a:18:{s:22:"field_ypa_comment_gb_1";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_2";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_3";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_4";a:1:{i:0;a:1:{s:5:"value";s:1459:"<p>杨诗宇</p><p>    他能够非常轻而易举的把练习曲演奏完，那么如何继续提升到更高的层次呢？ 对我来讲，他的“演奏”太机械了，还可以更细腻。例如：练习曲一开始的回声，第4小节（左手）的有魅力的重音，第8到第9小节的过渡不要停，第18小节的重音（对分句很重要）第38和39小节的长踏板，第40小节前不需要那么大的渐慢， 第65小节的三连音的控制， 第一拍可以长一点。结尾处的八度可以稍快一点（？）。<br />    我对夜曲的意见差不多。各个方面都很正确， 但是可以更细致。 就是头三个音， 每个音应有不同的音色， （由节奏与和声所决定。看看第9小节的区别）像莫扎特的音乐一样， 有时变化很惊人。我们需要发自内心地变化。dolcissimo (非常柔和）是 expressivo （有表现力的）的回应。中段一开始应再轻一点，为后面创造一种期待的氛围。<br />    在吉纳斯特拉的舞曲中，一些节奏使我感到诧异。 第一首舞曲中除了乐谱上写的渐慢， 我不能接受其他的伸缩节奏。第二首乐曲中的伸缩节奏， 对我来说太刻意太频繁了， 尤其是旋律的第一和第三小节， 最后一个音好多次都太晚了， 好像这小节多出一拍来了（第七拍），或者像旋律中的附点节奏， 其实只是两个简单的切分。</p>";}}s:22:"field_ypa_comment_gb_5";a:1:{i:0;a:1:{s:5:"value";s:1426:"<p>杨诗宇</p><p>肖邦：降G大调练习曲 作品10之5<br />    我希望你能追求更多的色彩变化和运用更多的想象能力。你的演奏，手有点重。在回到开头素材之前的渐慢，对于认为此作品是短而快的人来说，就做得太夸张了。这是一个很好的，但却是平淡的演奏。<br />肖邦：夜曲 作品15之2<br />    你表现了一些音乐品质，但其中你得之于你老师的，似乎多于出自于你自己的。这首优美的作品给你许多表现柔情的机会，却被你错过了。<br />吉纳斯特拉：阿根廷舞曲 作品2<br />    我钦佩吉纳斯特拉的才华，作为一个民族作曲家，他做出了特殊的贡献。这一独特的套曲十分有吸引力，往往是许多学生所弹的第一个二十世纪作品。遗憾的是，对一个已经16岁的人来说，它实在不具备挑战性。选择这首作品参加本次比赛，无法使你证明自己是不是一个真正的音乐家。套曲的第一首太简单了，第二首有一个几乎本身就在歌唱的优美旋律，最后一首是一个bangy bangy 重复不已的无穷动，其效果成分多于实质性内容。如果你在10到11岁，我会欢迎你的献演。在你现在的年龄，你应该远离这种表面化的音乐。<br />总评：赋有天资而又认真的学生，需要集中力量注意向音乐家的方向发展。</p>";}}s:22:"field_ypa_comment_gb_6";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:22:"field_ypa_comment_gb_7";a:1:{i:0;a:1:{s:5:"value";s:24:"<p>   敬请期待</p>";}}s:18:"field_ypa_title_gb";a:1:{i:0;a:1:{s:5:"value";s:119:"8.  <strong>杨诗宇</strong>：肖邦练习曲作品10之5  / <strong>YANG Shiyu</strong>：Chopin: Etude Op.10, No.5";}}s:22:"field_ypa_comment_en_1";a:1:{i:0;a:1:{s:5:"value";s:6048:"<p>YANG Shiyu</p><p>No.1 Chopin: Etude in G-flat major, Op. 10 No.5<br />- Within four pages, Chopin creates a world of magic and magicians. And it is a challenge for all of us to generate an atmosphere where such enchanting and captivating possibilities live.  </p><p>- You have a solid technique, and have worked hard to make the right hand even as well as listening well to keep a healthy balance between the hands.</p><p>- I very much enjoyed some parts especially the way you manage the left hand melodic progression from measure 24 and also the wonderful lift of the passage just before the coda (measure 65).</p><p>- I also commend you for not falling in the trap of playing the last 8 measures too bombastically. After all, this is not a large work and you should always keep in mind the perspective that the whole work presents. Such overview of any work is indispensible in any artistic creation. </p><p>- This large vision is also important in the tempo and especially when adhering to Chopin’s markings – for example “poco rallentando” should not be over exaggerated to such a point that it sounds as if you put on the brake. It is also important to construct any “ritardando” not just with the idea of slowing down but with an understanding that it is essential in the musical context. In measure 48, your slowing down really allows all the tension that you build up on the dominant pedal point to escape. In this case while the idea is good if done with timing and flowing naturally, the entry of the main subject was not at all satisfying.</p><p>- A word about the dynamics that Chopin so carefully indicates. Observing this is very important. And achieving much greater contrast should be your aim. Look at all the “crescendos”, they so often indicate a forward motion and intensification rather than just increasing the volume.</p><p>No.2 Chopin: Nocturne in F-sharp major, Op.15 No.2<br />- You are indeed a very good pianist and you take care of searching for solutions in the music. You also take care of how you use the pedal, and this is an exceptionally difficult task in the music of Chopin.