- 主题发起人 sirapaz
- 发布时间 2014-02-07
半决赛第三天节目单
加东时间今晚十点
半夜一点
半夜三点
加东时间今晚十点
半夜一点
半夜三点
8月19号老外记者新写的半决赛纪实～～
Laurie Niles
Shanghai Competition 2018 Semi-Finals: First Day of Sonatas and Kreisler
August 19, 2018, 7:42 PM · The 12 violinists who remain in the Shanghai Isaac Stern Violin Competition are mid-way through a rather long semi-final round that focuses not so much on virtuosity but more on their ensemble skills, flair for style in Kreisler, and then later this week, their ability to lead a Mozart concerto and write the cadenzas for it.
Find the video feed for the live as well as past sessions on Violinist.com's Facebook page (click here).
For Sunday's session, which took place in Shanghai Symphony Chamber Music Hall, the contestants had to choose between two sonatas for violin and piano: either Beethoven's Sonata No. 3 in E major, Op. 12 or Brahms' Sonata No. 2 in A major, Op. 100. They also were required to play a piece by Fritz Kreisler, with 10 specific pieces from which to choose.
Six violinists played on Sunday: Diana Tishchenko of Ukraine; Alex Zhou of the U.S.; Arsenis Selalmazidis of Greece; Chang Yuan Tin of Canada; Nancy Zhou of the U.S. and Olga Šroubková of the Czech Republic. Another will six will play today: Quanshuai Li of China; Jiayi Chen of China; Sophia Su of the U.S.; Yige Chen of China; Yurina Arai of Japan and Yun Tang of China.
Below are some impressions from Sunday's sessions; please feel free to add your thoughts and comments if you have been following the videos online.
Having already shown herself an excellent chamber musician in yesterday's session with the Shanghai String Quartet, Diana Tishchenko of Ukraine seemed well-suited for Beethoven Sonata No. 3 in E major Op. 12, which is as much a piano sonata as a violin sonata. (Click here to see her performance.) Tishchenko, a graduate of the Hochschule für Musik "Hanns Eisler" Berlin, showed her skills as a collaborator once again, going to lengths to keep tricky-fast sextuplet figures together with the piano in the first movement, among other details. Pianist Zhen Chen did a standout job executing the extreme demands of this sonata, in this performance especially (he came back and played it again in the afternoon session). More importantly, it felt like a collaboration. A moment that stood out was their coordination the beginning of the second movement, with Tishchenko creating a flowing line that contrasted beautifully with the soft punctuation of an accompaniment part in the piano. The last movement was humorous and playful, and Tishchenko was clearly aware and physically clear about when the pianist had the right of way. For the Kreisler piece Tishchenko played "Caprice Viennois, Op. 2," with nice loose vibrato highlighting the schmaltzy double stops.
Alex Zhou of the United States, who studies with Zhao Wei at the Pre-College Division of the San Francisco Conservatory of Music, chose to play the other sonata on the competition list, Brahms Sonata No 2 in A major, Op. 100. (Click here to see his performance.) This is not a piece that plays itself, and of Brahms' three sonatas, this one is arguably the least straightforward for the violinist. The violin begins not with a melody but with a fragment from a melody introduced by the piano, then with strange outburst -- frankly it's a while before the violin gets to say a complete sentence. Zhou made this all flow quite nicely, with a graceful sense of dynamics and sense of fitting those levels with the piano part, played in this case by Jonie Huang. In the second movement he made quite a lot of colors come out of his violin, which may have required some coaxing. In contrast to the fragmented first movement, the third movement of this sonata begins with a nice, juicy melody that goes high up on the G-string; so high in fact that the highest note of this little melody does not always sound great on the G string, depending on the violin you're playing. I frankly don't know if it's an editor or the composer that marked it all "sul G" - every note on the G string. (I had an awful violin in college, and my teacher made me play the note up on the G. It sounded exceptionally awful, but I digress.) Zhou did not play that note on the G string (nor did Olga Šroubková, in the afternoon). I saw a few jury pens picked up at this point, but frankly I smiled. A violinist must make the music sound good on the equipment that he or she has, whatever he or she must do. If the sound breaks on the G, play it on the D, for heaven's sake. I thought Zhou made it work. He ended with "La Gitana," with fast and clear trills.
