cm), one copy of ID card or Passport (printed on A4 paper) send together with the DVD.<br />5. All application materials must be sent by EMS or UPS etc.<br />6. Incomplete or illegible application forms will not be accepted<br />7. Application materials will not be returned. The committee reserves the final right for all decisions.<br />8. Application deadline: July 15th, 2011 - postmarked</p><p>Repertoire<br />Because 2011 is the Liszt year,so the repertoire require one Liszt Concert Etude chosen by Waldesrauschen”,Gnomenreigen”“Sospiro”,“la leggierezza”. One movement from Haydn Sonatas, Mozart Sonatas and Beethoven Sonatas(including slow movement).One work of the candidate\'s choice.</p><p>1. The person in the video must be the applicant himself/herself, dressed formally.<br />2. The video must be taken from one angle only. Neither the video nor the sound should be edited. Each piece should not exceed 15min. <br />3. The program and recording time must be written clearly, and sent together with the DVD.</p>','<p>The Zhou Guangren Young Pianist Award established in 2010, each year will be held during July -December, in Beijing, China.','','1308706544','1');
INSERT INTO `node_revisions` VALUES ('1749','1768','1','首页 - 周广仁钢琴新人艺术奖 - 2011','','','','1307445902','1');
INSERT INTO `node_revisions` VALUES ('1750','1769','1','评奖奖项 - 周广仁钢琴新人艺术奖 - 2011','<p>第一名：￥5000<br />第二名：￥3000<br />第三名：￥3000<br />第四名：￥2000<br />第五名：￥2000<br />第六名：￥2000</p><p>同时组委会将为获奖选手在不同城市举办获奖选手音乐会，音乐会举办时间为2012年</p>','<p>第一名：￥5000<br />第二名：￥3000<br />第三名：￥3000<br />第四名：￥2000<br />第五名：￥2000<br />第六名：￥2000</p><p>同时组委会将为获奖选手在不同城市举办获奖选手音乐会，音乐会举办时间为2012年</p>','','1307446092','1');
INSERT INTO `node_revisions` VALUES ('1751','1770','1','留言板 - 周广仁钢琴新人艺术奖 - 2011','','','','1307446171','1');
INSERT INTO `node_revisions` VALUES ('1752','1771','1','联系我们 - 周广仁钢琴新人艺术奖 - 2011','<p>周广仁钢琴艺术新人奖组委会 </p><p>地址：北京亦庄经济开发区凉水河一街37号赢海庄园2甲202室</p><p>邮编：100176 <br />电话：010-87220017 67896015<br />Email:  <a href=\"mailto:szyin18@sina.com\">szyin18@sina.com</a></p>','<p>周广仁钢琴艺术新人奖组委会 </p><p>地址：北京亦庄经济开发区凉水河一街37号赢海庄园2甲202室</p><p>邮编：100176 <br />电话：010-87220017 67896015<br />Email:  <a href=\"mailto:szyin18@sina.com\">szyin18@sina.com</a></p>','','1307446255','1');
INSERT INTO `node_revisions` VALUES ('1753','1772','1','选手介绍 - 周广仁钢琴新人艺术奖 - 2011','<p>(以下是2011年第二届周广仁钢琴艺术新人奖的入围选手名单——按汉语拼音排列)</p><p> </p>','<p>(以下是2011年第二届周广仁钢琴艺术新人奖的入围选手名单——按汉语拼音排列)</p><p> </p>','','1313673467','1');
INSERT INTO `node_revisions` VALUES ('1754','1773','0','赛事信息 - 周广仁钢琴新人艺术奖 - 2011','<p>周先生的颁奖感言</p><p>《周广仁钢琴艺术新人奖》的目的是发现人才和培育人才,使这些年幼的钢琴人才得到演奏和显示自己才能的机会， 同时又帮助他们听取专家们的意见，以便不断地进步。 我认为， 我们邀请国际上著名的钢琴演奏家和教授们公开写评语，意义重大。它将对我国的钢琴教学有极大的好处。专家们的不同意见对老师们会有很大的启发。我希望大家认真地读一下专家们的评语。获奖的同学明年暑假将会有巡回演出的机会。<br />这次没有获奖的同学都要再接再厉，以后还有机会，欢迎大家继续关注并参加周广仁钢琴艺术新人奖。 </p><p>第二届周广仁钢琴艺术新人奖获奖选手名单如下：</p><p>第一名： 卢星宇   （北京）   奖金     5,000 元   <br />第二名： 黄蔚園   （香港）   奖金     3,000 元   <br />第三名： 吴君麟   （广州）   奖金     3,000 元   <br />第四名： 刘天元   （北京）   奖金     2,000 元    <br />第五名： 安天旭   （河北）   奖金     2,000 元    <br />第六名： 顾欣皓   （上海）   奖金     2,000 元   </p><p>获奖选手将参加2012年由周广仁钢琴艺术新人奖组委会主办的专场音乐会中国区巡演。</p><p>*第二届周广仁钢琴艺术新人奖7位评委对每位选手点评的连接：</p><p>   英文点评：<a href=\"http://www.zgrchina.com/ypa/2011/en\">http://www.zgrchina.com/ypa/2011/en</a></p><p>   中文点评：正在翻译制作中，敬请关注。</p>','<p>周先生的颁奖感言</p>','','1324081799','1');
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INSERT INTO `node_revisions` VALUES ('1756','1775','1','新人奖介绍 - 周广仁钢琴新人艺术奖 - 2011','<p align=\"center\"><strong> </strong></p><p align=\"center\"><strong>总则</strong></p><p> </p><p>1、半个世纪以来，周广仁先生将普及钢琴教育事业作为自己的人生使命和至高追求，倾注了全部心血。周广仁教育科技（北京）有限公司为弘扬周广仁先生广施仁爱，春风化雨的崇高精神，发掘和培养有才华的钢琴艺术新人，特设立周广仁钢琴艺术新人奖。</p><p>2、设立\"周广仁钢琴艺术新人奖\"，旨在推动钢琴艺术在中华大地的深入普及，促进青少年钢琴艺术教育的健康发展，发现人才,奖掖先进，激励热爱钢琴艺术的青少年走向更加辉煌的未来，并通过这个奖项为他们的深造提供一个展示自己的舞台。</p><p>3、\"\r\n周广仁钢琴艺术新人奖\"，从入围演奏者的展示，到中外专家的点评，将采用数字网络化方式进行。最具独特性的是所有评委并不像以往那样聚在一起评判，而是各\r\n自分处不同国家和地区在评奖网站上对演奏者进行审评。这一举措，既保证了评奖过程的公开透明，同时也开创了一个新颖实用的评奖模式。</p><p> </p><p style=\"text-align: center;\"><strong>评奖机构</strong></p><p> </p><p>主办单位：周广仁教育科技（北京）有限公司</p><p>承办单位：北京水知音文化传播有限公司</p><p>网络支持：广仁音乐<a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a></p><p> </p><p style=\"text-align: center;\"><strong>组委会</strong></p><p> </p><p>1、周广仁钢琴艺术新人奖组委会由主办、承办单位组成，具体评奖工作由组委会组织开展。</p><p>2、 组委会负责制订本章程及其他相关文件用于指导评奖工作。</p><p>3、 组委会邀请国内外的著名钢琴家和教授担任评委；评委评语及评审结果均在网上公布。</p><p>4、组委会全权负责对整个评奖过程及其他相关活动的网络传播、及评奖相关音像制品的制作、出版和发行，所有因评奖而产生的音像制品及衍生产品的著作权归组委会所有，就此组委会不再向演奏者另付报酬。</p><p> </p><p> </p><p> </p>','<p align=\"center\"><strong> </strong></p><p align=\"center\"><strong>总则</strong></p><p> </p>','','1307446645','1');
INSERT INTO `node_revisions` VALUES ('1757','1776','1','评委介绍 - 周广仁钢琴新人艺术奖 - 2011','<p>（以下是2011年第二届周广仁钢琴艺术新人奖的评委名单）</p>','<p>（以下是2011年第二届周广仁钢琴艺术新人奖的评委名单）</p>','','1308558922','1');
INSERT INTO `node_revisions` VALUES ('1758','1777','1','合作伙伴 - 周广仁钢琴新人艺术奖 - 2011','<p> <a href=\"/node/1426\"><img src=\"/files/uploads/bechstein.jpg\" alt=\"贝希斯坦钢琴\" width=\"142\" height=\"100\" /></a></p><p> 德国贝希斯坦钢琴制造股份公司</p><p>德国官方网站: <a href=\"http://www.bechstein.com/\" target=\"_blank\">http://www.bechstein.com</a></p><p>中国官方网站: <a href=\"http://www.bechstein-china.com/\" target=\"_blank\">http://www.bechstein-china.com</a></p>','<p> <a href=\"/node/1426\"><img src=\"/files/uploads/bechstein.jpg\" alt=\"贝希斯坦钢琴\" width=\"142\" height=\"100\" /></a></p><p> 德国贝希斯坦钢琴制造股份公司</p><p>德国官方网站: <a href=\"http://www.bechstein.com/\" target=\"_blank\">http://www.bechstein.com</a></p>','','1307446823','3');
INSERT INTO `node_revisions` VALUES ('1759','1778','1','新人奖章程 - 周广仁钢琴新人艺术奖 - 2011','<p> 周广仁钢琴艺术新人奖于2010年创办，每年7月到12月在中国首都北京举行。汉语和英语是大赛的官方用语，请仔细阅读相关规则，确认参赛曲目及时间。第二届周广仁钢琴艺术新人奖对13岁以下的少年钢琴家开放。此次大赛衍生的相关视频，音频及采访资料版权归北京周广仁钢琴艺术新人奖组委会所有。</p><p style=\"text-align: left;\"><strong>参评方式</strong></p><p>一.参评方式：以录制、邮寄DVD的形式报名参加评奖活动。</p><p>二.报名要求：</p><p>1、凡13周岁以下(1997年7月16日以后出生）的少年均可申请报名参加评奖。</p><p>2、报名者必须用中文填写如下材料：<br />　·填写报名表（登陆 评奖网站 下载表格 复印有效）； <br />　·个人简历； <br />　·近期彩色半身免冠照片三张（两寸:4×5cm）； <br />　·身份证或户口本复印件两份（请印于A4纸上）； <br />　·参评曲目DVD </p><p> </p><p><strong>参评曲目</strong></p><p>因 2011年为李斯特年，第二届参评曲目定为：一首李斯特音乐会练习曲，“Waldesrauschen”,“Gnomenreigen”“Sospiro”,“la leggierezza”中选择其中一首。选自海顿，莫扎特，贝多芬奏鸣曲的一个乐章（包括慢版乐章）并自选一首任何其他作曲家的乐曲，一共三首。</p><p> </p><p><strong>参评DVD具体录制要求</strong></p><p>一、必须本人演奏，衣着正式整洁，单机位拍摄，画面、音质清晰可辨，不得剪辑，每首曲目时长不超过15分钟。</p><p>二、DVD光盘盒上按顺序写明演奏者姓名、作品名称（英文）、作品时长；</p><p> </p><p><strong>参评演奏者资格确认</strong></p><p>一.组委会组织预选评委根据报名材料进行预审，以确定参评者的参评资格；组委会将于2011年8月1日在评选网站公布预审结果。 </p><p>二.报名资料填写不清或所附材料不齐全的，报名视为无效，报名材料不予退还。 </p><p>三.报名从2011年7月1日起至2011年7月15日截止。以快递方式（以发送日为准）向组委会提交报名材料，逾期报名无效。 </p><p>四.参评演奏者必须完全遵守本章程，所有的参评作品和相关资料恕不退还，本章程的最终修订权和解释权属于周广仁钢琴艺术新人奖组委会。</p><p> </p><p>邮寄地址：北京亦庄经济开发区凉水河一街37号赢海庄园小会所北楼1号 。<br />邮编： 100176 <br />电话： 010-87220017   67896015<br />Email: <a href=\"mailto:media@zgr.com.cn\">media@zgr.com.cn</a> </p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\">  </p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><a href=\"/sites/all/themes/zgrchina/images/xinrenjiangbaoming.doc\"><span style=\"color: #2b2b2b;\"><span style=\"text-decoration: underline;\"><span style=\"font-size: 16pt; font-family: 创艺简隶书;\"><strong>新人奖表格下载</strong></span>；</span></span></a></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"> </p><p> </p>','<p> 周广仁钢琴艺术新人奖于2010年创办，每年7月到12月在中国首都北京举行。汉语和英语是大赛的官方用语，请仔细阅读相关规则，确认参赛曲目及时间。第二届周广仁钢琴艺术新人奖对13岁以下的少年钢琴家开放。','','1310088309','1');
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INSERT INTO `node_revisions` VALUES ('1762','1781','1','视频: 熊天平 齐秦《愚人码头》（即兴演奏：小围裙）','<p>由广仁音乐独家录制。</p>','<p>由广仁音乐独家录制。</p>','','1308141510','1');
INSERT INTO `node_revisions` VALUES ('1763','1782','1','《我的青春谁做主》-林海','<p>林海: 著名音乐制作人 钢琴演奏家。两岸最受瞩目钢琴才子的林海，乐评人说他是个右手东方、左手西方的天才音乐家；“有着萧邦的气质，以及德布西的慵懒与优雅”；“具有George Winston亲和而强烈的旋律性，及Keith Jarrett丰富而充满想像的思考性。”二十岁从全国竞赛中脱颖而出，代表中国参加美国范．克莱本(VAN CLIBURN)钢琴大赛，成为有史以来首位入围准决赛的中国人。1988年进入中央音乐学院就读 师从著名钢琴教育家周广仁。林海游艺于古典、New Age、现代、爵士多风格之间，琴音流露出干净、空灵、温暖、恬静、自然的况味。</p>','<p>林海: 著名音乐制作人 钢琴演奏家。两岸最受瞩目钢琴才子的林海，乐评人说他是个右手东方、左手西方的天才音乐家；“有着萧邦的气质，以及德布西的慵懒与优雅”；“具有George Winston亲和而强烈的旋律性，及Keith Jarrett丰富而充满想像的思考性。','','1308221964','1');
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INSERT INTO `node_revisions` VALUES ('1767','1786','0','王一诺获霍洛维茨国际青少年钢琴比赛少年组第三名','<p>    逄勃工作室的学生王一诺喜获2011年乌克兰第9届霍洛维茨国际青少年钢琴比赛少年组第三名。<br />    <br />    王一诺是逄勃工作室的优秀学生之一，她四岁开始学习钢琴，2006年开始接受逄勃老师的专业指导至今。期间，2007年，在逄勃老师的指导和帮助下，考入中央音乐学院附小，2008年10月，获星海杯全国青少年儿童钢琴比赛专业组三等奖， 2009年12月，获德国施坦威国际青少年钢琴比赛中国赛区总决赛第四名。2010年以优异的学习成绩，被保送升入中央音乐学院附中。2008，2009，2010年三次参加周广仁钢琴夏季学院的演出，在逄勃老师的带领下，她在全国多城市都举办了演奏会。今年8月，她即将在新疆乌鲁木齐举办的周广仁钢琴夏季学院，逄勃师生音乐会——李斯特专场中再次演奏。</p><p>    2011年4月28日，霍洛维茨国际钢琴大赛正式在乌克兰首都基辅开幕，今年举行的是少年组两个级别的比赛。有包括白俄罗斯，英国，德国，加拿大，中国，拉脱维亚，摩尔多瓦，波兰，俄罗斯联邦，美国，乌克兰，法国，瑞士和日本在内的14个国家，共83名少年钢琴家参加本次大赛。</p><p>    霍洛维茨国际青少年钢琴比赛是青少年钢琴比赛中很有分量的重要比赛之一，这项比赛与肖邦、李斯特等以作曲家名字命名的钢琴比赛不同，因为钢琴大师霍洛维茨是全才，以他的名字命名的钢琴比赛也体现了考验选手全面的素质，从曲目设置上，不仅有古典巴赫的作品，也有浪漫派的作品，还有20世纪音乐家和现代当代音乐家的作品，不仅有练习曲、即兴曲和奏鸣曲，也有协奏曲，更有乌克兰作曲家的作品，因此对于年轻的选手来说有一定的难度。</p>','<p>    逄勃工作室的学生王一诺喜获2011年乌克兰第9届霍洛维茨国际青少年钢琴比赛少年组第三名。<br />    ','','1308751068','1');
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INSERT INTO `node_revisions` VALUES ('1772','1791','1','Ungar9zh','<p>曾憲逸</p><p>No.1 Chopin: Etude in A minor, Op. 10 No.2<br />你把这首如此之难的练习曲演奏得美轮美奂。除了发展部的某些地方以外，你右手的演奏非常有把握，跑动的3，4，5指与旋律/和声的和弦也区分得很清楚。<br />与此同时，我也非常欣赏你把这首曲子演奏的很有张力。肖邦给这个作品设立了很多力度的界限，全曲只有3个“forte”，但是却有许多“crescendo”。<br />我唯一能够挑剔的就是，你没有注意到一些力度标记的细节。只举两个例子——在第八小节中，我不清楚你为什么没有掌握好“渐强”部分的比例，毕竟这是乐句的结束，而且肖邦也很清楚的标明了要“diminuendo”。同样的，在尾声部分，第42—43小节的crescendo和随之出现的“forte”在你演奏中也完全没有体现出来。<br />最后，你左手的音色有点长短不一，触键也参差不齐，我建议你要多分手练，更努力的保持左手音色统一性。</p><p>No.2 Chopin: Nocturne in G major, Op.37 No.2<br />这是一首绝妙的作品，也是你非常完美的选择。演奏这首曲子需要精致细腻的音乐品味，而你恰恰就具有这种品味。<br />你营造出很好的氛围，非常恰当的演奏出起伏的旋律线条。你理解了肖邦在曲子中所限定的力度范围，在这个范围内你也设法做了大量的变化。<br />在第一、第二小节和一些相似的段落中，始终贯穿了一个渐弱的小标记，但你一直演奏的都是渐强。在许多方面，这是一个肖邦的标志——经常使用这个标记也显示了他的个人特质， 比如在作品《船歌》中这个标志有很大的影响。由于没有实际的力度标记，可以肯定的是肖邦很细致的使用这个小标记，更能显示出力度和节奏上的灵活性。<br />另一个想法要围绕着肖邦如何运用和声的转换和大小调系统为中心。当作品根植于主音系统中，肖邦对转换和声色彩的偏爱显然意味着他的个性，令人新奇。从第一到第七小节，是简单的和声进行，之后肖邦突然迅速同音转调。反过来也是可以的，在26，27小节中，一系列丰富多彩的和声变化之后，紧跟着是一组非常简单的和声，使音乐听起来十分精致。<br />对于你来说同样重要的，是在灵动的半音阶的乐段中，更加敏锐的去体会作曲家平滑、不露声色的转调。这一点尤其在“B”段有所体现，音乐从C大调转到E大调，然后突然绚丽多彩的转到降B大调和D大调。重要的是你要意识到这些调性本身就代表着不同的颜色，毫无疑问C大调和E大调的音乐颜色是不同的，当肖邦用了同样的旋律及和声时，你要把不同调性的差异演绎的更加清晰。<br />我非常陶醉于你在演奏这首乐曲中所表现出的透明的、美好的声音，尤其是中段，充满了对音乐的敏感度和想象力。</p>','<p>曾憲逸</p>','','1310353859','1');
INSERT INTO `node_revisions` VALUES ('1775','1794','1','2011年第二届周广仁钢琴艺术新人奖入围名单','<p>姓  名  （年龄）  地区       所在学校</p><p>安天旭（12岁）  河北    中央音乐学院附小 </p><p>顾欣皓（13岁）  上海    上海音乐学院附中 </p><p>黄蔚園（13岁）  香港    香港演艺学院 </p><p>黄芷仪（9岁）    深圳    深圳市园岭小学 </p><p>李 颖 （13岁）  北京    中央音乐学院附中 </p><p>刘江蓠（12岁）  沈阳    沈阳刘宁钢琴学校 </p><p>刘品心（12岁）  北京    中央音乐学院附小 </p><p>刘天元（13岁）  北京    中央音乐学院附中 </p><p>卢星宇（12岁）  北京    中央音乐学院附小 </p><p>王晓晓（12岁）  天津    天津音乐学院附中 </p><p>王屹群（12岁）  北京    中央音乐学院附中 </p><p>吴君麟（13岁）  广州    星海音乐学院附中 </p><p>谢天健（13岁）  北京    周广仁钢琴艺术中心 </p><p>张司滢（11岁）  北京</p>','<p>姓  名  （年龄）  地区       所在学校</p><p>安天旭（12岁）  河北    中央音乐学院附小 </p><p>顾欣皓（13岁）  上海    上海音乐学院附中 </p><p>黄蔚園（13岁）  香港    香港演艺学院 </p><p>黄芷仪（9岁）    深圳    深圳市园岭小学 </p><p>李 颖 （13岁）  北京    中央音乐学院附中 </p>','','1312197492','1');
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INSERT INTO `node_revisions` VALUES ('1781','1800','1','颁奖仪式——第五届周广仁钢琴夏季学院（之乌鲁木齐）','<p style=\"text-align: center;\"><img src=\"/files/uploads/11xly4.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">盛原教授为获一等奖选手颁奖</p><p style=\"text-align: center;\"><img src=\"/files/uploads/11xly5.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">钢琴音乐家种佳为获二等奖选手颁奖</p><p style=\"text-align: center;\"><img src=\"/files/uploads/11xly6.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">孙韵教授为获三等奖选手颁奖</p><p style=\"text-align: center;\"><img src=\"/files/uploads/11xly7.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">周老师颁发优秀教师奖</p>','<p style=\"text-align: center;\"><img src=\"/files/uploads/11xly4.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">盛原教授为获一等奖选手颁奖</p><p style=\"text-align: center;\"><img src=\"/files/uploads/11xly5.jpg\" width=\"500\" height=\"333\" /></p><p style=\"text-align: center;\">钢琴音乐家种佳为获二等奖选手颁奖</p>','','1313816359','1');
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INSERT INTO `node_revisions` VALUES ('1786','1805','1','沈文裕演奏斯卡拉蒂作品精选','<p>【示范】：沈文裕自幼显示了非凡的音乐天赋。 六岁开始先后师从于刘建平，郑大昕，能演奏莫扎特A大调钢琴协奏曲。 八岁即能演奏莫扎特所有的奏鸣曲。九岁在四川音乐学院和重庆等地开独奏会。十岁就能演奏肖邦的第一和第二钢琴协奏曲及许多钢琴名曲。同年两次被邀请去南非巡回演出， 引起南非全国轰动， 被誉为“莫扎特第二”。十一岁他随CD自学了拉赫玛尼诺夫第三钢琴协奏曲。十二岁去德国卡尔斯鲁厄国立音乐大学留学，师从豪尔教授。 十三岁就能弹贝多芬全部奏鸣曲， 并多次演出巴赫的哥德堡变奏曲。十四岁跟波兰乐团合作演出并录制了拉赫玛尼诺夫第三协奏曲和肖邦第一钢琴协奏曲专辑。 十五岁转到汉诺威音乐喜剧大学， 师从名师凯默林教授。 十七岁参加比利时伊丽莎白女后国际钢琴比赛荣获第二名。十八岁回国后，参加美国洛杉矶举办的拉赫玛尼诺夫国际比赛获第一名， 香港第一届国际钢琴比赛获第二名及2008年CCTV小提琴&amp;钢琴比赛成人组第一名。为了能够在没有乐队的协奏下演出群众喜闻乐见的《黄河协奏曲》 他改变了一个《黄河》协奏曲的独奏版， 演出深受欢迎。他还经常为中国作曲家们视奏新作品， 首演了张朝的协奏曲并录制了莫什科夫斯基全套练习曲作品72 的DVD 供教学用。</p><p>【作曲家介绍】多米尼克•斯卡拉蒂（Domenico Scarlatti, 1685-1757）。意大利作曲家。1685年10月26日出生于那不勒斯，是知名作曲家亚历山大•斯卡拉蒂的第六个儿子。他是造诣很深的拨弦古钢琴家，16岁即任那不勒斯宫廷礼拜堂的管风琴师和乐师。斯卡拉蒂的奏鸣曲篇幅短小、形式多样、内容丰富，它们大多是演奏时间只有一两分钟至五六分钟的三段式，内容或清雅或灿烂成抒情可谓姿态万千，如一把撒在阳光下的珍珠烁烁生辉、色彩斑斓。他还引入了快速重复、双手交叉以及双音经过句的新技法，拓展了键盘音乐的表现力。虽然斯卡拉蒂还没有完全摆脱巴洛克音乐的时代特征和风格，不过从他带有新倾向的作品来看，说他是海顿和莫扎特等古典主义乐观派的先驱应是当之无愧。</p>','<p>【示范】：沈文裕自幼显示了非凡的音乐天赋。 六岁开始先后师从于刘建平，郑大昕，能演奏莫扎特A大调钢琴协奏曲。 八岁即能演奏莫扎特所有的奏鸣曲。九岁在四川音乐学院和重庆等地开独奏会。十岁就能演奏肖邦的第一和第二钢琴协奏曲及许多钢琴名曲。','','1315045957','1');
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INSERT INTO `node_revisions` VALUES ('1878','1898','1','爱之梦','<p>曲目：爱之梦<br />作曲：李斯特<br />演奏：韩沛汝</p><p>此视频为第五届<a class=\"alinks-link\" title=\"周广仁老师介绍\" rel=\"external\" href=\"http://www.zgrchina.com/about/intro\"><span style=\"color: #9c0102;\">周广仁</span></a>钢琴夏季学院（乌鲁木齐）李斯特之夜——逄勃工作室音乐会</p>','<p>曲目：爱之梦<br />作曲：李斯特<br />演奏：韩沛汝</p><p>此视频为第五届<a class=\"alinks-link\" title=\"周广仁老师介绍\" rel=\"external\" href=\"http://www.zgrchina.com/about/intro\"><span style=\"color: #9c0102;\">周广仁</span></a>钢琴夏季学院（乌鲁木齐）李斯特之夜——逄勃工作室音乐会</p>','','1319164376','1');
INSERT INTO `node_revisions` VALUES ('1879','1899','1','视频集锦---第五届周广仁钢琴夏季学院（乌鲁木齐）','<p><table border=\"0\" cellspacing=\"0\" cellpadding=\"0\"><tbody><tr><td colspan=\"4\" width=\"402\" valign=\"top\"><p><strong><a href=\"/taxonomy/term/80\"><span style=\"text-decoration: underline;\">李斯特之夜--逄勃工作室音乐会</span></a></strong></p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\"> <img src=\"/files/uploads/xjxy01-1.jpg\" alt=\"弄臣\" width=\"114\" height=\"81\" /></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\"><a href=\"/node/1878\"><img src=\"/files/uploads/xjxy01-2.jpg\" width=\"114\" height=\"81\" /></a></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\"><img src=\"/files/uploads/xjxy01-3.jpg\" width=\"114\" height=\"81\" /></p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">威尔弟歌剧\"弄臣\"</p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">爱之梦</p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">舒伯特艺术歌曲</p><p style=\"text-align: center;\">\"水上吟\"</p></td></tr><tr><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p><strong><a href=\"/taxonomy/term/80\"><span style=\"text-decoration: underline;\">盛原独奏音乐会</span></a></strong></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\" align=\"center\"><strong><a href=\"/node/1876\"><img src=\"/files/uploads/xjxy02-1.jpg\" width=\"114\" height=\"81\" /></a></strong></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\"><a href=\"/node/1875\"><img src=\"/files/uploads/xjxy02-2.jpg\" width=\"114\" height=\"81\" /></a></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">降G大调即兴曲D.899,No.3</p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">夜巷</p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td colspan=\"3\" width=\"367\" valign=\"top\"><p><strong><a href=\"/taxonomy/term/81\"><span style=\"text-decoration: underline;\">逄勃工作室师生音乐会</span></a></strong></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td colspan=\"3\" width=\"367\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\" align=\"center\"><a href=\"/node/1874\"><img src=\"/files/uploads/xjxy03-1.jpg\" width=\"114\" height=\"81\" /></a></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\"><img src=\"/files/uploads/xjxy03-2.jpg\" width=\"114\" height=\"81\" /></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\"><img src=\"/files/uploads/xjxy03-3.jpg\" width=\"114\" height=\"81\" /></p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">夜莺</p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">幽默曲</p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">降E大调变奏曲</p><p style=\"text-align: center;\">作品14（选段）</p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\"><img src=\"/files/uploads/xjxy03-4.jpg\" width=\"114\" height=\"81\" /></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\"><img src=\"/files/uploads/xjxy03-5.jpg\" width=\"114\" height=\"81\" /></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">五首练习曲</p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">儿童游戏（选段）</p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p><strong><a href=\"/taxonomy/term/82\"><span style=\"text-decoration: underline;\">佟博独奏音乐会</span></a></strong></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p><strong> </strong></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\"><strong><a href=\"/node/1869\"><img src=\"/files/uploads/xjxy04-1.jpg\" width=\"114\" height=\"81\" /></a></strong></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p align=\"center\"><a href=\"/node/1868\"></a></p><p style=\"text-align: center;\"><img src=\"/files/uploads/xjxy04-2.jpg\" width=\"114\" height=\"81\" /></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">魔王</p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">罗蕾莱之歌</p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p><strong><a href=\"/taxonomy/term/83\"><span style=\"text-decoration: underline;\">获奖学生音乐会</span></a></strong></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p><strong> </strong></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\"><strong><a href=\"/node/1867\"><img src=\"/files/uploads/xjxy05.jpg\" width=\"114\" height=\"81\" /></a></strong></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr><tr><td width=\"166\" valign=\"top\"><p style=\"text-align: center;\">获奖学生音乐会集锦<strong></strong></p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td><td width=\"34\" valign=\"top\"><p> </p></td><td width=\"166\" valign=\"top\"><p> </p></td></tr></tbody></table></p>','<p><table border=\"0\" cellspacing=\"0\" cellpadding=\"0\"><tbody><tr><td colspan=\"4\" width=\"402\" valign=\"top\"><p><strong><a href=\"/taxonomy/term/80\"><span style=\"text-decoration: underline;\">李斯特之夜--逄勃工作室音乐会</span></a></strong></p></td><td width=\"166\" valign=\"top\"><p> </p>','','1319186589','1');
INSERT INTO `node_revisions` VALUES ('1880','1900','1','视频集锦---第五届周广仁钢琴夏季学院（乌鲁木齐）','<p><table class=\"MsoTableGrid\" style=\"border-collapse: collapse; mso-yfti-tbllook: 480; mso-padding-alt: 0cm 5.4pt 0cm 5.4pt;\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"><tbody><tr style=\"mso-yfti-irow: 0; mso-yfti-firstrow: yes;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"5\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"text-decoration: underline;\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">李斯特之夜——逄勃工作室音乐会</span></span></strong></p></td></tr><tr style=\"mso-yfti-irow: 1;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy01-1.jpg\" width=\"114\" height=\"81\" /></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy01-2.jpg\" /></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy01-3.jpg\" width=\"114\" height=\"81\" /></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"2\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr><tr style=\"mso-yfti-irow: 2;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">威尔弟歌剧“弄臣”</span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">爱之梦</span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">舒伯特艺术歌曲</span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">“水上吟”</span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"2\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr><tr style=\"mso-yfti-irow: 3;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"5\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr><tr style=\"mso-yfti-irow: 4;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"5\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"text-decoration: underline;\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">盛原独奏音乐会</span></span></strong></p></td></tr><tr style=\"mso-yfti-irow: 5;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><strong style=\"mso-bidi-font-weight: normal;\"></strong><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy02-1.jpg\" /></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy02-2.jpg\" /></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"3\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr><tr style=\"mso-yfti-irow: 6;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">降</span><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">G</span></span><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">大调即兴曲</span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">D.899,No.3</span></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">夜巷</span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"3\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr><tr style=\"mso-yfti-irow: 7;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"5\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr><tr style=\"mso-yfti-irow: 8;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"5\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"text-decoration: underline;\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">逄勃工作室师生音乐会</span></span></strong></p></td></tr><tr style=\"mso-yfti-irow: 9;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy03-1.jpg\" width=\"114\" height=\"81\" /></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy03-2.jpg\" /></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy03-3.jpg\" /></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy03-4.jpg\" /></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy03-5.jpg\" /></span></p></td></tr><tr style=\"mso-yfti-irow: 10;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">夜莺</span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">幽默曲</span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">降</span><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">E</span></span><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">大调变奏曲</span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">作品</span><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">14</span></span><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">（选段）</span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">五首练习曲</span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">儿童游戏（选段）</span></p></td></tr><tr style=\"mso-yfti-irow: 11;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"5\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr><tr style=\"mso-yfti-irow: 12;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"5\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"text-decoration: underline;\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">佟博独奏音乐会</span></span></strong></p></td></tr><tr style=\"mso-yfti-irow: 13;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><strong style=\"mso-bidi-font-weight: normal;\"><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy04-1.jpg\" width=\"114\" height=\"81\" /></span></strong></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy04-2.jpg\" /></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"3\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr><tr style=\"mso-yfti-irow: 14;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">魔王</span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">罗蕾莱之歌</span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"3\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr><tr style=\"mso-yfti-irow: 15;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"5\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr><tr style=\"mso-yfti-irow: 16;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"5\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"text-decoration: underline;\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">获奖学生音乐会</span></span></strong></p></td></tr><tr style=\"mso-yfti-irow: 17;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><strong style=\"mso-bidi-font-weight: normal;\"></strong><span lang=\"EN-US\"><img src=\"/files/uploads/xjxy05.jpg\" /></span></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"4\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr><tr style=\"mso-yfti-irow: 18; mso-yfti-lastrow: yes;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">获奖学生音乐会</span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\" align=\"center\"><span style=\"font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">集锦</span><strong style=\"mso-bidi-font-weight: normal;\"></strong></p></td><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"4\" valign=\"top\"><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p></td></tr></tbody></table></p>','<p><table class=\"MsoTableGrid\" style=\"border-collapse: collapse; mso-yfti-tbllook: 480; mso-padding-alt: 0cm 5.4pt 0cm 5.4pt;\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"><tbody><tr style=\"mso-yfti-irow: 0; mso-yfti-firstrow: yes;\"><td style=\"padding-right: 5.4pt; padding-left: 5.4pt; padding-bottom: 0cm; padding-top: 0cm; background-color: transparent; border: #ece9d8;\" colspan=\"5\" valign=\"top\"><p','','1319359555','1');
INSERT INTO `node_revisions` VALUES ('1881','1901','1','巡演测试','<p>测试内容</p>','<p>测试内容</p>','','1319592440','1');
INSERT INTO `node_revisions` VALUES ('1882','1902','1','土耳其进行曲','<p>作曲：莫扎特、沃洛都斯改编 <br />演奏：李斯倩 <br />地点：天津音乐厅 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（天津站）</p>','<p>作曲：莫扎特、沃洛都斯改编 <br />演奏：李斯倩 <br />地点：天津音乐厅 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（天津站）</p>','','1319615949','1');
INSERT INTO `node_revisions` VALUES ('1883','1903','1','匈牙利狂想曲第二首','<p>作曲：李斯特、霍洛维茨改编 <br />演奏：徐子昂 <br />地点：深圳保利剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（深圳站）</p>','<p>作曲：李斯特、霍洛维茨改编 <br />演奏：徐子昂 <br />地点：深圳保利剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（深圳站）</p>','','1319624803','1');
INSERT INTO `node_revisions` VALUES ('1885','1905','1','匈牙利狂想曲第6号','<p>作曲：李斯特 <br />演奏：潘林子 <br />地点：深圳保利剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（深圳站）</p>','<p>作曲：李斯特 <br />演奏：潘林子 <br />地点：深圳保利剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（深圳站）</p>','','1319616122','1');
INSERT INTO `node_revisions` VALUES ('1886','1906','1','帕格尼尼主题变奏曲 作品35 I','<p>作曲：勃拉姆斯 <br />演奏：古静丹 <br />地点：深圳保利剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（深圳站）</p>','<p>作曲：勃拉姆斯 <br />演奏：古静丹 <br />地点：深圳保利剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（深圳站）</p>','','1319616107','1');
INSERT INTO `node_revisions` VALUES ('1887','1907','1','港口','<p>作曲：阿尔贝尼斯 <br />演奏：李斯倩 <br />地点：重庆大剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（重庆站）</p>','<p>作曲：阿尔贝尼斯 <br />演奏：李斯倩 <br />地点：重庆大剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（重庆站）</p>','','1319616092','1');
INSERT INTO `node_revisions` VALUES ('1888','1908','1','水上吟','<p>作曲：李斯特 <br />演奏：潘林子 <br />地点：重庆大剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（重庆站）</p>','<p>作曲：李斯特 <br />演奏：潘林子 <br />地点：重庆大剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（重庆站）</p>','','1319616079','1');
INSERT INTO `node_revisions` VALUES ('1889','1909','1','思念','<p>作曲：但昭义 <br />演奏：古静丹 <br />地点：重庆大剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（重庆站）</p>','<p>作曲：但昭义 <br />演奏：古静丹 <br />地点：重庆大剧院 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（重庆站）</p>','','1319616067','1');
INSERT INTO `node_revisions` VALUES ('1890','1910','1','魔王','<p>作曲：李斯特 <br />演奏：潘林子 <br />地点：北京中山音乐堂 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（北京站）</p>','<p>作曲：李斯特 <br />演奏：潘林子 <br />地点：北京中山音乐堂 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（北京站）</p>','','1319616049','1');
INSERT INTO `node_revisions` VALUES ('1891','1911','1','茉莉花','<p>作曲：储望华 <br />演奏：李斯倩 <br />地点：北京中山音乐堂 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（北京站）</p>','<p>作曲：储望华 <br />演奏：李斯倩 <br />地点：北京中山音乐堂 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（北京站）</p>','','1319616590','1');
INSERT INTO `node_revisions` VALUES ('1892','1912','1','降A大调幻想波兰舞曲 作品61','<p>作曲：肖邦 <br />演奏：曾宪逸 <br />地点：北京中山音乐堂 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（北京站）</p>','<p>作曲：肖邦 <br />演奏：曾宪逸 <br />地点：北京中山音乐堂 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（北京站）</p>','','1319616021','1');
INSERT INTO `node_revisions` VALUES ('1893','1913','1','f小调即兴曲之2 作品31','<p>作曲：弗雷 <br />演奏：曾宪逸 <br />地点：天津音乐厅 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（天津站）</p>','<p>作曲：弗雷 <br />演奏：曾宪逸 <br />地点：天津音乐厅 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（天津站）</p>','','1319616354','1');
INSERT INTO `node_revisions` VALUES ('1894','1914','1','序曲与舞曲','<p>作曲：黄安伦 <br />演奏：潘林子 <br />地点：天津音乐厅 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（天津站）</p>','<p>作曲：黄安伦 <br />演奏：潘林子 <br />地点：天津音乐厅 <br />选自：第一届周广仁钢琴艺术新人奖获奖选手音乐会（天津站）</p>','','1319615995','1');
INSERT INTO `node_revisions` VALUES ('1901','1921','1','朱文婕','<p>五岁开始学习钢琴,先后就读于沈阳音乐学院附中、沈阳音乐学院钢琴系。师从沈阳音乐学院钢琴系主任林振刚教授、王天舒教授，并得到中央音乐学院钢琴系陈比钢教授、李斯芬教授等名家指点，现任大学钢琴老师，任省艺术高考联考评委。</p>','<p>五岁开始学习钢琴,先后就读于沈阳音乐学院附中、沈阳音乐学院钢琴系。师从沈阳音乐学院钢琴系主任林振刚教授、王天舒教授，并得到中央音乐学院钢琴系陈比钢教授、李斯芬教授等名家指点，现任大学钢琴老师，任省艺术高考联考评委。</p>','','1322547669','1');
INSERT INTO `node_revisions` VALUES ('1904','1924','0','Ungar(en)1','<p>An Tianxu<br />Tchaikovsky – Dumka, Op.59<br />The source of Tchaikovsky’s inspiration for this work was his solitary residence in the countryside far north of Moscow – he wrote: “\"I love our Russian countryside more than any other, and for me the Russian landscape in winter has an incomparable charm…”<br />The dumka, a narrative Slavic folk song tests the ability of any performer to move abruptly from melancholy to excitement. I like your performance as you have the ability to communicate this contrast. At the same time your tone and pacing of the opening section is very good, indeed your opening chords establish an immediate mood of sadness and solitude. Also when these chords return, you are wonderful in capturing the mood (be careful of the rhythm in the second last measure, they are eighth notes). The high spirits of the middle section could be more colorful and while you keep advisedly the same tempo, within the pulse there are numerous possibilities of rhythmic variations. The excitement should continue even though the tempo slows slightly in “Poco meno mosso”, through the cadenza and the following “Andante” which is the ultimate climax of the work. Have this larger vision next time you perform this masterpiece.</p><p>Haydn: Sonata in C minor, Hob.XVI/20<br />This Haydn Sonata is a wonderful choice to follow the Tchaikovsky as in a way it has similar somber, melancholy mood. Works in the minor keys are fairly rare in the Classical period and Haydn displays deeper feelings and emotions in these keys. Your playing is very competent and you are successful in finding the volume of sound that is more suitable Classical style. My advice is for you explore carefully the variety of articulation which allows Haydn’s sonatas to speak clearly and rhythmically. Observe the different colors produced by the movement through the keys. For example at the beginning of the Development Section the music moves from E-flat major to F minor to A-flat major ending in D-flat major. Surprises are important in Haydn’s sonatas – in this section he speeds up the momentum then suddenly stops and quickly returns to the main subject. As you learn more and more Classical works try to find a deeper understanding within the music without imposing your personal feelings.</p><p>Liszt: Concert Etude “Gnomenreigen”<br />Your performance is very impressive and shows your technical ability. You have the necessary light touch, a wonderful sense for the rhythmic pulse throughout the work. Most etudes are constructed by way of repetition and here too, Liszt builds the work on two contrasting sections. Notice how the colors change when the material is repeated in a different key – the 9/8 section at first is in A major and next time in B-flat major. Further, performance tradition dictates that there is a gradually quickening of tempo as Liszt markings of “sempre presto” and “vivacissimo” and “il piu Presto possible” demand. In most of Liszt’s works, much depends on the performer to communicate in a more personal way, I suggest that you make your performance more convincing by playing the initial section slower and gradually accelerate towards the end.</p><p>An Tinaxu, you have a natural ability to play the piano. Keep up your excellent work, while at the same time study the scores carefully and try to find ways to get to the heart of what the composers want to communicate.</p>','<p>An Tianxu<br />Tchaikovsky – Dumka, Op.59<br />The source of Tchaikovsky’s inspiration for this work was his solitary residence in the countryside far north of Moscow – he wrote: “\"I love our Russian countryside more than any other, and for me the Russian landscape in winter has an incomparable charm…”','','1323866649','1');
INSERT INTO `node_revisions` VALUES ('1905','1925','0','Bax(en)1','<p>An Tianxu<br />Tchaikovsky Dumka<br />You have a beautiful sound control and shape the phrases gorgeously in the opening section. When the right hand has the faster moving accompaniment, your playing becomes slightly more agitated, but it should still be soulful and calm. The faster section is very clear and crisp, although sometimes a little breathless. Very impressive octaves. I would also recommend exploring a wider variety of colors in the loud range (F to FF).<br />Haydn Sonata no. 33 in C minor, 1st movement<br />Beautiful clarity of tone in the right hand melody throughout the movement. The left hand could be more active in participating to the harmonic and structural development of the piece.<br />Liszt Gnomenreigen<br />A little too hectic and breathless for me. It is nice to be able to play that fast, but I missed some balance with the more relaxed sections.  The clarity of sound is once again very good throughout, but a wider range of dynamics and a lighter feeling would have been beneficial.</p>','<p>An Tianxu<br />Tchaikovsky Dumka','','1323866663','1');
INSERT INTO `node_revisions` VALUES ('1906','1926','0','Kors(en)1','<p>An Tianxu<br />I find your gentle and sensitive touch quite compelling and communicative. Dumka is well played, but I felt lack of your theatrical imagination: it was only sad or happy, not much in between. I believe, Dumka is one of the highest density pieces by Tchaikovsky – I would compare it with Chopin’s Fourth Ballade or Fantasy in f minor. The image of a very poor Russian illiterate peasant man sitting in his “izba” (very basic home), thinking of his hopeless life and in the middle of the piece having a happy dream of a country fair, then waking up feeling even worse than before --- I did not see those or other radical dramatic images. I was very impressed with your precision and delicate technical prowess in Gnomenreigen, however, the very beginning could be much more imaginative. Haydn c-minor Sonata’s First movement was well played, a little too conservatively for my taste. Overall, especially considering your very young age, the program was quite well played.<br />I have no doubt that you are quite talented and that you will keep developing rapidly. I suggest you to work more on creating your own imaginary world and inviting us, listeners in.</p>','<p>An Tianxu','','1323866770','1');