</p><p>- You need to work out the bigger architecture of the phrases – where does the momentum take us, to find that note and move towards and then away from it. All the phrases in the “A” section are 8 measures long and the point at which you should aim is always in the sixth bar. In the first two groups the note is F-sharp, which is used in dissonance above a G-sharp, displaying tension that is released in the next two measures. It is this rise and fall, tension and release that I am missing from your playing.</p><p>- Some parts your tone is rather bold and straight forward. Observe carefully the dynamic range. Not once is there a “forte”, which should be an indication of the overall gentle character that Chopin wants to display. The simplicity of the melody and the rippling flow in the middle section (note that it is “sotto voce”) all point to a friendly atmosphere of warmth and tranquility.  </p><p>- A word about tempo especially when interpreting “Doppio movimento” (Twice the speed).  Your tempo here creates a breathlessness that in my mind is foreign to the piece. Four measures before this section you start to accelerate, and as a result it prevents you from establishing a reference tempo for the “Doppio movimento”. Chopin did not indicate any accelerando here. In fact, the wide arpeggios in the left hand chords suggest a built-in “sostenuto”. So please try to find the best and most natural solution to unify the tempos.</p><p>No.3 Ginastera: Danzes Argentinas, Op.2<br />- This is such a great work, full of contrast and great energy. And being an excellent performer you demonstrate most of this.</p><p>- The first dance called “Dance of the Old Herdsman” is full of rhythmic surprises, jumping from 6/8 to 3/4. You must keep the pulse tight whenever possible and never let it go. The coda is a perfect example how important it is to keep the tempo – those silences are part of the music and the questions are only resolve in the last 3 measure. Watch the “rest” in the second last measure.</p><p>- The second dance is called “Dance of the Beautiful Maiden”. As the title suggests this is a solo aria and dance. The composer requests “cantando” in a singing style. It is one person dancing and singing, so you should take the opportunity to be freer, perhaps even giving the impression of improvising. The indication “soave” in the “B” section means “smoothly” and so please build up the tension and dynamics gradually and do not allow the left hand to dominate with detached notes. The return was very beautiful as was the ending.</p><p>- The last dance is the “Dance of the Arrogant Cowboy” with such indications as furiosamente (“furiously”), violente (“violent”), and salvaggio (“wild”). It is indeed a wild dance full of rhythmic changes and relentless tempo. You have a tendency to speed up in certain sections and as a result you lose the tautness and the tension you so skillfully build up. The “C” section has two pedal points built on a note – C and A-flat. This is probably the most energetic and loudest part and should be played with abandonment, yet and here you mistakenly play softly. Again, speeding up in the “C” section leads to problems in the coda. Never forget that a dance depends on clear indication of pulse to make it successful, and this is certainly the case in this work.</p><p>Yang Shiyu you are a very good pianist and well deserve to be amongst the best young artists studying in China. Your performance shows that you are a good student however moving from that level to artistry is a journey that is not simple, and it should not be. Listen to a great deal of music and analyze what are the elements that allow an artist to communicate. Once you understand more about this would probably advance you and use your wonderful technique in the service of great music.</p>";}}s:22:"field_ypa_comment_en_2";a:1:{i:0;a:1:{s:5:"value";s:1371:"<p>YANG Shiyu</p><p>This pianist has a fine technical security, with fleet fingers and a good sound.  I found that his playing needs much more imagination and variety in general, and a sense that he “owns” the music himself – not just being a responsible and good student.  