a:18:{s:22:"field_ypa_comment_gb_1";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_2";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_3";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_4";a:1:{i:0;a:1:{s:5:"value";s:1319:"<p>潘雨萌</p><p>    她是一个非常乐感的年轻钢琴家。 一切听起来都是可信的。她的手指与灵魂和想象力结合在一起。肖邦夜曲对于她来说选得很合适。 旋律的刻画比较灵活， 对这首夜曲来说， rubato(伸缩节奏)用的很好。<br />    练习曲中各变奏之间的演奏区别分明，这是演奏此曲的挑战之一。声音响的太早，太紧迫， 尤其是“大提琴”部分和最后一段。肖邦只在个别几处写了 forte . 想象是大提琴声能帮助我们。有运弓和揉弦， 但没有竖的动作。我们希望听优美的连奏和轻柔如歌，绵延不断的声音。轻盈和非常轻盈的伴奏要给旋律让位。可能的话，可以再加一点舞蹈的诙谐感。中断前三小节中只在第2，3，小节有延长记号。<br />    李斯特的狂想曲， 听她的演奏总是觉得很有意思， 从不单调。她有热情， 有勇气， 也很有性格。但我要建议她今后演奏中，把一切表情建立在更高的钢琴修养和全面的音乐责任感的基础上。<br />    尤其是在节奏方面， 你太自由了。演奏中有好几处的rubato (伸缩节奏)是无法指挥的（这是rubato 的试金石）。 我注意到你的符点节奏有时挺受折磨的。</p>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:1530:"<p>潘雨萌</p><p>肖邦：B大调夜曲 作品32之1<br />    相当漂亮的一个演奏。从一开始，我就感觉到，你很好地利用了肖邦在流动中的瞬间中止，尽管你没能加上他所要求的微小渐快。其实这是可以被有效地做出来的，那么最终的效果就会更加别致。我希望看到的是，左手能够带出一点更多的对位旋律，再加上一些迷人的触键，就会造就一个从头到尾始终都具有“表现力”的音乐诠释。<br />肖邦：e小调练习曲 作品25之5<br />    在开头的右手部分显现较低乐音的想法，很有趣。钢琴演奏者通常是勾勒旋律的高音。你的想法也是有道理的。我发现你的演奏偏慢，有点沉重，欠缺根本的优雅。我不明白为什么音乐学生们都能够传递音乐中那些表情丰富的元素，但在表达性格魅力和轻松愉快的时候却感到那么困难。<br />李斯特：匈牙利狂想曲 第12首<br />    对你的演奏质量，我没有异议，因为你在技术上已达到作品要求的高度，在每个段落中，你都注入了适当的性格。然而，在你为掌握这首作品的钢琴技巧要求而做出的长时间的不断练习中，我看不到它对你具有真正的挑战意义，因为你并没有去处理对你的成熟和音乐才能具有更多要求的音乐。<br />总评：很有天赋，音乐性的演奏，美妙的乐音，有点沉重，持续地强烈，没有喘息。要多一些乐趣！</p>";}}s:22:"field_ypa_comment_gb_6";a:1:{i:0;a:1:{s:5:"value";s:1553:"<p>    首先，我必须指出，所有的钢琴家都具有非常高的水平，演奏的质量都很高。每个钢琴家对于自己表演的曲目，都展示出了他/她自己的风格和理解。有时候很难排在一起比较，因为是音乐，是艺术。而且不太可能决定哪个好一些，哪个坏一些。在一些演奏中，一方面不错，一方面不太好。因此所有的决定都是相对的，我建议所有的参赛者都将比赛结果作为仅仅是今天，甚至是对过去的评判，希望他们将来会更加努力的练习，提高他们的琴艺。<br />非常感谢能够参与这次比赛，并且听到了很多选手有意思的表演，带给我很多欢乐。</p><p>潘雨萌</p><p>    非常美的演奏，给你一些建议。</p><p>夜曲，<br />    有点过于程式化，数拍子感觉太明显。需要更多自然的灵活自如的rubato.你坐的离琴太远，倾向于和琴相反的方向，坐的舒服自然些，声音也会更自然。</p><p>练习曲<br />    形式上看来，主题的第一感觉还是正确的，但肖邦的作品毕竟是浪漫时期的音乐，小指的旋律应该更加歌唱和有表现力。中段太响了，有点太紧迫了，要更加歌唱和自然。</p><p>李斯特<br />    颤音给人非常强势的印象，在你的表演中有些过了<br />    很好的钢琴，你弹琴时rubato很多很自然，forte也要用同样的感觉去弹，不同的段落要更加自由。<br />    感谢你的演奏，祝福你。</p>";}}s:22:"field_ypa_comment_gb_7";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:18:"field_ypa_title_gb";a:1:{i:0;a:1:{s:5:"value";s:119:"6.  <strong>潘雨萌</strong>：肖邦练习曲作品25之5  / <strong>PAN Yumeng</strong>：Chopin: Etude Op.25, No.5";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:5003:"<p>PAN Yumeng</p><p>No.1 Chopin: Nocturne in B major, Op.32 No.1<br />- I am very impressed by the great range of sincere emotions you display in your performance of this Nocturne. You possess a natural and noble feeling for the melodic line and this flexibility in Chopin’s melodies is generally very difficult to understand. I like very much your treatment of the different sections and in general your approach to this style.</p><p>- Try to keep the left hand as supple and legato as possible. These are harmonic progressions and must be heard as such. If you play each note separately the constancy of the eighth notes can become tiring.</p><p>- Chopin repeats often with slight variations of embellishments, and it is our task to make each repetition different and interesting by using much more variety in timing and dynamics.</p><p>- You have musical ears and are very sensitive to particular beautiful moments, and you have the tendency to use a lot of “rallentando” to bring to attention these moments. Doing it too often would diminish their value. So chose carefully where to use it and use it less so these moments would come across as really special.</p><p>- The middles section could have more sound as it becomes much more contrapuntal, but be careful to make sure that the voice leadings are clear and can be followed.</p><p>- Make sure that the forte in measure 63 is clear. I like your approach to the ending cadenza. However, you should try to maintain the tension created by the succession of “sf” chords while reacting to their powerful interjection – much like a recitative.</p><p>No.2 Chopin: Etude in E minor, Op. 25 No.5 <br />- You have good ears, and obviously have a wonderful command of the piano. Your reaction to the E minor color is rather leaning toward the heavy and brooding mood. However, the character is “scherzo” which elicits a much lighter response. With your seriousness I think it is still possible to incorporate a little light heartedness. Try to find a natural approach that is based on elegance and charm, and avoid complex sudden “rallentandos” that often sound heavy and stop the motion.