INSERT INTO `node_revisions` VALUES ('1907','1927','0','mcl(en)1','<p>An Tianxu<br />Tchaikovsky’s Dumka was effortlessly executed at appropriate tempos and with tasteful musicality.  Dynamics were rather underplayed.  There was a need for much more intensity, energy and physical excitement in the approach.  Today the opening section did not communicate a sense of real involvement. As phrases unfolded there was an insufficient sense of tension and release as they opened up and then relaxed.   There is so much more that can be added in terms of voicing and colour.  The fast section showed extremely impressive articulation-most impressively accurate in the semiquaver runs, but again there was a lack of real hierarchy and momentum in the phrasing.  Climaxes came and went with insufficient projection of the musical direction and under-projection of the shape.  Unfortunately this made the performance rather dull overall.</p><p>First movement of Haydn’s sonata was played neatly and with elegance.    Proficient and accurate playing that underplayed the dynamics.  But this is an extraordinary, revolutionary and agitated movement, with ‘storm and stress’ aplenty.  Sadly this performance missed out on the drama, energy and vital, requisite sense of agitation, fear and uncertainty. Much more imagination and exploration of the left hand would have helped things enormously.  Overall the tempo was rather on the slow side for my own particular taste, but even at this tempo it would have been possible to communicate much more of the music’s innate melancholy, energetic abandon and iconoclastic innovation than was the case here.</p><p>Liszt’s ‘Gnomenreigen’ was by far the most impressive performance in this ‘mini recital’.  Tremendous facility and excellent speed.  Most impressive of all was the articulation- wonderful clarity and control with exquisite delicacy and sparkle. A triumphant conclusion to an impressive recital.</p>','<p>An Tianxu','','1323867798','1');
INSERT INTO `node_revisions` VALUES ('1908','1928','0','slut(en)1','<p>An Tianxu<br />TchaikovskyDumka – Very lovely, nice phrases, good sound control – very artistic.could be even freer with more contrasts between sections</p><p>Haydn sonata c minor – good understanding of style, for me there is not enough rhythmic punctuation and direction – every beat feels more or less the same. However, still very poised</p><p>LizstGnomenreigen – brilliant finger work, bravo! the tempo is almost too fast in the beginning of the piece – I would have preferred more charm and contrasts, saving the fastest tempo until the end.</p><p>In general, exceptional pianistic ability and good musicianship – do not be afraid to speak with your own voice.</p>','<p>An Tianxu<br />TchaikovskyDumka – Very lovely, nice phrases, good sound control – very artistic.could be even freer with more contrasts between sections</p><p>Haydn sonata c minor – good understanding of style, for me there is not enough rhythmic punctuation and direction – every beat feels more or less the same. However, still very poised</p>','','1323867901','1');
INSERT INTO `node_revisions` VALUES ('1909','1929','0','thomson(en)1','<p>An Tianxu<br />Tchaikovsky Doumka Op 59<br />There was a good tone and confidence in the performance. The range of dynamics was very limited and needed to be much larger to be able to follow the details in the score.  <br />Haydn Sonata No 33 in c minor, Hob XVI/20 Mvt 1 <br />Once again there was a very small range of dynamics. There was a nice feeling for the style however. <br />Liszt Concert Etude “Gnomenreigen”<br />There was a bright tempo and good technical security as well as good memory.</p>','<p>An Tianxu<br />Tchaikovsky Doumka Op 59<br />There was a good tone and confidence in the performance. The range of dynamics was very limited and needed to be much larger to be able to follow the details in the score.  <br />Haydn Sonata No 33 in c minor, Hob XVI/20 Mvt 1 <br />Once again there was a very small range of dynamics. There was a nice feeling for the style however. ','','1323867925','1');
INSERT INTO `node_revisions` VALUES ('1910','1930','0','wei(en)1','<p>An Tianxu<br />Tchaikovsky Dumka: It is very focused playing with good clarity, natural flow, and good quality sound. You have had very good training and it shows in your playing. Sometimes sound is too short causing phrases to be dry, especially those chords in the loud parts, but over all a very solid performance.<br />Haydn Sonata: I found it nice and charming with good control. Good stylish playing. But I am missing the subtle yet frequent contrasts and changes in classical sonatas. Also, it could be more energetic.  Sometimes it feels a little stagnant.<br />Gnormenreigen: I think the tempo is too fast. Even with good finger work and clear runs, the piece lost the rhythm and all its charm. Sometimes, just because we CAN do something, it doesn\'t mean we SHOULD. <br />Overall, a very talented youngster. Remember that the technique should always serve music, and you will have a promising future.</p>','<p>An Tianxu<br />Tchaikovsky Dumka: It is very focused playing with good clarity, natural flow, and good quality sound. You have had very good training and it shows in your playing. Sometimes sound is too short causing phrases to be dry, especially those chords in the loud parts, but over all a very solid performance.','','1323867875','1');
INSERT INTO `node_revisions` VALUES ('1911','1931','0','Ungar(en)2','<p>Gu Xinhao<br />Mendelssohn: Rondo Capriccioso, Op.14<br />Your performance sounds very secure and reflects your excellent technical ability. I especially liked the freshness of your approach of the “Presto” section and your talent to bring out the different characters within the music. You balance the hands very well and allow the melody to come out constantly in a natural way. <br />My main concern is the introductory “Andante”. In your hands, the tempo is quite fast thus not allowing the operatic melody to blossom and shine. Further, it seems that you consistently slow down at cadence points as if to end which hinders the flow of the music. A more natural phrasing would make the music come alive and allow the melody to unfold in a simple manner. Selecting a more deliberate tempo also would allow you to make more contrast in the E minor section with its constant forward motion. For further understanding of this style you should hear a performance of Mendelssohn’s Overture to a Midsummer Night\'s Dream where the constant eighth notes propel through effortlessly. Listening to this work should also give you insight into the clarity needed and shaping of passages.</p><p>Liszt: Concert Etude “Waldesrauschen”<br />Well conceived performance full of many convincing moments. I like the control you have and the way you move the music forward. In time you will discover more opportunities to extend your colors and allow for a simpler melodic flow. At the moment you want to be more individual, yet sometimes simplicity is closer to the truth. This is a late work of Liszt inspired by the transparent forests of southern Europe not the dense northern type. Very much the forerunner of impressionism, I feel it to be more a forest illuminated by the shifting sunlight that peaks through a cloudy sky. The constant triplet figures announce the murmurs and they need to be even in both articulation and dynamics. At times these become too thick and force you to make the melodic line much louder than necessary. The two climaxes were well played you never made the piano sound harsh. Perhaps the most successful moment was the Coda where your control and inspiration came together.</p><p>Haydn: Sonata in E-flat major, Hob.XVI/52<br />You have a wonderful ability of communicating the beauty of this sonata and display a good understanding for the Classical style. Especially you made me aware of the numerous surprises that Haydn has in store for us – the modulation at the beginning of the Development from E-flat to C major and the following passage that moves to D major. The contrast between the chromatic melodic line and the exchange between tonic dominant chords are clear and well brought out. Perhaps where you can be clearer is the sense of tension and relaxation within the music. This is quite a challenge and requires intense listening for nuances and clarification of phrases. But you are well on the way to becoming an excellent performer with a clear idea of the classical style.</p><p>Gu Xinhao, you are a very talented pianist, and already in many ways mature and with personal ideas and convictions. You use your excellent technique to enable the music to communicate its meaning to your listeners. I hope you will continue to develop your musical awareness.</p>','<p>Gu Xinhao<br />Mendelssohn: Rondo Capriccioso, Op.14<br />Your performance sounds very secure and reflects your excellent technical ability. I especially liked the freshness of your approach of the “Presto” section and your talent to bring out the different characters within the music. You balance the hands very well and allow the melody to come out constantly in a natural way. ','','1323867283','1');
INSERT INTO `node_revisions` VALUES ('1912','1932','0','Bax(en)2','<p>Gu Xinhao<br />Mendelssohn Rondo Capriccioso<br />The opening is very solid, but I think the singing lines can be longer.  The faster part is very clear, and the long melodic subject is quite beautiful. In general I think the piece could have a bit more humor. <br />Liszt Waldesrauschen<br />Very good performance. Your clarity is really admirable. My main comment is that it feels rather heavy when the left hand has faster moving passages. The right hand is very capable of playing fast and very light, and the left hand should be able to match that or the piece will feel too heavy. <br />Haydn Sonata Hob. XV/52, 1st movement<br />Elegant and stately playing. I would have loved to see more contrasts in sound quality. Your crisp playing is great. However, fast passages do not necessarily need to be played crisply and loud but can also be soft and legato according to the music.</p>','<p>Gu Xinhao<br />Mendelssohn Rondo Capriccioso<br />The opening is very solid, but I think the singing lines can be longer.  The faster part is very clear, and the long melodic subject is quite beautiful. In general I think the piece could have a bit more humor. <br />Liszt Waldesrauschen','','1323867355','1');
INSERT INTO `node_revisions` VALUES ('1913','1933','0','Bax(en)2','<p>Gu Xinhao<br />I like very much your musical initiative, which became obvious from the first note of Mendelssohn. The rest of piece was also quite well played. I would wish for even more subtle technical precision – but it was still quite charming. Liszt impressed me even more wish fresh bold colors, effortless pianism and aplomb.I enjoyed “f”, gentle but confident phrasing. The Forest storm episode in the middle of the piece was performed well but when I closed my eyes, I still failed to imagine the real storm. I believe that this sonata by Haydn is one of the (if not the) most grand and significant sonatas of his (and even Mozart’s) time. With the first chords I want to be invited to the great ball room of the Royal Palace. Al the further events are large-scale, requiring performer to push the envelope of his imagination. <br />I see here a very strong potential for truly inspiring playing. In order to achieve it, more risks have to be taken. Don’t be afraid to push your imagination further, even if it will coast you a mistake or two – in the long run with talent and good guidance you will find your true artistic self.</p>','<p>Gu Xinhao','','1323867620','1');
INSERT INTO `node_revisions` VALUES ('1914','1934','0','mcl(en)2','<p>Gu Xinhao<br />The Andante of the Mendelssohn had an excellent sense of shape and direction, though the forward drive meant that the character emerged with insufficient tenderness and expression.  Left hand triads at the opening could have been more controlled.  In the Rondo was played effortlessly and with energetic bravura.  The left hand did not quite match the right in terms of legggiero and magical delicacy, but overall the performance sounded stylistic and exciting, if a little lacking in terms of variety of colour.  Some small technical flaws.  With more focus and imagination in terms of input from the left hand, the performance will grow even further in stature.</p><p>Liszt ‘Waldesrauschen’ immediately showed a lovely sense of shape.  Natural phrasing and subtle rubato was very impressive.  It could have been even more exquisite and enticing if the dynamic level had been quieter throughout.  A beautifully relaxed and natural technique.  Very convincing and exciting playing.  Again at the climax, as in the Mendelssohn, some small technical blips in the left hand slightly upset the otherwise immaculate technical impression.</p><p>The first movement of Haydn’s final, E flat sonata showed a magisterial, regal approach with lots of tonal variety and imagination.   For my taste the second subject group was not set apart and contrasted sufficiently with the rest of the movement, and in the development the sequences were executed rather dutifully.  The ‘wrong key’ entry in E major needed to project more extraordinary disbelief!  But this was impressive Haydn by any standard: Lovely leggiero and variety in the right hand, but as in the rest of the programme, the left hand was not quite on the same level, tending to be too heavy in the louder dynamic range, and needing more care and imaginative input throughout.</p>','<p>Gu Xinhao','','1323867855','1');
INSERT INTO `node_revisions` VALUES ('1915','1935','0','slut(en)2','<p>Gu Xinhao<br />Mendelssohn  rondo capriccioso – good sense of rubato, occasionally tempo changes are a bit exaggerated, virtuoso passages could be lighter and more brilliant. very nice sound and color.</p><p>LisztWaldesrauschen –very warm, atmospheric playing. while beautifully carrying the melodic like at times crescendo happens to quickly and the “f” is achieved too soon.</p><p>Haynd Sonata E-flat major – very good understanding of style, clear textures, wonderfultimbres and balance, good awareness of harmonic movement.</p><p>Beautiful, convincing performance! Strive for even more effortless pianism</p>','<p>Gu Xinhao<br />Mendelssohn  rondo capriccioso – good sense of rubato, occasionally tempo changes are a bit exaggerated, virtuoso passages could be lighter and more brilliant. very nice sound and color.</p><p>LisztWaldesrauschen –very warm, atmospheric playing. while beautifully carrying the melodic like at times crescendo happens to quickly and the “f” is achieved too soon.</p>','','1323867833','1');
INSERT INTO `node_revisions` VALUES ('1916','1936','0','thomson(en)2','<p>Gu Xinhao<br />Mendelssohn Rondo Capriccioso Op 14<br />There was a very good touch and the Andante was nicely shaped and the Capriccioso section was very lively with a well developed technique. The performer was very involved with the performance and the character of the piece was well captured.<br />Liszt Concert Etude “Waldesrauschen”  <br />There was quite a different colour in the performance of this work. The technical aspects were very clean and the climaxes were well handled. <br />Haydn Sonata Hob XVI/52, Mvt 1 <br />There was a very lively tempo and very well controlled playing. There were pleasing good contrasts in the performance.</p>','<p>Gu Xinhao<br />Mendelssohn Rondo Capriccioso Op 14<br />There was a very good touch and the Andante was nicely shaped and the Capriccioso section was very lively with a well developed technique. The performer was very involved with the performance and the character of the piece was well captured.<br />Liszt Concert Etude “Waldesrauschen”  ','','1323867950','1');
INSERT INTO `node_revisions` VALUES ('1917','1937','0','wei(en)2','<p>Gu Xinhao<br />Mendelssohn: Rondo Capriccioso, Very sensitive playing. You have very nice phrasing in the introduction. The Rondo is well played with good finger work. And it is tightly controlled. But I think the music could be lighter, more fun and imaginative.<br /> <br />Liszt Waldesrauschen, It has good flow, and is played with energy. But the accompanying hand is too often too loud, causing the melodic line to sound forced sometimes. There should be a marked difference in color and atmosphere between the melody that\'s in the middle register and the one that is in the upper register. I also find the phrasing to be a little flat, especially in the part that involves octaves. A true virtuoso should make a difficult piece sound easy, and turn an etude into a piece of music.</p><p>Haydn sonata, again, well controlled, great runs. But it needs a better flow. A Haydn sonata also should have some charm, and energy. The phrases need direction.  The music needs energy. <br />Overall, an extremely well trained young pianist. Just remember that the audience can only enjoy the music as much as the performer does. So if you enjoy the music more and thus become more expressive, your music will in turn become more enjoyable.</p>','<p>Gu Xinhao<br />Mendelssohn: Rondo Capriccioso, Very sensitive playing. You have very nice phrasing in the introduction. The Rondo is well played with good finger work. And it is tightly controlled. But I think the music could be lighter, more fun and imaginative.<br /> ','','1323868033','1');
INSERT INTO `node_revisions` VALUES ('1918','1938','0','Ungar(en)3','<p>Wong Wai Yuen<br />Haydn: Sonata in E-flat major, Hob.XVI/45<br />From the first note I felt that you are a serious pianist, one who takes instruction and advice to heart and believes in conscientious dedication to music. I am very happy that you selected this smaller E-flat Sonata, perhaps younger brother of the “big” English Sonata that is so often played. The wealth of music ideas and forms in Haydn Sonatas can be said to even surpass those of Mozart, perhaps even Beethoven. Although Haydn’s works are less demanding technically, they are not easier to interpret. One of the fascinating challenges for today’s performers is the demands of Haydn for a greater creative contribution, how to cope with the inherent freedom he allows. In this Sonata there are no dynamic indications and only a few suggested articulations are noted. What to do is a big question. But a few things show us the way to go – for instance when the part writing is in two or three parts balancing the voices are important, modulations especially to the minor keys heighten tension and the clarity of cadences is essential for the release the tension and for the structure. Use more imagination, make the piece come alive with lots more surprises and contrast, make it an experience, it is all there for you to discover.</p><p>Liszt: Concert Etude “La leggierezza”<br />I do admire your technical ability and the ease in which you perform difficult passages. You are indeed a wonderful performer and capture our attention with your ideas, however, on the whole I do not find you convincing. Somehow the essence of “La leggierezza” or “Lightness” is often absent, the transparency offered by the chromatic scales is missing. The simplicity together with elegance is the most important aspect of this etude and should be your goal. After the introductory “”capriccio” the continued improvisation similar in fact to Chopin Impromptus should have a natural flow. You are trying too hard to show the beauty of each phrase, yet it only makes you see individual trees and not the whole forest. Your best playing is in the exciting middle section where the music flows through numerous modulations however try to get more pure sound and simplicity thet makes this a real masterpiece. </p><p>Ginastera: “Danzas Argentinas”<br />Your performance of these dances is very successful and show a great deal of freshness and wonderful atmosphere. In the “Dance of the Old Herdsman” you capture the dance with excellent colors and rhythmic drive. Watch the rhythm when you play the repeated notes high in the upper register marked “pp”, you are distorting the pulse too much. Bring out the last chord (E – A – D – G- B- E), this is Ginastera’s favorite chords and is the open strings of a guitar. The second dance “Dance of the Beautiful Maiden” you performance is captivating. I like the simplicity of the outer section while the middle is full of passion and darker colors. Be careful not to break the natural flow of the music with too much rubato and allow for long phrases. The last dance (Dance of the Arrogant Cowboy) is a real show of your technical ability. While I do admire that you can play so fast, I strongly advise that you try to make sure that there is a strong rhythmic pulse instead of fast flowing passages. The key advice for this dance is from the composer: “ritmico e energico”. Try to clarify the constant contrasts between three and two beats in a measure which is the basis of the dance. In all dances the rhythm and pulse are the backbone without which the music cannot live.</p><p>Huang Weiyuan, you are a very talented pianist and have a terrific capacity for performance. <br />I hope you will gain more and more experience through listening and experiencing many composers and then making their piano works your individual expression.</p>','<p>Wong Wai Yuen<br />Haydn: Sonata in E-flat major, Hob.XVI/45','','1323868104','1');
INSERT INTO `node_revisions` VALUES ('1919','1939','0','Bax(en)3','<p>Wong Wai Yuen<br />Haydn Sonata, Hob. XVI/45, 1st movement <br />Great variety of touch and character. Sounds alive and very humorous and the full dramatic sense of the structure is very clear. Brava! Be careful not to play too heavily in the right hand. It provides great contrast, but I would scale down the volume and heaviness of the right hand. Sometimes it can sound pushed and aggressive, if you are not careful.<br />Liszt La Leggierezza<br />Beautiful performance. I wonder if the fast right hand passages can be even lighter. They feel almost too real. Very convincing conception of this piece.<br />GinasteraDanzasArgentinas<br />In the first one, once again the character was very spot-on! The clarity was also compelling. Beautiful atmosphere in the second one, but maybe it could be even warmer and more subtle. The left hand seemed a bit too active, in my opinion. The third was very impressive. Great clarity, command and very exciting. However it could be even more effective if you took it a little slower and did not let it run away, especially at the beginning.</p>','<p>Wong Wai Yuen<br />Haydn Sonata, Hob. XVI/45, 1st movement ','','1323869167','1');
INSERT INTO `node_revisions` VALUES ('1920','1940','0','Kors(en)3','<p>Wong Wai Yuen<br />Dear Weiyuan, your genuine care towards everything you play immediately became apparent for me. You are a young artist already mature enough not to be afraid of making your own musical decisions. Firstly I am excited to hear such rarely played Haydn sonata – good choice. Very well played – my only comment would be to use subtle “p” or “pp” colors (possibly with soft pedal) little more often. I wish, I could hear the rest of this beautiful sonata! </p><p>La leggierezza also was quite beautiful – but towards the end of the piece in the recapitulation, the long and winding modulating sequence moving across tonalities like a mysterious serpentcould have been played more interestingly. I believe, this is Liszt’s most valuable achievement in this sublimely beautiful piece and it should be treated with even more distinct care. </p><p>I simply loved the whole cycle of Ginastera – it was passionate, true, moving and quite imaginative. Middle one could be even more mellow and, possibly, a little slower. <br />Bravo. You are on the right road and every month your playing will become better and better. We will be watching!</p>','<p>Wong Wai Yuen','','1323869267','1');
INSERT INTO `node_revisions` VALUES ('1921','1941','0','mcl(en)3','<p>Wong Wai Yuen<br />Alert energy and extrovert intensity were immediately evident in the early Haydn E flat sonata movement.  Accents throughout were rather unsubtle and often misplaced.  Overall the articulation tended to be too heavy neededmore tonalvariety and application with the musical context more firmly in mind.   The left hand part needed more sensitivity andcare Overall poetry and cantabile was a little too direct and forward- with a little more reserve and wistful creativity to offset the energetic passages in the movement the whole performance will rise in stature.</p><p>Liszt’s ‘La Leggierezza’ showed admirable confidence and assertive power, but rather missed the point.  This is wistful, delicate and extraordinarily refined music that requires much more lightness and finesse than was evident here.  It is essential to eliminate all the accents.  At all dynamic levels it is vital to create a music that floats above the earth that does not ‘shout’ at the listener, but rather weaves a quasi celestial web of magically delicate sounds.</p><p>Ginastera’s punchy, percussive style showed much more authority and conviction here.  Excellent articulation and rhythmic vibrancy.  The quieter passages could have been even more enticing and spellbinding- an even quieter level would be possible.  In the second dance a more daringly slow tempo could have been adopted for even more expressive conviction.  The rubato was a little contrived and lacking in natural grace, though there was no doubting the impressive craftsmanship of the performance. The final had to be admired for the extraordinary velocity.  Very impressive on a mechanical level, but the character and projection of the phrasing and articulation was underplayed because of the sheer speed adopted.  Even the contrasts of dynamics were rather lost in the overall sweep and momentum.  Excitement and energetic abandon aplenty certainly.</p>','<p>Wong Wai Yuen','','1323869353','1');
INSERT INTO `node_revisions` VALUES ('1922','1942','0','slut(en)3','<p>Wong Wai Yuen<br />Haydn Sonata – very good articulation, harmonic awareness and sense of structure.a bit aggressive – try to maintain elegance.</p><p>Lizst La leggierezza – very nicely shaped.at times seems a bit laborious and lacking simplicity. every note is important, but an impulse and a long line are even more important in a virtuoso piece.</p><p>GinasteraDanzasArgentinas – great character! beautifully executed, nice timing. very artistic!</p><p>Bravo!</p>','<p>Wong Wai Yuen<br />Haydn Sonata – very good articulation, harmonic awareness and sense of structure.a bit aggressive – try to maintain elegance.</p><p>Lizst La leggierezza – very nicely shaped.at times seems a bit laborious and lacking simplicity. every note is important, but an impulse and a long line are even more important in a virtuoso piece.</p>','','1323869402','1');
INSERT INTO `node_revisions` VALUES ('1923','1943','0','thomson(en)3','<p>Wong Wai Yuen<br />Haydn Sonata Hob XVI/45, Mvt 1<br />The performance had a lively tempo and secure technique and was very well controlled. The character of the movement was well captured. <br />Liszt Concert Etude “La Leggierezza”<br />The performance was very well projected and the competitor was very well involved in the performance. <br />Ginastera Danzas Argentinas, Op 2 “Danza del gaucho matrero”<br />The performance had a very good dynamic range and the performance was very confident and the character of this work was very well projected.</p>','<p>Wong Wai Yuen<br />Haydn Sonata Hob XVI/45, Mvt 1<br />The performance had a lively tempo and secure technique and was very well controlled. The character of the movement was well captured. <br />Liszt Concert Etude “La Leggierezza”<br />The performance was very well projected and the competitor was very well involved in the performance. ','','1323869455','1');
INSERT INTO `node_revisions` VALUES ('1924','1944','0','wei(en)3','<p>Wong Wai Yuen<br />Haydn Sonata, It is very energetic and lively. I like the fact you play with a big sound. It brings energy and excitement to the music. However, the sound sometimes is too direct. Perhaps if one softens the touch a bit, it might help bring out the charming colors in Haydn.<br />Liszt Leggierezza, Here again is energetic. You showed a nice emotional and dynamic range, and you are very sensitive with phrasing. The runs are very good also. I just feel that it could be lighter, and faster.<br />Ginastera Danzas Argentines, It is extremely lively with very strong rhythm. The 2nd one has a good flowing tempo and a nice singing sound, befitting a maiden\'s dance. I like the range here too. You seem to truly feel the music. The 3rd one does sound like a South American wild dance. I like the powerful rhythmic urge you bring out. A very enjoyable performance.</p>','<p>Wong Wai Yuen<br />Haydn Sonata, It is very energetic and lively. I like the fact you play with a big sound. It brings energy and excitement to the music. However, the sound sometimes is too direct. Perhaps if one softens the touch a bit, it might help bring out the charming colors in Haydn.','','1323869501','1');
INSERT INTO `node_revisions` VALUES ('1925','1945','0','Ungar(en)4','<p>Huang Zhiyi<br />Haydn: Sonata in C major, Hob.XVI/50<br />You have a wonderfully natural approach to the piano. I enjoyed very much hearing your interpretation of this very humorous work. Haydn must have enjoyed composing this as he has so many unexpected turns and so many sudden surprises. You are a very intelligent student who understands the reasons for so many rules that make up the language of the Classical period. Especially I want to congratulate you for taking care most of the time how you articulate and for carefully making certain of the dynamics. You should also take care and recognize how the 4/4 time signature influences the rhythm as well as the hierarchy of the beats. Without such insight the music often lacks the forward motion that is so important in this and many other Haydn sonata first movements. Also you have a tendency to slow down when you want to be more expressive. I strongly advise you against this as in the classical period composers selected compatible themes to work together under the umbrella of one tempo. </p><p><br />Liszt: Concert Etude “Gnomenreigen”<br />This performance is a wonderful achievement for you. In so many ways I feel you imagine the “gnomes” dancing and you manage to get numerous characters to show their faces. Traditionally after the repeat of the two contrasting sections, the tempo as Liszt indicates “sempre presto” gets faster till the very end. Here to, the increase of the tempo can be felt through quickening of modulations and even the use of hemiola. Notice how Liszt indicates the acceleration of the tempo with indications such as “vivacissimo” and “il piu Preseto possible”.  Indeed I am impressed that with your small hands you managed so well many of the technical requirements inherent in the work. And surprisingly you even managed to produce some of the sounds that lean towards darker colors of this lighthearted dance. At the same time I advise you to make more certain the dynamic markings that Liszt so carefully marked. </p><p>Mendelssohn: Rondo Capriccioso, Op.14<br />This is a very satisfying performance. In all aspects you managed to get to the essence of the music. The contrast between the E major introduction and the E minor main section is wonderfully clear. The descending tonic triad outlines the themes of the “Andante” and the “Presto” while the home keys are firmly established. You varied the tempo in the introduction, becoming more impatient towards the “ff” climax. I would caution against such acceleration as the music itself is doing this without any of your help. Further, if possible make every effort to be simpler, your soprano sounded as she wanted to place her own character into the music. Your scherzo-like fast section had a wonderful crispness and reminded me of the Overture to a Midsummer Night\'s Dream. The clarity of your voicing and pacing of the different themes was superbly conceived.</p><p>Huang Zhiyi, you are already a wonderful artistic performer. Keep working with your teacher, learning a great variety of repertoire and enjoy each new discovery as music creates a never ending journey for all of us. </p>','<p>Huang Zhiyi<br />Haydn: Sonata in C major, Hob.XVI/50','','1323869844','1');
INSERT INTO `node_revisions` VALUES ('1926','1946','0','Bax(en)4','<p>Huang Zhiyi<br />Haydn Sonata Hob. XVI/50, 1st movement <br />Great character and very varied performance. Incredibly convincing! Sometimes faster passages in the right hand feel a bit too pushed and out of context. It is great to have contrasts, but be careful not to think of ornaments and faster notes as just fast, louder and crisper passages. They also feel a bit rushed and breathless at times. <br />Liszt Gnomenreigen<br />Good clarity, but a bit too heavy and divided in sections. Phrases could be longer and the overall feeling lighter and more whimsical.<br />Mendelssohn Rondo Capriccioso<br />You are very musical and have great instincts. Again, I think the piece could have been more effective if slightly lighter in feel.</p>','<p>Huang Zhiyi<br />Haydn Sonata Hob. XVI/50, 1st movement ','','1323869912','1');
INSERT INTO `node_revisions` VALUES ('1927','1947','0','Kors(en)4','<p>Huang Zhiyi<br />Amazingly mature playing for your age. <br />Wonderfully performed (and very well-taught) Istmvt of Haydn sonata.<br />Very strong Liszt, more subtle colors would make it even better. Excellent Mendelssohn, especially the fast part. It is impossible to underappreciate your pianistic prowess for your age in Gnomenreigen. However, in your whole program and especially in Liszt I would like to encourage you to look for more funny stuff, fresher imagery. Maybe you practice so much that there is no time to watch cartoons?! Terrible thought… Everyone in your age needs cartoons, needs to be inspired by many of them.</p><p>Gnomenreigen and the slow part of Mendelssohn went by without touching my heart – alerting feeling when you watch a 9 years old wunderkind and expect to be amazed with anything she does. Zhiyi, your daily life is a very important source of musical inspiration – learn from it. You are a wonderfully talented child, and your maturity already suggests a more inspiring listening experience, something allowing your listeners to remember your playing for long time, something unique. I know, it is a lot to ask a 9 years old – but with your huge talent, I am sure, you will find your true musical identity. I am impressed with you, Zhiyi – hope to see your name on big posters soon!</p>','<p>Huang Zhiyi<br />Amazingly mature playing for your age. <br />Wonderfully performed (and very well-taught) Istmvt of Haydn sonata.','','1323870021','1');