The competition had two performers play for each session, and the afternoon session that followed was coincidentally an exact replica of the morning session, the first person playing what the first person played, and the second person playing what the second played. I thought: this is a bit unfair, it really invites comparisons. Then I remembered, this is a competition, there's $100,000 at stake; it's all about comparisons!
I'd still argue that, for the audience, a competition also can be about watching some very accomplished young musicians play this music in their own ways, and taking away whatever ideas, emotions and memorable moments that emerge from their performances.
So unintentionally mirroring the repertoire of Tishchenko, the Russia-born Arsenis Selalmazidas of Greece played the Beethoven sonata, as well as Kreisler's "Caprice Viennois." (Click here to see his performance.) He also played with pianist Zhen Chen. Selalmazidas, who studied with Zakhar Bron at the Hochschule für Musik und Tanz Köln, chose to play without the music, using a bit more rubato in many places. Occasionally there was some disagreement between violin and piano about tempo. Selalmazidas played with a solid presence and commitment to his interpretation; if the phrasing was a bit quirky it was certainly by design. The third movement seemed a bit fast, considering how busy the pianist is. Chen handled it with grace but it seemed almost to fast to hear everything properly. Selalmazidas seemed to take pains to make "Caprice Viennois" sound Viennese-- I think I even heard a bit of the signature Viennese-waltz-beat-displacement in there.
Playing the Brahms Sonata and Kreisler's "La Gitana," Chang Yuan Ting of Canada performed with pianist Jonie Huang (Click here to see her performance.) Ting was born in Taiwan and studies with Dora Schwarzberg and Lucia Hall at the University of Music and Performing Arts Vienna. In the first movement Ting made liberal use of small glissandi and really painted on a lot of phrase work, even in accompanying figures. During the second movement she created many beautiful gestures, though I longed for more of a through-line in phrases. It might have been interrupted by a habit of subtle portato in the bow, which did disappear for climaxes and other important areas in the music. Ting really hit her stride in "La Gitana," which was well-suited for her. It's a very mercurial piece, changing moods and colors constantly, and she made sense of all those changes, creating nicely distinct sections for the listener.
Expectations have been high for Nancy Zhou of the United States, who played the Beethoven sonata and Kreisler's "Recitativo and Scherzo-Caprice, Op. 6." (Click here to see her performance.) Zhou, a graduate of Harvard University who studied with Miriam Fried at the New England Conservatory, played the Beethoven with Janie Huang (who had not played this piece yet today); and the Kreisler piece was a solo work. Playing with clear articulation in both hands, Zhou's tempos were frankly a bit merciless for the pianist, requiring her to play tricky sextuplet passages at demon speed, then slowing down for the calmer sections of the music. Zhou shaped the melodic lines quite beautifully in the second movement. The third movement was fast and got faster. The strongest part of Nancy Zhou's performance was her "Recitative and Scherzo-Caprice," and it was very strong indeed. This was a bold and showy choice, a piece without any piano that is full of tricks: double stops, harmonics, trills, left-hand pizzicato, ricochet -- and she did it all so well. I'd recommend watching it and showing it to students as well (see the link above).
