a:18:{s:22:"field_ypa_comment_gb_1";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_2";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_3";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_4";a:1:{i:0;a:1:{s:5:"value";s:1571:"<p>李斯倩</p><p>    李斯倩是一个很专业的年轻钢琴家了。她的演奏非常有感染力， 看上去她明显不了解真正的技术问题。而且她对自己演奏的音乐都是非常有意识的。（我能想像20年后她会成为一名很好的钢琴教授）<br />    她的表情和声音总是很高贵，很平衡， 我甚至觉得有点太过了。我倒建议她不需要那么“理智”， 可以冒点险（当然在话筒前是很难的）。 可以更随意一些，有时候dolce(柔和)还做的不够，需要dolcissimo（非常柔和）。<br />    夜曲可稍稍快一点，有点类似船歌的倾向， 一小节打两拍。 我知道我是唯一的一个有这个想法的人。从第66小节起， 我想制造一种印象派的效果，（用长踏板， 混合和声）。这首曲子的音乐性质大概是安静的， 但你的声音不能真的很安静。<br />    练习曲的手指功夫很好， 左手里有一些小小的迟疑。 实际上这首曲子的非连音不需要绝对的清楚，在练习的时候强调手指清楚还是很好的，但演奏时还是要强调暴风雨般的情绪， 不必那么小心翼翼。乐谱里写的p 是为后面的渐强做准备的， 并不是抒情的意思。因此这是一首双手都非常强烈的曲子。<br />    这首李斯特的曲子也弹得很好。但这类曲子需要极大的体力。当然也是有限制的。你在各个方面再夸张一些， 从最典雅的诗意到非常戏剧性。不要害怕音乐的对比和冲突。</p>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:1659:"<p>李斯倩</p><p>肖邦：升c小调练习曲 作品10之4<br />    在清晰和轻巧方面，你两手都有稳定的处理。就我的口味来说，我认为听到的拍点太多了。也许稍微再快一点，就可以抹去这种感觉。演奏这首练习曲，要让观众忘记每小节有四拍，这对你来说，是一个挑战。<br />肖邦：夜曲 作品27之2<br />    我特别喜欢你对旋律素材的“歌唱性”处理，你专门注意了大音程以及“抵达”一个高音时所需要的“呼吸”，我也喜欢你在引入新和声时的处理。我对中间段落的快速跑动部分感到失望，因为它被设计得太仔细了，在实际演奏的时候就有点脱节了。听一下约瑟夫•霍夫曼现场演奏录音中相同的这些小节，其录制于1930年代纽约大都会歌剧院。<br />李斯特：莫扎特《费加罗的婚礼》主题幻想曲<br />    不仅在速度和音量方面，这是一个堪比名家的超级炫技演奏，在色彩、轻巧、想象力方面，它同样也是。尽管有这样的称赞，但你在选择曲目方面的趣味仍令我担心。这样的一首作品，是你用来展示令人赞赏的演奏技巧的全部所需。我相信，在你成长过程的这个阶段，观众会欢迎这样的作品。然而，你需要开发一套浪漫派的曲目，要以肖邦、舒曼、勃拉姆斯这样的作曲家所写的韵律丰富的作品作为基础。这将把你引入艺术成熟之境，这也是在你年龄渐长后获得认可的唯一途径。<br />总评：显然，你很有天赋，并具有任你控制的非凡的钢琴资质。</p>";}}s:22:"field_ypa_comment_gb_6";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_7";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:18:"field_ypa_title_gb";a:1:{i:0;a:1:{s:5:"value";s:150:"4.  <strong>李斯倩</strong>:费加罗的婚礼幻想曲/<strong>LI Siqian</strong>：Liszt Fantasy on themes from Mozart’s the Marriage of Figaro";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:4681:"<p>LI Siqian</p><p>No.1 Chopin: Etude in C-sharp minor, Op.10 No.4</p><p>- Your performance is extremely competent and shows a well rounded command of the piano. Furthermore, I marvel at the execution of accuracy and precision you display. It came across as a very solid and well prepared performance.</p><p>- You should increase the tempo. At the moment it sounds terribly safe. You need to take chances. Often when there is a crescendo your forward momentum suffers.</p><p>- Search more for melodic progressions, for example the descending chords in the left hand (measures 1 to 4) as they keep the interest alive and draw our attention away from the idea of finger exercise. Also, pay attention to the bass line pattern in measure 3 which is echoed in measure 8. </p><p>- Make an effort to group the running notes as Chopin requests, e.g. in a unit of 16 as in measure 1, or in groups of four with slight accents as in measure 2. These articulations make the work come alive and interesting, often producing lots of surprising moments. Such explorations can have wonderful results.</p><p>No.2 Chopin: Nocturne in D-flat major, Op.27 No.2</p><p>- You have a clear understanding of the structure and I enjoyed how you changed the dynamic levels each time the main theme was used. </p><p>- This nocturne is essentially an operatic aria. Pay attention that your left hand accompaniment does not become too prominent. Make a bigger distance in dynamics between the soaring singing melodies and the gentle “whispering” bass. </p><p>- You must strive for different colors as the piece progresses. For example in the “B” section (measure 10) the B-flat minor is certainly much darker than the preceding D-flat major, while the following E-flat minor displays a lessening of tension. In section “C” the heroic A major must be subdued, and do wait for the first of many “crescendos”. The following passage must be constructed with great deal of care, lifting us into the triumphant return of theme “A”. It was unfortunate that you arrived at the capacity of the instrument well before this climax, so our waiting was not as satisfactory as Chopin indicated in the score.</p><p>- Again you misjudged the idea behind the “crescendo” in measure 57 as you were already quite loud, so that the ensuing measures were not as exalted as intended by the composer.</p><p>- The exquisite coda should be a duet (precursor by 35 year of the famous farewell duet of Verdi’s “Aida” at the conclusion of the opera). Try to separate the voices more by dynamics, articulations, as well as rubato.