INSERT INTO `node_revisions` VALUES ('1928','1948','0','mcl(en)4','<p>Huang Zhiyi<br />Extraordinarily impressive playing.  Haydn’s ‘English’ sonata immediately showed energy, sparkle and excellent articulation.  Rhythm needed a little  more poise and control.  The chosen tempo was perhaps a little too fast in order to really allow sufficient time and space for all of the articulation and character to emerge from the music, but there was still an impressive range of sounds and contrasts to admire.  Overall the wit and humour was rather eclipsed- in place we had characterisation that was almost agitated and fearful.  More humanity and relaxed spaciousness would certainly be good to aim for now in an interpretation that emerged here as too angst-ridden and frenetic.</p><p>Clarity and focus of finger work were extraordinary in Liszt’s ‘Gnomenreigen’, a performance that was phenomenally secure, accurate and intense.  The next stage would be to cultivate much more leggiero at all dynamic levels, and to increase the velocity so that the whole etude dances at a more flowing pace.  There is room for much more variety of colour- at present it is rather monochrome in terms of touch and tone</p><p>Mendelssohn’s Andante and Rondo Capriccioso was also extremely secure.  The Andante was too inflexible and rather fearfully agitated in its relentless reluctance to embrace flexibility, gentle rubato and wistful poetry.  The rondo showed finger work emerging from the piano like bullets from a shotgun- extremely accurate and steely pianism.  Next stage would be to develop the touch into a lighter aesthetic, with excitement emerging within a quieter and lighter tonal range.  Physically there is a lot of movement in the performance- which would greatly benefit from a calmer, less accented and less intense and unyielding overall approach.  There were a number of small errors today, but these remained unimportant.  An exceptional recital.</p>','<p>Huang Zhiyi','','1323870085','1');
INSERT INTO `node_revisions` VALUES ('1929','1949','0','slut(en)4','<p>Huang Zhiyi<br />Haydn Sonata in C major –very well played, good character and control. occasionally there is an element of impatience and slight rushing and unevenness.</p><p>Liszt Gnomenreigen – very descriptive, some rhythmic inaccuracies, more than very impressive for this young age!</p><p>Mendelssohn Rondo capriccioso – very expressive and musical! light and crisp - great potential!!</p>','<p>Huang Zhiyi<br />Haydn Sonata in C major –very well played, good character and control. occasionally there is an element of impatience and slight rushing and unevenness.</p><p>Liszt Gnomenreigen – very descriptive, some rhythmic inaccuracies, more than very impressive for this young age!</p>','','1323870150','1');
INSERT INTO `node_revisions` VALUES ('1930','1950','0','thomson(en)4','<p>Huang Zhiyi<br />Haydn Sonata in C Major, Hob XVI/50, Mvt 1<br />The performance was very secure, bright and there was good dynamics. Technical control was very good.<br />Liszt Concert Etude “Gnomenreigen”<br />There was a very well chosen tempo and the character was very lively and the climaxes were most impressive.<br />Mendelssohn Rondo Capriccioso Op 14<br />The Andante was well handled. The Capriccioso was very lively but with great control. There was a very good technique in a number of different aspects. The character of this piece was very well projected.</p>','<p>Huang Zhiyi<br />Haydn Sonata in C Major, Hob XVI/50, Mvt 1<br />The performance was very secure, bright and there was good dynamics. Technical control was very good.<br />Liszt Concert Etude “Gnomenreigen”<br />There was a very well chosen tempo and the character was very lively and the climaxes were most impressive.<br />Mendelssohn Rondo Capriccioso Op 14','','1323870222','1');
INSERT INTO `node_revisions` VALUES ('1931','1951','0','wei(en)4','<p>Huang Zhiyi<br />Haydn Sonata, It is delicate and articulated playing, with a stylish interpretation. I like the fact that the tempo is well controlled so the light hearted charm of Haydn is very evident.<br />Liszt Gnomenreigen, It is very steady and clean with clear finger work in the runs. You showed a very strong technical command of the piece. My only suggestion is to make this concert etude sound less like an etude, and more like a concert piece. Even at such a young age, you could try to make this more like a dance using lighter touch and accents that are less forced. Nonetheless, quite accomplished for some one so young.<br />Mendelssohn Rondo Capriccioso: The introduction has nice phrasing with rubato. Very sensitive indeed. Rondo has wonderful control. It is technically very sound with good range and contrasts. If it could be a little less driven, the music could then flow in more natural fashion, and thus become more enjoyable. Sometimes, less IS more.</p>','<p>Huang Zhiyi<br />Haydn Sonata, It is delicate and articulated playing, with a stylish interpretation. I like the fact that the tempo is well controlled so the light hearted charm of Haydn is very evident.','','1323870258','1');
INSERT INTO `node_revisions` VALUES ('1932','1952','0','Ungar(en)5','<p>Li Ying<br />Haydn: Sonata in E major, XVI/31<br />This is one of the most beautiful sonatas of Haydn very much appropriately written in the angelic key of E major. You are an extremely competent pianist and produce a very skilled performance. Haydn trusted that performers of his works would be familiar with rules of interpretation as he besides the tempo indication of “Moderato” did not indicate any dynamic and only a few articulation markings in his score. Allowing considerable leeway to the interpreter, Haydn requires from us a greater creative contribution to make his music come alive. This is the case with this E major Sonata. You need to find ways to shape and articulate passages especially when they are repeated, rests are often signs for breathing, often think of other instruments to color your imagination and try to find the most natural phrasing possible. At the same time one must find the appropriate way of “singing”, which in many ways imitated opera of the day. But arias in these operas clearly leaned towards the clarity of speech. You have learnt the notes well, but communicating their meaning will take you on a longer journey of discovery.</p><p>Liszt: Concert Etude “Un Sospiro”<br />It is admirable how you conquered the basic demands of this étude which is a study in crossing hands, playing a simple melody with alternating hands accompanied by extended arpeggios. Further, you control the melodic line extremely well not allowing for unnecessary accents that could occur when the hands are crossing each other at a certain speed. For me you present an overly dramatic picture. Liszt during his lifetime only mentioned this work as study in D-flat, but somehow the subtitle “Un Sospiro” was attached – the meaning in Italian is \"a sigh”.  The simple melody is presented in different ways and you should explore the changing colors, often more impressionistic than just romantic, due to these variations. There is only one climax immediately after the theme is presented twice and the coda should move the ending into the distance. Try to revise your thoughts guided by the concept of the study, to make the arpeggios light and even, while shaping the ascending melody in a varied way. Of course there are numerous romantic moments that you can take advantage of and make it quite personal.</p><p>Albéniz: “Triana” from Iberia<br />Your program continues with a remarkable flow from Liszt to Albéniz. Iberia, after all, is a synthesis of several music styles, including the sophisticated compositional techniques that Albéniz learned in Paris, and the virtuosic piano writing he inherited from Liszt. “Triana” is the third piece of the second book of this monumental work that draws inspiration from Andalusian folk music achieving a stylization of Spanish traditional idioms. You have a wonderful flair for this music, you give an appealing impression of spontaneous improvisation. “Triana” is named after the famous Gypsy quarter of Seville and you seem to transport us into that atmosphere from the first note. There are two principle themes, the first is a two step dance the second is in triple meter in which Albéniz imitates the sound of castanets and heelwork of the dancers.  You have a natural ability of bringing all the elements of a strong “nationalistic” performance with some tender moments of reflection. I especially liked your treatment of the difficult passages when the two principal themes are brilliantly transformed and contrapuntally combined.  You really produced a wonderful performance.</p><p>Li Ying, you are a very talented pianist and have a natural way of playing the instrument. I wish you well for the future which should be very bright for you in the world of music.</p>','<p>Li Ying<br />Haydn: Sonata in E major, XVI/31','','1323870321','1');
INSERT INTO `node_revisions` VALUES ('1933','1953','0','Bax(en)5','<p>Li Ying<br />Haydn Sonata Hob. XVI/31, 1st movement  <br />Very good and balanced performance. Full of character and very elegant. You might want to think of slightly different colors and phrase shapes according with your musical intentions. Sometimes I found your choices slightly predictable. <br />Liszt UnSospiro<br />Very convincing and strong performance.  I missed some harmonic warmth throughout the piece. All these arpeggios should also create the harmonic context the piece is set in, and we should not hear just all the various notes.  Be careful not to create any gaps when you change pedals. Sometimes you break the line because of pedal changes.<br />Albeniz Triana<br />Very spirited and clear rendition of Triana. Sometimes the rhythm can be stronger and more held. Also careful with pedal changes, as they sometimes break the melodic lines. Also try to explore darker sounds. Clarity is very important, but now you can try to find darker hues which will make the brighter colors sound even brighter.</p>','<p>Li Ying<br />Haydn Sonata Hob. XVI/31, 1st movement  <br />Very good and balanced performance. Full of character and very elegant. You might want to think of slightly different colors and phrase shapes according with your musical intentions. Sometimes I found your choices slightly predictable. <br />Liszt UnSospiro','','1323870376','1');
INSERT INTO `node_revisions` VALUES ('1934','1954','0','Kors(en)5','<p>Li Ying<br />Quite nicely done Haydn. Usually I don’t pay critical attention to one or two missed notes, but in music like Haydn or Scarlatti, where everything is so exposed, clarity it very important. Generally I liked sensitivity of your sound but I missed very much the humor and rhythmical flexibility in Haydn. Due to restrictions in sound diversity in keyboard instruments, it was very common to use flexibility in time as a major expressing tool during Haydn’s era. Your playing was rhythmically not very creative. </p><p>Very beautiful, full, rich sound in the beginning of Liszt. While holding the big D flat octave in the right hand, make sure, that music does not lose the energy – don’t hold it too long. Another weak spot was the long fast, going down passage (in 6), which should have been much more passionate, not poetic. Still, Liszt impressed me with the full-scale playing and so did “Triana”. </p><p>You seem to feel much more “at home” in expressive music rather in meticulously detailed pieces like Haydn. I will look forward to hearing your Rachmaninoff’s Third Concerto soon! But you also need to develop your feel of style and sophistication of earlier music: Soler, Scarlatti, Haydn. Good luck.</p>','<p>Li Ying','','1323870440','1');
INSERT INTO `node_revisions` VALUES ('1935','1955','0','mcl(en)5','<p>Li Ying<br />The Haydn E major sonata was played with confidence and assertive brilliance.  There is room now for much more subtlety and sensitivity.  Accents need to be refined and listened to much more carefully.  The left hand in particular was rather unrefined.  More effort to cultivate a beautiful tone in the forte passages would be welcome.   Some of the rhythms and note values (longer notes and rests too) were clipped and need revision by way of simple counting in the practice studio.  It was all a little too hurried and lacking in poetry today.  The climax of the development was out of proportion to the overall dynamic range.  Phrase endings needed to be listened to more carefully in order to avoid accents. Some small slips.  It was all a little too hurried- a slower tempo would afford much more room for expression and imagination. Try beginning trills on the upper note rather than on the main note<br />Liszt’s ‘Un sospiro’ showed happier pianism and a more authoritative sense of style.  Good control at a suitable tempo.  However it was all rather direct and lacking in the requisite sotto voce and subdued mystery.  Much more reserve and concentrated wonder would be needed to really allow the music to float off the page.  Many of the runs were too ‘brilliante’ and sparking- more imaginative use of pedals and more cultivated touch control would be necessary in order to let the music come alive in the magical way that it can do.  More exploration of texture and colour would help enormously.</p><p>Albeniz’s ‘Triana’ had brilliance and percussive confidence, but did not evoke the mysterious, haunting and melancholic spell-binding atmosphere of Albeniz’s evocation of Spain.   Much more sensitivity and searching in terms of phrasing, voicing and pedalling would be necessary in order to really get inside this magical style and recreate the extraordinary sonic palette that is Albeniz’s incomparable ‘Iberia’.</p>','<p>Li Ying','','1323870625','1');
INSERT INTO `node_revisions` VALUES ('1936','1956','0','slut(en)5','<p>Li Ying<br />Haydn Sonata – a bit vertical and heavy. this piece could be (and should be) lots more charming and humorous.</p><p>Liszt Un sospiro–well played. the name of the piece has something to do with breathing – it could breathe much more. try to form longer lines from single melodic notes.</p><p>Albeniz Triana – very well played! some of the rhythms and harmonies should have morespecificity and flavor (Gypsy, Spanish flavor) In general needs more charm, more variety of textures and more contrasts.</p>','<p>Li Ying<br />Haydn Sonata – a bit vertical and heavy. this piece could be (and should be) lots more charming and humorous.</p><p>Liszt Un sospiro–well played. the name of the piece has something to do with breathing – it could breathe much more. try to form longer lines from single melodic notes.</p>','','1323870639','1');
INSERT INTO `node_revisions` VALUES ('1937','1957','0','thomson(en)5','<p>Li Ying<br />Haydn Sonata Hob XVI/31, Mvt 1 <br />There was considerable amount of body movement that was somewhat intrusive.  The contrasts in dynamics were rather exaggerated and the pedalling needed further attention in order that the work had clarity.<br />Liszt Concert Etude “Un Sospiro” <br />The melodic notes needed to be more projected and the phrases given further attention to shaping rather than the melody sounding like single notes. It gradually became better as it progressed.<br />Albeniz Iberia “Triana”<br />This difficult work was approached with a very well developed technique. The Spanish style overall was very well projected. Well done!</p>','<p>Li Ying<br />Haydn Sonata Hob XVI/31, Mvt 1 <br />There was considerable amount of body movement that was somewhat intrusive.  The contrasts in dynamics were rather exaggerated and the pedalling needed further attention in order that the work had clarity.<br />Liszt Concert Etude “Un Sospiro” ','','1323870734','1');
INSERT INTO `node_revisions` VALUES ('1938','1958','0','wei(en)5','<p>Li Ying<br />Haydn Sonata, nice and steady tempo with good dynamic contrasts. There is sensitivity in phrasing also. I would like to have a little more rhythmic pulse throughout the movement. The sound could also be a little more articulated. But more importantly, is to have a good singing legato, perhaps a singing voice inside. So the melodic lines flow out of the heart and therefore, are never dry.<br />Liszt Sospiro, the phrasing is quite natural and flowing. Perhaps a little more direction might help the phrases become more interesting. As is, they sound a little dry to me, especially in the loud parts. A better use of the pedal could also help. The runs could be cleaner also.<br />Albeniz Triana, well played. I especially enjoy the middle section. There you brought out more of the Spanish flair.  The outer parts, I\'d like to hear stronger rhythm to feel more intensity from the music</p>','<p>Li Ying','','1323870803','1');
INSERT INTO `node_revisions` VALUES ('1939','1959','0','Ungar(en)6','<p>Liu Jiangli<br />Beethoven: Sonata No. 10 in G major, Op. 14 No.2 (First movement)<br />You perform! You have something to say and without any pretenses you state your feelings. I like the fresh approach you have to the Sonata. Obviously you have the technique and only in a few spots, for example the right hand’s evenness in the development section that I could request for more control. You should notice more that the first theme starts on the upbeat while the second subject is all on the down beat. You pay attention most of the time to articulation but not to equally important “sf” markings of Beethoven. I am also hoping that with time you will develop your ears to make more contrasts not only between just loud and soft but also within the different pianos and fortes. This idea of contrasts is also important concerning characters that each theme represents. Use more cantabile touch as Beethoven often mentions that singing is indispensable and the  melodies of this movement lend themselves to the human voice.</p><p>Chopin: Rondo in C minor, Op.1 <br />To some critics Chopin’s Op.1 was his weakest work, imitating composers like Weber and Hummel. While others maintain that it has a natural air which is free from affected profundity. The general aesthetic at the time was not particularly deep or profound — it was more about varied and pretty effects, called “style brillant”. However, behind the juvenile brilliance the work suggests, though vaguely, the presence of a future bright individuality!  We can hear Chopin’s attempt to give the passagework melodious contents, exquisite ornamentation, and most importantly breathing a new poetic lyricism usual absent from such works by his contemporaries. Of interest also his use of new thematic materials and a brave development of the tonal plan - C minor – E major – A-flat major – D-flat major - C minor.<br />I am stating all this to create an interest in you to be inspired by the work. Your performance is monochrome, same tempo throughout and certainly you do not react to all the possible nuances present in the score. Chopin’s melodies demand different response from us, take time also to react to the different keys. This music requires freedom of pulse much like improvisation. I hope you will try it as I am sure it will lead to a much more satisfying result.</p><p>Liszt: Concert Etude “Gnomenreigen”<br />You certainly display a very impressive technical ability. You fast passages are mostly clear and bring out a genuine enthusiastic spirit that is the essence of the work. However, ability does not always equal success. Although not originally called “The dance of gnomes”, Liszt never objected to the subtitle and in fact encouraged it with his students in order to enhance their imagination. Any type of dance needs controlled tempo and rhythm. Your performance lacked any plan especially as Liszt indicates that after the two initial repeated sections, the tempo has to gather momentum to the very end. Liszt uses tempo relationship much more than other composers and as performers it is our duty to bring to life the best possible way his inspiration.</p><p>Liu Jiangli, you are an excellent student, very strong minded and full of individual ideas. Never forget that we, performers are the servants of the composers, we must always find a way to represent them to the best of our ability.</p>','<p>Liu Jiangli<br />Beethoven: Sonata No. 10 in G major, Op. 14 No.2 (First movement)','','1323871059','1');
INSERT INTO `node_revisions` VALUES ('1940','1960','0','Bax(en)6','<p>Liu Jiangli<br />Beethoven Sonata op. 14 no. 2, 1st movement <br />Very fluid and natural. Good attention to details and character. However I think contrasts can be much more evident, not only in character, but also in sound quality. Also be very careful to always sustain the melodic lines and not to let them run mechanically .<br />Chopin Rondo<br />The performance although very good, could probably benefit from some more breath, time and contrasts in between the various phrases.  Commendable clarity but It’s very important here to use your or this piece can feel a bit monotonous. <br />Liszt Gnomenreigen<br />A little too breathless. It needs a little more time and lightness to come alive. Try to look at smaller details and give them more meaning in your overall conception of this piece. </p>','<p>Liu Jiangli<br />Beethoven Sonata op. 14 no. 2, 1st movement <br />Very fluid and natural. Good attention to details and character. However I think contrasts can be much more evident, not only in character, but also in sound quality. Also be very careful to always sustain the melodic lines and not to let them run mechanically .<br />Chopin Rondo','','1323871109','1');
INSERT INTO `node_revisions` VALUES ('1941','1961','0','Kors(en)6','<p>Liu Jiangli<br />Excellent Beethoven, good, effortless technique. </p><p>Repeated chords in the left hand of “Gnomenreigen” need to project– you need to use your whole lower arm to make it work, not only wrist. </p><p>You can breath more freely in Beethoven sonata: right before the second themes, before the repeat of the exposition, before the recapitulation (both false and real) and in e few more places. It will help to form shape of the piece. This criticism is effective for the rest of your program. </p><p>Music should create a magical world, which exists in your imagination. You are the one, who builds this world. You constantly need to infuse it with your images, experiences from your life, dreams,and thoughts. Musical events taking place in pieces you playrequire your close and direct attention. They need to trigger your emotional, aesthetic and imaginational senses. I did not sense enough of it in your playing. The whole reason to be a performing artist is the desire to share those worlds with your listeners. With your wonderful talent you are expected to do just this. I wish you good luck.</p>','<p>Liu Jiangli<br />Excellent Beethoven, good, effortless technique. </p><p>Repeated chords in the left hand of “Gnomenreigen” need to project– you need to use your whole lower arm to make it work, not only wrist. </p>','','1323871171','1');
INSERT INTO `node_revisions` VALUES ('1942','1962','0','mcl(en)6','<p>Liu Jiangli<br />The Beethoven op. 14 G major Sonata showed beautiful tone and focus. It could afford more spaciousness and poetry at a slightly slower speed.  A lighter tonal approach would allow the music to become even more characterful and arresting.  Chopin’s op. 1 Rondo was played with freshness and commitment.  Ornamentation tended to be rather relentless and lacking in spaciousness.  Indeed, as in the Beethoven, a little more expansiveness and time would make the phrasing much more expressive and convincing.  Longer, more sustained and large scaled phrasing would be very useful overall, and make the whole performance rise significantly in stature.  Lots of characterisation and contrasts in tone and colour.<br />Liszt’s ‘Gnomenreigen’ needed more clarity and more velocity.  There was a rather laboured and approximate approach here, with grace notes (acciaccaturas) lacking clarity in particular.  More care and precision technically would be necessary in order to make the performance rise in stature.  Promising musical playing, but as yet with some way to go technically in order to reach authority.</p>','<p>Liu Jiangli','','1323871420','1');
INSERT INTO `node_revisions` VALUES ('1943','1963','0','slut(en)6','<p>Liu Jiangli<br />Beethoven Sonata Op.14 no.2 – very nice and upbeat.the phrase structure is somewhat square. each and every beat does not need to be the same - some variety would make the performance more successful.</p><p>Chopin Rondo – too many down beats, in fact, almost nothing sounds “up”. youcould differentiate more between the melodies and accompaniment. </p><p>Liszt Gnomenreigen – a few misreadings in the beginning. needs to be much more charming and light. left hand chords do not yet work.</p><p>Very good “healthy” sound. However, the sound was almost the same for all three works.</p>','<p>Liu Jiangli<br />Beethoven Sonata Op.14 no.2 – very nice and upbeat.the phrase structure is somewhat square. each and every beat does not need to be the same - some variety would make the performance more successful.</p><p>Chopin Rondo – too many down beats, in fact, almost nothing sounds “up”. youcould differentiate more between the melodies and accompaniment. </p>','','1323871451','1');
INSERT INTO `node_revisions` VALUES ('1944','1964','0','thomson(en)6','<p>Liu Jiangli<br />Beethoven Sonata Opus 14 No 2, Mvt. I<br />Technical aspects were very good and there was a very nice feeling of the style of this work but there needed to be more careful attention to the phrasing in this work. There needs to be further attention to pedaling and details to the dynamics in this work.<br />Chopin Rondo in c minor Op 1  <br />A very good tempo was chosen and the dynamic range was appropriate for this work. <br />Liszt Concert Etude “Gnomenreigen”<br />A good tempo was chosen but there needed to be further consideration of the pedalling and also closer attention to the indications of the dynamics.</p>','<p>Liu Jiangli<br />Beethoven Sonata Opus 14 No 2, Mvt. I<br />Technical aspects were very good and there was a very nice feeling of the style of this work but there needed to be more careful attention to the phrasing in this work. There needs to be further attention to pedaling and details to the dynamics in this work.<br />Chopin Rondo in c minor Op 1  ','','1323871494','1');
INSERT INTO `node_revisions` VALUES ('1945','1965','0','wei(en)6','<p>Liu Jiangli<br />Beethoven Sonata Op. 14, elegant, singing sound. I like your phrases which for the most part are not hurried, and have a natural flow. Sometimes though, a stronger rhythmic sense or vertical lines are also needed in a Beethoven sonata. This is quite evident in the development section of this movement. There, a strong rhythmic pulse would give music much more intensity, something I\'d like to see more of in your playing.<br />Chopin Rondo, a piece published when Chopin was only 15, perhaps not yet one of his mature works. Here again, your sound is very elegant and articulate. The phrases have good flow and directions. <br />Liszt Gnomenreigen.  Here it sounds hurried and lacks rhythmic pulse. So the music sounded nervous and chaotic instead of the music of a dance. The rushed tempo also squeezed the runs together so the clarity suffered. Overall a very musical performance, a little more rhythmic pulse would give your music more intensity and character.</p>','<p>Liu Jiangli','','1323871548','1');
INSERT INTO `node_revisions` VALUES ('1946','1966','0','Ungar(en)7','<p>Liu Pinxin<br />Liszt: Concert Etude “Waldesrauschen”<br />Excellent control of all the technical difficulties and beautiful display of colors. Your delicate playing of the accompaniment set the mood for the whole work. You should aim for longer phrases in the melodic line as this paints an image of an expansive picture. This is also the case when the right hand takes over the melody line. With lot more experience you will get to know how Liszt uses dynamics as he builds his structure. Make the “agitato” and “crescendo” meaningful as you lead to the climax of the piece. And then keep the tension displaying the turbulent side of the theme. Bring out the lower part of the octave (the thumb) as this would allow a deeper more resonating sound that the subject needs at this point. And again in the coda make the phrases longer, in fact try to make the coda simply one long phrase. The smoother it sounds the more it resembles the title of the étude.</p><p>Beethoven: Sonata No.3 in C major, Op.2 No.3<br />You give a very competent and comfortable performance of this Sonata. But Beethoven is not a watercolorist, he is a large sculptor often with rough edges. The precise articulation of the first subject clearly demonstrates how a string quartet would bow it and certainly would have to be taken a slower tempo. You need to understand the humor that is inherent in the music.  Do not forget, rests are at times more important than actual notes and here Beethoven stresses silence to achieve the question, perhaps hesitation that gives the theme such a character. You must bring out much more contrast between the solo instruments (like a string quartet) and the whole orchestra. This occurs right throughout the movement. Make much more effort to orchestrate, think which instruments would play the melody and accompaniment. There many accents, the roughness that is so appealing of Beethoven’s music, unfortunately you smooth these out. It is most unusual to have a cadenza in a piano sonata of the period, but here Beethoven has two – one in the development section in which he moves from B-flat major to D major and the other one is just before the coda. Play these with an individual approach. Make this sonata a big event in a similar way how Beethoven wanted his listeners to experience.</p><p>Chopin: Scherzo in B-flat minor, Op.31<br />Obviously this repertoire is more suited to your present development as a musician. I enjoyed your performance, it has freshness and a direct approach that I admire. And further you have a well developed technique to handle all the difficulties posed by this work. You need to communicate the structure of the scherzo, that it is based on groups of four measures. How Chopin changes the emphasis within this group is the magic behind really successful performances. When asked about the introduction, Chopin said “it is a question”, make your first sounds much more subtle. Look carefully the flexibility of dynamics built in the main theme, Chopin is extremely detailed in his instructions. In the middle “sostenuto” section you have far too many different tempos, again Chopin clearly does not want fast, hurried passage work, he wants everything to be melodious, and full of surprises.  Be mindful how you use the pedal all the time, but especially in the Coda and constantly keep in mind that clarity is essential for beautiful sound which is the essence of Chopin’s compositions.</p><p>Liu Pinxin, you are wonderful performer and have potential for making music your future. Keep working on understanding and communicating the essence of music that you are playing. </p>','<p>Liu Pinxin<br />Liszt: Concert Etude “Waldesrauschen”','','1323871628','1');
INSERT INTO `node_revisions` VALUES ('1947','1967','0','Bax(en)7','<p>Liu Pinxin<br />Liszt Waldesrauschen<br />Very clear and solid performance. Very impressive in bigger sections, but I think it could be slightly more intimate in character is softer parts. Also be careful to always play long lines when the melody is in octaves and do not break the line  when you are playing loud.<br />Beethoven Sonata op. 2 no. 3, 1st movement<br />Great character to start with but lyrical material needs more contrast, not only in sound but also in direction and agogic. Development section could have been more convincing and bolder. In my opinion it also needs more different characters throughout. <br />Chopin Scherzo op. 31<br />Very strong rendition of the Scherzo.Careful with the voicing of chords in Forte passages. Not all the notes in the chord need the same strength, or the sound will be a bit harsh. Some beautiful moments in the middle section, but be careful not to make it sound too agitated at any point. Keep this section calmer than the outer ones.</p>','<p>Liu Pinxin<br />Liszt Waldesrauschen<br />Very clear and solid performance. Very impressive in bigger sections, but I think it could be slightly more intimate in character is softer parts. Also be careful to always play long lines when the melody is in octaves and do not break the line  when you are playing loud.<br />Beethoven Sonata op. 2 no. 3, 1st movement','','1323871686','1');
INSERT INTO `node_revisions` VALUES ('1948','1968','0','Kors(en)7','<p>Liu Pinxin<br />Very fluid playing in Liszt. The melody notes in the left hand should be more cared for and phrased more gently. I think you play too fast, which makes music less interesting than it is. We need more colors and sometimes it takes a little extra time to create them. Don’t start the “forest storm”: episode as loud, instead create bigger, longer and very consistent crescendo, which is always a powerful tool. </p><p>Strong Beethoven. You are a very powerful performer, which is without a doubt an asset. However, you should use your physical strength a little more sparingly. Each piece in your program along with good solid qualities had some unrefined bulkiness, when your hands just “go for it” and your ears don’t supervise them well enough. I also noticed few incorrectly learned notes in Scherzo and Beethoven. Your playing is very mature in pianistic sense, but your musical sophistication and taste still have a long way to go. </p><p>Scherzo for me was the most convincing piece of your program, it felt that you like this piece more than the other ones. Beautiful flying feel in the second theme (melody in right hand, fast “6” accompaniment in left), very beautiful “waltz” in the middle slow episode. But the “Piu mosso” part in E majorwastoo loud, rough, and bulky.  You are already a professional, a very talented and capable performer and I have no doubt that you will be very successful.</p>','<p>Liu Pinxin','','1323871759','1');