By the end of the day, I'll admit to being a tired, grumpy audience member who badly needed a nice cold bottle of water (man is it humid here in Shanghai!) I was in no mood to hear Brahms again. Nonetheless, by the end of Olga Šroubková's performance of the Brahms, I was completely won over, exhaustion forgotten. (Click here to see her performance.) Šroubková is a graduate of the Moscow Conservatory who studied with Viktor Pikajzen and now studies with Adam Kostecki at the Hochschule für Musik, Theater und Medien in Hannover. It was in the second movement that she really grabbed my attention, starting it as a simple statement, and then literally stepping aside when the piano had the line - played by Zhen Chen. The more upbeat sections of this movement had a dance-like quality, thanks to her chosen tempos and articulations. The long climax near the end of the movement did not feel as drawn-out as it sometimes does - it was simple, straightforward and utterly beautiful. In moments during the third movement she achieved that elusive quality of making a century+-old piece that many of us know like the back of our hands feel like it's being improvised on the spot - fresh again, without doing anything strange or novel to it. She played Kreisler's "Marche Miniature Viennoise" - not the most technical piece on the list, but Šroubková played it with convincing style, with a sense of dance and delight.
Laurie Niles
Shanghai Competition 2018 Semi-Finals: First Day of Sonatas and Kreisler
August 19, 2018, 7:42 PM · The 12 violinists who remain in the Shanghai Isaac Stern Violin Competition are mid-way through a rather long semi-final round that focuses not so much on virtuosity but more on their ensemble skills, flair for style in Kreisler, and then later this week, their ability to lead a Mozart concerto and write the cadenzas for it.
Find the video feed for the live as well as past sessions on Violinist.com's Facebook page (click here).
For Sunday's session, which took place in Shanghai Symphony Chamber Music Hall, the contestants had to choose between two sonatas for violin and piano: either Beethoven's Sonata No. 3 in E major, Op. 12 or Brahms' Sonata No. 2 in A major, Op. 100. They also were required to play a piece by Fritz Kreisler, with 10 specific pieces from which to choose.
Six violinists played on Sunday: Diana Tishchenko of Ukraine; Alex Zhou of the U.S.; Arsenis Selalmazidis of Greece; Chang Yuan Tin of Canada; Nancy Zhou of the U.S. and Olga Šroubková of the Czech Republic. Another will six will play today: Quanshuai Li of China; Jiayi Chen of China; Sophia Su of the U.S.; Yige Chen of China; Yurina Arai of Japan and Yun Tang of China.
Below are some impressions from Sunday's sessions; please feel free to add your thoughts and comments if you have been following the videos online.
Having already shown herself an excellent chamber musician in yesterday's session with the Shanghai String Quartet, Diana Tishchenko of Ukraine seemed well-suited for Beethoven Sonata No. 3 in E major Op. 12, which is as much a piano sonata as a violin sonata. (Click here to see her performance.) Tishchenko, a graduate of the Hochschule für Musik "Hanns Eisler" Berlin, showed her skills as a collaborator once again, going to lengths to keep tricky-fast sextuplet figures together with the piano in the first movement, among other details. Pianist Zhen Chen did a standout job executing the extreme demands of this sonata, in this performance especially (he came back and played it again in the afternoon session). More importantly, it felt like a collaboration. A moment that stood out was their coordination the beginning of the second movement, with Tishchenko creating a flowing line that contrasted beautifully with the soft punctuation of an accompaniment part in the piano. The last movement was humorous and playful, and Tishchenko was clearly aware and physically clear about when the pianist had the right of way. For the Kreisler piece Tishchenko played "Caprice Viennois, Op. 2," with nice loose vibrato highlighting the schmaltzy double stops.
Alex Zhou of the United States, who studies with Zhao Wei at the Pre-College Division of the San Francisco Conservatory of Music, chose to play the other sonata on the competition list, Brahms Sonata No 2 in A major, Op. 100. (Click here to see his performance.) This is not a piece that plays itself, and of Brahms' three sonatas, this one is arguably the least straightforward for the violinist. The violin begins not with a melody but with a fragment from a melody introduced by the piano, then with strange outburst -- frankly it's a while before the violin gets to say a complete sentence. Zhou made this all flow quite nicely, with a graceful sense of dynamics and sense of fitting those levels with the piano part, played in this case by Jonie Huang. In the second movement he made quite a lot of colors come out of his violin, which may have required some coaxing. In contrast to the fragmented first movement, the third movement of this sonata begins with a nice, juicy melody that goes high up on the G-string; so high in fact that the highest note of this little melody does not always sound great on the G string, depending on the violin you're playing. I frankly don't know if it's an editor or the composer that marked it all "sul G" - every note on the G string. (I had an awful violin in college, and my teacher made me play the note up on the G. It sounded exceptionally awful, but I digress.) Zhou did not play that note on the G string (nor did Olga Šroubková, in the afternoon). I saw a few jury pens picked up at this point, but frankly I smiled. A violinist must make the music sound good on the equipment that he or she has, whatever he or she must do. If the sound breaks on the G, play it on the D, for heaven's sake. I thought Zhou made it work. He ended with "La Gitana," with fast and clear trills.