</p><p>No.3 Liszt: Fantasy on Themes from Mozart's Marriage of Figaro and Don Giovanni</p><p>- You are following a small number of incredible performers like Ferruccio Busoni, Egon Petri, Vladimir Horowitz, Grigory Ginzburg, Emil Gilels and more recently Stephen Hough, Jean-Yves Thibaudet and Leslie Howard who performed this little known work. In fact this was never published by Liszt and relatively recently it has come to life in the complete published works. I do admire you for learning this horrendously difficult work and I am sure you will have great success with it wherever you perform it. </p><p>- You display all the necessary ability to rise above the difficulties and present it with energy and uncanny accuracy. However, it must be stated that for Liszt such technical demands were not that difficult, and he placed equal, if not more, emphasis on the music on which he based his fantasy. In your performance the technique was a priority and again while it dazzles the listen, it gets too much at times. </p><p>- Further you need to explore more the character of Figaro and Cherubino. They are two opposing characters in the opera and their melodies represent this explicitly. Liszt, with his ingenuity, captures the essence taking their famous arias and moving to Don Giovanni in the coda. The idea is not that far from Mozart’s idea as he himself used the melodies borrowed from Figaro in Don Giovanni. Studying these operatic characters will lead you to a greater variety of dynamics, articulation and better timing. Often I wished that passages would be lighter and more “fun” as we all know The Marriage of Figaro is a comic opera. </p><p>- Again, congratulations on your brilliant performance!</p><p>In summary, LI Siqian you are a very talented and serious pianist. You showed in your chosen repertoire a great variety of sounds, a wide range of dynamics, and a wonderful spirit for performance. I hope you will continue to develop focusing primarily on music, and with hopes I will have the chance to hear you live in the not too distant future.</p>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:925:"<p>LI Siqian</p><p>In general the playing was fluent and accurate, with assuredness and poise.   Sound control was consistent, and every technical challenge was met with ease and seeming effortlessness.  Accuracy was almost 100%!</p><p>Op.10 No.4: This etude was musically rather drab and monochromatic.  The 16th notes, while brilliant in their evenness, were almost all exactly the same, with no real indication of the shape or function of the line.</p><p>Nocturne, op.27 No.2: A very calm and self-confident performance, but lacking in radiance and ecstasy in the climax, and real sorrow in the coda.  Personal involvement was not apparent.</p><p>Liszt: Many of the same qualities that have been mentioned above were in this performance.  The technical grasp was admirable, but musically it was fragmented and lacking a connecting dramatic concept.  The intensity level did not change throughout this long work.</p>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:1639:"<p>LI Siqian</p><p>Chopin Op.10/4: a highly capable pianist: good clean playing - excellent fingerwork. Try not just to think of semiquavers. If chords are too clipped and vertical the performance can easily sound somewhat over-mechanical /metronomic and too “routine”.  Even if this is an “etude” it is still a remarkable musical composition. Immaculately clean.</p><p>Chopin Nocturne in D flat Op 27/2: I liked the sense of poise and space to your playing, which shows musical sensibility, even if it lacks any special magic. (Try to listen, if you can to some of the great pianists from music earlier generations playing this - or similar music.) I appreciate that you do not indulge in any undue rubato, but there can still be some greater flexibility of pulse / flow and of nuances. Lovely ending – something very pleasing here. In general, though, rather too predictable.</p><p>Liszt “Figaro” Fantasy: One senses that you felt very much at home in this work, and extremely comfortable and confident in your ability to master its technical challenges. A really enviable pianism here! Whether you succeed in conveying the essential character of the various Mozart arias is more questionable.  (For example, La ci darem is one of the most tender and gentle of love arias. You sound SO impressive and as if you really enjoyed playing much of this work. Can you find more scope for wit? Perhaps a slight sense that you were tiring a little<br />towards the end, which did not quite provide the kind of final flourish needed. </p><p>A gifted girl and I like the fact that her playing is essentially unfussy and natural.</p>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1646:"<p>LI Siqian</p><p>Li Siqian is a very professional young pianist. Her performance is impressive, obviously she doesn’t know real technical problems. And she seems to be totally conscious about what she is doing (I can imagine she will be an excellent piano professor in 20 years...!).