INSERT INTO `node_revisions` VALUES ('1949','1969','0','mcl(en)7','<p>Liu Pinxin<br />Liszt’s ‘Waldestrauschen’ was beautifully fluid and executed with apparent effortless ease.  Phrasing could be even more sensitive and seamless in the melodic contours throughout, and overall the tone could be more subdued and reserved in order to project even more evocation, tenderness andwonder.  Exceptional technical facility and bravura by any standards. </p><p>Beethoven’s op 2 C major sonata showed excellent finger work, but from the opening bars much more care was needed to avoid accents and thuds on weak beats and resolutions of dissonances.  But there was no doubting the command and confident authority here.  Solid and sound playing throughout.  What was missing was a sense of wonder and discovery. Phrasing was consistently angular and marred by unnecessarily forced and even at times aggressive accents.  Some triplets were corrupted into quavers followed by semiquavers.   There is much more subtlety and variety of tone in this music.  There is also much more bravura and daringly iconoclastic writing than this approach implied.  Try for much more humour and wit and variety throughout.  This seemed less like music from a youthful revolutionary than it should have. <br />Chopin’s second scherzo was realised with sparkle, enthusiasm and drive.  Brilliant finger work accompanied by warmth and a real sense of communication.  Rhythmic discipline needed more attention so that a real sense of the music’s four bar construction can remain intact throughout. More leggiero and magic in the quieter playing needs to be cultivated.  Again, as in the Beethoven, triplet rhythms were not always convincing, tending to be corrupted into a totally different rhythm.  The central climax was thrilling and accurate to a large extent, but became rather bland in terms of phrasing and sound- there was nothing unique in the tone to make the music stand out as being specifically by Chopin as opposed to by Liszt or indeed by any other romantic composer.  Much more searching and experimentation in the practice studio could yield far better results.  At the end the sound became overly forced and over-pedalled, with many smudges and wrong notes.  Untidy and rather agitated, unfortunately.</p>','<p>Liu Pinxin<br />Liszt’s ‘Waldestrauschen’ was beautifully fluid and executed with apparent effortless ease.  Phrasing could be even more sensitive and seamless in the melodic contours throughout, and overall the tone could be more subdued and reserved in order to project even more evocation, tenderness andwonder.  Exceptional technical facility and bravura by any standards. </p>','','1323871836','1');
INSERT INTO `node_revisions` VALUES ('1950','1970','0','slut(en)7','<p>Liu Pinxin<br />Liszt Waldesrauschen – The title of the piece calls for “whispers” or “murmurs” – it was often too heavy and too aggressive. the long melodic lines should be shaped better, with more elasticity. try to keep the tempo at the climax of the piece. pay more attention to different texures. </p><p>Beethoven Sonata Op.2 no.3 – overpedaled in many places. The character could be more playful in the beginning. there are many contrasting sections in this movement – make sure that those differences are clearly communicated.</p><p>Chopin Scherzo no. 2 – very well played – the most successful of the three pieces. careful with the pedal, explore more legato in the lyrical passages, more difference between the melodic and accompanying textures.</p>','<p>Liu Pinxin<br />Liszt Waldesrauschen – The title of the piece calls for “whispers” or “murmurs” – it was often too heavy and too aggressive. the long melodic lines should be shaped better, with more elasticity. try to keep the tempo at the climax of the piece. pay more attention to different texures. </p>','','1323871923','1');
INSERT INTO `node_revisions` VALUES ('1951','1971','0','thomson(en)7','<p>Liu Pinxin<br />Liszt Concert Etude “Waldesrauschen”  <br />Be careful to be sure of the details of the dynamics (pp and ppp) in the first five pages as you were playing them much too loudly. There was a good balance between the two hands. The ending was very good.<br />Beethoven Sonata Opus 2 No 3, Mvt 1<br />The opening tempo was well chosen but there needed to be further attention to the pedalling and the end of phrases as they were rather forced which prevented the work from flowing smoothly.<br />Chopin Scherzo Opus 31<br />There could be further attention to the balance of the two hands in this work. Well developed technique was evident in the second part of the work.</p>','<p>Liu Pinxin<br />Liszt Concert Etude “Waldesrauschen”  <br />Be careful to be sure of the details of the dynamics (pp and ppp) in the first five pages as you were playing them much too loudly. There was a good balance between the two hands. The ending was very good.<br />Beethoven Sonata Opus 2 No 3, Mvt 1','','1323871985','1');
INSERT INTO `node_revisions` VALUES ('1952','1972','0','wei(en)7','<p>Liu Pinxin<br />Liszt Waldesrauschen, sensitive playing with solid technique. Phrases need more directions to avoid being dry. Also, there could be contrasts in color and character between melodic lines that are in the middle or low register and the ones in high register. So they don\'t always sound the same.<br />Beethoven Sonata, nice and steady tempo. Good technical command. However, it needs a legato sound. Phrases are dry and sound the same. There are many parts, such as the 2nd theme, that require a singing tone. You still need to find yours. Also, you could read the score more carefully, there are dynamic marks that are not observed, sf written for one hand played by both etc.. <br />Chopin Scherzo, good and solid performance. Fingers are quite strong and there is sensitivity and some intensity in this piece. I still find the phrasing quite flat. Sometimes the sound gets harsh in loud parts. The middle section is played with certain changes of color. But there should be more. Also, the voicing is not done quite right. <br />Overall a solid performance. If you develop a singing sound and good sense of phrasing, your music will be more beautiful and interesting.</p>','<p>Liu Pinxin<br />Liszt Waldesrauschen, sensitive playing with solid technique. Phrases need more directions to avoid being dry. Also, there could be contrasts in color and character between melodic lines that are in the middle or low register and the ones in high register. So they don\'t always sound the same.','','1323872033','1');
INSERT INTO `node_revisions` VALUES ('1953','1973','0','Ungar(en)8','<p>Liu Tianyuan<br />Liszt: Concert Etude “Waldesrauschen”<br />You are a very talented pianist who has vision for a large picture. You obviously reason carefully and present your ideas with some good results. This étude was written by the mature Liszt, not the young virtuoso who wanted to become the Paganini of piano. The twist and turns of the melody is by a very seasoned composer and I very much enjoyed your interpretation and understanding of the melody line. However, although Liszt called this “tone poem” an étude and we have discover the reasons for this. The evenness of the right hand which is then passed down to the left hand demands a subtle approach that allows freedom of the melody while creating the illusion that the accompaniment is constant. Too many times your accompaniment drew my attention away from the melody because of its uneven treatment. Unfortunately you did not control the octaves and leaps leading to the last cadenza and in fact the long trill and the descending following passage were very unsatisfying. Further, make a conscious effort to differentiate between the level of “fortes” and pianos”, this is important if you want to communicate the subtle colors of this piece that is about nature.</p><p>Mozart: Sonata in B-flat major, KV 281 (Allegro - First Movement)<br />I very much like your natural approach to Mozart, who is one of the most difficult composers to perform. What becomes immediately apparent is that you seem to understand the importance of silence – what happens before and after. This takes quite a great deal of maturity. You balance between the melodic line and accompaniment is also excellent. It is not simply just loud or soft as Mozart wanted us to hear the wonderful harmonic changes given to the accompaniment. Where you could do more is the clarity of the articulation as this together with the dynamic changes constitutes the most important way we manage different colors and maintain interest throughout the work. You performed the modulations in the development section with understanding and I like how you prepared the recapitulation. One last point, be utmost careful how you pedal, while I endorse lots of small color pedal, you should not pedal ornaments.</p><p>Schedrin: Two Polyphonic pieces<br />You perform these pieces with authority and great conviction. You bring out wonderful colors, a wide variety of dynamic levels and you make it all sound natural.<br />1. The phrasing is excellent and the constancy of the pulse makes us listen intensely. The staccatos should be consistent and both hands must be the same length. While I realize that your aim is to present two different voices the nature of their melodies allows them to be equally important.  You should experiment as the result could be quite satisfying. <br />2. The ostinato must be phrased constantly and bring out its contour. I very much like the way you create an atmosphere of improvisation. Together with the clear insisting pulse you manage to produce tension and complete surprises. </p><p>Liu Tianyuan, I enjoyed your performance very much and wish you all the very best for your future.</p>','<p>Liu Tianyuan<br />Liszt: Concert Etude “Waldesrauschen”','','1323872135','1');
INSERT INTO `node_revisions` VALUES ('1954','1974','0','Bax(en)8','<p>Liu Tianyuan<br />Liszt Waldesrauschen<br />Very natural and straightforward phrasing, clear tone. I think you could be a little more flexible and free. Also the softer sections can be more whimsical and quieter for contrasts. <br />Mozart KV 281, 1st movement<br />Nice character. Good attention to detail and refined playing. As in the Liszt I think you could be freer and breathe more between phrases to avoid the piece from sounding predictable.<br />Schedrin Two polyphonic pieces <br />Great character, convincing and menacing.Great rhythm and dynamic contrasts. It could use a bit more tension and time in the most dramatic sections. </p>','<p>Liu Tianyuan<br />Liszt Waldesrauschen<br />Very natural and straightforward phrasing, clear tone. I think you could be a little more flexible and free. Also the softer sections can be more whimsical and quieter for contrasts. <br />Mozart KV 281, 1st movement','','1323872198','1');
INSERT INTO `node_revisions` VALUES ('1955','1975','0','Kors(en)8','<p>Liu Tianyuan<br />Very determined and compact Liszt Etude. Perhaps, too compact-sometimes I wished for little more liberal use of time for more gentle breathing. However I liked very much your emotional approach to the piece. The Climax, although too stressed was very passionate and exciting.</p><p>Mozart also displayed many important qualities such as independence of hands, good, but conservative taste, I expect to have associations with the opera or theatre: each new musical massage can be translated in performance of actors/singers. Usually it\'s a comical opera with a little magical touch-think Magic Flute.</p><p>Great Schedrin! For even more of an obscure feel of the first piece, I would recommend playing both times the fast, going down passages in the right hand much softer. Fantastic rhythm in Basso ostinato. It was one of the best performances of this piece I have ever heard.</p>','<p>Liu Tianyuan<br />Very determined and compact Liszt Etude. Perhaps, too compact-sometimes I wished for little more liberal use of time for more gentle breathing. However I liked very much your emotional approach to the piece. The Climax, although too stressed was very passionate and exciting.</p>','','1323872292','1');
INSERT INTO `node_revisions` VALUES ('1956','1976','0','mcl(en)8','<p>Liu Tianyuan<br />Liszt’s ‘Waldestrauschen’ showed subtlety of phrasing and delicate, exquisite sounds in the shimmering right hand double note figurations.  The rubato was natural, subtle and sensitively judged. A huge and exciting climax, made all the more impressive because of the quiet dynamics at the beginning.  Just be careful to sustain  the highest level of control in tone and pulse at the climax.<br />Mozart’s B flat sonata K281 showed lots of admirable contrasts and ideas. |Try for a little more serenity and poise in order to be completely convincing.  At times the left hand needed a little more lightness.  There was an appropriate orchestral sense of drama to the performance as a whole, along with an impressive range of dynamics.   Keep your neck relaxed.  A slightly lower stool position could make you play with even greater ease, allowing your sounds to lift up out of the piano.<br />Shchedrin: The F minor 2 Part invention was played with confidence and rhythmic control.  There could be even more charm and humour- especially with regard to the subsidiary voice throughout.  Experiment a little more with touch.  Bring out the jazz-inspired quality of the music.  Basso ostinato had real vibrancy, authority, conviction and intensity.  Excellent variety of sound and rhythmic control.  Bravo! A wonderful achievement.  Overall admirable contrasts of approach between the three styles of music presented.  Many laudable and ‘unteachable’ qualities in the playing that brought a most welcome freshness and creative spirit to the music.</p>','<p>Liu Tianyuan','','1323872343','1');
INSERT INTO `node_revisions` VALUES ('1957','1977','0','slut(en)8','<p>Liu Tianyuan<br />Liszt Waldesrauschen - beautiful long lines! do not get too excited - you lose control. let the music speak effortlessly. you have very nice “p”, “f” are a bit harsh.</p><p>Mozart – very elegant! good sense of structure.</p><p>Schedrin – very well played, good rhythm and drive. while maintaining your own excitement about the music, try to keep everything under more control, especially in louder sections.</p><p>very impressive playing!work on being more accurate.great potential!</p>','<p>Liu Tianyuan<br />Liszt Waldesrauschen - beautiful long lines! do not get too excited - you lose control. let the music speak effortlessly. you have very nice “p”, “f” are a bit harsh.</p><p>Mozart – very elegant! good sense of structure.</p>','','1323872405','1');
INSERT INTO `node_revisions` VALUES ('1958','1978','0','thomson(en)8','<p>Liu Tianyuan<br />Liszt Concert Etude “Waldesrauschen”  <br />Watch the dynamics (pp and ppp) in the first five pages – they are not mf. There was a very good security about the playing and the balance between the hands was very good.<br />Mozart Sonata K281, Mvt.1<br />This was a very good contrast to the first work. There was quite a good feeling for the style but there were some exaggerations which detracted from the performance.<br />Schedrin Two polyphonic pieces<br />The performance was very confident and was a good contrast to the other works. The work had rhythmic drive and played with a good dynamic range.</p>','<p>Liu Tianyuan<br />Liszt Concert Etude “Waldesrauschen”  <br />Watch the dynamics (pp and ppp) in the first five pages – they are not mf. There was a very good security about the playing and the balance between the hands was very good.<br />Mozart Sonata K281, Mvt.1','','1323872471','1');
INSERT INTO `node_revisions` VALUES ('1959','1979','0','wei(en)8','<p>Liu Tianyuan<br />Liszt Waldesrauschen, very sensitive playing with a good sense of phrasing. I like the fact your phrases have directions, so they flow naturally. There is also energy and passion in the playing. You also have a good ear for sound. It can be loud, but not harsh. <br />Mozart Sonata, played with a beautiful singing sound. I also found it to be very imaginative and stylish. You seemed to be very focused. And there is intensity also.<br />Schwerin Two polyphonic pieces, very articulated sound with clear voicing. It also shows strong rhythmic intensity. <br />Overall a very enjoyable performance.</p>','<p>Liu Tianyuan<br />Liszt Waldesrauschen, very sensitive playing with a good sense of phrasing. I like the fact your phrases have directions, so they flow naturally. There is also energy and passion in the playing. You also have a good ear for sound. It can be loud, but not harsh. ','','1323872514','1');
INSERT INTO `node_revisions` VALUES ('1960','1980','0','Ungar(en)9','<p>Lu Xingyu<br />Liszt: Concert Etude “Gnomenreigen”<br />This is an excellent vehicle for your well formed technique. You control the tempo and at the same time bring out the contour of the melody. Also the repeated notes in the left hand seem to be not so problematic for you. There are two areas where you need to make an effort to improve – firstly, try to bring out greater differences between the dynamic levels. More than half of the work is “p” and “pp” and there must be a difference between A major and B-flat major and later F-sharp major. Also try to make this section much lighter and transparent.  Secondly, look carefully how Liszt clearly divides the piece into two halves, the first section is a repetition of the two main ideas and then there is a gradual quickening of the tempo to the very end. If you can manage to incorporate these two ideas into your performance, you will create a wonderful satisfying experience.</p><p>Mozart: Sonata in B-flat major, KV 281 (Allegro - First Movement)<br />Overall I like your performance of this extremely delicate and personal sonata movement. It is personal due to the special way he treats the accompaniment with its subtle changes and forward motions that create the sense of building tension – which of course is then released in with much needed cadences. You do capture often this forward motion, especially noticeably in the development section, however at the same time you need to bring out just as much the rhythmic pulse that relies on a variety of activities – notice how often the right hand is off the beat, or starts the melody leading to the second beat of the measure. By bringing these out, you create a wonderful feeling of enthusiasm of propulsion which allows the movement to sound “Allegro”. At the moment you are pulsating in 4 beats in a measure, try to make it 2 as indicated by Mozart and make it still sound natural. </p><p>Prokofiev: Sarcasms, Op.17<br />This is excellent repertoire for you with many challenges. At the moment you follow the score as written by Prokofiev and for this I congratulate you. Eventually you will find a great deal of depth that allows us to hear the music from different angles. What you need to do is to find different characteristics of human nature and portray these through music. You need to exaggerate everything, the percussive elements in the first piece which you do well must be contrasted more with the extraordinarily lyrical contrapuntal theme. The second piece starts in a contemplative mood and the theme should be played in a casual manner. This continues even though it gets louder, never forgetting the instruction at the beginning – “rubato”. The intense rush of energy in the third piece starts well, you should be also aware of the contrapuntal melodies opposing the percussive character. The middle section is only a momentary relief but here you could be more lyrical. The forth movement titled \"Smanioso\" (Frenzied) has an improvisatory element that again can be divided into two parts with a much more pronounced contrast. The final piece portrays darkness, hopelessness, gloom and anxiety. Your performance does have the makings of something special so continue to explore all the possibilities within the music and communicate them to your listeners.</p><p>Lu Xingyu, you are already quite mature for your age and without doubt you will advance to a higher level of quality performance. You need to study a great deal of repertoire as everything enhances your imagination – for example if you listen to Prokofiev’s Fifth Symphony or his Second Piano Concerto you will find many moods that coincide with those displayed in the Sarcasms. Keep on working as you are very talent.</p>','<p>Lu Xingyu<br />Liszt: Concert Etude “Gnomenreigen”','','1323872602','1');
INSERT INTO `node_revisions` VALUES ('1961','1981','0','Bax(en)9','<p>Lu Xingyu<br />Liszt Gnomenreigen<br />Very crisp, but the left hand is a bit too heavy and makes the whole piece a bit clumsy and not so graceful.<br />Mozart Sonata KV 281, 1st movement<br />Be careful not to push the sound too much in the Forte. The faster passages seemed a bit rushed. Every passage, no matter how fast should be sung. The same applies to ornaments. Do not think of them as being fast, but every not is part of the melody.<br />Sergei Prokofiev “Sarcasms”<br />Nice dynamic contrasts. Once again, you should be always thinking of sound quality, no matter how loud the composers asks you to play.  Great character and very convincing playing altogether.</p>','<p>Lu Xingyu<br />Liszt Gnomenreigen<br />Very crisp, but the left hand is a bit too heavy and makes the whole piece a bit clumsy and not so graceful.<br />Mozart Sonata KV 281, 1st movement','','1323872683','1');
INSERT INTO `node_revisions` VALUES ('1962','1982','0','Kors(en)9','<p>Lu Xingyu<br />Very good finger technique in Liszt. Good left hand too. The whole Piece was played on one breath, it felt like it lasted just a mere moment, which is a compliment. The next challenge is to make it musically more interesting, more diverse. The beginning can be softer suggesting that we are only beginning to see and hear gnomes gathering before the dance. Mozart is fluid and quite competent, but is lacking imagination. It sounded like you haven\'t found enough personal attachment to this piece. Again, thinking more theatrically will bring this music to live and you will have much more to say in it.</p><p>Sarcasms – excellent repertoire choice. Very well played indeed. Like in the \"Gnomenreigen\", I liked very much the stormy effect in the fast parts of the cycle and great and psychologically intense ending of the last one.</p><p>Your piano playing impresses and your musical talents inspire. Let your artistic imagination grow, nurture it and you will be successful.</p>','<p>Lu Xingyu','','1323876473','1');
INSERT INTO `node_revisions` VALUES ('1963','1983','0','mcl(en)9','<p>Lu Xingyu<br />Liszt ‘Gnomenreigen’ was played with remarkable velocity.  Much more sensitivity and care over sound quality and leggiero in particular was needed.  It was all too forceful and heavy and needed much more charm and delicacy.  It was too forceful to evoke a Gnome-like characterisation.   Extraordinary speed and dexterity in need of more musical focus to bring out the spirit of the music.</p><p>Mozart’s B flat sonata first movement was played with technical ease.  It needed more charm and transparency in terms of tone and texture in order to be stylistic and authoritative in a Mozartian sense.   Left hand figurations tended to be too heavy.  Excellent control, but now much more charm and imagination would be very welcome<br />Prokofiev Sarcasms were played with much more conviction. Excellent rhythm.  There is much more room for colour variety here too, though.  The second movement could be taken slower in order to bring out more of the grotesque characterisation.  No. 3 had a tremendous motoric drive.  Excellent articulation and strength of articulation on the fourth movement again allied with authoritative rhythm.  The personality and idiom of this uncompromising and stubbornly relentless music was extremely well captured.   In the visionary expansiveness at the end of the fourth movement more spaciousness and searching lyricism would be possible.  Control and precision in executing the contrasts was also impressive in the fifth movement, always realised with excellent rhythm.</p>','<p>Lu Xingyu','','1323872974','1');
INSERT INTO `node_revisions` VALUES ('1964','1984','0','slut(en)9','<p>Lu Xingyu<br />Liszt Gnomenreigen – brilliant playing.you have great fingers, but if you could find a way to play this piece lighter it would be even more impressive.</p><p>Mozart – very well played. you can be free, but try to maintain the pulse throughout the movement –the lyrical second theme does not need to be slower. </p><p>Prokofiev – very nice, imaginative playing.good timing and very successful at capturing the mood of each piece.</p>','<p>Lu Xingyu<br />Liszt Gnomenreigen – brilliant playing.you have great fingers, but if you could find a way to play this piece lighter it would be even more impressive.</p><p>Mozart – very well played. you can be free, but try to maintain the pulse throughout the movement –the lyrical second theme does not need to be slower. </p>','','1323873865','1');
INSERT INTO `node_revisions` VALUES ('1965','1985','0','thomson(en)9','<p>Lu Xingyu<br />Liszt Concert Etude “Gnomenreigen”<br />There were very good contrasts in the dynamics. Technical development was very good enabling an outstanding performance to take place. <br />Mozart Sonata KV281, Mvt 1 <br />Again there were very good contrasts in the dynamics without exaggerations. The style of the work was very well appreciated and projected.<br />Sergei Prokofiev “Sarcasms” <br />This was a very good choice as it enabled many different styles and dynamic ranges. The different characters of each work were very well projected. Well done!</p>','<p>Lu Xingyu<br />Liszt Concert Etude “Gnomenreigen”<br />There were very good contrasts in the dynamics. Technical development was very good enabling an outstanding performance to take place. <br />Mozart Sonata KV281, Mvt 1 <br />Again there were very good contrasts in the dynamics without exaggerations. The style of the work was very well appreciated and projected.','','1323873133','1');
INSERT INTO `node_revisions` VALUES ('1966','1986','0','wei(en)9','<p>Lu Xingyu<br />Liszt Gnomenreigen played with energy and excitement. Fast fingers with quite good clarity. I still would like to hear this piece like a light dance. I think your touch is a little on the heavy side. Further, I think a true challenge in an etude such as this is to overcome its technical difficulties and be able to focus one\'s attention on it\'s musical expression. With your excellent technique, you should be able to make this piece more expressive with colors, dynamic contrasts, and rhythmic pulse.<br />Mozart Sonata, played with good control and refinement. I\'d like to see more energy in this movement. Also, all the contrasts between f and p, vertical and horizontal lines, delicate and singing voices can be more pronounced.<br />Prokofiev Sarcasms, played with energy and enthusiasm. It showed that you have a big range both in emotional and technical areas. I might want to have a \"cleaner\" more focused sound, and a more transparent voicing.</p>','<p>Lu Xingyu','','1323873182','1');
INSERT INTO `node_revisions` VALUES ('1967','1987','0','Ungar(en)10','<p>Wang Xiaoxoia<br />Liszt: Concert Etude “Gnomenreigen”<br />Although written quite late in Liszt’s life, this 1862 work reflect back to the “Feux follets” published in the études d\'exécution transcendante. The display of gnomes frolicking and the suggestion of spirited flights through darting playfulness make this work so very special. Your performance never leaves the ground and has a tendency to be heavy most of the time. You do not help matters with your constant accentuation of the beats and the heaviness of the appoggiaturas. Being an étude, it demands a great deal of technical ability and you seem to be struggling especially when Liszt demands an increase in tempo. In general after the repeat of the two contrasting sections, the tempo has to continually be quickened and leading to the climax when the only time you should reach a full but still fluid sound. </p><p>Mozart: Sonata in F major, KV 332<br />A principal compositional idea of the classical style was to find thematic materials that are of contrasting nature yet maintain the same tempo of a movement. Tempo was needed to unify while the themes were of contrasting nature. This movement is full of virtuosic elements with scales and arpeggios while the second subject totally resembles an operatic aria displaying strong human melancholic emotions. When Mozart writes in the major key, his development sections are usually quite adventurous and he travels to distant keys. These sonorities are so special in this sonata culminating in a melody resembling the second subject but placing it in ? in the right hand and 6/8 in the left hand. You constantly change tempos, often doubling the values of notes thus distorting the flow that is the essence of this finale. Revise your thoughts as you have quite nice sound and could produce a very satisfying ending to this great work. </p><p>Chopin: Polonaise in D minor, Op.70 No.1<br />Although it was published as Op.70, this rarely performed Polonaise is really an early work of Chopin. Probably written when he was still in Poland in 1827, the key to this work is the understanding of his other compositions like the Rondo Op.1 or the Variations brillantes, B-flat major, Op.12. The general aesthetic at the time was not particularly deep or profound — it was more about varied and pretty effects, called “style brillant”. By constantly changing tempos and using extreme “ritardandos” you make this music heavy, lacking delicacy and humor. Simplicity is the key with lots of variety of articulation, dynamic contrast and beautiful left hand accompaniment that supports and makes the music dance. If possible learn some of the early works of Chopin and gain from such experience and then come back and revise your ideas on this jewel of a piece.</p><p>Wang Xiaoxoia, you are obviously an excellent student who is working very hard and conscientiously to improve. My main suggestion for you is to hear as much music, not only piano, but opera, symphonies, ballet, songs and chamber music to expand your knowledge. You will always play the piano well, but you need to make a strong effort to communicate the music in a manner that is consistent with our traditional view of historical style.</p>','<p>Wang Xiaoxoia<br />Liszt: Concert Etude “Gnomenreigen”','','1323876403','1');
INSERT INTO `node_revisions` VALUES ('1969','1989','0','Bax(en)10','<p>Wang Xiaoxoia<br />One of the difficult tasks in this piece is to make it sound lighter. The right hand in general can be much more light and also the left hand. Be also careful to keep the grace note in the opening theme fast and crisp, not heavy. <br />Mozart Sonata in F major, KV 332, 3rd movement 5+<br />Very committed performance. However your attention to detail sometimes makes the piece sound too heavy and breaks the flow. Also, I think you can explore softer dynamics throughout the movement. You do not need to play loudly to achieve the energy level you want to achieve. Remember also that even faster passages in Mozart should sound melodic.<br />Chopin Polonaise in d minor 7-<br />Very convincing and passionate performance. My only comment is that often I missed the Polonaise rhythm, and therefore the piece sounds too heavy and a little too labored.</p>','<p>Wang Xiaoxoia<br />One of the difficult tasks in this piece is to make it sound lighter. The right hand in general can be much more light and also the left hand. Be also careful to keep the grace note in the opening theme fast and crisp, not heavy. <br />Mozart Sonata in F major, KV 332, 3rd movement 5+','','1323873441','1');
INSERT INTO `node_revisions` VALUES ('1970','1990','0','Kors(en)10','<p>Wang Xiaoxoia<br />Liszt was played on good artistic level but felt a little too heavy. I do not mean slow tempo, but the sound was too bulky and a little clumsy. A more elegant feel would cheer up the piece.</p><p>Mozart was nice too. A few technical shortcomings deserve to be brought up: when musical texture switches from fast (thirty seconds or sixteenths) to slow (eighths or quarters) we tend to slow it down even further; the same thing in reverse: the texture changes from slow to fast and we rush it much more than we need. It happened with your playing almost each time texture rhythmically changes in the Finale of KV 332. Simply be aware of this phenomenon and resist it. Also you need to be able to operate your hands independently: often your left hand goes out of rhythm (middle of the first page).</p><p>I think your Chopin was the best piece of the program. Lately one doesn\'t hear this polonaise often. It was refreshing to hear it. Still there were some signs of heaviness in the episodes.</p>','<p>Wang Xiaoxoia<br />Liszt was played on good artistic level but felt a little too heavy. I do not mean slow tempo, but the sound was too bulky and a little clumsy. A more elegant feel would cheer up the piece.</p>','','1323873528','1');
INSERT INTO `node_revisions` VALUES ('1971','1991','0','mcl(en)10','<p>Wang Xiaoxoia<br />Liszt’s ‘Gnomenreigen’ lacked real clarity, focus, detail and precision.  It needed more fluency, fluidity and a less heavy touch.  Dynamics were underplayed.   The final section in particular was too heavy, laboured and lacking in delicacy and grace.  <br />Mozart’s F major sonata finale K332 showed clear articulation but tended to change tempo and lack a sense of fluidity.  The music did not lift itself sufficiently off the page and needed to dance much more fluently and lightly throughout.   Overall there was a need for more cantabile.  Accentuation tended to get in the way of lyrical phrasing and so underplay the- essential- vocal- quality of this wonderful music. <br />Chopin’s rarely performed D minor Polonaise was played with commitment and obvious enjoyment.  Lots of colours and contrasts, but a sense of the requisite Polonaise rhythm was lacking.  There was a need for greater consistency and more rhythmic sweep. At times it was difficult to be aware of the rhythmic hierarchy, especially in the central sections.   The rubato needed to fit in with greater logic to the overall phrase structure of the piece as a whole.</p>','<p>Wang Xiaoxoia<br />Liszt’s ‘Gnomenreigen’ lacked real clarity, focus, detail and precision.  It needed more fluency, fluidity and a less heavy touch.  Dynamics were underplayed.   The final section in particular was too heavy, laboured and lacking in delicacy and grace.  ','','1323873587','1');
INSERT INTO `node_revisions` VALUES ('1972','1992','0','slut(en)10','<p>Wang Xiaoxoia<br />Liszt Gnomenreigen – a bit too slow and heavy at times. nice touches of pedal, but be careful not to over use it.</p><p>Mozart – keep the flow throughout the movement. too many individual vertical impulses on every single dotted quarter note – get through the measure and make sure that all passages are melodic.in general try to look for more instrumental qualities in the sound.</p><p>Chopin – many lovely moments. it seems that you are able to connect better with this music. much of the piece sounded predictable – you tend to stop as you approach the end of almost every phrase. very nice sound in general -still, needs more rhythmic and tonal refinement.</p><p>very enjoyable playing!</p>','<p>Wang Xiaoxoia<br />Liszt Gnomenreigen – a bit too slow and heavy at times. nice touches of pedal, but be careful not to over use it.</p>','','1323873648','1');