The competition had two performers play for each session, and the afternoon session that followed was coincidentally an exact replica of the morning session, the first person playing what the first person played, and the second person playing what the second played. I thought: this is a bit unfair, it really invites comparisons. Then I remembered, this is a competition, there's $100,000 at stake; it's all about comparisons!
I'd still argue that, for the audience, a competition also can be about watching some very accomplished young musicians play this music in their own ways, and taking away whatever ideas, emotions and memorable moments that emerge from their performances.
So unintentionally mirroring the repertoire of Tishchenko, the Russia-born Arsenis Selalmazidas of Greece played the Beethoven sonata, as well as Kreisler's "Caprice Viennois." (Click here to see his performance.) He also played with pianist Zhen Chen. Selalmazidas, who studied with Zakhar Bron at the Hochschule für Musik und Tanz Köln, chose to play without the music, using a bit more rubato in many places. Occasionally there was some disagreement between violin and piano about tempo. Selalmazidas played with a solid presence and commitment to his interpretation; if the phrasing was a bit quirky it was certainly by design. The third movement seemed a bit fast, considering how busy the pianist is. Chen handled it with grace but it seemed almost to fast to hear everything properly. Selalmazidas seemed to take pains to make "Caprice Viennois" sound Viennese-- I think I even heard a bit of the signature Viennese-waltz-beat-displacement in there.
Playing the Brahms Sonata and Kreisler's "La Gitana," Chang Yuan Ting of Canada performed with pianist Jonie Huang (Click here to see her performance.) Ting was born in Taiwan and studies with Dora Schwarzberg and Lucia Hall at the University of Music and Performing Arts Vienna. In the first movement Ting made liberal use of small glissandi and really painted on a lot of phrase work, even in accompanying figures. During the second movement she created many beautiful gestures, though I longed for more of a through-line in phrases. It might have been interrupted by a habit of subtle portato in the bow, which did disappear for climaxes and other important areas in the music. Ting really hit her stride in "La Gitana," which was well-suited for her. It's a very mercurial piece, changing moods and colors constantly, and she made sense of all those changes, creating nicely distinct sections for the listener.
Expectations have been high for Nancy Zhou of the United States, who played the Beethoven sonata and Kreisler's "Recitativo and Scherzo-Caprice, Op. 6." (Click here to see her performance.) Zhou, a graduate of Harvard University who studied with Miriam Fried at the New England Conservatory, played the Beethoven with Janie Huang (who had not played this piece yet today); and the Kreisler piece was a solo work. Playing with clear articulation in both hands, Zhou's tempos were frankly a bit merciless for the pianist, requiring her to play tricky sextuplet passages at demon speed, then slowing down for the calmer sections of the music. Zhou shaped the melodic lines quite beautifully in the second movement. The third movement was fast and got faster. The strongest part of Nancy Zhou's performance was her "Recitative and Scherzo-Caprice," and it was very strong indeed. This was a bold and showy choice, a piece without any piano that is full of tricks: double stops, harmonics, trills, left-hand pizzicato, ricochet -- and she did it all so well. I'd recommend watching it and showing it to students as well (see the link above).