He should be encouraged to think for himself and to come up with ideas for his playing that-even if they are not particularly appropriate or tasteful-come from an inner conviction.</p><p>The Op.10 No.5 Etude was solid and accurate, but not particularly nimble or effervescent.  If one is to play any of these etudes, one needs not only good fingers, but an inspired artistic sense of the piece. Pedalling was not subtle and helpful in creating character.</p><p>Nocturne Op.15 No.2: The playing is sincere and honest, but needs so much more in the way of range in intensity (even in the shortest melodic motive), in articulation, in harmonic colour.  But most of all there must be a sense of spontaneity – real emotional last-minute decision making, which comes from practicing different ways of approaching the material.  Everything seemed almost stale musically.</p><p>Ginastera: Altogether very fluent and articulate.  All the technical elements were in place – now the idea is to let go and give some real fire and looseness to the performance.  They are dances, after all!</p>";}}s:22:"field_ypa_comment_en_3";a:1:{i:0;a:1:{s:5:"value";s:1130:"<p>YANG Shiyu</p><p>Op.10/5; Nocturne Op.15/2; Ginastera Danzas Argentinas</p><p>Chopin Etude Op.10/5: was clean at a somewhat modest tempo, but generally unremarkable. It is somewhat heavy-handed and wooden. There is so much more scope for wit and charm in this piece. </p><p>Nocturne Op.15/2 Diligent playing and here he showed some response to the needs for lyrical shaping. But LH sounds too static and each quaver too equally stressed. The decorative  embellishments in RH need much more delicate and Chopinesque treatment.  As yet there is only a limited finesse in sound and imagination to the playing, and there needs to be more subtlety of texture - for example at start of the middle section.</p><p>Ginastera Danzas Argentinas: Perhaps a disappointingly unadventurous choice of repertoire for a competition of this stature. But it was proficiently played. Scope for more zippy rhythmic vitality in outer movements (and more idiomatic Latin American character),. No.3 sounded too relentless. Aim for more genuine and touching tenderness in No. 2. (If you have not heard it, try to listen to Argerich playing this!!)</p>";}}s:22:"field_ypa_comment_en_4";a:1:{i:0;a:1:{s:5:"value";s:1575:"<p>YANG Shiyu</p><p>Yang Shiyu is able to play the Etude quite easily. How to reach the next higher level? To my ears the performance sounds a bit too “physical” and could be more detailed. Some examples:  The echo in the beginning, the charming accent in bar 4 (left hand), the transition from bar 8 to 9 (timing without stopping), the accent in bar 18 (important for the phrasing), the long pedal also in bars 38/39, not such a big extra ritardando before bar 49, the rhythmic control of the triplets in bar 65 after the rubato on the first beat, a little faster octaves at the end (?). </p><p>My comment to the Nocturne would be similar. Everything is absolutely sympathetic , but could be more refined. Already the first 3 notes should be 3 different sounds (for rhythmic and harmonic reasons, and see the difference in bar 9!). Like in Mozart’s music the expression can change quite surprisingly. So, we have to be spontaneous. A dolcissimo is a reaction to an espressivo. The middle section more sotto voce in the beginning, we have to create an expectation before showing anything concrete.<br /> <br />In the Ginastera dances I hear a few rhythmic surprises. In the first dance I can’t accept any rubato besides the written ritardandos.<br />Also the rubato in the second piece is too obvious for me and too often the same (I mean the first and third bar of the melodic phrases). Here the last note is many times so late that I start to feel an extra beat in these bars (a seventh beat) or a dotted rhythm in the melody instead of 2 simple syncopations.