INSERT INTO `node_revisions` VALUES ('1973','1993','0','thomson(en)10','<p>Wang Xiaoxoia<br />Liszt Concert Etude “Gnomenreigen”<br />There were exciting climaxes and very pleasing technical control.  There was also very good range of dynamics. <br />Mozart Sonata in F Major, KV332, Movt III<br />The tempo chosen was most appropriate and with very well developed technical control. This allowed for a very bright performance.<br />Chopin Polonaise in d minor, OP 71 No 1<br />The performance showed quite good attention to the details in the score as well as the style of the work. There could be a greater vitality in the performance in the work.</p>','<p>Wang Xiaoxoia<br />Liszt Concert Etude “Gnomenreigen”<br />There were exciting climaxes and very pleasing technical control.  There was also very good range of dynamics. <br />Mozart Sonata in F Major, KV332, Movt III<br />The tempo chosen was most appropriate and with very well developed technical control. This allowed for a very bright performance.','','1323873933','1');
INSERT INTO `node_revisions` VALUES ('1974','1994','0','wei(en)10','<p>Wang Xiaoxoia<br />Liszt Gnomenreigen, played in a controlled tempo with good clarity. I feel the touch is a little heavy and the grace notes little sluggish. I also would like to see the 8th notes have more of a bouncing rhythm to give the music more of a dance feeling.<br />Mozart sonata,focused and intense playing. Quite solid technically. However, I think this music is more playful, and the sound more singing. Like Chopin, Mozart requires all the running notes to be singing also. And I think that is one of the hardest things to do. The tempo can be steadier also.<br />Chopin Polonaise, the theme is played with sensitive and imaginative sound. Unfortunately, the sound and phrasing got little rough and harsh as the music unfolded. And therefore, it became less interesting.</p>','<p>Wang Xiaoxoia<br />Liszt Gnomenreigen, played in a controlled tempo with good clarity. I feel the touch is a little heavy and the grace notes little sluggish. I also would like to see the 8th notes have more of a bouncing rhythm to give the music more of a dance feeling.','','1323873990','1');
INSERT INTO `node_revisions` VALUES ('1975','1995','0','Ungar(en)11','<p>Wang Yiqun<br />Haydn: Sonata in D major, Hob.XVI/24<br />This very special sonata, dedicated to Nikolaus Esterházy with three contrasting movements is unfortunately seldom performed. Your performance of the first movement has freshness and energy. I very much like your tempo that has a natural sweep of the whole movement. But there is something missing; Haydn relied considerably on the performer’s personal creative talent and he trusted that players would understand the style as well as the spirit of his compositions. In most “urtext” editions of this sonata there are no dynamic or articulation marks, but this means an invitation for your creative ideas. Generally sonatas written in the major key lend themselves to more dramatic contrasting sections in the minor keys and wonderfully adventurous modulations. You should make your phrasing clearer like sentences in conversations and explore the wonderful way for rhythmic variety Haydn changes often to 6/8 from ? or uses hemiola. <br />While you have a wonderful sound for Haydn you should try to make it more interesting, surprising and ultimately personal.</p><p>Liszt: Concert Etude “La Leggierezza”<br />There are many good points to your performance of this étude. Based on a single melodic idea, <br />you make it sound like a continuous improvisation. The initial cadenza like introduction is paced well and moves well into the theme which is later becomes more and more polyphonic in nature. This Liszt work is quite close in spirit and atmosphere to some of Chopin’s Impromptus and at times you could make it lighter and transparent as suggested by the title “lightness”. The two climaxes are well balanced and show your understanding of the work’s structure. Another way you could improve your performance is to aim for simplicity, at times you are exaggerate the melodic contour. However you control extremely well the left hand melodic line with the right hand double thirds and in fact after that your performance improves significantly. The work’s conclusion is well performed with sincere elegance and suitable effortlessness.  </p><p>Brahms: Scherzo in E-flat minor, Op.4<br />Excellent choice of repertoire for you, this is a very effective concert work, full of youthful energy and contrasts. The basic structure of two intervening Trios in E-flat major and B major, leading from and to the main Scherzo theme. I am sure you also realize how much this resembles the Scherzo No.2 in B-flat minor, Op.31 of Chopin. <br />Your best effort is in the main scherzo section where your strength and vitality clearly shows. Perhaps feeling the long lines would extend the phrases, stretching Brahms is always the best approach. Your sound could also be deeper, try to stay in the piano and move downwards instead of upwards. But on the whole, your approach of this section was satisfying. Less so the two Trios; in the first trio use the rests for breathing, yet make longer phrases, make an effort to show the difference between “espressivo”, “dolce” and “teneramente”, obviously Brahms tried to convey different sounds and expression. The second trio needs more attention from you regarding balance between accompanying left hand and melodic right hand. Again try to spin longer phrases and while here Brahms wants forte, this cannot be the same as the “forte” of the main theme. Lastly be careful of the rhythm at cadences, the eighth notes are played too fast. </p><p>Wang Yiqun, you are very talented and already performing in a serious manner. I like many things you already accomplish, your sound and understanding of styles are excellent for your age. Keep improving and learn a great deal of repertoire.</p>','<p>Wang Yiqun<br />Haydn: Sonata in D major, Hob.XVI/24','','1323874088','1');
INSERT INTO `node_revisions` VALUES ('1976','1996','0','Bax(en)11','<p>Wang Yiqun<br />Haydn Sonata in D major, 1st movement <br />Very beautiful and stylish performance.Great character, dynamic contrasts. You might take even more time between sections, especially if performing in a large hall. <br />Liszt La Leggierezza<br />Nice and appropriately light character, but the melody could use a thicker, more singing sound. Louder and faster sections need more sweep and focus. The big crescendo was very effective and well planned. Fast and soft chromatic passages in the right hand could sound less notey and more wind-like.<br />Brahms Scherzo<br />Beautiful style, time, and character.Wonderful performance of a very difficult piece.</p>','<p>Wang Yiqun<br />Haydn Sonata in D major, 1st movement <br />Very beautiful and stylish performance.Great character, dynamic contrasts. You might take even more time between sections, especially if performing in a large hall. <br />Liszt La Leggierezza','','1323874179','1');
INSERT INTO `node_revisions` VALUES ('1977','1997','0','Kors(en)11','<p>Wang Yiqun<br />Beautiful choice of Haydn sonata！Very well played too. In fast repetitive textures keep working towards making them more even. Liszt: Nice, expressive playing. I recommend using the soft pedal more often to achieve a greater level of intimacy. Very good thirds in the middle of the piece.  Please, try to think in longer phrases-there was a little too much sub-phrasing for my taste.</p><p>Brahms could use a little more pedal in “f” chords. Very good, strong playing overall. Your professional qualities are clearly very strong and your talents are apparent. What I looked in your playing and could not find was grace and elegance-the feeling we have when we look at a beautiful painting or in reading great poetry. You have these qualities inside and they appear at times instead of being out constantly. You also give the impression of an intelligent young person. Perhaps, reading more classical literature, biographies of famous people like composers whose music you play, should help. Good luck!</p>','<p>Wang Yiqun','','1323874247','1');
INSERT INTO `node_revisions` VALUES ('1978','1998','0','mcl(en)11','<p>Wang Yiqun<br />Haydn’s D major sonata was realised with lots of energy.  The phrasing needed to be longer- excessive head movements may be preventing sustained phrasing.  Overall there was too much agitation and nervous energy where warmth and charm would be more fitting and appropriate.  Welcome lightness of touch and a good balance between the hands. With a little more spaciousness and care over the characterisation of the music, results could be even more convincing.  <br />‘La Leggierezza’ was taken at a persuasive tempo. The opening had an appropriate tonal range, but as the textures became busier there was a need for a lighter touch, with more mercurial passagework, more careful and imaginative pedalling and more creativity in terms of texture and balancing of voices. Phrasing lacked real expansive expression and personality.  There was a need for cantabile throughout- something also missing from the Haydn earlier. <br />In Brahms’ op. 4 scherzo control and focus remained consistently positive throughout.  There was a need for a bigger over-view with phrasing, so that accents on individual bars become less significant that broader phrase units.  More interest in terms of colour variety and voicing would help lift the music off the page here.  Today the performance became rather predictable, and almost too ‘safe’ to real excite complete focus and interest from the listener.  Impressive work here and indeed throughout the programme nonetheless. </p>','<p>Wang Yiqun','','1323874314','1');
INSERT INTO `node_revisions` VALUES ('1979','1999','0','slut(en)11','<p>Wang Yiqun<br />Haydn – nice touch, good rhythm and articulation – the character of the piece came through very nicely!</p><p>Liszt la leggierezza – very musical.more pianistic control  and light touch are needed. also, sometimes simplicity makes a piece more expressive.</p><p>Brahms –very nice lyrical moments.be aware of symphonic nature of this work - this could be a scherzo movement from a symphony. make sure that you bring phrases to their destination without stopping on the way.</p>','<p>Wang Yiqun<br />Haydn – nice touch, good rhythm and articulation – the character of the piece came through very nicely!</p><p>Liszt la leggierezza – very musical.more pianistic control  and light touch are needed. also, sometimes simplicity makes a piece more expressive.</p>','','1323874361','1');
INSERT INTO `node_revisions` VALUES ('1980','2000','0','thomson(en)11','<p>Wang Yiqun<br />Haydn Sonata in D Major, Hob XVI/24, Mvt 1 <br />There was a very nice feeling for this Sonata and the dynamics were very well judged without exaggerations. There was good balance between the two hands. It is quite a pleasing performance.<br />Liszt Concert Etude “La Leggierezza” <br />There was a pleasing secure technique and good contrasts in the dynamics. The style of the work was well projected.<br />Brahms Scherzo in e flat minor Op 4<br />A very good choice of work with a good rhythmic control and a very pleasing range of dynamics. </p>','<p>Wang Yiqun<br />Haydn Sonata in D Major, Hob XVI/24, Mvt 1 <br />There was a very nice feeling for this Sonata and the dynamics were very well judged without exaggerations. There was good balance between the two hands. It is quite a pleasing performance.<br />Liszt Concert Etude “La Leggierezza” ','','1323874406','1');
INSERT INTO `node_revisions` VALUES ('1981','2001','0','wei(en)11','<p>Wang Yiqun<br />Haydn Sonata, elegant and stylish playing. You have a delicate sound with good articulation. I also like the energy and playfulness you brought out of this music.<br />Liszt la Leggierezza, good solid playing with a sound technique. The double thirds were impressive. I think if the runs are played with better evenness, clarity and delicacy, they can be much more attractive. <br />Brahms Scherzo. It is very admirable that at such a young age, you played this music which is clearly for grownups, with a great deal of certainty. Here the texture is thicker, and we need thicker sound, longer phrases, and more legato to bring this music to life. Too much thinking in vertical line can make it quite dry. But overall, a solid performance.</p>','<p>Wang Yiqun<br />Haydn Sonata, elegant and stylish playing. You have a delicate sound with good articulation. I also like the energy and playfulness you brought out of this music.','','1323874445','1');
INSERT INTO `node_revisions` VALUES ('1982','2002','0','Ungar(en)12','<p>Wu Junlin<br />Haydn: Sonata in E major, HOB.XVI/31<br />Your performance is very spirited and is full of enthusiasm. Indeed your playing has many wonderful characteristics. I like the immediate drama of the C-sharp minor in the development section, the clarity of your scales and triplet figure whether melodic or accompanying. At times you manage well the cadences that are so important in the classical style. However, you consistently make the second note of the first subject a staccato thus the melodic line of B-A-G#-F#-E is broken – it is important to note that in the classical period such a descending line was automatically interpreted with a diminuendo. At times you also break up the phrase for a momentary “romanticism” – this in itself is acceptable but allowing the phrases their natural progression should be your goal. Lastly make an effort to react to keys, for example the first subject ends with a strong conclusion in E major, then without any transition the second subject appears in C-sharp minor; you really need to make a big character difference and chose a more contrasting somber color.</p><p>Liszt: Concert Etude “La Leggierezza”<br />You have an extremely good technique and I am sure you have the ability to tackle most of the piano repertoire. But technique is only a tool and understanding of the piece and utilizing the technique is of the absolute importance. The word “La Leggierezza” means “Lightness”, and a careful study of the score will inform you that only in two places does the music rise to the passionate loud dynamics. The word that you should have in your mind is “elegance” when interpreting this work, quite close to the atmosphere that Chopin creates in his Impromptus. By slowing down so many times, you stop the flow of the music and the natural progression that is the basis of this composition – the simple melody is varied constantly by added voices and ornamentation. You do manage to produce wonderful light sounds at times and it is a joy to hear these moments. The improvisatory nature of the introduction which starts softly should also be at the end of the work, making it sound as if you concluding with a reference to the beginning. Do try to revise your ideas as this could be a very beautiful piece for you.</p><p>Prokofiev: Sonata No.3 in A minor, Op.28<br />Written in 1917, this Sonata is a dramatic departure from the humorous, sarcastic mood of the Second Sonata. The work is in one movement form, utilized by many composers including Liszt, using three distinct thematic ideas with distinct sections of exposition, development, recapitulation and coda. While everyone agrees that it is one of the most brilliant, virtuosic works of Prokofiev, it is also full of lyricism and contrasts. One only has to look carefully the dynamic indications to bring to life all the varied colors that any successful performance of this Sonata requires. Although, I prefer the tempo a little on the slower side, it is in the area of dynamic discipline that your performance falls considerably short. It seems to me that you base your performance on the virtuoso character, while the fast tempo could be exhilarating, if it does not embrace all the details, the numerous secondary melodies and rhythmic motives the whole effect is not satisfying. My initial suggestion for you is to make sure that all the dynamic markings are exactly observed, this would immediately lift you performance on a higher level.<br /> <br />Wu Junlin, you have selected excellent repertoire and have considerable technique to deal with its difficulties. I sense also that you are talented and have a genuine personal way to communicate your ideas. But you need to understand that we, performers and teachers are but messengers of the great composers, we need to primarily serve their wishes. </p>','<p>Wu Junlin<br />Haydn: Sonata in E major, HOB.XVI/31','','1323874526','1');
INSERT INTO `node_revisions` VALUES ('1983','2003','0','Bax(en)12','<p>Wu Junlin<br />Haydn Sonata in e major, first movement<br />Very strong performance.Solid and beautiful. I would have loved even more range in character, if possible. Try to explore the more graceful side of this piece. Also the sections feel a bit too compressed in times, especially the faster moving ones.<br />Liszt La Leggierezza<br />Very good control of the melodic line. Great sweep  in the fast chromatic passage of the right hand. Beautiful and convincing.<br />Prokofiev Sonata in a minor<br />Very polished performance.Beautifully contrasting second theme. It could have more refining voicing in the loud chordal passages (beginning, for example). Also, be careful when you release tension in the louder sections, as the ear needs a little more time to hear the harmonies clearly. Be also careful to balance the two hands well in the loudest passages.  All together it was a wonderful performance. </p>','<p>Wu Junlin<br />Haydn Sonata in e major, first movement<br />Very strong performance.Solid and beautiful. I would have loved even more range in character, if possible. Try to explore the more graceful side of this piece. Also the sections feel a bit too compressed in times, especially the faster moving ones.<br />Liszt La Leggierezza','','1323874563','1');
INSERT INTO `node_revisions` VALUES ('1984','2004','0','Kors(en)12','<p>Wu Junlin<br />Simply excellent Haydn! I appreciate your tasteful, virtuosic and stylish creativity. This kind of interpretation should inspire your colleagues to play more Haydn not just for musical education, but very true and exciting music making. Your contemporary way of presenting the piece makes it sound modern without being tasteless.</p><p>Liszt also impressed me very much by genuine expressivity and depth. Please, minimize your body and head movements. They visually distract from listening. There were few rubato related stylistic issues less than perfect for my taste but if it was a small price to pay for achieving your expressivity. Very good finger technique.</p><p>Prokofiev: very strong, imagination engaging paying. Few wrongly learned notes in every piece of the program. I liked that your playing was not standardised. It was a professional result of careful and mature work of a talented young man. There is still quite a bit of polishing you need to do to always direct your talents the right way. I wish you much success in your career.</p>','<p>Wu Junlin<br />Simply excellent Haydn! I appreciate your tasteful, virtuosic and stylish creativity. This kind of interpretation should inspire your colleagues to play more Haydn not just for musical education, but very true and exciting music making. Your contemporary way of presenting the piece makes it sound modern without being tasteless.</p>','','1323875037','1');
INSERT INTO `node_revisions` VALUES ('1985','2005','0','mcl(en)12','<p>Wu Junlin<br />The Haydn was played with excellent technical control and effortless fluency.  Admirable shading and colour, but the music sounded a little too neatly packaged and dispatched. It needed to breathe more naturally, to unfold with a sense of poetic and vocal expression.  The performance sounded a little too ‘easy’ and lacked a sense of wonder and discovery.   Nonetheless there was a real projection of rhythmic intensity and involvement.<br />‘La leggierezza’ was an impressive achievement.  It opened with a much more convincing intensity and expressive power.  Natural rubato was allied to effortless technical control.  The busy passages could have been even more enticingly delicate at times, though an attempt was made to remain within the marked dynamic range.   Extremely impressive playing at the climax, which was extremely powerful but remained within the confines of the written dynamics.  Overall there is still much more room to explore genuine leggiero- it could be much lighter and more mesmerizingly delicate.</p><p>Prokofiev’s third sonata was realised with excellent finger work and panache. Thrilling pianism at an extraordinary high level.  It could have afforded to have been taken a little slower in order to allow all the phrases to shine and breathe- many details in the fastest section  are missed at the highest level if the piece is taken at such an extreme tempo.  There was also a need for much more leggiero and delicacy in the triplet figuration passages when the dynamic level is below mezzo forte.</p>','<p>Wu Junlin','','1323874723','1');
INSERT INTO `node_revisions` VALUES ('1986','2006','0','slut(en)12','<p>Wu Junlin<br />Liszt La leggierezza –many excellent qualities – great fingers, good sound.very expressive, but to my taste too active all the time – borders on being insincere. explore more introspective, meditative qualities.</p><p>Prokofiev – excellent performance.great technical execution.</p><p>excellent playing overall. it is not necessary to do something to the music at every moment. if you allow the music to speak for itself you might be able to communicate with your listeners much better.</p>','<p>Wu Junlin<br />Liszt La leggierezza –many excellent qualities – great fingers, good sound.very expressive, but to my taste too active all the time – borders on being insincere. explore more introspective, meditative qualities.</p><p>Prokofiev – excellent performance.great technical execution.</p>','','1323876206','1');
INSERT INTO `node_revisions` VALUES ('1987','2007','0','thomson(en)12','<p>Wu Junlin<br />Haydn Sonata in E Major, Mvt 1 <br />There were rather many body movements that detracted from the performance even though there was a fluent feeling for the style of the work. The dynamic range however was rather limited.<br />Liszt Concert Etude “La Leggierezza” <br />There was very pleasing involvement of the pianist in the performance of this work. There was also very good technical control and the climaxes were well shaped and also there were very good balance between the two hands.<br />Prokofiev Sonata No 3 in a minor, Op 28 <br />There was a very good feeling for the style of this exciting work due to good technical control and very good details in the dynamics of the work.</p>','<p>Wu Junlin<br />Haydn Sonata in E Major, Mvt 1 <br />There were rather many body movements that detracted from the performance even though there was a fluent feeling for the style of the work. The dynamic range however was rather limited.<br />Liszt Concert Etude “La Leggierezza” ','','1323874814','1');
INSERT INTO `node_revisions` VALUES ('1988','2008','0','wei(en)12','<p>Wu Junlin<br />Haydn sonata， I like the runs of 16th notes in this sonata. They were clearly articulated and brought out the spirit and charm that is so typically Haydn. The melody has a nice singing quality to it. Some of the accents and chords sounded harsh to me. They tend to disturb the flow of music.<br />Liszt Leggierezza, sensitive phrasing in the slow part. Good sense of legato and singing quality of the melody. It could be simpler for my taste. The runs are clean and even. But I feel with your solid technique, you can make them more colorful and imaginative. Now they sounded pretty much the same to me. The left hand lines can also be presented more clearly.<br />Prokofiev sonata, solid and quite clean. The music is presented here in a transparent way, so one can hear everything very clearly. However, I am missing a strong sense of rhythm here.  The strong rhythmic impulse, which manifests itself in the triplets, brings excitement and intensity to the piece. Without it, it\'s fast but flat, loud but not strong.</p>','<p>Wu Junlin<br />Haydn sonata， I like the runs of 16th notes in this sonata. They were clearly articulated and brought out the spirit and charm that is so typically Haydn. The melody has a nice singing quality to it. Some of the accents and chords sounded harsh to me. They tend to disturb the flow of music.','','1323874850','1');
INSERT INTO `node_revisions` VALUES ('1989','2009','0','Ungar(en)13','<p>Xie Tianjian<br />Haydn: Sonata in C major, Hob.XVI/50<br />This is one of the three London Sonatas written in 1794/95 expansive in concept and range from dramatic sections to pages of the utmost brilliance. Your performance has many wonderful characteristics especially the clarity of articulation and defined contrasts. The passages are shaped with good taste and when necessary you bring out the different voices to allow for clear polyphony. In time I hope you will explore more of the essence of this movement which is full of superb humor. The sketchy theme progresses from staccato leaps to connected articulation moving the music descending and ascending, the surprises of jumping ornamental fragments that totally mimics classical comic operas. There is no real second subject, it is simply the first subject dressed in different cloths and often bringing dramatic moments to their conclusions with a smile. But you do have admirable control and provide a sensible, accurate performance.</p><p>Liszt: Concert Etude “La Leggierezza”<br />You have the ability to convey the essence of this work – “lightness” and especially in the second half you manage to create some very beautiful sounds. The theme, resembles the improvisatory nature of work, is varied constantly by simple accompaniment to chromatic scales. Unfortunately your touch is heavy at the beginning and the theme sounds ponderous. You also seem to be impatient at the beginning of the climax, wait for the harmonies bring about the “crescendo” and “stringendo” – make it a gradual progression that is inevitable. You could also make more differences between the keys as you modulate through A-flat major to B-flat minor to B minor to E major and also be more aware of the wonderful chromatic bass movement in the Coda. But basically you have a very good image of the work that you communicate with sincerity and in a personal way. </p><p>Chopin: Scherzo in E major, Op.54<br />This is a wonderful repertoire choice for you. Most students play the other scherzi whose character full of drama, passion and bitter sweet qualities are much more difficult to communicate. This scherzo is full of humor, smiles and joy. And you have the technical ability to create all these characteristics and perform the work in a very mature and enthusiastic way. Of course there are things to improve especially a deeper understanding and feeling for key changes – E major is always the key of angels, of beauty, while A-flat major is of love and gentleness. How Chopin moves between these keys makes this scherzo such magical. Then the C-sharp minor middle section containing the simple Polish folk melody should be such a great contrast. Here you could improve your performance as the melancholic atmosphere is disrupted by the “agitato” of the left hand figure. However, your transition to D minor and back to E major was excellently executed, so was the technically difficult “goodbye” of the Coda. In time this will be such a great work for you, hopefully you will also attempt the other scherzi as part of a recital program.</p><p>Xie Tianjian, you presented a clear understanding of styles in a very mature fashion. You have a wonderful approach to the piano and obviously love music. I hope you will continue to learn a great deal of repertoire and keep on performing, indeed the future for you looks very bright.</p>','<p>Xie Tianjian<br />Haydn: Sonata in C major, Hob.XVI/50','','1323874909','1');
INSERT INTO `node_revisions` VALUES ('1990','2010','0','Bax(en)13','<p>Xie Tianjian<br />Haydn Sonata in C major, 1st movement<br />Very crisp playing and good voicing. Although you have good contrast in character, I think the sound can be much more varied. In the more relaxed parts you can explore a warmer and more legato sound and also the shape of the phrases can change slightly and not always be so straight forward. Give dramatic importance to the pauses as well, do not just count them.<br />Liszt La Leggierezza<br />Again, very crisp playing, but it could use a more legato, warmer and lusher sound. Great clarity and very exciting playing, but I think this piece could use more contrasts. Warmth and lightness will make it more beautiful and even more exciting. <br />Chopin Scherzo in e major<br />Very good performance.Commanding and very clear conception. Again, I would have loved more contrasts in sound and perhaps a little more time between phrases, for added clarity and structural definition. Long, sweeping lines could be freer and less straight forward. </p>','<p>Xie Tianjian<br />Haydn Sonata in C major, 1st movement','','1323874958','1');
INSERT INTO `node_revisions` VALUES ('1991','2011','0','Kors(en)13','<p>Xie Tianjian<br />Good, strong Haydn. A little too “directly” strong. It is a very virtuosic piece requiring high precision, which was not always there. Very nice sense of rhythm, good pedal. </p><p>Liszt: The beginning was a little too “present” and loud. I believe, you should find a more mysterious way to start this piece and immediately engage your listeners’ imagination.</p><p>The middle slow part of Scherzo I enjoyed the most from your whole program. It made it clear to me how talented and capable you are. Your phrasing and ability to listen and follow the line was genuine. </p><p>You have very good bases such as effortless physics, nice technique and fine sense of style. List goes on. But today your program was simply not fully polished and detailed. There were more than few wrong notes throughout your program included some wrongly learned ones in each piece. You need to work harder to be successful in your career. You are talented and you deserve success. It’s in your hands. Good luck.</p>','<p>Xie Tianjian<br />Good, strong Haydn. A little too “directly” strong. It is a very virtuosic piece requiring high precision, which was not always there. Very nice sense of rhythm, good pedal. </p><p>Liszt: The beginning was a little too “present” and loud. I believe, you should find a more mysterious way to start this piece and immediately engage your listeners’ imagination.</p>','','1323875052','1');
INSERT INTO `node_revisions` VALUES ('1992','2012','0','mcl(en)13','<p>Xie Tianjian<br />Haydn’s ‘English’ Sonata was played with rhythmic focus and secure fingers. Overall it was a little too unyielding and uncompromising today.  There was a need for much more charm, spaciousness, humour, variety of texture and delicacy.  Accents tended to be over-projected.  There are more possibilities with the left hand part here- try for real variety of sound and also for less heaviness in the louder passages. The music needed to breathe a lot more within the (correctly sustained) rhythmic pulse.  <br />Liszt’s ‘La leggierezza’ was also impressively secure and well ordered- especially from a technical-mechanical perspective.  The sound overall needs to be more delicate and enticing.  At present the tone was very full at times- too full- and consequently the etude emerged in rather a common place manner rather than as the extraordinary extended whisper that it is.  Much more variety of colour and subtlety at a quieter dynamic level would be most welcome now in order to raise the overall quality of the interpretation<br />Chopin’s fourth scherzo showed an excellent sense of structure and also admirable finger work to a most impressive level.  There is so much more to discover now in terms of colour and magical articulation.  Moving forward by approaching the passagework with a much quieter overall dynamic level would be extremely helpful.   The central section needed more natural and effortless phrasing with less accentuation on individual melodic notes and more care for the overall and seamless melodic line as it unfolds in its never-ending journey.  Many beautiful colours nonetheless.  The return of the opening section- final third of the work- became a little less refined. It is important to retain the poetic lyricism of this unique scherzo from beginning to end.  Retaining the delicacy and refinement without becoming driven is essential. </p>','<p>Xie Tianjian','','1323875108','1');
INSERT INTO `node_revisions` VALUES ('1993','2013','0','slut(en)13','<p>Xie Tianjian<br />Haydn – very nice playing, a bit too straightforward.let the music breathe more, this piece has lots of humor and contrasts in it – you make it sound too businesslike.</p><p>Liszt La leggierezza – you can be more sensitive to harmonic changes, nuance and touch. very capable technically. the name of the piece has something to do with being light – you playtoo much of it at “f”.  experiment more with “p”, “pp” and “ppp”.</p><p>Chopin scherzo no. 4 –you make this piece sound angry instead of elating. you play very accurately in general – your staccatos need to fly more, passage work could be much more effervescent, while maintaining melodic quality in each run. the middle part sometimes lacks improvisational, dreamy, singing quality. try to avoid being so vertical on each down beat – let the music flow more naturally and effortlessly.</p><p>Very good technical foundation!</p>','<p>Xie Tianjian<br />Haydn – very nice playing, a bit too straightforward.let the music breathe more, this piece has lots of humor and contrasts in it – you make it sound too businesslike.</p>','','1323875180','1');
INSERT INTO `node_revisions` VALUES ('1994','2014','0','thomson(en)13','<p>Xie Tianjian<br />Haydn Sonata in C Major XVI/50, Mvt 1 <br />There was a well chosen tempo and a very nice appreciation of the style of this Sonata. The dynamic range was appropriate to the style of this work and it was pleasing to see a forward movement throughout the performance.<br />Liszt Concert Etude “La Leggierezza” <br />There was a very pleasing flowing movement throughout the performance and very good balance between the two hands. Overall it was a very pleasing performance.<br />Chopin Scherzo in E Major, Op 54 <br />With a very good technical control, the chosen tempos were appropriate and the performance had some very fine aspects. Well done!</p>','<p>Xie Tianjian<br />Haydn Sonata in C Major XVI/50, Mvt 1 <br />There was a well chosen tempo and a very nice appreciation of the style of this Sonata. The dynamic range was appropriate to the style of this work and it was pleasing to see a forward movement throughout the performance.<br />Liszt Concert Etude “La Leggierezza” ','','1323875240','1');