</p><p>- The middle section is nothing more than just a beautiful operatic aria, and therefore could flow with much more ease and less heaviness. Try a much lighter touch in your right hand so that it does not overwhelm the left hand. Your left hand melody sounds altogether too serious and profound, not matching or reacting to the optimistic shimmering of the right hand writing. </p><p>- In the coda, I also think reducing the thickness of the chords and a swifter approach would be more appropriate without losing the drama and the nobility.</p><p>No.3 Liszt: Hungarian Rhapsody No.12<br />- You have ample ability and well-equipped facilities to bring this off marvelously and there are hardly any technical problems that should be in your way. Perhaps a better understanding of the structure would improve your performance. The basic structures of the Hungarian Rhapsodies owe a great deal to the “verbunkos”, a Hungarian recruiting dance in several parts. The unique feature of this form is the use of extremes of tempos reflecting the extremes of emotions so prevalent in the Hungarian psyche. Further, Liszt kept two main elements of the typical Gypsy style — the “lassan” (slow) and the “friska” (fast) sections.</p><p>- Lovely “lassan”. I love your deep and dramatic emotional intensity. You could afford to be even freer, like real improvisation. Here it is advisable to make great dynamic changes between the sections. You need to pace this more deliberately, taking full advantage of the silence to magnify the unexpected. </p><p>- The arrival of the “Vivace” heralds the final dance, and here you could be more spirited and bring out the dance element more distinctly. The most important aspect of dance is the dependable pulse. At the same time Liszt follows the basic “verbunkos” element of getting faster and more involved, thus he has indications like “sempre vivamente”, “brioso”, “accelerando” and “il pi presto possible” which of course indicate a gradual quickening of the tempo. This only lets up when we get to the coda – Adagio. For you to follow Liszt’s advice of increasing the tempo should pose no difficulty. However, to do it gradually and without slowing down requires utmost control and determination, and this is something that you should work on for your future performance of this piece. </p><p>Pan Yumeng,<br />You already display a great deal of maturity and I am sure you will develop into a wonderful musician. Continue your work, learn a great deal of repertoire as the next few years are most important to acquire the material that you will use for the rest of your life. At the same time listen to other works besides written for the piano as this will lead you to find the individual style of each composer. I look forward to hearing perform again soon.</p>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:1100:"<p>PAN Yumeng</p><p>This young pianist projected passion and total engagement with the music.  She has large and capable hands and a fine musical mind.  A very promising performer!</p><p>Nocturne Op.32 No.1:  This was a colourful and well-paced performance, full of variety and conviction.  The sound was warm and rich, but there was always room for diversity and a change of character when needed.</p><p>Etude Op.25 No.5: The outer sections of this etude were accurate and lively, although the voicing aspect was a little heavy-handed and exaggerated. The middle section seemed fragmented and too active, both physically and musically, and the pianist relied a little too much on the pedal for a legato melody.  The climactic leaps toward the end were very careful and lacked the exciting dramatic thrill that they should provide.</p><p>Liszt: On the whole a fine performance up to the final section, which unfortunately slowed down suddenly, and from here to the end the piece had no real dramatic line – no inner direction and force.  I was disappointed after such an auspicious start.</p>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:1208:"<p>PAN Yumeng</p><p>Chopin B major Nocturne Op.32/1: Pleasingly natural, musical playing, with some unusual and individual touches. There is a sense of tenderness and nostalgia in the playing that is apt. Somehow - it could just be allowed to flow with more fluidity at times, but she catches the emotional turns in the music well.  LH occasionally a little too notey and heavy. The extraordinary twist at the end, and the B minor ending were convincingly conveyed.</p><p>Etude Op.25 / 5 (E minor): The voicing here sometimes seemed somewhat overdone to be really natural.  E major section tended to be rather over-weighty - more sense of “free flow” and less effort is possible here. Don’t try to make this too “important”! It is such really such wonderful, natural Chopinesque writing. But again much to admire in the playing.