</p><p>Her expression, her sound are always noble and well balanced – for my feeling even too well. I’d like to encourage her to be a little less “reasonable”, to take some risks (difficult in front of a microphone...), to be more spontaneous. Sometimes dolce isn’t enough, it has to be dolcissimo. </p><p>The Nocturne could be slightly faster, there should be a movement similar to a Barcarolle, swinging in 2 beats. I know that I’m almost alone with this idea, but I’m always hoping for the impressionistic echo (long pedal, mixed harmonies) from bar 66 (Henle edition). It’s more or less quiet music, but it should not really sound tranquillo.</p><p>Excellent finger work in the Etude, just some small hesitations in the left hand. Actually I don’t need this extremely clear non legato sound in this piece. This is an excellent way to practise, but in the real performance it sounds a bit too careful.  Can be more stormy. I think each piano is written to give us the space for the next crescendo, and it’s never lyrical. So, it’s a very dynamic piece – in both hands.</p><p>A lot of respect for her Liszt. The basic energy for this kind of music must be extremely high. We can go to limits. A few steps further in all directions: from the most poetic grazioso to molto drammatico. Don’t be afraid of contrasts and conflicts.</p>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:1645:"<p>LI Siqian</p><p>Chopin: Etude in C Sharp Minor, Op. 10, No. 4.</p><p>You have a steady approach with both hands in clarity and lightness. To my taste, I hear the beats too much. Maybe just a bit faster would erase that feeling. It is a challenge for you to play this etude in a way that makes the audience forget that there are four beats in every measure. </p><p>Chopin: Nocturne Op. 27, No. 2</p><p>I particularly enjoyed you "vocal" treatment of the melodic material, with special attention to large intervals and the "breathing" required to "reach" a high note, as well as your approach to the introduction of new harmonies. I was disappointed with the fast run in the middle section as it was too carefully planned and rather disjointed in execution. Listen to those measures in Josef Hoffman's live recording at the Metropolitan Opera House in New York from the 1930's. </p><p>Liszt: Fantasy on Themes from Mozart’s “The Marriage of Figaro”</p><p>This was a super virtuoso performance in terms of color, lightness, imagination, in addition to speed and volume. In spite of this praise, it made me concerned as to your taste in selecting repertoire. One piece like this is all you need to show bravura playing. I am sure that the audiences welcome it at this point in your formative years. However, you need to develop a romantic repertoire based on the polyphonic writing of composers such as Chopin, Schumann and Brahms. That will lead to mature artistry which is the only way to achieve recognition when you are older. </p><p>In sum: you are obviously very gifted and have extraordinary pianistic resources at your disposal.</p>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1018:"<p>LI Siqian</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>LI Siqian<br />Very exiting performance! Thank you very much for playing. Difficult program.<br />Etude good “speaking” fingers.<br />Nocturne Good! Pay attention sometimes to phrasing slurs. Nice &lt; /FONT&gt;touch.<br />And Liszt good fantasy. All the very best for the future.</p>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:1011:"<p>LI Siqian</p><p>An overall brilliant performance. The etude is in a nicely held back tempo, thus ensuring the runs are clearly articulated. The rhythmic pulse is felt throughout the piece. You have solid control of the keyboard and a good show of dynamic range. The nocturne is sensitive musically. But here I would like to see more of the emotional range of the piece. A nocturne in Chopin’s hands is no longer just a “night song”. From passionate outcry to intimate murmuring, it contains the full range of human emotion. More intensity is needed to carry out the task of bringing those emotions to life. The Figaro is one of the hardest pieces I have ever played, and you did a fabulous job on it. I feel that you understand the meaning of the arias and therefore portrayed the characters clearly. I would make the opening more fantasy-like, and be more emotionally charged at the end. But I am sure you will do all that with time. It is a brilliant performance of an incredibly difficult piece.</p>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:94:"4. <strong>LI Siqian</strong>：Liszt Fantasy on themes from Mozart’s the Marriage of Figaro";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:8:"04_3.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}}