INSERT INTO `node_revisions` VALUES ('1995','2015','0','wei(en)13','<p>Xie Tianjian<br />Haydn sonata, well played with a tight control, a steady tempo and good balance. But I am missing the natural flow and the delicate yet singing sound in a Haydn sonata. It sounded a little dry to me. Perhaps a little more direction in phrasing, and a more flowing tempo might help.<br />Liszt Leggierezza, nicely played with a solid technique. I like the range you displayed in this piece. If the melody could be more singing, or played with a more intense legato, it could be more attractive. I\'d also like to see that you try to get more color and contrasts out of the runs.  After all, a good technique should be used to get more musical expression.<br />Chopin scherzo, well thought out, mature performance. There are slight technical glitches here and there, but quite an accomplishment for someone so young. Personally, I would like to see you let go a little more. Yes, we have to play with correct rhythm, and pay attention to various styles, but that\'s not the purpose. The purpose is to be expressive in music, and let yourself and the audience be moved by it. So be brave and explore, you will be handsomely rewarded.</p>','<p>Xie Tianjian<br />Haydn sonata, well played with a tight control, a steady tempo and good balance. But I am missing the natural flow and the delicate yet singing sound in a Haydn sonata. It sounded a little dry to me. Perhaps a little more direction in phrasing, and a more flowing tempo might help.','','1323875281','1');
INSERT INTO `node_revisions` VALUES ('1996','2016','0','Ungar(en)14','<p>Zhang Siying<br />Mozart: Sonata in D major, KV 311<br />This is a very enthusiastic and energetic performance. The Sonata was written when Mozart was 22 years old for his first visit to Mannheim, a very important music center of the period. It is very orchestral in nature, ingeniously utilizing contrast between full orchestra and single instrument with accompaniment. I like very much how you make differences between the first and second subjects, the crispness of your sixteen note accompaniment and the way you finish your cadences. You still need to work on the language of the classic style: you should not “crescendo” into a “forte”, it should be a clear contrast, also do not “crescendo” the descending melodic lines, for example the descending quarter notes in the second subject or at the beginning of the development section. There are many surprises, understand these and use them to create interest for your listeners. Often you negate these, for example the interrupted cadence third measure before the end of the movement should be loud like a question and not soft, enabling the answer to be in a contrasting mood. However, it is obvious that you have a close affinity to this music and I hope you learn many, if not all the Mozart Sonatas.</p><p>Mendelssohn: Rondo Capriccioso, Op.14<br />A perfect composition such as this one creates many problems for interpretation and performance. Your performance is strong in one area, the quality of your sound is superb, you make a distinction between the E major “Andante” and the E minor “Presto” sections. The vocal quality of your melody especially at the beginning was superb as was the instrumental fugal entries launching the fast tempo, both were of the highest standard of performance.<br />However, much of this is negated by your personal interpretation of the work which is constantly plagued by the excessive use of stopping and slowing within phrases. Music must flow and one principal factor in romantic music is to move towards the first beat (especially in 6/8 time), seldom use the feeling of a final cadence and stretching the lines into long phrases. Further, use of different degree of “ritardando” or “calando” must be a natural outcome of the music and must be executed in a creative manner. </p><p>Liszt: Concert Etude “Gnomenreigen”<br />It is quite obvious that you have the technique to perform this or perhaps many other études of Franz Liszt. An important aspect of his method of composition is that he always needed inspiration from an external source. In this case it is the imaginary “Dance of Gnomes”, viewed from a romantic perspective meaning “little people” – energetic, light and full of mischief.  Liszt composes this work in two section, the first is a repeat of the introduction and main theme in A major the first time and B-flat major the second time. The second part is a gradual increase in tempo to the end moving from G minor to F-sharp major and then modulations and back to the F-sharp for the Coda.<br />Your tempo at the beginning did not give you any room to get faster and faster in the second section. You must try to give the main theme different feel of color as it is announced in three different keys. Lastly look at the dynamic markings of Liszt and the different levels of “piano”, once you do justice to these markings you will find your performance much more satisfying.</p><p>Zhang Siying, you are talented and endowed with excellent technique. You have a natural easy way of playing, perhaps too easy! However in time you need to demand of yourself to express with determination what is in the score. I wish you all the best in all of your endeavors.</p>','<p>Zhang Siying<br />Mozart: Sonata in D major, KV 311','','1323875355','1');
INSERT INTO `node_revisions` VALUES ('1997','2017','0','Bax(en)14','<p>Zhang Siying<br />Mozart Sonata KV 311, 1st movement<br />The weak beats are rushing slightly, and so are sixteenths notes. As a consequence there is a certain sense of agitation which I do not think belongs to this movement. Be also careful to keep the left hand in balance and not make it sound too heavy.<br />Mendelssohn Rondo Capriccioso<br />Very good melody in the introduction, but be careful not to overpower it with the left hand.  Great character in the faster section, but the second theme feels a little too heavy. It is singing, but the left hand makes it too heavy. Also be careful to keep a strong pulse throughout, and to feel all the harmony changes, even if the music moves fast.<br />Liszt Gnomenreigen<br />Very good and light character.Great conception and overview of this work.</p>','<p>Zhang Siying<br />Mozart Sonata KV 311, 1st movement<br />The weak beats are rushing slightly, and so are sixteenths notes. As a consequence there is a certain sense of agitation which I do not think belongs to this movement. Be also careful to keep the left hand in balance and not make it sound too heavy.<br />Mendelssohn Rondo Capriccioso','','1323875403','1');
INSERT INTO `node_revisions` VALUES ('1998','2018','0','Kors(en)14','<p>Zhang Siying<br />Very nice and sweet Mozart. You have a very good ear. Everything is polyphonically clear and transparent. I have to say the same about Mendelssohn and Liszt. Your playing in each piece was extremely intelligent and musical. It displayed such important qualities as fine technique, nice sense of shape, natural gentle manners at the instrument. However it was lacking something, which would make you listener to remember and identify you from the very large quantity of fine pianists of your age. I did not sense that you made a spiritual effort to uncover true inner beauty, which hides in depth of the each piece of your program. I am very pleased with your playing, but I also expect to be very impressed. Please, widen your musical imagination, allow more extremes in your playing, do not be afraid of making a mistake – we can’t learn without making mistakes. I believe in your genuine talent and wish you best of luck.</p>','<p>Zhang Siying','','1323875472','1');
INSERT INTO `node_revisions` VALUES ('1999','2019','0','mcl(en)14','<p>Zhang Siying<br />The Mozart D major Sonata had spaciousness and warm lyricism in the melodic part.  However even more refinement, creativity and delicacy is possible in the lower parts.  The left hand figurations needed more delicacy and refinement throughout, and could be tackled with much more imagination and creativity.  Musical and accomplished playing nonetheless. <br />Mendelssohn’s Andante showed intensity and lyricism but did not stray from the constraints of the style in terms of dynamics and texture.  The rubato was imaginative, but could be a little more natural and more under-stated now.  Try for a little more subtlety. <br />The Rondo Capriccioso had delicacy and an excellent tempo which was fluent and exciting yet still managed to allow the music time to breathe.   There is still room and scope for lighter sounds, however, and also for more shading within the given dynamic range.  At times there was a need for more natural and effortless rubato in the phrasing.  Before the E major arpeggios the ritardandos sounded artificial and unconvincing.  Overall an exciting and idiomatic performance.<br />‘Gnomenreigen’ was played with fluency and character.  Pedalling was a little too heavy throughout which made articulation just a little less clear than it might have been. Overall it could have been a fraction faster and even lighter too.  There is room for even more subtlety and variety of sound within the given parameters set out on the score.  Try to sound as though you are composing as you play, so that there is always a sense of discovery and surprise in the dynamic range.   The climax became a little too solid and heavy, lacking real leggiero and a sense of transparency.  This is music that should always sound air born and free.  Extremely impressive playing overall, with some welcome natural and innate features that go well beyond what it is possible to teach.</p>','<p>Zhang Siying<br />The Mozart D major Sonata had spaciousness and warm lyricism in the melodic part.  However even more refinement, creativity and delicacy is possible in the lower parts.  The left hand figurations needed more delicacy and refinement throughout, and could be tackled with much more imagination and creativity.  Musical and accomplished playing nonetheless. ','','1323875526','1');
INSERT INTO `node_revisions` VALUES ('2000','2020','0','slut(en)14','<p>Zhang Siying<br />Mozart –good articulation and nice separation of melody and accompaniment, good spirit.could be even more elegant</p><p>Mendelssohn –very beautiful and expressive sound in the introduction.please do not over use the rubato – the most successful rubato is impossible to dissect, yours are often too obvious. nice light touch in rondo. some of the deliberate stops and ritards do not sound genuine and sincere.<br />Liszt gnomenreigen–nice fingerwork. I am missing the mysterious, magical quality of the piece. theprestissimo section should not be slower than the rest of the piece.</p>','<p>Zhang Siying<br />Mozart –good articulation and nice separation of melody and accompaniment, good spirit.could be even more elegant</p>','','1323875575','1');
INSERT INTO `node_revisions` VALUES ('2001','2021','0','thomson(en)14','<p>Zhang Siying<br />Mozart Sonata KV311, Mvt 1 <br />The chosen tempo was appropriate and it was pleasing to see the security of the technical aspects of this Sonata.  The dynamics were also appropriate for this performance.<br />Mendelssohn Rondo Capriccioso Op 14<br />The Andante introduction was nicely shaped and the Capriccioso had a lively tempo and there was a very good forward momentum with very clear staccato. There was a pleasing security in the technical aspects of this work.<br />Liszt Concert Etude “Gnomenreigen”<br />There was pleasing clarity of articulation throughout the performance and there was overall a brilliance in the performance. Well done!</p>','<p>Zhang Siying<br />Mozart Sonata KV311, Mvt 1 <br />The chosen tempo was appropriate and it was pleasing to see the security of the technical aspects of this Sonata.  The dynamics were also appropriate for this performance.<br />Mendelssohn Rondo Capriccioso Op 14','','1323875616','1');
INSERT INTO `node_revisions` VALUES ('2002','2022','0','wei(en)14','<p>Zhang Siying<br />Mozart sonata, very elegant and stylish playing. I like the fact that you paid detailed attention to phrasing. So the small contrasts and nuances were brought out. Personally, I like it to be played with more energy. Perhaps a slightly faster tempo might help. <br />Mendelssohn Rondo Capriccioso, good solid playing. It is very steady rhythmically. But here, I\'d like to see more range. There are so many contrasts and different shades of colors in this music. You can have more fun with them. So the music doesn\'t stay the same, and your emotion stagnant. Sometimes, the middle of the road is the most dangerous place to be.<br />Liszt Gnomenreigen, the runs are impressive. They are clear and played with ease. Perhaps a stronger rhythm would add a little bounce to it.</p>','<p>Zhang Siying<br />Mozart sonata, very elegant and stylish playing. I like the fact that you paid detailed attention to phrasing. So the small contrasts and nuances were brought out. Personally, I like it to be played with more energy. Perhaps a slightly faster tempo might help. ','','1323875647','1');
INSERT INTO `node_revisions` VALUES ('2003','2023','1','第二届周广仁钢琴艺术新人奖获奖名单(赛场内外用)','','','','1324009794','1');
INSERT INTO `node_revisions` VALUES ('2004','2024','1','2011届钢琴艺术奖获奖名单(首页用)','','','','1324009765','1');
INSERT INTO `node_revisions` VALUES ('2005','2025','0','第二届周广仁钢琴艺术新人奖今日揭晓','<p>第二届周广仁钢琴艺术新人奖获奖选手名单如下：</p><p>第一名： 卢星宇   （北京）   <br />第二名： 黄蔚園   （香港）  <br />第三名： 吴君麟   （广州）  <br />第四名： 刘天元   （北京）    <br />第五名： 安天旭   （河北） <br />第六名： 顾欣皓   （上海）   </p><p>欢迎大家观看7位评委对每位选手的英文点评（<a href=\"/ypa/2011/en\">http://www.zgrchina.com/ypa/2011/en</a>），中文点评正在翻译制作中，不日即将发布。</p>','<p>第二届周广仁钢琴艺术新人奖获奖选手名单如下：</p><p>第一名： 卢星宇   （北京）   <br />第二名： 黄蔚園   （香港）  <br />第三名： 吴君麟   （广州）  <br />第四名： 刘天元   （北京）    <br />第五名： 安天旭   （河北） <br />第六名： 顾欣皓   （上海）   </p>','','1324082515','1');
INSERT INTO `node_revisions` VALUES ('2007','2027','1','逄勃工作室视频教学播出计划（2012年1-7月）','<p>01.09-02.12     布格缪勒100上(01-11)11集<br />02.13-03.11     布格缪勒100下(12-20)9集+中心教材(01-08)8集<br />03.12-04.08     杜维诺依钢琴练习曲 手指技巧练习 作品176(1-25)共10集<br />04.09-05.07     杜维诺依钢琴练习曲 手指技巧练习 作品276(1-7)7集<br />05.07-06.03     杜维诺依钢琴练习曲 手指技巧练习 作品276(8-20)13集+中心教材(01-08)8集<br />06.04-07.01     巴赫初级钢琴教程上(01-12)12集<br />07.02-07.29     巴赫初级钢琴教程下(13-21)9集</p>','<p>01.09-02.12     布格缪勒100上(01-11)11集<br />02.13-03.11     布格缪勒100下(12-20)9集+中心教材(01-08)8集<br />03.12-04.08     杜维诺依钢琴练习曲 手指技巧练习 作品176(1-25)共10集<br />04.09-05.07     杜维诺依钢琴练习曲 手指技巧练习 作品276(1-7)7集','','1334999155','1');
INSERT INTO `node_revisions` VALUES ('2008','2028','0','2011-7-1(zh)','<p>安天旭</p><p>柴可夫斯基《杜姆卡》的演奏状态很集中，清楚， 流畅， 音质很好，说明你受到过很好的专业训练。 但有时候声音太短，造成句子发干， 尤其是那些响的段落的和弦。 但总体上， 你的演奏很扎实。</p><p>海顿奏鸣曲我认为很漂亮，很有控制，风格掌握的不错。但缺少古典奏鸣曲中常出现的微妙变化。另外，还可以更有活力一些，有时我感到音乐有些停滞。</p><p>《 侏儒舞》我觉得速度太快，尽管你的手指很灵活，跑句也很清楚，但此曲还是失去了它的节奏和魅力。有时候我们能做到的事，却不一定要做。总之， 你是一个很有天赋的小伙子。 要记住， 技术永远是为音乐服务的，你一定会有远大的前途。</p>','<p>安天旭</p><p>柴可夫斯基《杜姆卡》的演奏状态很集中，清楚， 流畅， 音质很好，说明你受到过很好的专业训练。 但有时候声音太短，造成句子发干， 尤其是那些响的段落的和弦。 但总体上， 你的演奏很扎实。</p>','','1324447416','1');
INSERT INTO `node_revisions` VALUES ('2009','2029','0','2011-7-2(zh)','<p>顾欣皓</p><p>门德尔松的《随想回旋曲》 演奏的很细致。 前奏部分句法很好。 回旋曲也弹得很好， 手指清楚， 并控制得很严密， 但我认为，音乐还应该轻松一些和更富有想象力。<br />李斯特的《森林的呼啸》很流畅， 演奏有力， 但左手常常太响，造成旋律需要过分使劲。旋律出现在高声部还是中声部在色彩上应有区别。另外， 我认为，乐句的线条太平， 特别是那个有八度的句子。 好的演奏家能把一首技术上难得曲子变成容易的， 而把一首练习曲弹成一首音乐作品。<br />海顿奏鸣曲也如此，跑句控制很好， 但不够流畅，缺乏魅力和倾向性。<br />总之， 你是有着极好训练的小伙子。请记住， 观众欣赏音乐跟演奏者自我欣赏的程度分不开。 你自己如果更热爱音乐并表现力更丰富，你的演奏也会更感动人。</p>','<p>顾欣皓</p>','','1324447466','1');
INSERT INTO `node_revisions` VALUES ('2010','2030','0','2011-7-3(zh)','<p>黄蔚园</p><p>海顿奏鸣曲弹得很有力，很活泼。 我喜欢你声音大， 使音乐更有激情。 但是你的声音有时太直，如果触键柔和一些会给海顿带来更多声音上的魅力。<br />李斯特的《轻盈》你还是弹得很有力。 显示出很大的感情和幅度， 乐句表现敏感， 手指跑动也不错， 就是我认为还可以再轻巧和快一些。<br />希那斯泰拉的《阿根廷舞曲》弹得很有活力和节奏感。 第二首很流畅，声音歌唱， 符合少女们的舞蹈。力度幅度也有， 看来你真的很喜欢这首曲子，第三首像一首南美疯狂的舞蹈。我喜欢你所营造的强烈的节奏感。你的演奏使人高兴。 </p>','<p>黄蔚园</p>','','1324447501','1');
INSERT INTO `node_revisions` VALUES ('2011','2031','0','2011-7-4(zh)','<p>黄芷仪</p><p>海顿奏鸣曲演奏得细腻， 奏法讲究， 风格掌握得好， 速度控制也好， 显示了海顿轻巧魅力的特点。<br />李斯特《侏儒舞》 很平稳清晰， 跑句清楚， 显示你为此曲掌握了很强的技术功夫。我唯一的建议是把这首曲子不要弹成练习曲， 而更多像一首乐曲。即使你这个年龄也可试试用轻一点的触键和节奏把它弹得像一首舞曲。当然， 你那么小， 弹成这样已经很了不起了。<br />门德尔松的《随想回旋曲》 的前奏带有一点自由节奏的分句也很好， 弹得确实很敏感。回旋曲控制得非常好。 技术很扎实， 对比鲜明。 如果音乐不要太赶， 它就会自然地流动听起来更舒服。有时，少做一点反而会获得的更多。 </p>','<p>黄芷仪</p>','','1324447537','1');
INSERT INTO `node_revisions` VALUES ('2012','2032','0','2011-7-5(zh)','<p>李颖</p><p>海顿奏鸣曲， 速度很好，平稳并有力度对比。分句也清楚。 我希望节奏感更鲜明，声音再有表现力一些， 更重要的是需要有好的连奏和歌唱性。这样旋律声音就不会那么干了。<br />李斯特的《叹息》分句自然流畅。 再有一些倾向性就好了。对我而言， 我觉得声音太干， 尤其是一些响的地方，踏板运用的更好一些也能有帮助。 手指跑动还需清楚一些。 <br />阿尔贝尼兹的《特里亚纳》弹得很好。我特别喜欢中间部份， 你把西班牙味道弹出来了。但头尾两段节奏性还应强一些。</p>','<p>李颖</p>','','1324452627','1');
INSERT INTO `node_revisions` VALUES ('2013','2033','0','2011-7-6(zh)','<p>刘江蓠</p><p>贝多芬奏鸣曲作品14，雅致如歌的声音。 我喜欢你的句子， 大部分不赶，很自然流畅。 但有时在贝多芬的奏鸣曲中也需要有强一些节奏和竖的线条， 尤其在这个乐章的发展部。这里强调节奏的脉搏会使音乐更紧凑。 这是我所希望的。肖邦回旋曲是他还不满15岁时创作并出版的。不算他的成熟作品。你的演奏声音很典雅， 句子也流畅，很有倾向性。 <br />李斯特的《侏儒舞》太赶， 缺乏节奏的脉搏，音乐神经质， 很乱， 不像一个舞曲。由于速度太快， 影响了技术上的清晰度。 总的演奏还是不错的。 加强节奏感就好了。</p>','<p>刘江蓠</p>','','1324447582','1');
INSERT INTO `node_revisions` VALUES ('2014','2034','0','2011-7-7(zh)','<p>刘品心</p><p>李斯特《森林的呼啸》演奏得技术过硬， 句子还缺乏倾向性，否则太平淡。另外，在不同音区的旋律线条还应有更多色彩上和性格上的区别。否则， 听起来都一样。<br />贝多芬的奏鸣曲速度很好。技术也具备， 但声音应该更连， 尤其是第二主题应是歌唱性的。另外， 你还需仔细读谱， 许多力度记号你都没有按照乐谱上演奏。 为一只手写的sf 你都双手弹响了。 <br />肖邦的谐谑曲。 你的手指很结实， 也有表现力， 但我还是觉得你的句子太平， 强的地方声音太硬。 总的演奏还好。 建议加强如歌的演奏和乐句的刻画。</p>','<p>刘品心</p>','','1324452690','1');
INSERT INTO `node_revisions` VALUES ('2015','2035','0','2011-7-8(zh)','<p>刘天元<br />李斯特《森林的呼啸》演奏的非常细腻，乐句刻画也不错， 都有倾向性， 很自然。 演奏有力量和激情。 你善于倾听自己的声音。声音强时不硬。<br />莫扎特奏鸣曲，声音甜美如歌。很有想象力和风格感。 你演奏时很集中。<br />史维林的《两首复调曲》 演奏得非常清楚，声部清晰， 节奏性强。 总之， 是很精彩的演奏。</p>','<p>刘天元<br />李斯特《森林的呼啸》演奏的非常细腻，乐句刻画也不错， 都有倾向性， 很自然。 演奏有力量和激情。 你善于倾听自己的声音。声音强时不硬。<br />莫扎特奏鸣曲，声音甜美如歌。很有想象力和风格感。 你演奏时很集中。','','1324447769','1');
INSERT INTO `node_revisions` VALUES ('2016','2036','0','2011-7-9(zh)','<p>卢星宇</p><p>李斯特《侏儒舞》演奏得有力，有激情，手指灵敏并相当清楚， 但我还希望这首曲子听起来如同一首轻巧的舞曲。 我认为， 你的触键稍偏重。 另外， 像这首练习曲真正的难度是在音乐表现方面。有你如此漂亮的技术，在克服技术难点之后，可以把重点放在音乐表现上，通过音色和力度变化及节奏的脉搏使这首曲子更富有表现力。<br />莫扎特奏鸣曲弹得很有控制和细致。 我希望，这个乐章可以更有力一些，轻响对比可以更鲜明一些大一些， 横竖线条更细腻和歌唱一些。 <br />普罗可菲耶夫的《讽刺》，演奏得有力和热情，显示了你在感情上和技术上的幅度， 但我还希望声音更“清楚”和集中，声部层次更透明。</p>','<p>卢星宇</p>','','1324447841','1');
INSERT INTO `node_revisions` VALUES ('2017','2037','0','2011-7-10(zh)','<p>王晓晓</p><p>李斯特《侏儒舞》速度有控制， 声音清晰。 我感觉触键有点重，使装饰音笨重。 另外， 我希望八分音符具有更有弹性的节奏， 给音乐一种舞曲的感觉。<br />莫扎特奏鸣曲的演奏很集中，技术扎实。但我认为，此曲应轻松一些， 声音再歌唱一些。 如同肖邦， 莫扎特的跑句也都应该是歌唱性的。 我想，这是最难做到的。速度应保持住。<br />肖邦的波兰舞曲， 主题的声音弹得很敏感，富有想象力。遗憾的是，随着乐曲的发展声音与分句变成比较粗糙和硬，使乐曲失去意思了。</p>','<p>王晓晓</p>','','1324447954','1');
INSERT INTO `node_revisions` VALUES ('2018','2038','0','2011-7-11(zh)','<p>王屹群</p><p>海顿奏鸣曲演奏得风格典雅。 你的声音细腻， 奏法讲究。 我也喜欢你在音乐中所表现的力量和情趣。<br />李斯特的《轻盈》中也表现出扎实的演奏技术。 双三度给人深刻的印象。 我想， 如果一些跑句能再弹得匀一些，清晰一些， 那就会给人更好的印象。<br />布拉姆斯的《谐谑曲》 是适合大人演奏的，你这小小年龄能演奏已经很不容易了。 但是此作品的织体比较厚， 所以需要更厚的声音， 更长的句子和弹得更连， 才能把音乐表现出来。竖的思维太多会使音乐太干。但总的来讲， 你的演奏还是很扎实的。 </p>','<p>王屹群</p>','','1324448019','1');
INSERT INTO `node_revisions` VALUES ('2019','2039','0','2011-7-12(zh)','<p>吴君麟</p><p>海顿奏鸣曲中我喜欢你把那些跑动的十六分音符演奏得清楚， 体现了海顿典型的精神和魅力。旋律有歌唱的质量，就是有一些重音与和弦破坏了音乐的流动性。李斯特的《轻盈》， 慢的段落分句敏感。 旋律连奏与歌唱。 但根据我的趣味还可以简单一些。跑句弹得很匀和干净， 但我认为，色彩还可以更多样和富有想象力。现在听起来都一样。左手也可以更出来一些。<br />普罗科菲耶夫奏鸣曲很清楚， 表现透明， 让人一切都听得很清楚， 但是我觉得缺乏强烈的节奏感，那些强烈的三连音脉搏给这首乐曲注入了激动和集中的力量。缺乏它，此曲只是快而平淡，响而无力。</p>','<p>吴君麟</p>','','1324448085','1');
INSERT INTO `node_revisions` VALUES ('2020','2040','0','2011-7-13(zh)','<p>谢天健</p><p>海顿奏鸣曲弹得很好， 控制缜密。严谨的速度及很好的平衡。但缺乏海顿奏鸣曲具有的自然的流动性以及细腻和歌唱的声音。对我来讲， 听上去有一点干。也许句子的倾向性更鲜明一些， 速度再流动一些能有所帮助。</p><p>李斯特的《轻盈》弹得很好， 技巧很扎实， 幅度较大， 我很喜欢。如果旋律更歌唱，触键更连， 就会更吸引人。我也希望那些跑句能有更多的色彩和对比。 总之， 好的技术应表现出更多的音乐表情。</p><p>肖邦的谐谑曲是经过思考的，很成熟的演奏。虽然有一些小毛病，但对这么小的年龄来讲已经是相当出色的表演了。我个人的意见是， 你可以放开一些。 是的， 我们弹琴要节奏准，要考虑到各种风格，但这不是目的， 目标是要使音乐有表现力， 要去感动自己和听众。所以， 你就勇敢一点去探索吧， 你会有所收获的。</p>','<p>谢天健</p><p>海顿奏鸣曲弹得很好， 控制缜密。严谨的速度及很好的平衡。但缺乏海顿奏鸣曲具有的自然的流动性以及细腻和歌唱的声音。对我来讲， 听上去有一点干。也许句子的倾向性更鲜明一些， 速度再流动一些能有所帮助。</p>','','1324448226','1');
INSERT INTO `node_revisions` VALUES ('2021','2041','0','2011-7-14(zh)','<p>张司滢</p><p>莫扎特奏鸣曲弹得很雅致，有风格。你很讲究句法，所以一些小的对比和语气都让人听的很清楚。 我本人更喜欢演奏的有力一些， 也许稍微快一点会有帮助。 门德尔松的《随想回旋曲》演奏很正确， 节奏很准。但我希望范围可以大一些。 这首音乐作品里有许多对比和不同的色彩层次。 你可以玩的更开心。 所以， 音乐不都是一样的。你的感情也不能停滞。有时，站在马路当中是最危险的地方。<br />李斯特的《侏儒舞》的跑句很干净， 演奏自如。 也许可以加一点节奏的弹性。        </p>','<p>张司滢</p>','','1324448294','1');
INSERT INTO `node_revisions` VALUES ('2022','2042','0','2011-6-1(zh)','<p>安天旭</p><p>Tchaikovsky Doumka Op 59<br />表现出了不错的音色和自信。力度的变化十分有限，希望能够最大程度的按照乐谱中的细节来表现 <br />Haydn Sonata No 33 in c minor, Hob XVI/20 Mvt 1 <br />力度变化依然很有限，但是风格给人感觉不错<br />Liszt Concert Etude “Gnomenreigen”<br />你的演奏速度非常出色，你的技术很保险和你的记忆力一样出色</p>','<p>安天旭</p>','','1324448782','1');
INSERT INTO `node_revisions` VALUES ('2023','2043','0','2011-6-2(zh)','<p>顾欣皓</p><p>Mendelssohn Rondo Capriccioso Op 14<br />你触键很出色，行板的乐曲轮廓很美妙。尤其随想曲部分非常生动而且演奏技巧很成熟。演奏者非常投入，对作品的理解深入人心。<br />Liszt Concert Etude “Waldesrauschen”  <br />这首作品的演奏，充满了各种各样的音色，技巧方面很干净，而且高潮部分处理得非常到位<br />Haydn Sonata Hob XVI/52, Mvt 1 <br />非常活泼的速度，而且控制得非常巧妙，演奏中的对比，听起来令人愉快</p>','<p>顾欣皓</p>','','1324448821','1');
INSERT INTO `node_revisions` VALUES ('2024','2044','0','2011-6-3(zh)','<p>黄蔚園</p><p>3Haydn Sonata Hob XVI/45, Mvt 1<br />演奏有着生气勃勃的速度，和非常有把握的技巧，而且控制力很好。这个乐章刻画的令人心悦诚服<br />Liszt Concert Etude “La Leggierezza”<br />演奏者有着非常好的设计，而且演奏非常投入<br />Ginastera Danzas Argentinas, Op 2 “Danza del gaucho matrero”<br />这个演奏有着非常好的力度变化，力度范围很广，演出很自信，也是乐曲的性格刻画很好</p>','<p>黄蔚園</p>','','1324452585','1');
INSERT INTO `node_revisions` VALUES ('2025','2045','0','2011-6-4(zh)','<p>黄芷仪</p><p>Haydn Sonata in C Major, Hob XVI/50, Mvt 1<br />演奏很稳定，很鲜明，力度变化出色，技术控制非常好<br />Liszt Concert Etude “Gnomenreigen”<br />速度选择很合适，而且乐曲的品质很生动，高潮给人留下了深刻的印象<br />Mendelssohn Rondo Capriccioso Op 14<br />行板部分处理的很好，随想曲很生动，控制力很强。在许多不同的方面，都展示出了很好的技巧，乐曲的性格有着非常好的设计。</p>','<p>黄芷仪</p>','','1324449252','1');
INSERT INTO `node_revisions` VALUES ('2026','2046','0','2011-6-5(zh)','<p>李颖</p><p>Haydn Sonata Hob XVI/31, Mvt 1 <br />你的身体动作有些干扰了你的音乐，这一点你需要慎重考虑。力度的对比有点过于夸张，踏板需要更深层的注意，以期达到作品表现更清晰的目的<br />Liszt Concert Etude “Un Sospiro” <br />旋律的音需要更多的设计，然后分句要给予更多的关注。不要把旋律表现的像单个音一样你可以通过不断的练习来改进<br />Albeniz Iberia “Triana”<br />这首作品非常难，但是你的技巧很成熟，总的说来，西班牙乐曲的风格设计的非常好，弹得漂亮。</p>','<p>李颖</p>','','1324449825','1');
INSERT INTO `node_revisions` VALUES ('2027','2047','0','2011-6-6(zh)','<p>刘江蓠</p><p>Beethoven Sonata Opus 14 No 2, Mvt. I<br />技术层面来看，很不错，而且对于乐曲风格的感觉也很不错。但是分句要更加注意，踏板也需要当心，这首作品标注的表情记号的细节，同样需要注意<br />Chopin Rondo in c minor Op 1  <br />速度选择的非常准确，而且表情记号的范围也很十分适合这个作品<br />Liszt Concert Etude “Gnomenreigen”<br />速度选择的很合适，非常细致的注意表情记号的标志</p>','<p>刘江蓠</p>','','1324449859','1');
INSERT INTO `node_revisions` VALUES ('2028','2048','0','2011-6-7(zh)','<p>刘品心</p><p>Liszt Concert Etude “Waldesrauschen”  <br />非常小心的注意前五页的表情力度的细节(PP和PPP)，你弹的确实太响了。两只手声音的平衡不错，结尾也演奏的非常好<br />Beethoven Sonata Opus 2 No 3, Mvt 1<br />开始速度选择的很好，但是需要注意一下踏板，而且句尾宁可要拖一点，避免作品会一直往前溜，<br />Chopin Scherzo Opus 31<br />需要更加注意两只手声音的平衡，这首乐曲的第二段显然技术更加成熟</p>','<p>刘品心</p>','','1324449889','1');
INSERT INTO `node_revisions` VALUES ('2029','2049','0','2011-6-8(zh)','<p>刘天元</p><p>Liszt Concert Etude “Waldesrauschen”  <br />仔细观察前五页的表情记号(pp和ppp)-他们不是mf,演奏的状态很稳，两手的声音平衡很好<br />Mozart Sonata K281, Mvt.1<br />非常好的对比，对风格的感觉很不错，但是有点过于夸张，使演奏有些逊色<br />Schedrin Two polyphonic pieces<br />演奏状态很自信，和其他作品形成了很好的对比。作品演奏的很有节奏感，而且力度范围很广</p>','<p>刘天元</p>','','1324449939','1');
INSERT INTO `node_revisions` VALUES ('2030','2050','0','2011-6-9(zh)','<p>卢星宇</p><p>Liszt Concert Etude “Gnomenreigen”<br />力度之间的对比很好，成熟的技术成就了完美的表现<br />Mozart Sonata KV281, Mvt 1 <br />力度上同样有着很好的对比，而且恰到好处。演奏风格令人十分赞赏<br />Sergei Prokofiev “Sarcasms” <br />你十分明智的选择了这首作品，它有着与众不同的风格，和力度范围。不同作品之间风格的差异，你表现得非常好，弹得漂亮</p>','<p>卢星宇</p>','','1324449974','1');
INSERT INTO `node_revisions` VALUES ('2031','2051','0','2011-6-10(zh)','<p>王晓晓</p><p>Liszt Concert Etude “Gnomenreigen”<br />高潮演奏的非常令人激动，而且技术的控制也令人愉悦，力度范围也做得非常好<br />Mozart Sonata in F Major, KV332, Movt III<br />你的速度选择恰如其分，而且技术控制很成熟。表现非常出彩<br />Chopin Polonaise in d minor, OP 71 No 1<br />你的演奏显示出 你对于乐谱上的细节以及风格，都给予了非常多的注意。可以表现得更更加生动一些</p>','<p>王晓晓</p>','','1324450035','1');
INSERT INTO `node_revisions` VALUES ('2032','2052','0','2011-6-11(zh)','<p>王屹群</p><p>Haydn Sonata in D Major, Hob XVI/24, Mvt 1 <br />对于作品的感觉很棒，对于力度的判断也很准确，没有丝毫夸张，两手声音平衡很好，是令人愉悦的演奏<br />Liszt Concert Etude “La Leggierezza” <br />技术很稳定，听起来很愉悦，力度有着很好的对比，作品风格有着很好的设计。<br />Brahms Scherzo in e flat minor Op 4<br />明智的选择，节奏的控制很好，力度的范围掌握的很不错</p>','<p>王屹群</p>','','1324450081','1');
INSERT INTO `node_revisions` VALUES ('2033','2053','0','2011-6-12(zh)','<p>吴君麟</p><p>Haydn Sonata in E Major, Mvt 1 <br />尽管你对作品风格的感觉很顺畅，但是你过多的身体语言，使你的演奏减分。此外，你的力度范围也很有限<br />Liszt Concert Etude “La Leggierezza” <br />这个作品弹的很投入，技术控制得很好，乐曲的高潮部分，塑造的很棒，此外两手的平衡也非常不错<br />Prokofiev Sonata No 3 in a minor, Op 28 <br />由于良好的技术控制和作品细节的准确把握，所以你对作品令人激动风格的把握十分到位</p>','<p>吴君麟</p>','','1324450114','1');
INSERT INTO `node_revisions` VALUES ('2034','2054','0','2011-6-13(zh)','<p>谢天健</p><p>Haydn Sonata in C Major XVI/50, Mvt 1 <br />速度选择的很好，对这个奏鸣曲的风格的把握令人赞赏。你的力度范围也很适合这个乐曲的风格。很高兴的看到，乐曲向前的行进贯穿于你演奏的始终<br />Liszt Concert Etude “La Leggierezza” <br />你的表演从始至终都在不断向前流动着，这一点非常令人欣赏。两手之间的平衡极好，总的来说，这个演奏很令人赞叹<br />Chopin Scherzo in E Major, Op 54 <br />技术控制很不错，选择的速度也很适中。你的演奏有不少亮点，弹的很好</p>','<p>谢天健</p>','','1324450150','1');
INSERT INTO `node_revisions` VALUES ('2035','2055','0','2011-6-14(zh)','<p>张司滢</p><p>Mozart Sonata KV311, Mvt 1 <br />速度很合适，技术很保险，选择的力度范围也很适合，也很适合这个表演<br />Mendelssohn Rondo Capriccioso Op 14<br />行板的引子部分刻画的很漂亮，随想曲有着生动的速度，而且不断向前行进，断奏也很清晰。技术方面很有保证，让人听着很舒服<br />Liszt Concert Etude “Gnomenreigen”<br />整个演奏都非常清晰，令人赞赏。总的来说是一个非常有才华的演出，弹的不错</p>','<p>张司滢</p>','','1324450186','1');
INSERT INTO `node_revisions` VALUES ('2036','2056','0','2011-4-1(zh)','<p>安天旭<br /> 柴可夫斯基《杜姆卡》用合适的速度和乐感演奏得毫不费劲。但力度表现不够充分。演奏缺乏紧张度，力量和激情。 乐曲开场部份没有表现出你的参与。 乐句在发展的过程中显得缺乏紧张和松弛的感觉。 在声音的层次和色彩方面还有更多可做。 快的段落显示了非常准确的奏法， 尤其那快速的16分音符的跑句给人留下深刻的印象。 但是句子缺乏真正的高点和满足感。  高点都是平平淡淡地过去了， 缺乏方向感和表现力。很可惜， 这样演奏就没有意思了。 <br /> 海顿奏鸣曲的第一乐章演奏的很整洁和优雅。演奏非常准确但忽略了力度。而这是一个革命性的、激动的乐章， 具有“暴风雨和压力”的性质。 可惜， 你的演奏缺乏戏剧性，缺乏力量和必需的激情、害怕和不安的情绪。你应更有想象力，可通过左手来帮助。按我的口味，你总的速度偏慢， 但即使用你的速度也可把音乐天生具有的悲痛，力量和反抗表现出来。<br /> 李斯特的《侏儒舞》是你这个小演奏会里弹得最好的。 你具有非常好的技能和速度。 给我印象最深的是你那漂亮和有控制的闪闪发光的手指技术。使你的音乐会形成凯旋般的结束。</p>','<p>安天旭','','1324450293','1');
INSERT INTO `node_revisions` VALUES ('2037','2057','0','2011-4-2(zh)','<p>顾欣皓<br /> 门德尔松的进行有很好的起伏和方向感， 但在进行过程中乐曲的性质失去了温柔和表情。开始的左手三和弦要再控制一些。 回旋曲演奏得毫不费劲， 很辉煌。在轻盈和细腻方面有时左右手不够整齐。但总的演奏听起来非常激动人心， 尽管色彩变化还不够。有一些小错。如果再注意一下左手， 演奏的水平会有更大进步。<br /> 李斯特《森林呼啸》马上就形成一种可爱的形状。分句自然， 带有微妙的rubato， 很好。如果整个力度始终保持得再弱一些， 那就更出色和有诱惑力了。 你有很自然、松弛的技术， 演奏很有说服力。高潮处跟门德尔松作品一样左手有一些技术上的失误破坏了你的完美的技术。<br /> 海顿晚期的《降E大调奏鸣曲》第一乐章显示一种辉煌的情绪和多调性的想像力。我认为第二主题和乐章中其他部分区分得还不够。 而发展部的模进演奏得没有意思。 E大调“错误的调性”应故意突出。 但总体上海顿是轻盈的， 右手很漂亮， 左手跟右手不在一个水平上， 尤其在响的音区， 左手还应更多的注意。</p>','<p>顾欣皓','','1324450327','1');
INSERT INTO `node_revisions` VALUES ('2038','2058','0','2011-4-3(zh)','<p>黄蔚園<br /> 海顿早期奏鸣曲中那活力和紧张度表现得很明显。有些重音不合适还摆错位置。手指触键太重。 要牢牢地把音乐的要求记在脑里。左手部份需更敏感和多关注，你的演奏太直，需多一点诗意和歌唱性，再控制一点和增加一点创造性，来驱逐那些强有力的走句。这样的演奏水平就能提高。<br /> 李斯特《轻盈》你显示了惊人的自信心和力量  但你没有抓住乐曲的要害。 这是一种期望的、娇嫩的，细腻的音乐， 需要更轻巧。 很重要的是，无论在哪一个力度层次里，你需要去掉很多重音，需要创造一种飘在地面上的气氛，而不是对着听众吼叫。需要创造一种天上的、魔术般的细腻的声音。<br /> 希纳斯特拉敲击性的风格，在这里你显示了更多说服力。触键和节奏感非常好。安静的段落还可以更有诱惑力和慢一些。 第二首曲子， 为了演奏的更有表现力， 还可以慢一点。 而那些rubato 虽然已做得很好了， 还可以更自然一些。最后一首， 速度惊人。 但由于速度太快难以表现一些力度上的对比。 当然， 总体上这是非常激动人心和有力的表演。</p>','<p>黄蔚園','','1324450362','1');
INSERT INTO `node_revisions` VALUES ('2039','2059','0','2011-4-4(zh)','<p>黄芷仪<br /> 海顿的所谓英国奏鸣曲马上通过良好的奏法显示了力量和光彩。是很精彩的演奏。 节奏还应控制得稳一些。为使音乐的意思表现更充分。你所选择的速度也许太快一点了，但是依然有一些声音和对比是不错的。总体上缺乏幽默感，你带之以激动和不安。建议去追求更人性化的、松驰的音乐表现方法。<br /> 李斯特的《侏儒舞》在手指的准确、集中和把握性方面是惊人的。 下一步就要培养不同力度层次上的轻巧性并加快速度， 使这首练习曲成为一首舞曲跳起来。 另外， 在色彩方面还有很多空间。 现在你的演奏还比较单调。<br /> 门德尔松的《行板与随想回旋曲》弹得很准确。但行板太刻板和太激动， 像不愿意去做一些伸缩性， 如柔和的rubato 和 想望的诗意。回旋曲弹得像枪杆子射出来的子弹。 是一种钢铁般准确的钢琴演奏。 下一步应该发展一种更轻的审美观点，表现在一个更轻的声音范围内演奏轻巧。弹奏方法中有许多多余的动作， 如果动作少一些、松弛一些会更好。 今天的演奏里虽然有一些错音， 但这不重要。独奏会还是很独特的。</p>','<p>黄芷仪','','1324450395','1');
INSERT INTO `node_revisions` VALUES ('2040','2060','0','2011-4-5(zh)','<p>李颖<br /> 海顿的E大调奏鸣曲演奏得很自信和辉煌。现在可在灵活性和敏感性有更多空间。要更仔细地倾听重音。你的左手很不讲究。 强的声音质量还需化力气弹得更美。有一些节奏和音符的实质（长的音符和休止符）还需要在练琴时数一下。整个演奏都太赶。 发展部的高潮在力度上与全曲的其他部份失去比例。句尾需仔细听， 要避免重音。总体讲，都太快了一点。 稍慢一点的速度能给表情和想象力留更多空间。颤音需从上方音开始， 不要从原音开始。<br /> 李斯特的《叹息》 显示了较好的演奏和更正确的风格感。你控制了一个合适的速度。 但是整个表现都太直， 缺乏必要的轻声和被压制的神秘感。要使音乐从乐谱中流出来还需要更多的控制。  许多跑句都太闪亮。踏板神秘的运用和讲究的触键为表现这种音乐是必要的。 对乐曲的织体和色彩的探索会有帮助。<br /> 阿尔贝尼兹的《特丽安娜》演奏得辉煌和自信， 但没有唤起阿尔贝尼兹<br />所表现的神秘的、悲哀的西班牙气氛。 必须深入研究分句、线条层次。踏板运用，色彩等，深入到阿尔贝尼兹独特的西班牙风格中。</p>','<p>李颖','','1324450435','1');
INSERT INTO `node_revisions` VALUES ('2041','2061','0','2011-4-6(zh)','<p>刘江蓠<br /> 贝多芬作品14 G大调奏鸣曲演奏得声音美，很集中。 如果速度稍慢一点会给乐曲带来更多宽广和诗意。声音再单薄一些会使风格更典型。 <br />肖邦的《回旋曲》演奏得有朝气和果断。装饰音演奏得太轻率， 缺少时间感。 如在贝多芬作品中一样，速度稍放慢一些有利于表现音乐。要善于组织长句子，这到处都有用，它能提高演奏的档次。 许多典型的表现手法是通过声音的对比和色彩来体现的。<br /> 李斯特的《侏儒舞》需要更清楚， 速度也要快一点， 尤其是那些装饰性的小音符不清楚，必须解决技术上的清楚问题， 来提高演奏的档次。技术上提高了， 你还是很有希望的。</p>','<p>刘江蓠<br /> 贝多芬作品14 G大调奏鸣曲演奏得声音美，很集中。 如果速度稍慢一点会给乐曲带来更多宽广和诗意。声音再单薄一些会使风格更典型。 ','','1324450475','1');
INSERT INTO `node_revisions` VALUES ('2042','2062','0','2011-4-7(zh)','<p>刘品心<br /> 李斯特《森林的呼啸》非常流畅，毫不费劲。 分句可再敏感一点并在全曲过程中旋律毫无缝隙。总体上，声音还可以压下去一点和控制一点， 为后面的呼唤，温柔和奇景作铺垫。 用任何标准来衡量，你都在技术上具备独特的辉煌的条件。<br /> 贝多芬奏鸣曲OP.2, 你表现出很精彩的手指技术。但是从一开始你就需要避免很多弱拍上的重音及不协和和弦解决时的重音。你演奏的自我控制力和自信是无疑的。 全过程中演奏是结实的和完好的。 缺乏的是好奇性和探索精神。你的乐句还有棱角， 常有一些不必要的甚至难听的重音。 有一些三连音跟后面的十六分音符混在一起了。这首曲子里在声音方面还有许多变化和细微之处。也有勇敢的写法，不像一个年轻的有革命思想的作曲家所创作的。 你可以对幽默和变化多去探索。<br /> 肖邦《第二谐谑曲》演奏得有光彩和热情。温暖的伴奏和对话伴随着漂亮的手指功夫。节奏还需要更注意并保持始终， 来体现四小节一句的结构特点。安静的段落中还需要培养轻盈和魔术。 如同在贝多芬奏鸣曲里一样， 三连音常被破坏成另一种节奏。全曲的高潮总体上做的很精彩， 但是在分句和声音方面完全超出了肖邦的风格，而像李斯特或任何一个浪漫主义的作曲家。最后过分用力和乱用踏板，加上错音，很不整洁，只有激动，可惜了。</p>','<p>刘品心<br /> 李斯特《森林的呼啸》非常流畅，毫不费劲。 分句可再敏感一点并在全曲过程中旋律毫无缝隙。总体上，声音还可以压下去一点和控制一点， 为后面的呼唤，温柔和奇景作铺垫。 用任何标准来衡量，你都在技术上具备独特的辉煌的条件。','','1324450513','1');
INSERT INTO `node_revisions` VALUES ('2043','2063','0','2011-4-8(zh)','<p>刘天元<br /> 李斯特的《森林呼啸》具有精巧的分句，右手闪光的双音具有漂亮的声音。<br />Rubato 很自然，微妙地，敏感地。由于前面的力度控制的比较轻，高潮非常巨大。但是要小心控制声音和脉搏。<br /> 莫扎特的降B大调奏鸣曲 K281显示了许多变化和想法。试着更宁静就会更有说服力。 左手有时还需轻一点。总体上你的演奏有一种乐队的戏剧性想象,你做了很大的力度幅度。 保持你的脖子放松，琴凳放低一些会使你的演奏更容易，让声音从钢琴里传出来。<br /> 谢德林《F小调二部创意曲》演奏的很自信， 节奏控制得好， 但可以更有美感和幽默， 尤其是那个始终贯穿的第二声部。 你在触键方面可以多做一些试验。 可以将曲子中爵士因素挖掘出来。固定低音做得很有权威性和说服力。在声音方面变化很丰富， 节奏控制得很好。Bravo！非常成功。总体上， 你掌握了三种不同风格。有许多值得赞美和无法教的素质， 给音乐带来新鲜感和创意。</p>','<p>刘天元<br /> 李斯特的《森林呼啸》具有精巧的分句，右手闪光的双音具有漂亮的声音。<br />Rubato 很自然，微妙地，敏感地。由于前面的力度控制的比较轻，高潮非常巨大。但是要小心控制声音和脉搏。','','1324450563','1');
INSERT INTO `node_revisions` VALUES ('2044','2064','0','2011-4-9(zh)','<p>卢星宇<br /> 李斯特《侏儒舞》 的速度惊人。需要更敏感和在音质方面和轻巧方面下功夫。 现在都太强制性，太重， 应更有魅力和精细些。 对侏儒的形象而言不能那么重。当然，速度和准确性还是需要的。<br /> 莫扎特降B 大调奏鸣曲第一乐章技术上很自如。还需要一点魅力，声音和织体上的透明度， 来符合莫扎特风格。 左手伴奏容易太重。总体上控制得很好。 再加一点想象力。<br /> 普罗科菲耶夫 《讽刺》弹得非常投入。 节奏非常好。 色彩变化还可以多一些。 第二首可稍慢一点， 以便刻画怪诞的性格。 第三首有非常厉害的动力，第四首也是如此， 手指清楚有力， 节奏准。你很好的掌握了这首曲子那种顽固、倔强的个性。 第四首结尾处也可以寻找一些抒情性。第五首中你始终在表现对比和准确性方面控制着良好的节奏。</p>','<p>卢星宇<br /> 李斯特《侏儒舞》 的速度惊人。需要更敏感和在音质方面和轻巧方面下功夫。 现在都太强制性，太重， 应更有魅力和精细些。 对侏儒的形象而言不能那么重。当然，速度和准确性还是需要的。','','1324450605','1');
INSERT INTO `node_revisions` VALUES ('2045','2065','0','2011-4-10(zh)','<p>王晓晓<br /> 李斯特《侏儒舞》缺乏清晰度，集中和细节上的准确性。 还需要流畅一些。 触键不要那么重。 力度变化不够。最后一段太重了， 太吃力， 缺乏细腻和典雅的意思。<br /> 莫扎特 F 大调奏鸣曲K332  末乐章指法清楚， 但容易变速度， 缺流动性和轻巧。此曲的音乐需要让它从乐谱中跳起来， 另外还需要强调歌唱性。 常常有重音破坏抒情性的音乐中的歌唱性。这是歌唱性音乐中非常严重的问题。<br /> 肖邦， 很少演奏的《D小调波兰舞曲》演奏得很认真和愉快，有色彩和对比，就是波兰舞曲的节奏不够明显。所以需要持续性的节奏动力。 在中段有时感觉不到节奏的弹性。做rubato要从全曲着眼。</p>','<p>王晓晓<br /> 李斯特《侏儒舞》缺乏清晰度，集中和细节上的准确性。 还需要流畅一些。 触键不要那么重。 力度变化不够。最后一段太重了， 太吃力， 缺乏细腻和典雅的意思。','','1324450642','1');
INSERT INTO `node_revisions` VALUES ('2046','2066','0','2011-4-11(zh)','<p>王屹群<br /> 海顿的D大调奏鸣曲表现得充满力量。 句子应该长一些。格外的头部动作容易妨碍长句子。 总体上， 在温暖和有魅力的地方， 你演奏得太激动和神经质，轻巧一点的触键及寻找双手的平衡会更受欢迎。多考虑乐曲的性格， 效果会更有说服力。<br /> 《轻盈》你采用了一个适度的速度。一开始的力度范围也很好， 但随着织体的复杂，在一些活泼的走句触键应该轻巧一些, 踏板也应注意一些, 在声部方面更讲究一些.. 你的乐句缺乏表现力和个性。整个演奏缺乏歌唱性， 海顿也如此。布拉姆斯谐谑曲OP.4总体控制得不错。但应考虑更长的句子，为避免每小节给重音。 多注意一些音色变化和声部刻画能使演奏不那么有预见性和“保险”。以此来吸引听众。 但总体上讲，全部演奏还是不错的。</p>','<p>王屹群<br /> 海顿的D大调奏鸣曲表现得充满力量。 句子应该长一些。格外的头部动作容易妨碍长句子。 总体上， 在温暖和有魅力的地方， 你演奏得太激动和神经质，轻巧一点的触键及寻找双手的平衡会更受欢迎。多考虑乐曲的性格， 效果会更有说服力。','','1324450679','1');
INSERT INTO `node_revisions` VALUES ('2047','2067','0','2011-4-12(zh)','<p>吴君麟<br /> 海顿奏鸣曲技术上控制的非常好，不费力，很流畅。色彩变化令人佩服。 但音乐听起来像包装的很仔细。 它需要更自然地呼吸，来表现诗意和声乐表情。 你的演奏听起来太“容易“， 缺乏惊奇和新发现。 但无论如何， 你的演奏很投入并具有节奏的紧张度。<br /> 《轻盈》是很成功的。开始就有说服力和表现力。 自然的rubato 与自如的技术相结合。 一些忙碌的走句本可以再细腻一些， 但你努力地按乐谱的力度标记去做了。 高潮演奏很精彩，有力， 但保持在指定的力度范围内。总之，<br />在轻盈方面还有许多可挖掘的余地<br /> 普罗科菲耶夫《第三奏鸣曲》是高水平的演奏。 手指功夫高超。如果速度稍许放慢一点，所有句子就会更闪亮并呼吸， 用那么快的速度就会失去许多细节。另外在比较弱的力度中的三连音还应该更轻巧一些。</p>','<p>吴君麟<br /> 海顿奏鸣曲技术上控制的非常好，不费力，很流畅。色彩变化令人佩服。 但音乐听起来像包装的很仔细。 它需要更自然地呼吸，来表现诗意和声乐表情。 你的演奏听起来太“容易“， 缺乏惊奇和新发现。 但无论如何， 你的演奏很投入并具有节奏的紧张度。','','1324450721','1');
INSERT INTO `node_revisions` VALUES ('2048','2068','0','2011-4-13(zh)','<p>谢天健<br /> 海顿的英国奏鸣曲演奏的节奏准确，手指有把握。总体上演奏有点太直，生硬。应该有更多的魅力，幽默感， 织体上的变化和精致性。 重音太多。  左手还可有更多可能性。在一些响的段落不要太重。在正确的节奏脉搏中音乐还需要呼吸。<br /> 李斯特《轻盈》也是演奏得很有把握和有组织， 特别是从机械的技术角度来看。但声音还需要更细腻和有诱惑力。现在的演奏， 声音很饱满， 太饱满， 结果练习曲的性质盖过了这首乐曲低声说话的特点。 为提高这首曲子的表现力， 可多用一点色彩变化，在一个安静一点的力度范围内弹得精巧一些。<br /> 肖邦的《第四谐谑曲》，对结构有非常好的理解。有令人羡慕的、高水平的手指功夫。在色彩和魔术般的演奏法方面还可以去探索。在乐曲进行中到走句的地方总体上可采用更舒服的力度，可能会有帮助。中段需要更自然和不费劲的长句子旅行，在旋律进行中避免重音。 这首特殊的谐谑曲始终要保持它诗意和抒情的特点，非常重要的是要保持精致而不要被迫。</p>','<p>谢天健<br /> 海顿的英国奏鸣曲演奏的节奏准确，手指有把握。总体上演奏有点太直，生硬。应该有更多的魅力，幽默感， 织体上的变化和精致性。 重音太多。  左手还可有更多可能性。在一些响的段落不要太重。在正确的节奏脉搏中音乐还需要呼吸。','','1324450779','1');
INSERT INTO `node_revisions` VALUES ('2049','2069','0','2011-4-14(zh)','<p>张思滢<br /> 莫扎特《D大调奏鸣曲》的旋律部分很舒展和抒情。但在下面的声部还可以更细致和富有创意。 左手始终还需要更讲究， 应具有更多想象力和创造力。但整个演奏还是乐感的。<br /> 门德尔松的行板部分演奏得集中和抒情， 但在力度和织体方面没有打破一些风格上的局限。Rubato 还可以更自然和富有想象力一些。 试试再灵活一些。随想回旋曲速度非常好，很流畅， 积极， 但依然能够呼吸音乐。声音还可以更轻巧， 并在规定的力度范围内多一点色彩层次。 有时还是可做一定 rubato 。E 大调的琶音前的渐慢听起来太做作，没有说服力。 总的演奏还是很精彩的， 符合常规的。<br /> 《侏儒舞》 演奏的流畅和有个性。全曲中踏板太多，影响到手指的清晰度。<br />总体上还可以快一些和轻巧一些。在乐谱规定的方位内还可以在声音方面做更多变化。你要让人感觉到你是在作曲， 你在力度上不断地有新发现。 你的高潮太结实和沉重， 缺乏轻盈和透明度。这首乐曲的音乐是像从空气中出来的， 很自由。总体演奏给人非常好的印象。包括一些天生的，非老师能教的自然素质。</p>','<p>张思滢<br /> 莫扎特《D大调奏鸣曲》的旋律部分很舒展和抒情。但在下面的声部还可以更细致和富有创意。 左手始终还需要更讲究， 应具有更多想象力和创造力。但整个演奏还是乐感的。','','1324450816','1');
INSERT INTO `node_revisions` VALUES ('2050','2070','0','2011-3-1(zh)','<p>安天旭<br />我发现你温柔和敏感的触键很有意思和有说服力。 《杜姆卡》弹得很好， 只是少一些戏剧性的想象力， 只有悲哀和欢乐， 中间没有什么。 我相信，《杜姆卡》是柴可夫斯基作品中密度最大的一首。我将它和肖邦的第四叙事曲或F小调幻想曲做比较。他的形象是一个很穷的俄罗斯农民坐在他的家里想着他那毫无希望的可怜生活。乐曲中间他做了一个高兴的梦，去参加了一个村里的集会。但醒过来发现自己的生活更糟糕—我看不到你的演奏有什么戏剧性的变化。 <br />你在《侏儒舞》中所表现的准确性和细腻的技术才能给我留下深刻的印象， 只是一开始可以更有想象力。 <br />海顿C小调奏鸣曲弹得很好，但我觉得，稍稍保守了一些。总之，我认为你很有天才而且你会很快地进步。我建议，你要多在创造自己的想象力方面下工夫，并邀请我们听众进入你的音乐世界中。</p>','<p>安天旭','','1324450907','1');
INSERT INTO `node_revisions` VALUES ('2051','2071','0','2011-3-2(zh)','<p>顾欣皓<br />我很喜欢你的音乐创意， 这从门德尔松一开始就能听出来， 全曲也不错。只是技术上还需更准确些， 总体上还是很有魅力的。<br />李斯特给我印象更好， 色彩新鲜， 技术不费劲。 我欣赏你演奏的forte很绅士，分句很自信。但当我闭上眼睛听的时候，我还是感觉不到中部的暴风雨。<br />这首海顿奏鸣曲是他那个时代， 也包括莫扎特时代最伟大的一首。 从一开始的几个和弦就要把人们请进一个皇宫里的舞厅。需要演奏者很辉煌的想象力。<br />我在这里看到有精彩的演奏的潜力。要达到这个， 有时需要冒险。 不要害怕， 把你的想象力往前推， 哪怕碰错一两个音。 从长远看， 有了天赋加上好的引导，最终你能找到真正的艺术的自我。</p>','<p>顾欣皓<br />我很喜欢你的音乐创意， 这从门德尔松一开始就能听出来， 全曲也不错。只是技术上还需更准确些， 总体上还是很有魅力的。<br />李斯特给我印象更好， 色彩新鲜， 技术不费劲。 我欣赏你演奏的forte很绅士，分句很自信。但当我闭上眼睛听的时候，我还是感觉不到中部的暴风雨。','','1324450948','1');
INSERT INTO `node_revisions` VALUES ('2052','2072','0','2011-3-3(zh)','<p>黄蔚园<br />亲爱的蔚园，你演奏时的专注态度立刻吸引了我的眼球。 你已经是一位成熟的年轻艺术家了。你不必害怕做自己的决定。 首先，很难得听到你所选的海顿奏鸣曲-----选得好，-弹得也好。我唯一的意见是p 和 pp 还可以多用一点左踏板。我很希望听听其他乐章。<br />《轻盈》也弹得很美， 只是在乐曲结束处， 再现部中有许多转调的模进处， 像一条蛇一样， 还可以更有意思些。这是李斯特在这首卓越的曲子中最精彩的一段， 因此要特别下工夫<br />我最爱希那斯泰拉这套组曲。 演奏得很热情， 真实， 动人和有想象力。 中间那首曲子还可以成熟一些， 也许慢一点。 Bravo! 你在正确的道路上。 你会每月都进步。 我们将关注你。</p>','<p>黄蔚园<br />亲爱的蔚园，你演奏时的专注态度立刻吸引了我的眼球。 你已经是一位成熟的年轻艺术家了。你不必害怕做自己的决定。 首先，很难得听到你所选的海顿奏鸣曲-----选得好，-弹得也好。我唯一的意见是p 和 pp 还可以多用一点左踏板。我很希望听听其他乐章。','','1324450995','1');