</p><p>Liszt Hungarian Rhapsody No.12: I love your confidence and the directness of your playing. At times you produce quite a remarkably rich and deep sound. Of course there is scope for more musical subtlety, and quixotic twists in mood, but what you do is natural and conveys very considerable pleasure. Any little technical blemishes were never unduly serious.</p>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1568:"<p>PAN Yumeng</p><p>A very musical young pianist, everything sounds authentic. Her fingers are well connected to her soul and her imagination.<br />This Chopin Nocturne is a good a choice for her. Flexible timing of the melody, already a good sense for rubato in this piece. </p><p>In the Etude we can hear the difference between the variations very clearly, one of the challenges of this piece. <br />The sound seems to be a little too early too intense, especially in the “cello part” and the last part. Chopin wrote forte just in very few places. The idea of a cello can really help us:  There is a bow and there are strings, no action would be vertical in any way. We want to hear a beautiful legato and cantabile, a continuously developing sound.</p><p>The leggiero and the leggierissimo accompaniments should give space for the melodies. A bit more dancing scherzando would certainly be possible. </p><p>In the 3 bars before the middle section there should be only one fermata between the last 3 chords (the 2nd and the 3rd).</p><p>In the Liszt Rhapsody it’s always interesting to listen to her, never boring. She is playing with a warm heart, with courage and temperament. But I would like to advise that she should work on basing any expression on an even higher pianistic culture and general musical responsibility. Especially in the field of rhythm she is too free. There are several rubati in her performance that can’t be conducted (one of my criteria for a good rubato). I noticed that especially dotted rhythms are sometimes “suffering”.</p>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:1516:"<p>PAN Yumeng</p><p>Chopin: Nocturne in B Major, Op. 32, No. 1</p><p>Quite a beautiful performance. From the start, I sense that you take good advantage of Chopin’s momentary interruptions to the flow although you fail to add the little accelerando he requests, This can be done effectively and the end result is more unique. I would have welcomed bringing out a bit more counterpoint in the left hand and a few charming touches to what is otherwise, a consistently “expressive” interpretation. </p><p>Chopin: Etude in E Minor, Op. 25, No. 5</p><p>The idea of bringing out the lower voice of the right hand at the very beginning was interesting. Pianists usually delineate the melody at the top. Your idea also makes sense. I found your performance on the slow side, a bit heavy and lacking the ultimate elegance. I wonder why musical students are so able to convey the expressive elements in music but have such a hard time projecting charm and lightness of character. </p><p>Liszt, Hungarian Rhapsody No. 12</p><p>I have no quarrels with the quality of your performance as you are technically on top of the piece and you do infuse each section with the proper character. I, however, see no real challenge to you in working hours and hours in mastering the pianistic demands of this work and not having to deal with music that is more demanding of your maturity and musicianship. </p><p>In sum: very gifted, musical playing, beautiful sound, a bit heavy, and always intense without respite. Have more fun!</p>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1621:"<p>PAN Yumeng</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>PAN Yumeng<br />Nice playing. Though I would give some advise.<br />Nocturne.<br />Little too much metric, counting, needs more flexible and natural rubato. And the way you sit at the piano- try not to lean to much backward from the piano. Sit more naturally, it will also make more naturally sound.<br />Etude<br />At the first appearance of theme you are formally right, but still it is Chopin, romantic music. There is a melody played by 5th finger, it should be singed and expressively.<br />The middle section is too loud, too much pressing, also try to sing more and naturally.<br />Liszt Rhapsody<br />Tremolo is impressive powerful, but in your performance little too much.<br />Good piano and when you play piano, you make better and more natural rubato, try to play forte with same breathing. And in difficult passages find more freedom.<br />Thanks for playing, all the best.</p>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>  coming soon...</p>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:58:"6. <strong>PAN Yumeng</strong>：Chopin: Etude Op.25, No.5";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:8:"06_2.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}}