</p>";}}s:22:"field_ypa_comment_en_5";a:1:{i:0;a:1:{s:5:"value";s:1430:"<p>YANG Shiyu</p><p>Chopin: Etude in G Flat Major, Op. 10, No. 5</p><p>I wish you would seek more variety of color and use more imagination. Your performance is rather heavy handed. The ritardando before the return to the opening material is exaggerated if one considers that this piece is short and moves quickly. This is a good but routine performance.</p><p>Chopin: Nocturne, Op. 15, No. 2</p><p>You show some musicality but it seems to come more from your teacher than from you. This beautiful piece gives you many opportunities for tenderness which you passed by. </p><p>Ginastera: Danzas Argentinas, Op. 2</p><p>I admired Ginastera’s talent and he made a particular contribution as a nationalistic composer. This particular set is very attractive and is often a first twentieth century work for many students. Unfortunately, it is really not challenging for someone who is already 16 years old. The choice of this piece for this competition prevents you from demonstrating whether you are a real musician or not. The first piece is too simple, the second one has a nice melody which almost sings by itself, and the last piece is a bangy bangy motto perpetuo which is more effective than substantial. If you were 10-11 years old, I would welcome your offering. At your age, you should be way beyond this superficial music. </p><p>In sum: talented and serious student who needs to focus on his development as a musician.</p>";}}s:22:"field_ypa_comment_en_6";a:1:{i:0;a:1:{s:5:"value";s:1372:"<p>YANG Shiyu</p><p>First of all I must point on the very high level of all pianists. Very good quality of playing. Every pianist shows his/her own style and understanding of what is performing. Sometimes it is hard to rank all in one line, because it is music, it is art. And it is not always possible to decide this is better and this is worse. In some performance one side is better another side is worse. So all decision are relative. An d I would suggest all contestants accept the judgment as statement only for today and may be for the past, but willing work hard for future and improving their art.<br />And many thanks for participating and for giving me a pleasure to listen for theirs interesting interpretations.</p><p>YANG Shiyu<br />Etude<br />Nice performance. Unfortunately there is not enough exact touch, intonation. In the left hand w e have not only accompaniment but nice music piece. And right hand is absolutely nice melo dy, pianist should try to show this in performing.<br />Nocturne also quite nice, and for me it needs also more flexibility. In phrasing, sound, changing character in developing as well as movements of hand, wrist. It will help.<br />Ginastera. Also very bright playing. Also I would like &lt; /FONT&gt;to hear more flexibility. Forte should not be too hard, try more free hands. Good feeling of this music.<br />Thank you.</p>";}}s:22:"field_ypa_comment_en_7";a:1:{i:0;a:1:{s:5:"value";s:850:"<p>YANG Shiyu</p><p>It’s a very well played program. I like the energy and enthusiasm you brought forth in the etude and Ginastera. The etude is very solid with good control. The nocturne is also played sensitively. Perhaps there could be more breathes in the phrasing, so they don’t sound so tight. The hard thing about the nocturnes of Chopin is that they tend to be pretty but boring. Only if we set free our imagination, can we then explore the different colors, touches, and nuances that these masterpieces contain. And we become better musicians because of them. The “Danzas Argentinas” you played with precision and intensity. I would like to swing the rhythm more in the 2nd one so it sounds more like a dance. It might be too heavy at times for a dance of the maiden. But the outer movements are fabulous with abundant jubilance.</p>";}}s:18:"field_ypa_title_en";a:1:{i:0;a:1:{s:5:"value";s:58:"8. <strong>YANG Shiyu</strong>：Chopin: Etude Op.10, No.5";}}s:15:"field_ypa_video";a:1:{i:0;a:1:{s:5:"value";s:8:"08_1.mp4";}}s:18:"field_ypa_yt_video";a:1:{i:0;a:1:{s:5:"value";s:0:"";}}}