INSERT INTO `node_revisions` VALUES ('2053','2073','0','2011-3-4(zh)','<p>黄芷仪<br />在你那么小的年龄， 演奏的非常好了。海顿的奏鸣曲也弹得很好， 教得也很好。 李斯特也很好， 色彩再多一些就更好。 <br />门德尔松非常精彩， 特别是快的部份。<br />你弹的《侏儒舞》在技术能力方面是不可思议的。<br />从你全部曲目来看，我想， 你是不是练琴太多了。我鼓励你多接触一些滑稽的事。 你看不看卡通片。你这个年龄的小孩子需要看卡通片，受启发。<br />听你的侏儒舞和门德尔松的慢板不能打动我—我得到一种警觉， 看着一个9岁的神童， 被她的所作所为而惊讶。 芷仪，你每天的生活是你的音乐灵感的重要来源—要从生活中学习。 你是一个非常有天赋的孩子。你的成熟度已超过现有的水品，使人会很长时间记住你的演奏。你是很特殊的。我知道， 还可以要求一个9岁的孩子做更多事， 但是你是天才， 你会找到你真正的音乐身份。你给了我很深的印象。 芷仪，我希望在不远的将来看到你的海报。</p>','<p>黄芷仪<br />在你那么小的年龄， 演奏的非常好了。海顿的奏鸣曲也弹得很好， 教得也很好。 李斯特也很好， 色彩再多一些就更好。 <br />门德尔松非常精彩， 特别是快的部份。<br />你弹的《侏儒舞》在技术能力方面是不可思议的。','','1324451047','1');
INSERT INTO `node_revisions` VALUES ('2054','2074','0','2011-3-5(zh)','<p>李颖<br />海顿弹得相当好。我一般不太在乎漏掉一、两个音符，但像海顿和斯卡拉蒂每一个音符都暴露在外的， 清晰度还是非常重要的。 总体上我喜欢你对声音的敏感性， 但是你缺乏幽默感和节奏上的灵活性。由于键盘乐器声音的局限性，一般人们通常通过节奏的变化来作文章， 特别是在海顿的时代。 你的演奏节奏上不够有创意。<br />李斯特一开始声音很饱满。你的右手在高音区保留降D八度时不要松下来，但切记不要太长。另外一个缺点是，那下行的长走句应该是热情的，而不是诗意的。但总体上， 你的李斯特还是给我留下深刻的印象。<br />《特里亚那》也是。看来你对表情性的音乐比对一些细腻的作品更自如。我等待着在不久的将来听你的《拉赫玛尼诺夫第三协奏曲》。 但是你还是应该先掌握早期音乐的各种风格， 如索雷尔， 斯卡拉蒂，海顿的细致功夫。 祝你好运。</p>','<p>李颖','','1324451086','1');
INSERT INTO `node_revisions` VALUES ('2055','2075','0','2011-3-6(zh)','<p>刘江蓠<br />贝多芬很精彩。 很好，不费力的技巧。<br />《侏儒舞》左手和弦还需出来一些。 要用整个下臂弹， 不要只用手腕。<br />在贝多芬奏鸣曲里你还需要更自如地呼吸：如在第二主题之前，在呈示部反复之前和再现部之前， 还有一些其他地方。这会帮助你。 我这个意见对你所有演奏的曲子都有用。<br />音乐应创造一个魔术般的世界。它存在于你的想象中。你要创造世界。 你需要不断地去丰富它。通过你的生活经验，梦想和思想。你所演奏的乐曲都是人们的经历， 需要你去注意和研究。 它需要你的感情来刺激你想象力的神经。 我从你的演奏中还感觉不到这些。 一个表演音乐家需要有愿意和听众分享世界的愿望。 你有天赋，你就应该这样做。祝你好运。</p>','<p>刘江蓠<br />贝多芬很精彩。 很好，不费力的技巧。<br />《侏儒舞》左手和弦还需出来一些。 要用整个下臂弹， 不要只用手腕。','','1324451118','1');
INSERT INTO `node_revisions` VALUES ('2056','2076','0','2011-3-7(zh)','<p>刘品心<br />李斯特演奏得很流畅。左手的旋律需要更注意并刻画得更温和一些。 我认为， 你弹得太快了，使音乐不那么有意思。需要多一点色彩， 为此有时需要加一点时间。 不要把森林的“飓风”段落开始得太早，宁愿用创造一个很长的渐强的手段，这样更有效。<br />贝多芬很有力。 你是一个很有力的演奏家。 这无疑是一种财富。 但是你应更节约地利用你的体力。 你所演奏的每一首曲子，当你的手下键时， 而你                                                                                                                                                                                                                                                              没有仔细倾听自己演奏，你虽然有许多优点，但都带着一些笨拙。<br />在谐谑曲里和贝多芬的乐曲里，还有一些错音。你还有很长的路要走  <br />谐谑曲， 我认为，还算在你的曲目中弹得最有说服力的一首。 看来你比较喜欢这首。第二主题很美(右手旋律和左手伴奏)。 中间慢的乐段像圆舞曲。 但是E大调稍快的那段太响， 太粗， 太笨。 你已是一名专业钢琴演奏家， 一个有才的演奏者， 你一定会成功。  </p>','<p>刘品心<br />李斯特演奏得很流畅。左手的旋律需要更注意并刻画得更温和一些。 我认为， 你弹得太快了，使音乐不那么有意思。需要多一点色彩， 为此有时需要加一点时间。 不要把森林的“飓风”段落开始得太早，宁愿用创造一个很长的渐强的手段，这样更有效。','','1324451155','1');
INSERT INTO `node_revisions` VALUES ('2057','2077','0','2011-3-8(zh)','<p>刘天元<br />李斯特练习曲很果断和紧凑， 也许太紧凑了。有时我希望在时间方面可以自由一些， 有一点呼吸。但是我非常喜欢你对这首曲子的感情表现， 高潮虽然太紧张一些，但还是很热情和激动人心的<br />莫扎特中表现了不少重要的素质， 如我所喜欢的两手独立性很好，但有点保守，和复调性思维，这里， 如同所有莫扎特的作品，我期望跟他的歌剧或戏剧有一点联系， 每一个新的主题可以翻译成另外一个声乐角色。往往是一部喜歌剧—如《魔笛》。<br />伟大的谢德林！ 第一首曲子是阴暗的感觉。 我建议，右手快的下行音形可弹得柔和得多。 那首固定低音的曲子是我至今所听过的演奏得最精彩的。</p>','<p>刘天元<br />李斯特练习曲很果断和紧凑， 也许太紧凑了。有时我希望在时间方面可以自由一些， 有一点呼吸。但是我非常喜欢你对这首曲子的感情表现， 高潮虽然太紧张一些，但还是很热情和激动人心的','','1324451190','1');
INSERT INTO `node_revisions` VALUES ('2058','2078','0','2011-3-9(zh)','<p>卢星宇<br />李斯特的手指技术弹得非常好。 左手也好。全曲一气呵成，让人感觉只是一瞬间， 这是表扬你。但紧接着就要考虑，如何在音乐上更有意思， 与众不同。一开始可以轻一点， 似乎我们刚看见和听见侏儒们来集合准备跳舞。<br />莫扎特演奏的很流畅， 你有能力但不够有想象力。 可有戏剧性的想象， 让音乐有更多故事可讲。<br />《讽刺》 是很有意思的乐曲选择。 弹得也非常好。如同《侏儒舞》我喜欢你快的乐段中那种暴风雨般的效果。 而最后一首曲子需表现深刻的心理紧张度。<br />你的钢琴演奏有表现力， 你的音乐天份也有感染力。 好好培养你的艺术想象力， 你就会成功。</p>','<p>卢星宇<br />李斯特的手指技术弹得非常好。 左手也好。全曲一气呵成，让人感觉只是一瞬间， 这是表扬你。但紧接着就要考虑，如何在音乐上更有意思， 与众不同。一开始可以轻一点， 似乎我们刚看见和听见侏儒们来集合准备跳舞。','','1324451228','1');
INSERT INTO `node_revisions` VALUES ('2059','2079','0','2011-3-10(zh)','<p>王晓晓<br />你所演奏的李斯特作品艺术水平是高的， 但我觉得太重了点。我并不是说， 速度放慢， 我认为，你的声音太笨重，不灵巧。演奏得典雅一些， 音乐就会高兴一点。<br />莫扎特还不错。有一些技术上的缺点需要重视。一般地讲， 音乐织体从快到慢时（32分音符到16分音符）人们容易慢下来， 倒过来，从慢到快时， 人们容易比所需要的速度更快。这个问题在你的末乐章中几乎每次都发生。 你必须抵制它。另外，你还要注意左右手的独立性。 你的左手在第一页的中间在节奏上出轨了。<br />我认为， 你的肖邦作品弹得最好。 这首波兰舞曲近年来很少听人弹。今天听你弹很新鲜。 但有些片段你还有点沉重。</p>','<p>王晓晓<br />你所演奏的李斯特作品艺术水平是高的， 但我觉得太重了点。我并不是说， 速度放慢， 我认为，你的声音太笨重，不灵巧。演奏得典雅一些， 音乐就会高兴一点。','','1324452557','1');
INSERT INTO `node_revisions` VALUES ('2060','2080','0','2011-3-11(zh)','<p>王屹群<br />海顿奏鸣曲选得好！弹得也很好。 一些快的重复音需要再练得平均一些。 李斯特也很好， 演奏富有表现力。 我建议， 可多用一点弱音踏板， 使音乐更亲切。 曲中的双三度也很好。 多想一点长句子， 你弹的小分句太多。 <br />布拉姆斯在和弦 “f”处可多用一点踏板。总的演奏很好，很有力。你的专业质量很高， 才能也很明显。我看你的演奏而没有找到的是雅致和典雅----那种当我们欣赏一幅美丽的绘画或朗读一首伟大的诗篇时那种感情。你内心是有这种感情的， 它有时会出现， 但你应该经常有这种感情。你给人的印象是一位有头脑的年轻人。也许多读一点古典文学作品， 伟大的传记， 如你所演奏的作曲家的传记，对你会有帮助。祝你好运。                           </p>','<p>王屹群<br />海顿奏鸣曲选得好！弹得也很好。 一些快的重复音需要再练得平均一些。 李斯特也很好， 演奏富有表现力。 我建议， 可多用一点弱音踏板， 使音乐更亲切。 曲中的双三度也很好。 多想一点长句子， 你弹的小分句太多。 ','','1324451328','1');
INSERT INTO `node_revisions` VALUES ('2061','2081','0','2011-3-12(zh)','<p>吴君麟<br />简单而精彩的海顿！我欣赏你的有味道和辉煌的风格创造力。你这种音乐处理能启发你的同行们多弹一些海顿， 并不是为了教学， 而是为了真诚地创造音乐。 你的现代手法使这首乐曲听起来像现代音乐， 但并不无味。<br />李斯特给我的印象是你真实的表现力和深度。 请你减少你的身体和头部动作。它妨碍着听音乐。 有一些rubato 在风格上我认为不妥， 除非你这样做是作为获得成功的代价。<br />普罗科菲耶夫充满想象力的演奏。每一首曲子中都有一些错音。 我喜欢你的演奏不公式化。是一位有才能的年轻人经过思考的演奏。但你还需要在正确的道路上下很多功夫钻研， 祝你成功 。 </p>','<p>吴君麟<br />简单而精彩的海顿！我欣赏你的有味道和辉煌的风格创造力。你这种音乐处理能启发你的同行们多弹一些海顿， 并不是为了教学， 而是为了真诚地创造音乐。 你的现代手法使这首乐曲听起来像现代音乐， 但并不无味。','','1324451373','1');
INSERT INTO `node_revisions` VALUES ('2062','2082','0','2011-3-13(zh)','<p>谢天健<br />很好， 有力的海顿。稍有点太“直”的有力。这是一首技术性很强的曲子， 需要高度的准确性， 但你有时不够。 节奏感好。 踏板运用好。<br />李斯特一开始太“现实”和太响。我想， 你应该用更神秘的方法开始来吸     引听众的想象力。<br />你的整个曲目中， 谐谑曲的中段我最喜欢。她让我看到你多么有天才和有多少能力，你的分句和倾听线条的能力非常好。<br />你有很好的基础， 如不费劲的生理条件， 很好的技术和风格感等。但你今天的演奏不够讲究和仔细。每一首曲子里都有读谱上的错音。 你还需要更用功， 才能成功。你具备条件。成功在你手里。 祝你好运。</p>','<p>谢天健<br />很好， 有力的海顿。稍有点太“直”的有力。这是一首技术性很强的曲子， 需要高度的准确性， 但你有时不够。 节奏感好。 踏板运用好。<br />李斯特一开始太“现实”和太响。我想， 你应该用更神秘的方法开始来吸     引听众的想象力。','','1324451419','1');
INSERT INTO `node_revisions` VALUES ('2063','2083','0','2011-3-14(zh)','<p>张思滢<br />莫扎特很可爱。你能很好的听自己。 一切复调性的线条都很清楚和透明。门德尔松和李斯特也如此，每一首曲子你都演奏得非常聪敏和乐感。它包含着许多优良品质， 例如好的技术，好的形状感， 自然的台风。但是你还有一个缺点。你的演奏还不够打动人。它将区别你与你的同龄人。 我希望你的演奏更有表现力。我建议你打开自己想象力， 允许自己演奏更大胆一些， 哪怕弹错几个音， 不要害怕犯错误---我们学习不可能不犯错误。 我相信你的天生素质， 祝你好运。</p>','<p>张思滢','','1324451489','1');
INSERT INTO `node_revisions` VALUES ('2064','2084','0','2011-2-1(zh)','<p>安天旭<br />Tchaikovsky Dumka<br />在最开始的一段，你对声音的控制非常美，而且对乐句的塑造十分华丽。当你的右手变成快速伴奏的部分，你的演奏就稍微有些焦虑不安了，其实它依然应该是超脱而平静的。你的快速段落，非常清脆。尽管有时会感觉令人窒息。你的八度表现，令人印象深刻。但是在很强的范围内，我依然建议你去探索一些更为广阔更多样性的音色(从F到FF)。<br />Haydn Sonata no. 33 in C minor, 1st movement<br />整个乐章的右手旋律，都有着美丽和清晰地音色。左手可以更积极地参与到和声和乐曲的结构发展中。<br />Liszt Gnomenreigen<br />对我来说有些过于狂热，令人感觉窒息。能弹得快当然是件好事，但是某些需要放松的段落，要与快的段落有一个对比，而这些我没有听到。再次对你声音的清晰度，提出表扬。但是你力度的范围，要更放宽一些，而且你需要去体会一种更加轻盈的感觉，会对你有所帮助。</p>','<p>安天旭<br />Tchaikovsky Dumka','','1324451610','1');
INSERT INTO `node_revisions` VALUES ('2065','2085','0','2011-2-2(zh)','<p>顾欣皓<br />Mendelssohn Rondo Capriccioso<br />开场非常的稳健，但是我认为在歌唱性的线条应该再长一些。快速的部分，非常的清楚，旋律悠长的主题非常美，总体上来说我认为这首乐曲可以更加诙谐一些。<br />Liszt Waldesrauschen<br />非常好的演奏，你手指的清晰度令人十分钦佩。我主要的意见是，整体感觉有些沉重，主要是左手快速移动的部分。你的右手有能力弹的非常快，非常轻盈，所以你的左手也应该与之配合。<br />Haydn Sonata Hob. XV/52, 1st movement<br />非常优雅和恢弘的演奏，我希望能够听到音质方面更多的对比。你的演奏很清脆，这一点非常好，但是快速段落并不需要弹的那么清楚那么响亮，反而可以按照乐曲的需要，弹的温柔连贯一些。</p>','<p>顾欣皓<br />Mendelssohn Rondo Capriccioso<br />开场非常的稳健，但是我认为在歌唱性的线条应该再长一些。快速的部分，非常的清楚，旋律悠长的主题非常美，总体上来说我认为这首乐曲可以更加诙谐一些。<br />Liszt Waldesrauschen','','1324451643','1');
INSERT INTO `node_revisions` VALUES ('2066','2086','0','2011-2-3(zh)','<p>黄蔚園<br />Haydn Sonata, Hob. XVI/45, 1st movement <br />丰富的触键和性格，听起来很有活力，而且非常幽默。乐曲结构很清晰，充满了戏剧性的感觉。太棒了！要注意不要把右手弹得太沉重了。虽然会形成对比，但我还是会缩减右手的音量和重量。如果你不注意的话，右手有时候听起来有点像推，有点进攻的感觉。<br />  Liszt La Leggierezza<br />很美的表演，我在想是不是右手快速的段落可以演奏的更轻盈一些。现在听起来感觉太真实了，总体来讲这首作品演奏的还是很有说服力的。GinasteraDanzasArgentinas<br />第一首对乐曲性格把握的依旧很到位，清晰度也很棒！第二首的气氛营造的很美，可以更温暖更敏锐一点。在我看来，左手显得有点太活跃了。第三首给人印象很深刻，很清楚，尽在掌握，使人听了热血沸腾。其实如果你稍慢一点会更有效果，不要任由它跑掉，特别是在一开始。 </p>','<p>黄蔚園<br />Haydn Sonata, Hob. XVI/45, 1st movement ','','1324452742','1');
INSERT INTO `node_revisions` VALUES ('2067','2087','0','2011-2-4(zh)','<p>黄芷仪<br />Haydn Sonata Hob. XVI/50, 1st movement <br />抓住了乐曲的性质，而且演奏非常多样化，表现出令人惊异的说服力。在快速的部分中，有时你的右手有一些推，偏离了乐曲的本质。你在对比方面做得很好，但是要考虑到装饰音，它并不仅仅是弹快弹响，否则会听起来有些匆忙，令人窒息的感觉。<br />Liszt Gnomenreigen<br />清晰度很好，但有些过于笨重，而且段落之间有些不一致，分句可以更长一些。总的来说，就是表现得更为轻盈，更加天马行空。<br />Mendelssohn Rondo Capriccioso<br />你非常有乐感，而且有着很好的音乐直觉。如之前提过的那样，我认为乐曲应该感觉更轻盈一些，会更有效果。</p>','<p>黄芷仪<br />Haydn Sonata Hob. XVI/50, 1st movement <br />抓住了乐曲的性质，而且演奏非常多样化，表现出令人惊异的说服力。在快速的部分中，有时你的右手有一些推，偏离了乐曲的本质。你在对比方面做得很好，但是要考虑到装饰音，它并不仅仅是弹快弹响，否则会听起来有些匆忙，令人窒息的感觉。','','1324451722','1');
INSERT INTO `node_revisions` VALUES ('2068','2088','0','2011-2-5(zh)','<p>李颖<br />Haydn Sonata Hob. XVI/31, 1st movement  <br />演奏很好，很平衡。充满了个性，非常优雅。你可能要考虑一下细微的音色变化，而且根据你音乐的意图去塑造乐句。有时我发现你的选择稍微有些平庸。<br />Liszt UnSospiro<br />很有说服力的演奏。但是我没有听到整个曲子中的温暖和声。所有这些琶音应该形成一种和声的效果，作为背景。我们不应该是只听到许多音符。你在换踏板的时候要小心，不要产生缝隙。有的时候，你会因为换踏板，破坏了旋律线。<br />Albeniz Triana<br />非常生机勃勃而又清晰的演奏，有时节奏感可以更强一些，而且要把控的更好。换踏板的时候要当心，它们有的时候会破坏旋律线。同时，你可以尝试去挖掘一些比较暗的音色，清晰虽然非常重要，但是如果你能够找到更暗的音色，亮色部分则会被衬托的更为突出。</p>','<p>李颖<br />Haydn Sonata Hob. XVI/31, 1st movement  <br />演奏很好，很平衡。充满了个性，非常优雅。你可能要考虑一下细微的音色变化，而且根据你音乐的意图去塑造乐句。有时我发现你的选择稍微有些平庸。<br />Liszt UnSospiro','','1324451755','1');
INSERT INTO `node_revisions` VALUES ('2069','2089','0','2011-2-6(zh)','<p>刘江蓠<br />Beethoven Sonata op. 14 no. 2, 1st movement <br />演奏的非常流畅自然，注意到了乐曲的细节和性质，但我认为你的对比可以做的更明显一些，这不仅是体现性质上，更应该是在音质上。与此同时，要非常小心的保持住旋律线条。不要仅仅是让旋律线呆板的向前发展。<br />Chopin Rondo<br />演奏的还不错，但是如果能够更多的注意呼吸、节拍和各种乐句之间的对比，就会更加完美。清晰度值得赞扬，在这里非常重要的是要运用你的想象力，否则乐曲会感觉有点单调。<br />Liszt Gnomenreigen<br />你的演奏，令人感觉有些窒息。需要多一点时间和轻松地感觉，这样才能使乐曲活起来。尝试着去看看乐曲之间小的细节，赋予它们更多的含义。</p>','<p>刘江蓠<br />Beethoven Sonata op. 14 no. 2, 1st movement <br />演奏的非常流畅自然，注意到了乐曲的细节和性质，但我认为你的对比可以做的更明显一些，这不仅是体现性质上，更应该是在音质上。与此同时，要非常小心的保持住旋律线条。不要仅仅是让旋律线呆板的向前发展。<br />Chopin Rondo','','1324451785','1');
INSERT INTO `node_revisions` VALUES ('2070','2090','0','2011-2-7(zh)','<p>刘品心<br />Liszt Waldesrauschen<br />非常清楚、稳健的演奏。在大的段落中，你表现得有声有色。但是我认为，在演奏比较温柔的片段时，弹的更亲切一些比较适合。同时，你还要当心你的八度的长线条旋律。弹的很响的时候，建议不要破坏旋律线。<br />Beethoven Sonata op. 2 no. 3, 1st movement<br />一开始抓住了乐曲的性质，但是在抒情的片段中，需要更大的对比。在声音和倾向性上，还有长的强音。发展部需要更醒目，更有说服力。在我看来，这首曲子全部都需要更加不同的性格特征对比。<br />Chopin Scherzo op. 31<br />非常有气势的演奏，要注意在强的段落中和弦的声部。和弦里不是所有的音都是一样重的，否则声音就会有些刺耳。中段有一些很美妙的瞬间，但是要当心，声音不要浮躁，要把中段演奏的更为平静。</p>','<p>刘品心<br />Liszt Waldesrauschen<br />非常清楚、稳健的演奏。在大的段落中，你表现得有声有色。但是我认为，在演奏比较温柔的片段时，弹的更亲切一些比较适合。同时，你还要当心你的八度的长线条旋律。弹的很响的时候，建议不要破坏旋律线。<br />Beethoven Sonata op. 2 no. 3, 1st movement','','1324451817','1');
INSERT INTO `node_revisions` VALUES ('2071','2091','0','2011-2-8(zh)','<p>刘天元<br />Liszt Waldesrauschen<br />分句非常简单而自然，声音很清楚，但我认为你可以更加灵活自由一些。同样抒情的段落，为了反差更大，可以更加安静，更加天马行空一些。<br />Mozart KV 281, 1st movement<br />乐曲的性格特征很美，对乐曲细节很注意，很优雅的演奏。和上一首李斯特的意见一样，我认为你应该表现的更加自由，分句之间应该更多的呼吸，以避免乐曲的表现过于中规中矩。<br />Schedrin Two polyphonic pieces <br />性格塑造很成功，很有说服力，很有气势。节奏感和力度对比都很出色。在最戏剧性的段落中，可以多增加些紧张度和对时间的掌控。</p>','<p>刘天元<br />Liszt Waldesrauschen<br />分句非常简单而自然，声音很清楚，但我认为你可以更加灵活自由一些。同样抒情的段落，为了反差更大，可以更加安静，更加天马行空一些。<br />Mozart KV 281, 1st movement','','1324451859','1');
INSERT INTO `node_revisions` VALUES ('2072','2092','0','2011-2-9(zh)','<p>卢星宇<br />Liszt Gnomenreigen<br />非常脆的声音，但是你的左手有些沉重，所以使得整个乐曲听上去有些木讷，缺乏一些优雅的感觉。<br />Mozart Sonata KV 281, 1st movement<br />要注意在演奏强的时候，不要有太多推的声音，快速部分听起来有些匆忙。任何一个段落，不管有多快，都应该是歌唱的，装饰音也是同样的，不要认为它们只是简单的弹快，它们都是旋律的一部分。<br />Sergei Prokofiev “Sarcasms”<br />力度的对比非常出色，同样不管作曲家要求你弹得多响，你需要更多考虑你的音质，总而言之，乐曲的特性刻画的非常好，而且很有说服力 。</p>','<p>卢星宇<br />Liszt Gnomenreigen<br />非常脆的声音，但是你的左手有些沉重，所以使得整个乐曲听上去有些木讷，缺乏一些优雅的感觉。<br />Mozart Sonata KV 281, 1st movement','','1324451975','1');
INSERT INTO `node_revisions` VALUES ('2073','2093','0','2011-2-10(zh)','<p>王晓晓<br />Liszt Gnomenreigen<br />这首曲子的难点之一是使你的声音更加轻盈，大体来说左右手都要注意轻盈的感觉。同样，开场主题的装饰音要弹的快而清脆，不要过于沉重。<br />Mozart Sonata in F major, KV 332, 3rd movement 5+<br />非常扎实的演奏，你过于专注细节，这使得乐曲听起来太沉重，破坏了作品的流动感。同时我认为你可以用更轻的力度去探索整个乐章。你不需要弹的如此响，以期达到你期望达到的重量级。还要记住，在莫扎特的乐曲中，即使是很快的段落，也要声音弹得非常旋律化。<br />Chopin Polonaise in d minor 7-<br />很有说服力，充满了热情的演奏。唯一一点需要注意的是，我经常听不到波兰舞曲的节奏，因此乐曲听起来有些沉重，有些吃力。</p>','<p>王晓晓<br />Liszt Gnomenreigen<br />这首曲子的难点之一是使你的声音更加轻盈，大体来说左右手都要注意轻盈的感觉。同样，开场主题的装饰音要弹的快而清脆，不要过于沉重。<br />Mozart Sonata in F major, KV 332, 3rd movement 5+','','1324451947','1');
INSERT INTO `node_revisions` VALUES ('2074','2094','0','2011-2-11(zh)','<p>王屹群<br />Haydn Sonata in D major, 1st movement <br />演奏的很漂亮很时髦，乐曲性格和力度对比都不错。段落之间的衔接可以再稳一点，尤其是在大的音乐厅里演奏时。<br />Liszt La Leggierezza<br />乐曲的轻盈特性演奏的很恰当，很美妙。但旋律可以用一种更厚更歌唱的声音来表现。比较响和比较快的段落要更轻拂，声音更集中。大的渐强做的很有效果，而且设计的很好。右手快速轻柔的半音阶段落，感觉音符太多了，要弹得像风一样。<br />Brahms Scherzo<br />风格，时代和乐曲性格塑造的都很美，很难的一首曲子，你弹得非常棒。</p>','<p>王屹群<br />Haydn Sonata in D major, 1st movement <br />演奏的很漂亮很时髦，乐曲性格和力度对比都不错。段落之间的衔接可以再稳一点，尤其是在大的音乐厅里演奏时。<br />Liszt La Leggierezza','','1324452042','1');
INSERT INTO `node_revisions` VALUES ('2075','2095','0','2011-2-12(zh)','<p>吴君麟<br />Haydn Sonata in e major, first movement<br />非常有力的演奏，很稳定，很美。如果可能的话，把乐曲性质的范围放大一些会更好。要试图去挖掘这首曲子中更优雅的一面。有些段落可以弹的再紧凑一点，尤其是快速跑动的段落。<br />Liszt La Leggierezza<br />旋律线条控制的非常好， 右手快速的半音阶段落弹得很棒，很漂亮，很有说服力。<br />Prokofiev Sonata in a minor<br />演奏的很有光彩，第二主题的对比很美。在很响的和弦段落中，声音可以更精纯一些（比如在一开始）。在一些更响的段落中，紧张度得到释放的同时要更加小心，耳朵需要一点时间来听清楚和声。最高潮最响的段落也要注意到两手声音的平衡。总之，你的演奏还是非常精彩的。   </p>','<p>吴君麟<br />Haydn Sonata in e major, first movement<br />非常有力的演奏，很稳定，很美。如果可能的话，把乐曲性质的范围放大一些会更好。要试图去挖掘这首曲子中更优雅的一面。有些段落可以弹的再紧凑一点，尤其是快速跑动的段落。<br />Liszt La Leggierezza','','1324452072','1');
INSERT INTO `node_revisions` VALUES ('2076','2096','0','2011-2-13(zh)','<p>谢天健<br />Haydn Sonata in C major, 1st movement<br />非常清脆的演奏，声音不错。尽管乐曲的性格有着不错的对比，但是我认为声音可以更多样化一些。一些更舒缓的段落中，你可以去探索一种更温暖，更为连贯的声音。同时，对乐句的塑造可以稍稍有些变化，而不总是开门见山。休止符同样也是很重要的，要更加生动一些，而不只是数拍子。<br />Liszt La Leggierezza<br />同样也是非常清脆的演出，但是声音可以更连贯，更温暖，更慵懒。清晰度很好，演奏的也很令人激动，但是我觉得这个曲子可以有更多的对比。温暖和轻盈，可以使它更美，更加激动人心。<br />Chopin Scherzo in e major<br />非常棒的表演，乐曲的概念非常清楚。同样我也喜欢能够在声音上，有更多的对比。乐句之间可以再多些时间，使它更清晰，而且结构更为清楚。很长的旋律线，可以更为自由，不要太直 。</p>','<p>谢天健<br />Haydn Sonata in C major, 1st movement','','1324452136','1');
INSERT INTO `node_revisions` VALUES ('2077','2097','0','2011-2-14(zh)','<p>张司滢<br />Mozart Sonata KV 311, 1st movement<br />弱拍有些向前冲，十六分音符有些赶，造成了一种浮躁的感觉，我认为这种情绪不符合这个乐章。要小心平衡你左手的声音，不要太响。</p><p>Mendelssohn Rondo Capriccioso<br />引子部分的旋律，非常优美，但是要注意不要让左手压过它。快速的段落塑造得不错，但是第二主题感觉有些沉重了，应该是歌唱型的，但是你的左手表现，使其变得过于沉重。同时要注意，从始至终的保持一种有力的脉搏，即使是在音乐飞速流逝，你依然要能够感觉到所有和声的变化。<br />Liszt Gnomenreigen<br />乐曲的性格非常好，非常闪亮。对作品的概况和构想非常好。</p>','<p>张司滢<br />Mozart Sonata KV 311, 1st movement<br />弱拍有些向前冲，十六分音符有些赶，造成了一种浮躁的感觉，我认为这种情绪不符合这个乐章。要小心平衡你左手的声音，不要太响。</p>','','1324452190','1');
INSERT INTO `node_revisions` VALUES ('2078','2098','1','视频1201-04','','','','1324644019','1');
INSERT INTO `node_revisions` VALUES ('2080','2100','1','2011-5-1(zh)','<p>安天旭<br />Tchaikovsky Dumka非常可爱，乐句非常美好，音色控制很美妙，非常有艺术气息。但段落之间的对比可以更加自由一些；<br />Haydn sonata c minor对乐曲风格的理解非常准确，对于我来说，节奏感不够明确，每一拍都多少感觉有些相似。但是仍然非常沉着；<br />Lizst Gnomenreigen手指技术非常杰出，太棒了。乐曲一开始的速度有些过快，我个人更倾向于更有吸引力和对比的演奏，把最快的速度留到最后；<br />总之，你的演奏能力非常出色，乐感很好，不要担心发出自己的声音。</p>','<p>安天旭<br />Tchaikovsky Dumka非常可爱，乐句非常美好，音色控制很美妙，非常有艺术气息。但段落之间的对比可以更加自由一些；<br />Haydn sonata c minor对乐曲风格的理解非常准确，对于我来说，节奏感不够明确，每一拍都多少感觉有些相似。但是仍然非常沉着；','','1325042006','1');
INSERT INTO `node_revisions` VALUES ('2081','2101','1','2011-5-2(zh)','<p>顾欣皓<br />Mendelssohn  rondo capriccioso –Rubato的感觉很好，速度的变化有时有些过于夸张。音乐性段落可以表现的更加轻盈更灿烂一些，音色非常棒；<br />Liszt Waldesrauschen –非常温暖的一种演奏气氛，旋律非常美，但是有时渐强做的过快，而且你过早的到达了“f”；<br />Haynd Sonata E-flat major –对乐曲风格的理解非常到位，有非常完美的音色和双手平衡，对于和声的变化有着很好的感觉。<br />非常精彩自信的演奏，要为更不费力的演奏而努力。</p>','<p>顾欣皓<br />Mendelssohn  rondo capriccioso –Rubato的感觉很好，速度的变化有时有些过于夸张。音乐性段落可以表现的更加轻盈更灿烂一些，音色非常棒；<br />Liszt Waldesrauschen –非常温暖的一种演奏气氛，旋律非常美，但是有时渐强做的过快，而且你过早的到达了“f”；','','1325042093','1');
INSERT INTO `node_revisions` VALUES ('2082','2102','1','2011-5-3(zh)','<p>黄蔚園<br />Haydn Sonata清晰度非常好，和声的意识和节奏感很强，但有点过于咄咄逼人，请尽量保持优雅；<br />Lizst La leggierezza –乐曲的轮廓很美，但有时看起来有些吃，缺少一些朴素的感觉。每个音都很重要，但是在整个乐曲中，节奏感和大句子更为重要；<br />Ginastera Danzas Argentinas –乐曲的性质刻画的极为成功，非常熟练，非常漂亮，演奏时间掌握的也很出色，极富有艺术性，非常棒。</p>','<p>黄蔚園<br />Haydn Sonata清晰度非常好，和声的意识和节奏感很强，但有点过于咄咄逼人，请尽量保持优雅；<br />Lizst La leggierezza –乐曲的轮廓很美，但有时看起来有些吃，缺少一些朴素的感觉。每个音都很重要，但是在整个乐曲中，节奏感和大句子更为重要；','','1325042153','1');
INSERT INTO `node_revisions` VALUES ('2083','2103','1','2011-5-4(zh)','<p>黄芷仪<br />Haydn Sonata in C major –弹得不错，乐曲性格以及控制都很好，但偶尔显得有些急躁，感觉上有些轻微的急促和不均匀；<br />Liszt Gnomenreigen – 演奏非常有叙述性，有些节奏不太准确，但是在这个年龄，你的演奏还是令人印象非常深刻的；<br />Mendelssohn Rondo capriccioso –很有表现力和乐感，弹得非常轻盈和清脆，很有潜力。</p>','<p>黄芷仪<br />Haydn Sonata in C major –弹得不错，乐曲性格以及控制都很好，但偶尔显得有些急躁，感觉上有些轻微的急促和不均匀；<br />Liszt Gnomenreigen – 演奏非常有叙述性，有些节奏不太准确，但是在这个年龄，你的演奏还是令人印象非常深刻的；','','1325042278','1');
INSERT INTO `node_revisions` VALUES ('2084','2104','1','2011-5-5(zh)','<p>李颖<br />Haydn Sonata –有些过于直白，太重了，这个曲子可以并且应该表现的更加迷人，可爱和诙谐；<br />Liszt Un sospiro –弹得不错，这个乐曲的名字说明它与呼吸是息息相关的，所以你需要更多的注意呼吸，要努力使单旋律音变成一个长句子的线条；<br />Albeniz Triana – 弹得非常好，有一些节奏和和声要弹的更加有特色和异域风情(例如吉普赛，西班牙风情)。总的说来，需要更有魅力，更加丰富的变化和对比。</p>','<p>李颖<br />Haydn Sonata –有些过于直白，太重了，这个曲子可以并且应该表现的更加迷人，可爱和诙谐；<br />Liszt Un sospiro –弹得不错，这个乐曲的名字说明它与呼吸是息息相关的，所以你需要更多的注意呼吸，要努力使单旋律音变成一个长句子的线条；','','1325042334','1');
INSERT INTO `node_revisions` VALUES ('2085','2105','1','2011-5-6(zh)','<p>刘江蓠<br />Beethoven Sonata Op.14 no.2 –弱拍非常的美，句子的结构有些过于中规中矩，每一拍不需要处理的完全一样，需要更多的变化，才能让你的演奏更加成功；<br />Chopin Rondo – 太多的正拍，实际上几乎没有任何声音是向上的，可以把旋律和伴奏区分的更大一些；<br />Liszt Gnomenreigen –乐曲一开始的理解有些偏差，需要处理的更为明亮，迷人一些。左手和弦表现不多；<br />非常“健康”的声音，但是这三首曲子的声音给人感觉有些雷同。</p>','<p>刘江蓠<br />Beethoven Sonata Op.14 no.2 –弱拍非常的美，句子的结构有些过于中规中矩，每一拍不需要处理的完全一样，需要更多的变化，才能让你的演奏更加成功；<br />Chopin Rondo – 太多的正拍，实际上几乎没有任何声音是向上的，可以把旋律和伴奏区分的更大一些；','','1325042384','1');
INSERT INTO `node_revisions` VALUES ('2086','2106','1','2011-5-7(zh)','<p>刘品心<br />Liszt Waldesrauschen – 这个曲子的标题是被叫做低语或者是私语，经常容易被演奏的过于沉重或者富有侵略性。长旋律线条要被塑造的更好，更灵活。在乐曲的最高潮，也要保持住速度。对于不同的素材，要给与更多的注意；<br />Beethoven Sonata Op.2 no.3 – 很多段落，踏板用的过多，乐曲在一开始的性质，可以处理的更有趣一些。这个乐章中的每一个段落都有很多的对比，你需要确定这些不同点，能够被清晰的传达出来；<br />Chopin Scherzo no. 2 – 弹得不错，在这三首曲子中，这首表现得最为出色，要注意你的踏板。在抒情的片段，需要在连贯性方面做更多的探索。需要更清晰地区分开旋律和伴奏素材的不同。</p>','<p>刘品心<br />Liszt Waldesrauschen – 这个曲子的标题是被叫做低语或者是私语，经常容易被演奏的过于沉重或者富有侵略性。长旋律线条要被塑造的更好，更灵活。在乐曲的最高潮，也要保持住速度。对于不同的素材，要给与更多的注意；','','1325042431','1');
INSERT INTO `node_revisions` VALUES ('2087','2107','1','2011-5-8(zh)','<p>刘天元<br />Liszt Waldesrauschen -长得旋律线条非常美，但是有些过于兴奋，你的表现有些失控。要让音乐去自如的表述。你对“p”和“f”的处理把握得不错，只是有些稍显粗糙；<br />Mozart –非常高雅的演奏，结构感很好<br />Schedrin –弹得不错，节奏感和驾驭能力都很出色。当你保持自己对乐曲的兴奋度的同时，要努力尽可能的使一切都处于你的掌控之下，特别是在很响亮的片段；<br />非常令人深刻的演奏，但是需要在准确度上，多下些功夫，很有潜力。</p>','<p>刘天元<br />Liszt Waldesrauschen -长得旋律线条非常美，但是有些过于兴奋，你的表现有些失控。要让音乐去自如的表述。你对“p”和“f”的处理把握得不错，只是有些稍显粗糙；<br />Mozart –非常高雅的演奏，结构感很好','','1325042474','1');
INSERT INTO `node_revisions` VALUES ('2088','2108','1','2011-5-9(zh)','<p>卢星宇<br />Liszt Gnomenreigen –非常亮眼的演奏，你的手指技术很好，但是如果你能想办法这首曲子弹的更为轻盈，给人的印象会更为深刻；<br />Mozart –你演奏的很好，可以尝试更加自由一些，但是要记住，从始至终都要把握住乐曲的脉搏。抒情的第二主题，不需要慢下来。<br />Prokofiev –非常棒，极富想象力的演奏，时间把握的很好，对于乐曲每一部分的情绪捕捉非常出色。</p>','<p>卢星宇<br />Liszt Gnomenreigen –非常亮眼的演奏，你的手指技术很好，但是如果你能想办法这首曲子弹的更为轻盈，给人的印象会更为深刻；<br />Mozart –你演奏的很好，可以尝试更加自由一些，但是要记住，从始至终都要把握住乐曲的脉搏。抒情的第二主题，不需要慢下来。','','1325042513','1');
INSERT INTO `node_revisions` VALUES ('2089','2109','1','2011-5-10(zh)','<p>王晓晓<br />Liszt Gnomenreigen –速度有些慢，而且过于沉重。对于踏板的控制不错，但是要注意不要过多使用；<br />Mozart –自始至终都要保持流动，每一个浮点，四分音符的处理感觉过于突兀。要把握好尺度，确保所有的段落都是旋律性的，总之，要努力寻找声音的音质；<br />Chopin – 有很多美好的瞬间，看起来你与这首乐曲之间存在着更好地沟通。每一句的结尾处，都有停顿的迹象，使得乐曲本身听起来有一定预见性。但总体来说，声音非常美，但需要更有韵律和精致的音色，令人愉快的演奏。</p>','<p>王晓晓<br />Liszt Gnomenreigen –速度有些慢，而且过于沉重。对于踏板的控制不错，但是要注意不要过多使用；<br />Mozart –自始至终都要保持流动，每一个浮点，四分音符的处理感觉过于突兀。要把握好尺度，确保所有的段落都是旋律性的，总之，要努力寻找声音的音质；','','1325042570','1');
INSERT INTO `node_revisions` VALUES ('2090','2110','1','2011-5-11(zh)','<p>王屹群<br />Haydn –触键非常精致，节奏感很好，清晰度高。所以乐曲的性质显得非常好；<br />Liszt la leggierezza –很有乐感，很有钢琴家的控制感，但是需要更为轻盈的触键。同样，有时朴素些，会使得乐曲更有表现力；<br />Brahms –抒情的瞬间非常优美，要意识到这首作品有着交响乐的本质，它有可能是交响乐中的一个谐谑曲乐章，务必要把你每一个乐句都带到它们的终点，中途不要停顿。</p>','<p>王屹群<br />Haydn –触键非常精致，节奏感很好，清晰度高。所以乐曲的性质显得非常好；<br />Liszt la leggierezza –很有乐感，很有钢琴家的控制感，但是需要更为轻盈的触键。同样，有时朴素些，会使得乐曲更有表现力；','','1325042621','1');
INSERT INTO `node_revisions` VALUES ('2091','2111','1','2011-5-12(zh)','<p>吴君麟<br />Haydn –乐曲的风格，感觉非常好。经过段非常清晰，非常清脆，分句非常清楚<br />Liszt La leggierezza –有很多优秀的品质，手指很好，声音也不错，极富表现力。但是以我的口味来说，表现一直过于活跃，给人感觉有些浮夸。应该探究更多内在的，沉思的，冥想的特性和品质；<br />Prokofiev –演奏非常出色，技术很棒；<br />总的来说，演奏的还是很好的，不需要每时每刻都对音乐做些什么，要让音乐自己去表述，这样会使你的听众和你有更好的沟通。</p>','<p>吴君麟<br />Haydn –乐曲的风格，感觉非常好。经过段非常清晰，非常清脆，分句非常清楚<br />Liszt La leggierezza –有很多优秀的品质，手指很好，声音也不错，极富表现力。但是以我的口味来说，表现一直过于活跃，给人感觉有些浮夸。应该探究更多内在的，沉思的，冥想的特性和品质；','','1325042670','1');
INSERT INTO `node_revisions` VALUES ('2092','2112','1','2011-5-13(zh)','<p>谢天健<br />Haydn –弹得不错，但是有些过于直白，过于直截了当。要让音乐更多地去呼吸，这首曲子有很多幽默感和对比在里面。你的处理显得有些过于程式化。<br />Liszt La leggierezza –你对和声的变化，细微的差别和触键都可以更加的敏感。你的技术出色。这个乐曲的名字说明它和轻有关，而你弹了更多的强，应该去尝试更多的“p”, “pp” 和 “ppp”。<br />Chopin scherzo no. 4 –这个曲子你的演奏给人感觉有些生气，而不是欢心得意的。总的来说，你弹得很准确，你的断奏可以表现得轻巧一些。段落的处理可以更加沸腾一些，然而同时在每次跑动的地方，都要保持住旋律性。中段有时缺乏即兴的，梦幻般的，吟唱的特性，避免在每个正拍，都感觉很直。让音乐更自然地更轻松的流动起来。技术功底非常扎实。</p>','<p>谢天健<br />Haydn –弹得不错，但是有些过于直白，过于直截了当。要让音乐更多地去呼吸，这首曲子有很多幽默感和对比在里面。你的处理显得有些过于程式化。','','1325042712','1');
INSERT INTO `node_revisions` VALUES ('2093','2113','1','2011-5-14(zh)','<p>张司滢<br />Mozart –清晰度很好，旋律和伴奏的空间掌握的很好，乐曲很有精神，可以更为优雅；<br />Mendelssohn –非常美，在引子的部分，声音很有表现力，不要过多的使用rubato。最成功的rubato是让人几乎察觉不到。你的rubato经常表现过于明显。在回旋曲的部分，触键非常轻盈，这点很好。有一些刻意的停顿和渐慢，听起来不够真诚；<br />Liszt gnomenreigen –手指功夫不错，但是乐曲本身所拥有的神秘的，迷幻的特质，我在你的演奏中没有听到。狂板部分不要比其他段落更慢。</p>','<p>张司滢<br />Mozart –清晰度很好，旋律和伴奏的空间掌握的很好，乐曲很有精神，可以更为优雅；','','1325042757','1');
INSERT INTO `node_revisions` VALUES ('2094','2114','1','2011-1-1(zh)','<p>安天旭</p><p>柴可夫斯基 — — 杜姆卡，作品 59<br />这部作品的灵感来源于柴可夫斯基在莫斯科北部农村的独立住所。他在文中写道：“我爱俄罗斯的乡村美景远多于其他，它的冬天有着无比的魅力”。<br />杜姆加，叙事性的斯拉夫民歌考验演奏者从忧郁突然变换到兴奋的表演能力。我喜欢你的表演，因为你有这种能力去表现这种对比反差。同时你的旋律和节奏掌握的很好，尤其是刚开始就可以把人带入悲伤和孤独的氛围。此外在这些和弦再次出现的时候，你的情绪把握的也很到位（注意倒数第二小节应该是八拍）。情绪高昂的中间部分可能更加丰富多彩，虽然你是经过认真考虑保持相同的节奏，脉搏内有众多的节奏变化的可能性。即使\"Poco meno mosso\"，通过华彩和接下来的“Andante”乐曲高潮的节奏略有放缓，应继续兴奋。了解了以上这些相信你下次的表演一定会更加精彩。<br />海顿： C 小调奏鸣曲 Hob.XVI/20<br />此海顿奏鸣曲是不错选择，因为它遵循了海顿一贯阴郁、 忧郁情绪的演绎。作品中小调的运用在古典作品中是很少见的，海顿运用这个方式表达了更加深刻的情绪。你演绎的很完整并且找到了更加适合表达演绎古典曲风的声音。我的建议是你需要更加认真的推敲每个小节这样可以更加准确的来表达海顿奏鸣曲。观察注意通过对琴键的运用所能表达的不同的旋律色彩。例如渐进部分的开头音乐从降E大调转到F小调，然后转到降A大调结束在降D大调。兴奋的情绪在海顿作品中的表达非常重要。在这一节他突然加快速度然后戛然而止返回到主题。当你了解越来越多的古典作品可以尝试着更深的去理解作品，不要掺杂过多的个人感受。<br />李斯特： 音乐会练习曲 \"侏儒舞\"<br />你的表现令人印象深刻，并展示你的表演能力。你具备了必要的轻巧触键，整个作品的节奏感很不错。大多数练习曲是重复的表达方式，李斯特在这部作品里展现了两种截然不同的表达方式。注意旋律在不同调上表达出的不同的色彩，第9/8小节最开始的时候是A大调，第二次的时候是降B大调。进一步来讲，表演的习惯是节奏逐渐加快，李斯特创始了“sempre presto”，“vivacissimo”和“il piu Presto possible”。在李斯特大多数作品中，很大程度需要表演者用个人的方式进行表达，我建议你可以在起始小节放慢速度并且逐渐加快，这样表达可以使你的表演更具说服力。<br />安天旭，你有钢琴表演的天赋和能力。继续努力同时根据本次成绩，尝试着用心去体会作曲家想要传达给我们的。</p>','<p>安天旭</p>','','1325136318','1');
INSERT INTO `node_revisions` VALUES ('2095','2115','0','2011-1-2(zh)','<p>顾欣皓<br />门德尔松：随想回旋曲 Op.14,<br />你的表演听起来非常有把握，并反映了你优秀的技术能力。我尤其喜欢你对Presto（急板）部分充满朝气的表现手法，也喜欢你能在音乐中挖掘不同性格特点的能力。你善于找到双手的平衡并始终自然地突出旋律。我主要关心的是引子性的行板。你的演奏速度太快，这样无法使歌剧式的旋律展现出来。此外，你经常在句尾慢下来，像要终止的样子，这样妨碍了音乐的流动性。更自然的分句能使音乐更生动， 使旋律展示得更自然。选择更为慎重的速度能够使你对不停地向前进行的E 小调部分做更大的对比。想要进一步了解这种风格，你应该去听听门德尔松的《仲夏夜之梦》序曲，那里八分音符不停地往前运动。听这首作品同时还能学到必要的清晰度和跑句的起伏。</p><p>李斯特：音乐会练习曲\"森林的呼啸\"<br />有理解的演奏，充满了许多令人信服的时刻。我喜欢你能控制自己并能使音乐进行的方式。以后的生活中你会有更多的机会去拓展你对音乐色彩的表达和对简单旋律的掌握。目前你更多追求个性。但是往往简单更加接近真理。这是李斯特的晚期作品，他受欧洲南方透明的森林，不是北方密集的森林的感染，很大程度上是印象主义的先驱。我感觉这更加像是阳光冲破乌云照向整片森林。三连音如同低沉连续的声音，需要在触键上和力度上弹得非常匀。有时弹得太响就会导致旋律音量超过必要。两个高潮弹得不错，你也没有让钢琴发出难听的声音。可能最成功的部份是尾声。你的控制和灵感浑然天成。</p><p>海顿：降E大调奏鸣曲<br />你有非常强的表达这首奏鸣曲的能力并且展现出了你对古典音乐深刻的理解。特别是你使我们认识到海顿所给予我们的惊喜。例如在发展部一开始的转调，从降E大调到C大调 再到D大调。还有半音阶旋律以及主和弦和属和弦的交替，你都表现得很清楚。值得提高的是对音乐内在紧张与放松的体会。这是很有挑战性因为需要你认真听细微的差别更好的去定义每一个乐句。但是相信你可以成为一个对古典乐有清晰理解的表演者。</p><p>顾欣皓, 你是一个很有才华的钢琴演奏家并且在很大程度上已经有了成熟对钢琴演奏的想法和理解。你可以运用优秀的演奏技巧和你的听众亲密交流。希望你可以继续努力去挖掘你对音乐的认知。</p>','<p>顾欣皓<br />门德尔松：随想回旋曲 Op.14,','','1325821778','1');
INSERT INTO `node_revisions` VALUES ('2096','2116','1','2011-1-3(zh)','<p>黄蔚园<br />海顿：降E 大调奏鸣曲 Hob.XVI/50第一乐章<br />从第一个音符开始你就让我觉得你是一个严肃认真的表演者，你用心地对待指导建议并且致力于认真的做音乐。我非常高心看到你选择了这首小的降E大调奏鸣曲，而不是那首人们常弹的大的，所谓“英国”奏鸣曲。海顿奏鸣曲中丰富的音乐想法和多种多样的曲式，可以说超过莫扎特甚至贝多芬。虽然海顿的作品在技术不那么难，但是并不是很容易演绎。对现代的表演者来说演奏海顿的奏鸣曲最大的挑战是需要更有创造性地来表现海顿音乐中所包含的天生的自由。这首奏鸣曲中没有多少力度标记，只有一些奏法的提示。如何处理是值得思考的问题。但是还是有一些方面告诉我们该如何改进，例如几个声部之间的平衡很重要，转调的作用，特别是转到小调时紧张度增强了，乐句结尾要松下来，总之。运用更多的想象力，把曲子弹活了，多一点对比和惊喜。靠你去发现。</p><p>李斯特：音乐会练习曲\"轻盈\"<br />我很欣赏你在比较难的章节表现出的技术能力和松弛的状态。你真是一个非常不错的表演者而且可以抓住我们的注意力，但是很遗憾，总体来讲你的表演不是很有说服力。某种程度上你演奏的“轻盈”缺乏本质上的轻巧，并缺乏由半音阶造成的透明度。优雅和简单性是此练习曲的最重要的方面，应该是你努力的目标。随想性的前奏之后，类似萧邦的即兴曲，音乐应该非常自然流畅。你太努力地想把每一句表现得完美，其结果适得其反，这就好像你只关注到单独的一棵树而忽略了整个森林。你表现最好的是中间高潮不停转换调性的部分，但要想把这首名曲弹好，还需要去寻找更纯真的声音和弹得更简单。</p><p>希纳斯特拉：阿根廷舞曲\"热情的牧人舞\"<br />这首曲子你演绎的非常出色，给人带来了清新的感觉和愉悦的气氛。你把“牧羊人的舞蹈”表现得丰富多彩并充满节奏的动力。当你演奏在高音区的重复音的时候，你的节奏不准。最后的一个和弦(E – A – D – G- B- E)是希纳斯特拉最喜欢用的和弦，也就是吉他乐器的空弦。“美丽的少女的舞蹈”你表现的也令人神往。我喜欢简单的外部分，而中间是充满了激情和较暗的色彩。注意不要打断音乐的流动性，去做一些rubato(自由节奏) 还是表现音乐的长句子。最后那首“傲慢的牛仔的舞蹈”表现了你真正的演奏技巧。我真的非常羡慕你能弹那么快，但是我强烈建议你更重视节奏的脉搏，而不是一味的追求速度。作曲家的指示是 “ritmico e energico”.（节奏有力）。应该把一小节三拍和一小节两拍交代清楚。这是这首舞曲的根本。节奏和脉搏是所有舞曲的脊椎，没有它就没有音乐。</p><p>黄蔚園：你是一个有能力并且天赋的钢琴演奏者。希望你未来可以通过多听不同的曲子并在钢琴演绎中加入自己的表达。</p>','<p>黄蔚园<br />海顿：降E 大调奏鸣曲 Hob.XVI/50第一乐章','','1326094591','1');
INSERT INTO `node_revisions` VALUES ('2097','2117','1','2011-1-4(zh)','<p>黄芷仪。<br />海顿： C大调奏鸣曲， Hob.XVI/50<br />你有着自然的和钢琴融合的能力。我非常喜欢你对这个诙谐幽默作品的理解演绎，海顿一定非常享受谱写这个曲子的过程，因为它有很多出人意料的回音及突如其来的惊喜。 你是一个很聪明的学生，你懂得构成古典乐时期语言的规则和理由。我特别要祝贺你花了很多精力在奏法和力度上。你还应该照顾并注意到4/4是如何影响节奏及拍子的层次结构的。这对海顿的奏鸣曲第一乐章非常重要，没有了这种洞察力音乐往往缺少前进的动力。当你想有表现力的时候，你还有一种慢下来的倾向。我强烈反对你这样做。因为古典乐派的作曲家们在一个乐章内所选的主题都采用统一的速度。</p><p>李斯特： 音乐会练习曲\"侏儒<br />这次的表演是你一个重大的成就。总是可以体会到你在想象侏儒在跳舞并且在用音乐勾画他们的性格和面貌。习惯上在重复两个对比性的段落之后，李斯特指示的sempre presto（始终急版），越来越快直到乐曲的最后。在这里，请注意李斯特如何加快速度的展示“非常快”“尽可能快”.事实上你留给我印象深刻的是你的手很小，但是却可以很好的表达作品里对技术上的硬性要求。令人惊讶的是你甚至可以为轻松明快的跳跃制造出些厚的色彩。同时我建议你可以更好的掌握李斯特对力度的一些特别标注。</p><p>门德尔松： 随想回旋曲 Op.14<br />你的表演令人非常的满意，从任何方面讲你都把握住了音乐的本质。E大调前奏和E小调主要部分的对比交代得非常清晰。行板中主三和弦下行与急版都明确地规定了调性。你在前奏里速度越来越不安，直到ff高潮部分表现得过于激进，我要提醒你，这样的渐快没有任何必要， 因为音乐本身已说明问题了。 此外如果可以的话努力变的简单些，你的高音部分感觉想要自己主宰音乐的进行。你的诙谐部分表现的干净利落，使我想到了仲夏夜之梦的序曲。你的声音清晰度的表达和对不同主题的掌控很有说服力。</p><p>黄芷仪, 你现在已经是一个非常好的演奏家。 和你的老师继续一起共同努力，学习多种多样的曲目并且享受你的每个新的发现，音乐为我们创造了永无止境的旅程。</p>','<p>黄芷仪。<br />海顿： C大调奏鸣曲， Hob.XVI/50','','1326088504','1');
INSERT INTO `node_revisions` VALUES ('2098','2118','1','2011-1-5(zh)','<p>李颖<br />海顿： E 大调奏鸣曲，XVI/31第一乐章<br />这首曲子是海顿最优美的奏鸣曲之一，非常美的谱写在天籁之音般的E大调上。你是一位极具表演能力和演奏技巧的钢琴演奏者。海顿相信他的作品的表演者会熟悉诠释作品的规则，因此除了速度规定为中速以外和一些奏法，他很少在乐谱里标记一些力度。 海顿留给作品的演绎很大的诠释空间，这就要求我们用更多的想象力去赋予音乐生命。这就是E大调奏鸣曲的情况。你需要想办法塑造每个走句，特别是重复的部分，需要想象这里还有其他乐器一起来丰富你的乐曲，试着找到更加自然的表达方式。同时应该寻找一种更加适合的唱法，而这种唱法有点效仿过去的歌剧。但这些歌剧的咏叹调显然倾向于语音的清晰度。你已学会了读谱，但是真正理解曲子的含义还有很长的旅途要走。</p><p>李斯特： 音乐会练习曲\"叹息\" <br />你令人钦佩地掌握了这首练习曲的基本要求， 即双手交叉地演奏简单的旋律，加上分解和弦的琶音伴奏。 另外你的旋律控制的很好，手交叉运用时没有造成不必要的重音。对于我来说，你的表演展现了戏剧一样的画面。李斯特生前创作这一首练习曲时只写“降D大调练习曲”，但后来出现的副标题“Un Sospiro”是意大利文“叹息”的意思。简单的旋律以多种形式出现，你可挖掘多种音色，通过不同的变奏，有时印象派超过一般浪漫派，主题旋律表达过两次之后应该只有一个高潮，结尾部分也应该用渐弱的方式进行处理。试着去改变你固定的思维方式，把琶音弹得弱一些和匀一些， 使得旋律在上升的时候表现更多样化。当然还有很多浪漫的时刻可以利用使得整个作品的表达有自己的特点。</p><p>阿尔贝尼兹  伊贝利亚组曲 “特丽安娜”<br />你的曲目成功地从李斯特转换到了阿尔贝尼兹。伊贝利比里亚是几种音乐风格的综合体。包括了阿尔贝尼兹从法国学习的复杂的作曲技巧和从李斯特那里继承来的钢琴曲写作手法。特里亚纳是这套不朽作品第二册的第三首曲子，他取材于安大路西亚民间音乐，创造了一种西班牙语的音乐风格。 你是天才的演奏者，即兴发挥使人印象深刻。“特利亚纳”的名字来自塞尔维亚著名的吉普赛区。你从第一个音符开始就把我们带入了那个情景。有两个主题，一个是两步舞，另外一个是他效仿响板声音和脚后根声的三拍子舞蹈。你有天生的表演能力，集合所有因素在一起对民族主义音乐进行表达。我尤其欣赏你在比较难的章节两个主题之间精辟的转换和完美的融合的处理。你的表演很精彩。</p><p>李颖，你是一位可以自然的演奏乐器的有天赋的钢琴演奏者。我希望你在音乐的世界里找到非常光明的未来。</p>','<p>李颖<br />海顿： E 大调奏鸣曲，XVI/31第一乐章','','1326088544','1');
INSERT INTO `node_revisions` VALUES ('2099','2119','0','2011-1-6(zh)','<p>刘江蓠</p><p>贝多芬奏鸣曲 Op 14 No.2 第一乐章，<br />你的表演在没有任何语言的情况下表达了你想说的话。我喜欢你新鲜的表达手法，很显然你有技术，但是还是有几个问题需要注意，比如在发展部右手还不够均匀，应该有更多的控制。另外，你应该更多的注意到第一主题是弱拍起而第二主题都是强拍起。你把更多的注意力放在奏法上而没有注意贝多芬标注sf同等重要。我希望，随着你成长你把听觉锻炼得不单能简单地分辨强和弱的对比上而要能做各种不同的强声和弱声。善于做对比的思想对刻画各种主题的性格特点非常重要。要多采用歌唱性的触键方法。贝多芬常说，演奏这个乐章的旋律用歌唱性的方法是不可缺少的， 因为这个乐章的旋律本身就像人声唱的。</p><p>肖邦： Op.1 C 小调回旋曲<br />有些批判家认为这是肖邦最差的一部作品，感觉有点像模仿韦伯和洪梅尔的作品。也有一些人认为这首曲子有自然的气息并没有受所谓深刻性的影响。一般意义上那个时代的审美观念不是特别深刻，更多的关注的是多种多样的优美效果，称之为“灿烂风格”, 但是少年肖邦的作品中却已预示一个辉煌的个性的存在。我们可以听到萧邦尝试赋予走句旋律化的内容，精致的装饰音并且最重要的就是带来了他那个时代的同事们所缺少的诗意的抒情性。很有意思的是他运用的新的主题材料并且勇敢的设计调性发展--C小调－E大调－降A 大调—降D 大调---C小调。我说这些是希望可以使得你对发掘作品的灵感之源产生兴趣。你的表现很平淡，用同一个速度贯穿在全曲子，你并没有表现出乐谱里的细微变化。萧邦的旋律要求我们用不同的理解来演绎，花些时间在调性变化上。这种音乐需要脉搏的自由， 如同即兴演奏。你试一下，会得到更令人满意的效果。</p><p>李斯特： 音乐会练习曲 \"侏儒舞\"<br />很显然你的技术能力令人印象深刻，快的走句总体表现不错，你把热烈的情绪带了出来而恰好这是这首曲子的本质。但是有这种能力并不意味这成功。虽然这首曲子最初没有称为《侏儒舞》，但是李斯特并不反对使用这个副标题，实际上还鼓励使用，为提高学生的想象力。任何一种舞曲都需要控制速度和节奏。你的演奏缺乏计划性，特别是李斯特提示在两个重复段结束后，速度需要加快一直到结束。李斯特在速度关系上做文章比任何作曲家更多。作为表演者把他的创作灵感表达出来是我们的责任。</p><p>刘江蓠，你是一名优秀的学生，有很强的主见和个人想法。永远不要忘记我们作为表演者应该依附于作曲者，必须尽其所能去表达他们的想法。</p>','<p>刘江蓠</p>','','1326356099','1');
INSERT INTO `node_revisions` VALUES ('2100','2120','0','2011-1-7(zh)','<p>刘品心</p><p>李斯特:音乐会练习曲”森林的呼啸” <br />你良好地控制了所有的技术难点并显示了美丽的音色。你演奏得细腻的伴奏设定了全曲的情调。你的目标应该是用更长的句子表现旋律，因为这样才能描绘一个辽阔的图象。当右手接管这个旋律线时也如此。等你有了更多的经验,你就会知道李斯特是如何利用力度来构筑自己的乐曲结构的。有意识地利用“agitato”（激动）和“渐强\"来制造乐曲的高潮。然后将张力保持住，来展示全曲中最骚动的主题。突出低音区八度的大拇指，因为这样能使声音更厚。是主题需要的。在尾声又要做长句子，把尾声弹成一个大句子。听起来越平滑就越像练习曲的标题。</p><p>贝多芬奏鸣曲 Op. 2 No 3 第一乐章<br />奏鸣曲你胜任得很舒适。但是,贝多芬不是一个水彩画家,他是一位大的雕刻家，经常有粗糙的伦交。第一主题的精确奏法如同一个弦乐四重奏采用的弓法,当然,需要采取一个稍慢的速度。你需要了解音乐中所包含的幽默。不要忘了,有时休止符比音符更重要。这里贝多芬采用沉默来提问题,也许用犹豫来给主题这样的性格。你一定要做更多的对比，如独奏乐器(像一个弦乐四重奏)与整体的管弦乐队。这发生在整个乐章中。你努力地做一下配器工作，想象一下是什麽乐器演奏旋律和伴奏。有许多重音,这是很吸引人的粗糙的东西正是贝多芬的音乐,但不幸的是,你把它软化了。在那个年代最不寻常的是在钢琴奏鸣曲内有一个华彩段。但这里贝多芬有两个华彩段，一次在发展部他从降B大调转到D大调,另一次是在结尾前。弹奏这些要用另外的方法。让演奏这首奏鸣曲成为一件大事，让听众体验贝多芬所想要的。</p><p>肖邦谐谑曲Op. 31<br />显然这种曲目更符合您目前作为一个音乐家的发展。我喜欢你的表现,它有新鲜和直接的方式,让我很羡慕。另外，你具备很强的技术来解决乐曲中的难点。你需要了解谐谑曲的结构,它建立在四小节一组上。肖邦是如何变化每一组的，这是成功的演奏里面的魔术。当肖邦被问到关于前奏时，他说，“这是一个问题”。把开始的声音做的更微妙一些。仔细观察主题的力度变化。肖邦的指令是非常详细的。在乐曲中间”sostenuto”（保持住）段,你速度变化太多。另外，肖邦不喜欢把走句弹得匆忙，他要把所有的东西都是旋律性的并充满惊喜的。要留意你如何运用踏板，特别是在结束部。记住，优美的声音需要清晰度， 美妙的声音是肖邦的作品的本质。</p><p>刘品心，你是非常棒的演奏者并有潜力从事音乐专业。继续在对乐曲的理解上和表现音乐方面下工夫吧。</p>','<p>刘品心</p>','','1326355823','1');
INSERT INTO `node_revisions` VALUES ('2101','2121','880','2012“逄勃钢琴工作室”冬季师资培训圆满结束','<p class=\"MsoNormal\"><span style=\"font-size: 14pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"><img src=\"/files/u880/001.jpg\" width=\"500\" height=\"375\" /></span></span></p><p class=\"MsoNormal\"><span style=\"font-size: 14pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">2012</span></span><span style=\"font-size: 14pt; font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">“逄勃钢琴工作室”冬季师资培训于元月</span><span style=\"font-size: 14pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">13</span></span><span style=\"font-size: 14pt; font-family: 宋体; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">日圆满结束。短短几天的培训，专家手把手教方法、作示范、讲教材和与周老师面对面的对话，赢得了学员们的一致好评和学习热情。学员们纷纷表示此次学习收获非常大，并建议每年多办这样的培训班，渴望继续来学习。</span><span style=\"font-size: 14pt;\" lang=\"EN-US\"><o:p></o:p></span></p>','<p class=\"MsoNormal\"><span style=\"font-size: 14pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"><img src=\"/files/u880/001.jpg\" width=\"500\" height=\"375\" /></span></span></p>','','1326602765','1');
INSERT INTO `node_revisions` VALUES ('2102','2122','880','2011-1-8(zh)','<p>刘天元</p><p>李斯特：音乐会练习曲《森林的呼啸》<br />你是一位天才的钢琴家，你有广阔的视野。你显然思考得很仔细，并成功地展示你的想法。这首练习曲是李斯特成熟时期的创作，不是年轻时候的、玄技的，想成为钢琴上的帕格尼尼的李斯特所写。扭转的如回音形状的旋律是作曲家的创意，我非常欣赏你对旋律线的处理。但是虽然李斯特把这首“音诗”叫做练习曲，我们需要发现他的理由。右手非常均匀的伴奏，后面转到左手时， 应该始终保持小声，不能压过旋律。但由于你左手弹奏不均匀，干扰了旋律。遗憾的是，你走向尾声的八度和跳跃不能令人满意。另外，你还需要努力区分强弱力度。因为这是非常重要的，这对表现这首曲子中反映大自然的多种音色不可缺少。</p><p>莫扎特 降B大调奏鸣曲 KV281 第一乐章<br />我非常喜欢你对莫扎特的处理，因为莫扎特是最难演奏的作曲家。你马上引起我注意的是，你懂得在乐句前后出现的休止符的意义。这需要一定的成熟性。你善于区分旋律和伴奏。这不是简单的轻和响，莫扎特希望我们听得见他伴奏中美妙的和声变化，你还需要进一步努力的是奏法上的清晰度，因为奏法加上力度变化能制造成各种音色并能保持人们对作品的兴趣。你在发展部里的转调做得有理解， 我也喜欢你为再现部所做的准备。最后，你需要非常注意踏板的运用。我是用许多小的音色踏板。装饰音不能用踏板。</p><p>谢德林： 两首复调乐曲<br />你非常权威地和有说服力地演奏了这两首乐曲。你弹得色彩很丰富，力度对比幅度很大，而且听起来都很自然。<br />1.分句非常好，脉搏的持续性很好，使人们都跟着倾听。两手的跳音长短需要 一样。我发现，你的目标是把两个声部的旋律弹得一样重要。你继续试验，效果会令人满意的。<br />2.固定低音始终需有句子而且有轮廓。我非常喜欢你创造了即性性质。你成功地保持了脉搏并制造了紧张度。</p><p>刘天元，我非常欣赏你的演奏。预祝你未来一切都好。</p>','<p>刘天元</p>','','1326693110','1');
INSERT INTO `node_revisions` VALUES ('2103','2123','880','2011-1-9(zh)','<p>卢星宇</p><p>李斯特 音乐会练习曲 《侏儒舞》<br />这是表现你高潮的技术出色的工具。你控制了速度，同时又突出了旋律。左手的重复音对你好像没有什么问题。有两个方面你还需要努力提高，第一，力度对比还需要扩大。这首乐曲，一半以上都是 p和 pp, 但你必须区别 A大调与 降 B大调及后面的 升F大调这几段。你还需要把它们弹得更轻盈和更透明。第二，你仔细看李斯特是如何把乐曲分成两半，第一部分是主题的重复，第二部分越来越快，直至乐曲结束。你如果能把这两个意思统一表现在你的演奏中，你将创造一种美妙的、令你满意的经验。</p><p>莫扎特 降B 大调奏鸣曲  KV 281  第一乐章。<br />总的讲，我喜欢你对莫扎特这首非常娇嫩和亲切的奏鸣曲的演奏。所谓亲切是指莫扎特处理伴奏的特殊手段体现出来的，即通过细腻的速度上的变化制造紧张度并逐渐松下来的方法。你已经感觉到一点，特别是在发展部内，但是你同时需要意识到，通过旋律的搓位，节奏在起到推动作用，使音乐听起来像快板。这个时候，当你在打四拍的时候，试着如莫扎特所指示的打两拍，同时依然自然低演奏。</p><p>普罗科菲耶夫 Op17 《讽刺》<br />这对你是很好的曲目，同时对你也有许多挑战。现在你是认真地照作曲家的乐谱演奏了。我祝贺你。逐渐地你会发现还有许多音乐上的深度须要我们从不同的角度去挖掘。你需要做的是要研究人类各种特点，并把它通过音乐表现出来。你需要夸张所有的东西。第一首乐曲的敲击效果你做的还可以，但是那抒情的、复调性的中段应有更大的对比。第二首的情调是沉思的，主题应弹得随意一些。哪怕力度上响起来也不要改变，还不要忘了作曲家的指示 “rubato”(节奏上有伸缩)。第三首，快速有力，你开始得很好，但要注意对位的旋律与打击乐的个性的对比。中断是零时的放松 可以抒情一些。第四首标题是《疯狂地》，具有即兴因素，也分成两个对比强烈的部分。最后一首乐曲是黑暗的、失望的、忧郁的、焦虑的。你的演奏有一定想象力。继续努力。用音乐与听众分享。</p><p>卢星宇，根据你的年龄，你已经很成熟了，而且随着年龄的增长，你的演奏水平会不断地提高。你需要听许多音乐作品。因为这些会丰富你的想象力。例如，你如果去听普罗科菲耶夫的第五交响乐或第二钢琴协奏曲，你会发现很多你弹的《讽刺》里的音乐。</p>','<p>卢星宇</p>','','1326693179','1');
INSERT INTO `node_revisions` VALUES ('2104','2124','880','2011-1-10(zh)','<p>王晓晓</p><p>李斯特 音乐会练习曲 《侏儒舞》<br />这首练习曲李斯特创作于1862年。虽然创作于他一生中的晚期，但却反映了他出版《鬼火》等超技练习曲的历史时期。他所描写的侏儒们的嬉戏并暗示生气勃勃的飞行如同投标的游戏贯穿于全曲，使这首曲子和特殊。你的演奏从来没有离开地面，始终有沉重的感觉。你老在拍子上给重音，这帮不了你任何忙。作为一首练习曲，必须要有很强的技术能力，可是你遇到技术难点就在挣扎，特别是当李斯特要求渐快一直冲到高点的时候。</p><p>莫扎特 F 大调奏鸣曲 KX 332<br />古典音乐风格最基本的创作思想是要找到两个对比性的材料用同一种速度放在一个乐章内。速度必须统一，而两个主体性质必须是完全不同的。这个乐章是充满技巧性的因素，音阶，琶音，而第二主题却是非常抒情像一首歌剧咏叹调，充满人类悲哀的情调。莫扎特写大调的时候在发展部中是非常果断的，他通过转调的手法发展到一个类似第二主题的高潮，成为右手是3，4拍，左手6。8拍。你经常换速度，有时把音符时值延长一倍。这样破坏了结束句的流畅性。你再整理一下你的理解。其实，你的声音还是很好听的。</p><p>肖邦  D 小调波兰舞曲  Op70 No1<br />虽然这首演奏得很少的作品是作为作品70出版的，实际上它是一首早期作品。大概创作于1827年，他还在波兰的时候。这首曲子的调性D小调，回旋曲 作品1 号， 将B 大调华丽变奏曲，作品12 都属于那个时代的美学特点。所谓“辉煌风格“ 强调效果，不太深刻的风格。由于你不断地换速度和做夸张的渐慢。你使音乐变得和沉重，缺乏魅力和幽默感。关键是需要简单加上奏法上的变化，力度上的对比和好听的左手伴奏就能使音乐跳起来。有可能的话再弹几首肖邦早起作品，然后再回过头类演奏这首曲子检查一下。</p><p>王晓晓，你显然是一个好学生，你很用功，并有进步。我建议你多听各种音乐的演奏，不仅是钢琴，要听歌剧，交响乐，芭蕾舞，声乐，室内乐，扩大自己的知识面。你肯定地会学习弹好钢琴，但你需要努力学习如何正确地用我们传统的方法传播音乐。</p>','<p>王晓晓</p>','','1326693224','1');
INSERT INTO `node_revisions` VALUES ('2106','2126','1','2011-1-11(zh)','<p>王屹群</p><p>海顿D大调奏鸣曲, Hob.XVI/24<br />这是一首很特别的奏鸣曲，献给Nikolaus Esterházy ，三个乐章形成鲜明对比，遗憾的是它很少被人演奏。你的第一乐章演奏的令人耳目一新并充满活力。我非常喜欢你的速度，使整个乐章有种挥洒自如的自然感觉。但是缺少了某些东西，海顿非常依赖演奏者个人的创作才能，而且他相信演奏者能够理解他作品的风格以及精神。在许多“原始版本”中这首奏鸣曲并没有力度标记或连接记号,但这意味着需要你自己的创意。一般来说在大调上谱写的奏鸣曲给小调乐段带来了更加戏剧性的对比以及大胆精妙的转调。你应该让你的分句像对话一样更加清晰，还要去探索更完美的方式去演绎海顿丰富多彩的节奏韵律，他经常从6/8拍变成3/4拍，或者使用2对3的节奏。在你演奏海顿作品找到了美妙声音的同时，你还应该尽力使它更有意思，更令人惊讶，最终形成你自己的演奏个性。</p><p>李斯特音乐会练习曲“轻盈”<br />你演奏的这首练习曲有许多的优点，基于单旋律的概念，你要使它听起来像连绵不绝的即兴创作。在最开始的华彩段像是一步步引入了节奏，并逐渐进入了主题,之后越来越具有复调性质。这首李斯特的作品在精神以及氛围方面都很接近于肖邦的几首即兴曲，有时你可以使音乐更轻盈和透明，就像作品的标题所指的。两次高潮部分你都有着很好的平衡，显示出你对作品结构的理解。用另一种方法可以使你的演奏提高，就是以简朴为目标，有时你的旋律轮廓太夸张了。然而你左手的旋律搭配右手的双三度的这段控制的极好，事实上，在这段之后你的演奏显著的提高了。作品的结尾部分弹的很好，既真诚又优雅，并且游刃有余。</p><p>勃拉姆斯降E小调谐谑曲, Op.4<br />这首曲目是你绝好的选择，是很有效果音乐会作品，对比鲜明，充满了青春活力。基本结构是降E大调和B大调的两个三重奏，由此延伸出主要的谐谑主题。我确定你也意识到这首曲子和肖邦降B小调第二谐谑曲有多么相似。你在主要的谐谑曲部分尽了最大的努力，清楚地表明你的实力和活力。也许长线条的感觉能够延伸你的乐句，演奏勃拉姆斯最好的办法永远是伸展。你的声音也可以更深一些，尽量保持在piano的范围内，向下发展而不要向上。但总体来讲，你对这段的处理方法还是令人满意的。那么这两个三重奏，第一个是用休止来呼吸，但要使乐句更长一些，要很努力的区分“espressivo”, “dolce” and “teneramente”之间的差异, 很明显勃拉姆斯试图传达不同的声音和表情。第二个三重奏要更加注意你左手伴奏和右手旋律之间的平衡。也还是要让句子更长，这里勃拉姆斯想要的力度是forte,但不能和主题的“forte”一样。最后要小心你的节奏韵律，八分音符弹得太快了。</p><p>王屹群，你非常有才华，而且已经用很严肃的态度去演奏了。我喜欢的许多东西你已经做到了，你的声音和对风格的理解，在你的年龄里是很优秀的。要精益求精，而且要学习大量的曲目。</p>','<p>王屹群</p>','','1329122382','1');
INSERT INTO `node_revisions` VALUES ('2107','2127','1','2011-1-12(zh)','<p>吴君麟</p><p>海顿E大调奏鸣曲, HOB.XVI/31<br />你的演奏非常有精神而且充满了热情。事实上你的演奏有着很多精彩的特点。我喜欢在发展部立即出现戏剧性的升C小调，你的音阶和三连音无论旋律还是伴奏都很清晰。有时你的节奏韵律控制的很好，这在古典主义风格中是如此的重要。然而你经常把第一主题中的第二个音弹成断奏，因此旋律线条B-A-G#-F#-E 就断掉了——重要的是你要注意到，在古典主义时期，这样明显的下行旋律线都会被自动解释为渐弱。有时你也打破了乐句偶然出现的“浪漫主义”——这本身是可以接受的，但你的目标应该是让乐句自然的向前发展。最后要努力的是对调性的反应，例如第一主题很有说服力的结束在E大调，然后没有任何的过渡，第二主题就在升C小调上出现了，你真的要在性质上做出很大的区别，而且要选一个更忧郁的色调来反衬它。</p><p>李斯特音乐会练习曲“轻盈”<br />你有着极好的技术，而且我确信你有能力应付大多数的钢琴曲目。但是技术只是一种工具，理解作品并利用你的技术才是绝对重要的。“La Leggierezza” 的意思是 “轻盈”,而且仔细研究乐谱，它会告诉你只有两个地方音乐达到了热情的响亮的力度。这个字在你心中应该是“优雅”，在诠释这首作品时，要非常接近肖邦在他的即兴曲中所营造的氛围。通过许多次的放慢速度，你音乐的流动停滞了，这首作品最基本的就是音乐自然的行进发展——主旋律通过增加声部和装饰音不断的变化。有时你声音控制的很完美很轻盈，听到这些片段很令人愉悦。乐曲开始的引子像是很自然的即兴演奏般轻柔，在作品结束时也应该是同样的,要使结尾听起来仿佛是总结参考了乐曲的开头。开始尝试着修改你的想法，这对你来说可能是一首非常美丽的乐曲。</p><p>普罗科菲耶夫A小调第三奏鸣曲, Op.28<br />写于1917年，这首奏鸣曲是戏剧性的，偏离了第二奏鸣曲幽默，讽刺的情绪。这个作品是单乐章形式，被许多作曲家用过，包括李斯特,使用了三种不同的主题思想，包括不同的段落：呈示部，发展部，再现部以及尾声。尽管所有人都同意它是普罗科菲耶夫最辉煌最精湛的作品之一，但也充满了抒情性和对比。唯一需要仔细看的就是力度指示，它给所有不同的音色注入了活力，是任何成功演奏这首奏鸣曲所需要的。尽管我更倾向于速度稍微慢一点，但在力度允许的范围内，希望你能用很短的时间把你的演奏状态降下来。在我看来，你的演奏建立在演奏家性格上，飞快的速度可能会很令人兴奋，但如果不能照顾到很多细节，许多第二旋律和节奏动机的整体效果都令人不满意。我对你的初步建议是要确保精确的观察所有的力度记号，这样就会把你的演奏立即提升到一个新高度。</p><p>吴君麟，你已经选择了绝妙的曲目，而且也已具备充分的技巧来处理乐曲中的困难片段。我也意识到你是很有才华的，而且具有真实的个性方式来和自己的思想沟通。 但你需要理解作为我们演奏者和老师来说，仅仅是伟大作曲家的使者，我们最主要的是要满足他们的愿望。</p>','<p>吴君麟</p>','','1329122480','1');
INSERT INTO `node_revisions` VALUES ('2108','2128','1','2011-1-13(zh)','<p>谢天健</p><p>海顿C大调奏鸣曲, Hob.XVI/50<br />这是三首伦敦奏鸣曲之一，写于1794/95年，乐曲在概念上非常广阔，无论是戏剧性的段落还是篇幅上都极度辉煌。你的演奏有着许多亮点，特别是清晰的发音和音乐对比。乐段的塑造很有品味，在必要的时候你会考虑用不同的声音去诠释清晰的复调声部。我希望你会更加及时的探索这个乐章的本质精髓，就是充满了极高质量的幽默感。主题粗略的走向是从断奏开始，跨越到连接的音，音乐向下发展然后又逐渐上升, 跳跃的装饰音片段很令人惊奇，这完全是模仿了古典时期的喜歌剧。这里其实没有真正的第二主题，它是把第一主题乔装改扮了一下，而且经常产生戏剧性的音乐瞬间，然后面带微笑的结尾。但你的控制力令人钦佩，演奏很明智，很精确。</p><p>李斯特音乐会练习曲“轻盈”<br />你很有能力来传达这首作品的本质精髓——“轻盈”，特别是乐曲后一半你所设法营造的十分美妙的声音。主题就像是自然而然的即兴演奏，简朴的伴奏和半音阶不断的变化。遗憾的是你开始的触键太重了，主题听起来很笨拙。高潮的一开始你也显得有点急躁，等待着和声带来“渐强”和“渐快”——要使它成为一个渐进的过程，这是无法避免的。当乐曲从降A大调转到降B小调再转到B小调然后转到E大调，你可以把调性之间的区别做的更大，而且要更加意识到结尾部分色彩美妙的低音走向。但基本上来说你这首乐曲有着非常好的形象，用很个性化的方式真诚的传达了音乐。</p><p>肖邦E大调谐谑曲, Op.54<br />这个曲目对你来说是绝妙的选择。大部分学生选择的都是其它几个谐谑曲，充满了戏剧性，热情，痛苦，甜蜜的性质特征，沟通更加困难。而这首谐谑曲充满了幽默，微笑和欢喜。你有技术能力去创造所有这些典型特征，并用非常成熟和热情的方式去演出这个作品。当然还有许多方面要改善，特别是对作品深刻的理解和对调性转变的感觉——E大调永远是天使之调，是很美丽的，而降A大调是充满温柔爱情的。肖邦怎样在这些调性中转换使得这首谐谑曲如此神奇。然后升C小调的中段包含着简朴的波兰民歌旋律，应该形成一个巨大的对比。这里你的演奏有待改善，一种忧郁的气氛总被左手伴奏型的“agitato”所打乱。然而，你出色完成了D小调的过渡然后回到E大调，所以乐曲结尾就告别了技术上的困难。随着时间的推移，这对你来说将是一个非常成功的乐曲，希望你也会尝试着把其它的谐谑曲也作为你独奏曲目的一部分。</p><p>谢天健，你现在对风格的认识很清晰，成熟而又时尚。你与钢琴的关系很完美很亲近，显而易见，你对音乐很热爱。我希望你会继续学习大量的曲目，并保持演奏状态，你的未来看起来的确是非常光明的！</p>','<p>谢天健</p>','','1329122538','1');
INSERT INTO `node_revisions` VALUES ('2109','2129','1','2011-1-14(zh)','<p>张司滢</p><p>莫扎特D大调奏鸣曲, KV 311<br />非常热烈充满活力的演奏。这个奏鸣曲是莫扎特22岁第一次访问曼海姆时创作的，在那个时期曼海姆是非常重要的音乐中心。在本质上它是非常管弦乐性质的，巧妙的利用完整的乐队伴奏和单一乐器之间的对比。我非常喜欢你怎样处理第一和第二主题之间的差别，16分音符伴奏很清脆，还有你的乐句终止也完成的很好。你还要致力于古典时期风格的表达方式：“crescendo”不要一直渐强到“forte”,这是很清晰的差异，下行的旋律线也不要做“渐强”，例如第二主题里或发展部一开始下行的四分音符。有许多的惊喜，要了解这些，并利用它们使你的听众产生兴趣。通常你否定了这些，例如乐章结束前的第三小节中断的终止式,应该像大声的提问一样，而不是轻柔的，使回答成为一个对比的情绪。然而很明显你和这种风格的音乐有着很密切的亲和力，我希望你能大量学习一些，即使不是所有的莫扎特奏鸣曲。</p><p>门德尔松：随想回旋曲, Op.14<br />像这首一样完美的作品就会给艺术诠释和演奏带来很多的问题。你的演奏一方面是很强有力的，你的音质极好，在E大调的“行板”和E小调的“急板”之间你做了很大的区别。你旋律的音质是极好的，尤其是一开始，当乐曲的赋格进入到很快的速度，你的演奏同样是最高的标准。然而，大部分这些被你个人对作品的诠释所否定了，乐句中滥用停顿和减速不断的造成麻烦。音乐必须要流动起来，浪漫主义音乐的一个最重要的因素就是要往正拍走（特别是6/8拍），要很少有句终的感觉，把旋律线条拉伸成很长的大句子。另外，使用不同程度的“渐慢” 或者 “渐弱”必须是音乐的自然结果，而且一定要用创造性的方法来完成。</p><p>李斯特音乐会练习曲“侏儒舞”<br />非常明显你具有演奏这首作品或其它许多李斯特练习曲的技术。他创作方法的一个重要方面就是他总是需要来自外源的灵感。在这个情况下，作品是虚构中的“侏儒之舞”，从一个浪漫的视角来看意味着“小人物”——精力旺盛，轻盈，充满了恶作剧。李斯特这首作品由两部分组成，第一部分是重复的引子和第一次出现在A大调，第二次出现在降B大调的主题。第二部分在速度上逐渐递增到结尾，从G大调到升F大调，然后变调转回升F到尾声。你一开始的速度没有给你第二段速度越来越快的任何空间。你一定要试图给主题不同的色彩感觉，因为它是在三个不同的调上叙述的。最后要看李斯特的力度标记，以及“piano”不同的层次，一旦你正确的对待这些标记，你会发现你的演奏更加令人满意。</p><p>张司滢，你很有才能，而且被赋予了极好的技术。你演奏的方法自然简单，可能有点太容易了。然而你要问问自己决心表达什么才是关键的。我祝愿你所有的努力都能如意。</p>','<p>张司滢</p>','','1329122598','1');
INSERT INTO `node_revisions` VALUES ('2111','2131','1','王一诺喜获第一届印度尼西亚PUSAKA国际钢琴比赛第一名','<p>  2011年12月1日印尼首都雅加达迎来了首届由著名的Jaya Suprana博士发起的PUSAKA国际钢琴比赛。印尼政府对此次比赛给予了极大的关注和重视，从安全到交通食宿都有妥善安排。比赛得到了总统阁下的大力支持，特为比赛提供总统府举行颁奖演奏会，并与获奖选手亲切握手合影。大赛评委团揽括了世界著名钢琴演奏家和著名大学的音乐教授。来自俄国，波兰，乌克兰，德国，伊朗，荷兰，韩国，日本，中国，澳大利亚，新西兰和印度尼西亚在内的12个国家的42名选手齐聚一堂。这些年轻的决赛选手分为11岁-15岁及16岁-25岁两个组别。<br />  经过为期六天的精彩角逐，著名钢琴家逄勃女士的学生——王一诺脱颖而出，得到评委一致的最高评分，荣获11岁-15岁组第一名。</p>','<p>  2011年12月1日印尼首都雅加达迎来了首届由著名的Jaya Suprana博士发起的PUSAKA国际钢琴比赛。印尼政府对此次比赛给予了极大的关注和重视，从安全到交通食宿都有妥善安排。比赛得到了总统阁下的大力支持，特为比赛提供总统府举行颁奖演奏会，并与获奖选手亲切握手合影。','','1329915670','1');
INSERT INTO `node_revisions` VALUES ('2118','2139','1','沈文裕演奏经典贝多芬钢琴奏鸣曲','<p>【示范者介绍】沈文裕自幼显示了非凡的音乐天赋。六岁开始先后师从于刘建平，郑大昕，能演奏莫扎特A大调钢琴协奏曲。八岁即能演奏莫扎特所有的奏鸣曲。九岁在四川音乐学院和重庆等地开独奏会。十岁就能演奏肖邦的第一和第二钢琴协奏曲及许多钢琴名曲。同年两次被邀请去南非巡回演出，引起南非全国轰动，被誉为“莫扎特第二”。十一岁他随CD自学了拉赫玛尼诺夫第三钢琴协奏曲。十二岁去德国卡尔斯鲁厄国立音乐大学留学，师从豪尔教授。十三岁就能弹贝多芬全部奏鸣曲，并多次演出巴赫的哥德堡变奏曲。十四岁跟波兰乐团合作演出并录制了拉赫玛尼诺夫第三协奏曲和肖邦第一钢琴协奏曲专辑。十五岁转到汉诺威音乐喜剧大学，师从名师凯默林教授。十七岁参加比利时伊丽莎白女后国际钢琴比赛荣获第二名。十八岁回国后，参加美国洛杉矶举办的拉赫玛尼诺夫国际比赛获第一名，香港第一届国际钢琴比赛获第二名及2008年CCTV小提琴&amp;钢琴比赛成人组第一名。</p>','<p>【示范者介绍】沈文裕自幼显示了非凡的音乐天赋。六岁开始先后师从于刘建平，郑大昕，能演奏莫扎特A大调钢琴协奏曲。八岁即能演奏莫扎特所有的奏鸣曲。九岁在四川音乐学院和重庆等地开独奏会。十岁就能演奏肖邦的第一和第二钢琴协奏曲及许多钢琴名曲。','','1333004701','1');
INSERT INTO `node_revisions` VALUES ('2120','2141','1','《沈文裕演奏经典贝多芬钢琴奏鸣曲》DVD正式发售','<p>《沈文裕演奏经典贝多芬钢琴奏鸣曲》DVD于今日正式发售。此次发售DVD为大家非常熟悉的一些贝多芬作品，2DVD售价60元。如需订购请致电010-67896015 垂询。<img src=\"/files/uploads/-001.jpg\" width=\"500\" height=\"339\" /><img src=\"/files/uploads/-001_0.jpg\" width=\"500\" height=\"215\" /><img src=\"/files/uploads/DVD1-01.jpg\" width=\"429\" height=\"500\" /><img src=\"/files/uploads/DVD2-01_0.jpg\" width=\"429\" height=\"500\" /></p>','<p>《沈文裕演奏经典贝多芬钢琴奏鸣曲》DVD于今日正式发售。此次发售DVD为大家非常熟悉的一些贝多芬作品，2DVD售价60元。如需订购请致电010-67896015 垂询。','','1333266154','1');
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INSERT INTO `node_revisions` VALUES ('2131','2152','1','Partners - Zhou Guangren Young Pianist Award - 2012','<p><a href=\"/node/1427\"><img src=\"/files/uploads/bechstein.jpg\" width=\"142\" height=\"100\" /></a></p><p>C.Bechstein</p><p><a href=\"http://www.bechstein.com/\" target=\"_self\">http://www.bechstein.com</a></p><p> </p>','<p><a href=\"/node/1427\"><img src=\"/files/uploads/bechstein.jpg\" width=\"142\" height=\"100\" /></a></p><p>C.Bechstein</p><p><a href=\"http://www.bechstein.com/\" target=\"_self\">http://www.bechstein.com</a></p><p> </p>','','1334049309','1');
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INSERT INTO `node_revisions` VALUES ('2133','2154','1','首页 - 周广仁钢琴新人艺术奖 - 2012','','','','1334038948','1');
INSERT INTO `node_revisions` VALUES ('2134','2155','1','评奖奖项 - 周广仁钢琴新人艺术奖 - 2012','<p align=\"left\">第一名：￥10000</p><p align=\"left\">第二名：￥5000</p><p align=\"left\">第三名：￥5000</p><p>第四、五、六名每人各￥2000 </p>','<p align=\"left\">第一名：￥10000</p><p align=\"left\">第二名：￥5000</p><p align=\"left\">第三名：￥5000</p><p>第四、五、六名每人各￥2000 </p>','','1334714808','1');
INSERT INTO `node_revisions` VALUES ('2135','2156','1','留言板 - 周广仁钢琴新人艺术奖 - 2012','','','','1334039008','1');
INSERT INTO `node_revisions` VALUES ('2136','2157','1','联系我们 - 周广仁钢琴新人艺术奖 - 2012','<p>周广仁钢琴艺术新人奖组委会 </p><p>地址：北京亦庄经济开发区凉水河一街37号赢海庄园2甲202室</p><p>邮编：100176 <br />电话：010-87220017 67896015<br />Email:  <a href=\"mailto:szyin18@sina.com\">szyin18@sina.com</a></p>','<p>周广仁钢琴艺术新人奖组委会 </p><p>地址：北京亦庄经济开发区凉水河一街37号赢海庄园2甲202室</p><p>邮编：100176 <br />电话：010-87220017 67896015<br />Email:  <a href=\"mailto:szyin18@sina.com\">szyin18@sina.com</a></p>','','1334044223','1');
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INSERT INTO `node_revisions` VALUES ('2138','2159','1','赛事信息 - 周广仁钢琴新人艺术奖 - 2012','<p style=\"padding-left: 120px;\"><strong>2012第三届周广仁钢琴艺术新人奖获奖选手名单:</strong></p><p><strong></strong></p><p style=\"padding-left: 120px;\">第一名： 张瑞雪   （北京）   奖金    10,000元</p><p style=\"padding-left: 120px;\">第二名： 张云龄   （上海）   奖金     5,000元</p><p style=\"padding-left: 120px;\">第三名： 王一诺   （北京）   奖金     5,000 元<br /> <br />第四名： 李悦萌   （北京）   奖金     2,000 元<br /> <br />第五名： 胡晓楠   （香港）   奖金     2,000 元</p><p style=\"padding-left: 120px;\">第六名： 潘雨萌   （沈阳）   奖金     2,000 元</p><p style=\"padding-left: 60px;\"> </p>','<p style=\"padding-left: 120px;\"><strong>2012第三届周广仁钢琴艺术新人奖获奖选手名单:</strong></p><p><strong></strong></p><p style=\"padding-left: 120px;\">第一名： 张瑞雪   （北京）   奖金    10,000元</p><p style=\"padding-left: 120px;\">第二名： 张云龄   （上海）   奖金     5,000元</p>','','1355895557','1');
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INSERT INTO `node_revisions` VALUES ('2140','2161','1','新人奖介绍 - 周广仁钢琴新人艺术奖 - 2012','<p align=\"center\"><strong> </strong></p><p align=\"center\"><strong>总则</strong></p><p> </p><p>1、半个世纪以来，周广仁先生将普及钢琴教育事业作为自己的人生使命和至高追求，倾注了全部心血。周广仁教育科技（北京）有限公司为弘扬周广仁先生广施仁爱，春风化雨的崇高精神，发掘和培养有才华的钢琴艺术新人，特设立周广仁钢琴艺术新人奖。</p><p>2、设立\"周广仁钢琴艺术新人奖\"，旨在推动钢琴艺术在中华大地的深入普及，促进青少年钢琴艺术教育的健康发展，发现人才,奖掖先进，激励热爱钢琴艺术的青少年走向更加辉煌的未来，并通过这个奖项为他们的深造提供一个展示自己的舞台。</p><p>3、\"\r\n周广仁钢琴艺术新人奖\"，从入围演奏者的展示，到中外专家的点评，将采用数字网络化方式进行。最具独特性的是所有评委并不像以往那样聚在一起评判，而是各\r\n自分处不同国家和地区在评奖网站上对演奏者进行审评。这一举措，既保证了评奖过程的公开透明，同时也开创了一个新颖实用的评奖模式。</p><p> </p><p style=\"text-align: center;\"><strong>评奖机构</strong></p><p> </p><p>主办单位：周广仁教育科技（北京）有限公司</p><p>承办单位：北京水知音文化传播有限公司</p><p>网络支持：广仁音乐<a href=\"http://www.zgrchina.com/\">www.zgrchina.com</a></p><p> </p><p style=\"text-align: center;\"><strong>组委会</strong></p><p> </p><p>1、周广仁钢琴艺术新人奖组委会由主办、承办单位组成，具体评奖工作由组委会组织开展。</p><p>2、 组委会负责制订本章程及其他相关文件用于指导评奖工作。</p><p>3、 组委会邀请国内外的著名钢琴家和教授担任评委；评委评语及评审结果均在网上公布。</p><p>4、组委会全权负责对整个评奖过程及其他相关活动的网络传播、及评奖相关音像制品的制作、出版和发行，所有因评奖而产生的音像制品及衍生产品的著作权归组委会所有，就此组委会不再向演奏者另付报酬。</p><p> </p><p> </p><p> </p>','<p align=\"center\"><strong> </strong></p><p align=\"center\"><strong>总则</strong></p><p> </p>','','1334043590','1');
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INSERT INTO `node_revisions` VALUES ('2143','2164','1','新人奖章程 - 周广仁钢琴新人艺术奖 - 2012','<p class=\"MsoNormal\" style=\"text-align: left; line-height: 16.8pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; letter-spacing: -0.75pt; color: #2b2b2b; mso-bidi-font-size: 10.5pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">章程</span></strong><strong style=\"mso-bidi-font-weight: normal;\"></strong></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、半个世纪以来，周广仁先生将普及钢琴教育事业作为自己的人生使命和至高追求，倾注了全部心血。周广仁教育科技（北京）有限公司为弘扬周广仁先生广施仁爱，春风化雨的崇高精神，发掘和培养有才华的钢琴艺术新人，特设立周广仁钢琴艺术新人奖。</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"> </span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、设立</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">“</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">周广仁钢琴艺术新人奖</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">”</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">，旨在推动钢琴艺术在中华大地的深入普及，促进青少年钢琴艺术教育的健康发展，发现人才</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">,</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">奖掖先进，激励热爱钢琴艺术的青少年走向更加辉煌的未来，并通过这个奖项为他们的深造提供一个展示自己的舞台。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">3</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">“</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">周广仁钢琴艺术新人奖</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">”</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">，从入围演奏者的展示，到中外专家的点评，将采用数字网络化方式进行。最具独特性的是所有评委并不像以往那样聚在一起评判，而是各自分处不同国家和地区在评奖网站上对演奏者进行审评。这一举措，既保证了评奖过程的公开透明，同时也开创了一个新颖实用的评奖模式。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 16.8pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; letter-spacing: -0.75pt; color: #2b2b2b; mso-bidi-font-size: 10.5pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">评奖机构</span></strong><strong style=\"mso-bidi-font-weight: normal;\"></strong></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">     </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">一、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">  </span><strong><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">主办单位</span></strong><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">：周广仁教育科技（北京）有限公司</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"> <br />      <span style=\"mso-spacerun: yes;\">     </span></span><strong><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">承办单位</span></strong><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">：北京水知音文化传播有限公司</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"><br />     <span style=\"mso-spacerun: yes;\">     </span> </span><strong><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">网络支持</span></strong><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">：广仁音乐</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">www.zgrchina.com<br />    </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">二、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">  </span><strong><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">组委会</span></strong><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">：</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、周广仁钢琴艺术新人奖定于</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2012</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">年</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">7</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">月</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">—2012</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">年</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">12</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">月举办第三届届评奖活动。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、周广仁钢琴艺术新人奖组委会由主办、承办单位组成，具体评奖工作由组委会组织开展。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">3</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、组委会负责制订本章程及其他相关文件用于指导评奖工作。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">4</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、组委会邀请国内外的著名钢琴家和教授担任评委；评委评语及评审结果均在网上公布。（广仁音乐</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">www.ZGRCHINA.COM</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">）</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 18pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"> </span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 18pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; color: #2b2b2b; mso-bidi-font-size: 10.5pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">评委</span></strong><strong style=\"mso-bidi-font-weight: normal;\"></strong></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 18pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><span style=\"font-family: 宋体; letter-spacing: -0.75pt; color: #2b2b2b; font-size: 10pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">评委会主席</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt 36pt; mso-pagination: widow-orphan;\" align=\"left\"><strong><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">Tamas Ungar </span></strong></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">托马斯</span><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">.</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">翁格是美国</span><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">TCU</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">德州基督教大学音乐系钢琴教授</span><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">.</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">美籍匈牙利钢琴演奏家，教育家，是美国最有名望的钢琴教授之一。</span><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">2006</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">年他被聘为北京中国音乐学院国际钢琴节的艺术总监。</span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><strong style=\"mso-bidi-font-weight: normal;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">rie Vardi </span></span></strong></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span style=\"font-family: 宋体; font-size: 9pt;\">阿里<span lang=\"EN-US\">.</span>瓦迪出生于以色列，国际上公认他为以色列最著名的钢琴家。他在以色列赢得肖邦比赛冠军，在罗马尼亚布加勒斯特的乔治<span lang=\"EN-US\">.</span>埃内斯库国际钢琴比赛一举夺魁后，他在欧洲各地多次举行音乐会。瓦迪先生在世界各地众多重要的国际钢琴比赛中担任评委，如北京、克利夫兰、滨松、利兹、米兰、莫斯科、慕尼黑、盐湖城、桑坦德。悉尼、东京、维也纳、华沙等等。他是鲁宾斯坦国际大师比赛的艺术顾问以及评委会主席</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">Arnulf VON ARNLM</span></strong></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span style=\"font-family: 宋体; font-size: 9pt;\">阿努夫<span lang=\"EN-US\">.</span>冯<span lang=\"EN-US\">.</span>阿尼姆，德国钢琴家，他是多次国际钢琴比赛大奖获得者，如，意大利威欧提国际钢琴比赛第一名；西班牙玛丽亚<span lang=\"EN-US\">.</span>卡纳尔斯国际钢琴比赛第一名；意大利布佐尼国际比赛第三名及日内瓦、那不乐斯等国际钢琴比赛的获奖者。他是意大利<span lang=\"EN-US\">Cervo</span>国际夏季钢琴营的艺术总监，德国舒伯特国际钢琴大赛艺术总监及主审，除此之外，他还是诸多重要国际钢琴大赛的评委之一。</span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span style=\"font-family: Times New Roman;\"><strong style=\"mso-bidi-font-weight: normal;\"><em style=\"mso-bidi-font-style: normal;\"><span style=\"font-family: &quot;Arial Unicode MS&quot;; color: #333333; mso-bidi-font-size: 10.5pt; mso-fareast-font-family: \'Arial Unicode MS\'; mso-font-kerning: 0pt; mso-bidi-font-family: \'Arial Unicode MS\';\" lang=\"EN-US\">ANDREA BONATTA</span></em></strong><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: &quot;Arial Unicode MS&quot;; mso-bidi-font-size: 10.5pt; mso-fareast-font-family: \'Arial Unicode MS\'; mso-bidi-font-family: \'Arial Unicode MS\';\" lang=\"EN-US\"><span style=\"mso-spacerun: yes;\">  </span></span></strong></span><span style=\"font-family: 宋体; font-size: 9pt;\" lang=\"EN-US\"><span style=\"mso-spacerun: yes;\">     </span></span></p><p class=\"MsoNormal\" style=\"text-indent: 9pt; margin: 0cm 0cm 0pt; mso-char-indent-count: 1.0;\"><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">安德鲁</span><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">.</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">伯纳塔多年来都是意大利博尔查诺佐尼国际钢琴比赛的艺术总监和评委主席，并创办了博尔查诺布索尼国际钢琴节。他还是日内瓦世界国际音乐比赛联盟的副主席。安德鲁</span><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">.</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">伯纳塔现在是博尔查诺布佐尼国际钢琴比赛和乌德勒支李斯特钢琴比赛的艺术顾问。他是上海音乐学院的名誉教授、意大利尔扎诺钢琴学院的创始人和院长。</span></p><p><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: Verdana; font-size: 11pt; mso-ansi-language: EN-GB;\" lang=\"EN-GB\">Einar STEEN-NOKLEBERG</span></strong><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt;\" lang=\"EN-GB\"> </span></strong><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt;\" lang=\"EN-GB\"><span style=\"mso-spacerun: yes;\"> </span></span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span style=\"font-family: 宋体; font-size: 9pt;\">埃纳<span lang=\"EN-US\">.</span>斯丁<span lang=\"EN-US\">.</span>诺克勒贝格是挪威最重要的钢琴家之一，在他获得的众多奖项中，其中重要的几项荣誉来自：德国音乐院钢琴比赛、<span lang=\"EN-US\">1972</span>年挪威钢琴比赛、<span lang=\"EN-US\">1975</span>年度挪威评论界大奖的最佳演奏奖（得奖作品为：在卑而根节上演奏的格里格的钢琴协奏曲）、<span lang=\"EN-US\">1976</span>年度的挪威唱片大奖（得奖作品为：演奏挪威巴罗克时期作曲家作品的独奏会）、<span lang=\"EN-US\">1984</span>年度林达曼大奖的年度最佳表演者、<span lang=\"EN-US\">1985</span>年以及<span lang=\"EN-US\">1992</span>年分别在卑而根和奥斯陆举行的格里格大奖。由于他在挪威音乐上的出色表现，他被挪威国王受封为圣<span lang=\"EN-US\">.</span>奥拉夫荣誉骑士。</span></p><p class=\"MsoNormal\" style=\"text-indent: 10.55pt; margin: 0cm 0cm 0pt; mso-char-indent-count: 1.0;\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: Georgia; mso-bidi-font-size: 14.0pt;\" lang=\"EN-US\">Gabriel Kwok</span></strong><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p><p class=\"MsoNormal\" style=\"text-indent: 9pt; margin: 0cm 0cm 0pt; mso-char-indent-count: 1.0;\"><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: MingLiU; mso-hansi-font-family: MingLiU;\">郭嘉特于香港出生，就读于英国伦敦皇家音乐学院。</span><span style=\"font-family: MingLiU; font-size: 9pt; mso-fareast-font-family: 宋体;\" lang=\"EN-US\">1989</span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: MingLiU; mso-hansi-font-family: MingLiU;\">年为香演艺学院键盘系主任。</span><span style=\"font-family: MingLiU; font-size: 9pt; mso-fareast-font-family: 宋体;\" lang=\"EN-US\">2003</span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: MingLiU; mso-hansi-font-family: MingLiU;\">年被推选为英国皇家音乐学院院士。郭氏现为深圳艺术学校、西安音乐学院、星海音乐学院及武汉音乐学院客席教授；并多次在全世界各地主持大师班。并在多项比赛中担任评委</span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; mso-bidi-font-size: 10.5pt;\" lang=\"EN-US\">John O’CONOR</span></strong><span style=\"font-family: 宋体; font-size: 9pt;\" lang=\"EN-US\"> </span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">爱尔兰钢琴家<a name=\"OLE_LINK1\">约翰</a></span><span style=\"mso-bookmark: OLE_LINK1;\"><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">·</span></span></span><span style=\"mso-bookmark: OLE_LINK1;\"><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">奥康纳</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">，作为一个出色的古典和早期浪漫主义作品诠释者，赢得了世界性的声誉。</span><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">1973</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">年他在维也纳贝多芬国际钢琴比赛上获得第一名。</span><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">CD</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">评论家描述他录制的一整套贝多芬奏鸣曲为</span><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">“</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">最佳的贝多芬演奏</span><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">”</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">，</span><span style=\"font-size: 9pt;\"><span style=\"font-family: Times New Roman;\"> </span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">他最近发布的完整版贝多芬钢琴协奏曲全集的录音，与伦敦交响乐团乐团合作，由</span><span style=\"font-size: 9pt;\" lang=\"EN-US\"><span style=\"font-family: Times New Roman;\">Andreas Delfs</span></span><span style=\"font-family: 宋体; font-size: 9pt; mso-ascii-font-family: \'Times New Roman\'; mso-hansi-font-family: \'Times New Roman\';\">指挥，大获好评。他被法国政府授予“艺术文学学院勋章”，奥地利政府授予他“科学与艺术荣誉十字勋章”，被日本政府授予“旭日勋章”，以及许多其它奖项</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; color: #2b2b2b; mso-bidi-font-size: 10.5pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">参赛方式</span></strong><strong style=\"mso-bidi-font-weight: normal;\"></strong></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 16.8pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; letter-spacing: -0.75pt; color: #2b2b2b; font-size: 10pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">一、参评方式</span></strong><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><strong style=\"mso-bidi-font-weight: normal;\"></strong></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">以录制、邮寄</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">DVD</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">的形式报名参加评奖活动。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; color: #2b2b2b; mso-bidi-font-size: 10.5pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">二、报名要求：</span></strong><strong style=\"mso-bidi-font-weight: normal;\"></strong></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、凡</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">18</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">周岁以下（</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1994</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">年</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">7</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">月</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">16</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">日</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">后出生者）的青少年均可申请报名参加评奖。</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"><br />2</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、报名者必须以中文填写如下材料：</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"><br />› </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">填写报名表（登陆评奖网站</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">下载表格，复印有效）；</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"><br />› </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">个人简历；</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"> <br />› </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">近期彩色半身免冠照片三张（两寸</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">:4×5cm</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">）；</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"><br />› </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">身份证或户口本复印件两份（请印于</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">A4</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">纸上）；</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"><br />› </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">参评曲目</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">DVD </span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"> </span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">三、参评曲目</span></strong><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">：</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">为纪念法国著名作曲家德彪西诞辰一百五十周年，第三届参评曲目定为：一首德彪西钢琴作品、选自海顿，莫扎特，贝多芬钢琴奏鸣曲的一个乐章（包括慢板乐章）并自选一首任何其他作曲家的乐曲，一共三首。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 16.8pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; letter-spacing: -0.75pt; color: #2b2b2b; mso-bidi-font-size: 10.5pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">具体要求</span></strong><strong style=\"mso-bidi-font-weight: normal;\"></strong></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">必须本人演奏，衣着正式整洁，单机位拍摄，画面、音质清晰可辨，不得剪辑，每首曲目时长不超过</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">15</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">分钟。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"> DVD</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">光盘盒上按顺序写明演奏者姓名、作品名称（英文）、作品时长；</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">3</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">参评演奏者资格确认：</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">组委会组织预选评委根据报名材料进行预审，以确定参评者的参评资格；组委会将于</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2012</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">年</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">8</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">月</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">日在评选网站公布预审结果。（广仁音乐</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"><a href=\"/\"><span style=\"text-decoration: underline;\"><span style=\"color: #800080;\">www.zgrchina.com</span></span></a></span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">）</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 16.8pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; letter-spacing: -0.75pt; color: #2b2b2b; mso-bidi-font-size: 10.5pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">评奖程序</span></strong><strong style=\"mso-bidi-font-weight: normal;\"></strong></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">第三届报名及预审</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">DVD</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">选拔时间：</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2012</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">年</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">7</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">月</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">日</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">—2012<span style=\"font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\" lang=\"EN-US\"><span lang=\"EN-US\">年</span></span>7<span style=\"font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\" lang=\"EN-US\"><span lang=\"EN-US\">月</span></span>15<span style=\"font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\" lang=\"EN-US\"><span lang=\"EN-US\">日</span></span></span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">；</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">入围结果将于</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2012</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">年</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">8</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">月</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">日</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">在：</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">广仁音乐</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"><a href=\"/\"><span style=\"text-decoration: underline;\"><span style=\"color: #800080;\">www.zgrchina.com</span></span></a></span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">网站公布</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">3</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">所有入围选手均需要在</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">8</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">月底到北京参加录制。（具体录制时间地点在网站</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">www.zgrchina.com</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">另行通知）</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">4</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">评奖时间：</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2012</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">年</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">10</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">月</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">日</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">—2012<span style=\"font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\" lang=\"EN-US\"><span lang=\"EN-US\">年</span></span>11<span style=\"font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\" lang=\"EN-US\"><span lang=\"EN-US\">月</span></span>15<span style=\"font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\" lang=\"EN-US\"><span lang=\"EN-US\">日</span></span><span style=\"font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\" lang=\"EN-US\">；</span></span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">5</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">正式公布获奖者名单时间：</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2012</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">年</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">12</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">月</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">17</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">日</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">；</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">6</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">入围演奏者人数为</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">12</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">人，评委会可视实际情况建议组委会增加或减少</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2~3</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">个入围名额；</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">DVD</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">入选后收取</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">500</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">元报名费</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">7</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">预审</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">DVD</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">评选由周广仁先生亲自主持</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 16.8pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><span style=\"font-family: 宋体; letter-spacing: -0.75pt; color: #2b2b2b; font-size: 10pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">奖项与奖金</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">第一名：￥</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">10000</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">第二名：￥</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">5000</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">第三名：￥</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">5000</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">第四、五、六名每人各￥</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2000</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">；</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; color: #2b2b2b; mso-bidi-font-size: 10.5pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">音乐会</span></strong><strong style=\"mso-bidi-font-weight: normal;\"></strong></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 16.8pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><span style=\"font-family: 宋体; letter-spacing: -0.75pt; color: #2b2b2b; font-size: 10pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">获奖选手音乐会</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">组委会将为获奖选手在不同城市举办获奖选手音乐会，音乐会举办时间为</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2013</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">年。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 16.8pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; letter-spacing: -0.75pt; color: #2b2b2b; mso-bidi-font-size: 10.5pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">特别说明</span></strong><strong style=\"mso-bidi-font-weight: normal;\"></strong></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">报名资料填写不清或所附材料不齐全的，报名视为无效，报名材料不予退还。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">报名从</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2012</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">年</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">7</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">月</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">日</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">起至</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">2012</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">年</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">7</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">月</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">15</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">日</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">截止。以快递方式（以发送日为准）向组委会提交报名材料，逾期报名无效。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">3</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">请将报名材料寄往：周广仁钢琴艺术新人奖组委会</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">地址：北京亦庄经济开发区凉水河一街</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">37</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">号赢海庄园小会所北楼</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">1</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">号</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">。</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">邮编：</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"> 100176 </span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">电话：</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\"> 010-67896015</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">Email: szyin18@sina.com</span></p><p class=\"MsoNormal\" style=\"text-align: left; line-height: 19.2pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan;\" align=\"left\"><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\" lang=\"EN-US\">4</span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">、</span><span style=\"font-family: Verdana; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体;\"> </span><span style=\"font-family: 宋体; color: #2b2b2b; font-size: 9pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-font-family: Verdana;\">参评演奏者必须完全遵守本章程，所有的参评作品和相关资料恕不退还，本章程的最终修订权和解释权属于周广仁钢琴艺术新人奖组委会。</span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt; text-align: center;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"><a href=\"/sites/all/themes/zgrchina/images/xinrenjiangbaoming.doc\">报名表下载</a></span></span></p><p class=\"MsoNormal\" style=\"margin: 0cm 0cm 0pt;\"><span lang=\"EN-US\"><span style=\"font-family: Times New Roman;\"> </span></span></p><p> </p>','<p class=\"MsoNormal\" style=\"text-align: left; line-height: 16.8pt; margin: 0cm 0cm 0pt; mso-pagination: widow-orphan; mso-outline-level: 3;\" align=\"left\"><strong style=\"mso-bidi-font-weight: normal;\"><span style=\"font-family: 宋体; letter-spacing: -0.75pt; color: #2b2b2b; mso-bidi-font-size: 10.5pt; mso-font-kerning: 0pt; mso-bidi-font-family: 宋体; mso-ascii-font-family: Verdana; mso-hansi-fo','','1343748362','1');