By the end of the day, I'll admit to being a tired, grumpy audience member who badly needed a nice cold bottle of water (man is it humid here in Shanghai!) I was in no mood to hear Brahms again. Nonetheless, by the end of Olga Šroubková's performance of the Brahms, I was completely won over, exhaustion forgotten. (Click here to see her performance.) Šroubková is a graduate of the Moscow Conservatory who studied with Viktor Pikajzen and now studies with Adam Kostecki at the Hochschule für Musik, Theater und Medien in Hannover. It was in the second movement that she really grabbed my attention, starting it as a simple statement, and then literally stepping aside when the piano had the line - played by Zhen Chen. The more upbeat sections of this movement had a dance-like quality, thanks to her chosen tempos and articulations. The long climax near the end of the movement did not feel as drawn-out as it sometimes does - it was simple, straightforward and utterly beautiful. In moments during the third movement she achieved that elusive quality of making a century+-old piece that many of us know like the back of our hands feel like it's being improvised on the spot - fresh again, without doing anything strange or novel to it. She played Kreisler's "Marche Miniature Viennoise" - not the most technical piece on the list, but Šroubková played it with convincing style, with a sense of dance and delight.
来听听法国高铁TGV的announcement,lol。
SNCF是法国铁路运输公司的简称，法国国企来的。
初到法国时连这么简单的法语也听不懂啊！
SNCF是法国铁路运输公司的简称，法国国企来的。
初到法国时连这么简单的法语也听不懂啊！
这是一列从法国Saint Malo开往巴黎蒙巴纳斯火车站的TGV：）经典音乐又来了，笑S！
22分钟前刚刚新出炉的微信推送！我感觉我现在上两份班啊！蒙特利尔和上海各一份工作！来听听专业演奏员的评论。李沛是上交首席。
SISIVC时评&花絮|一大波专业点评向你涌来
上海艾萨克斯特恩国际小提琴比赛 今天
上海交响乐团首席 李沛
今天上午的两位选手表现非常不错。他们都选择了贝多芬第三奏鸣曲，这是一首很考验演奏者功力的奏鸣曲。要求演奏者在特有的框架下，充分展示贝多芬的挺拔、弹性以及柔情。两位选手都很有自己个性。第一位李泉帅，演奏光彩不失阳刚，三个乐章性格分明，音色把握以及与钢琴的对话都比较到位。第二位陈家怡，演奏很有气场，能听出她对乐曲有自己深入的理解。从运弓、揉音以及和钢琴的交流，都体现出对乐句及细节的良好把控。
克莱斯勒的作品，两个人都能很快的转换风格，曲目的自由空间也让他们能更尽兴的的展示自己优秀的技术水准和乐感。
这次比赛曲目对选手的考验真的是全方位的，奏鸣曲和克莱斯勒作品都是对选手技术及修养深层次的考验。作为听众，真心为年轻演奏家们高水平的表现喝彩。
上海交响乐团第一小提琴 苏婷
上海交响乐团大提琴首席 黄北星
曲曲经典投身心，阵阵精彩扑面来。本届上海艾萨克·斯特恩国际小提琴比赛，真可谓是一个出类拔萃的音乐盛宴！今天上午我们一共听了两位选手， 整体的水平还是要比以前的好很多。现在选手的技巧趋向细腻，而基本功更加扎实。今天的第一位选手就是这样的一个特别好的例子，他的基本功相当扎实，揉音很好听，音乐处理也很细腻，但是张力相对较小一点。第二位选手呢，我们都很熟悉，她是我们的同事陈家怡，祝贺她发挥得非常好，尤其喜欢她演奏的克莱斯勒《中国花鼓》，技巧高超，音乐处理非常独到，B段音色的掌控很有韵味，达到了“乐由心生”的境界！
浩浩汤汤艺如洋，琴乐如潮举明月。此次斯特恩小提琴比赛精英荟萃，新手可畏。大赛搭建独具魅力的难能可贵的大平台，为新秀的脱颖而出创造了升华的美妙舞台。＂言由心生，乐随情抒＂，祝福音乐新秀，尽情绽发青春与热情，传悦播馨。
上海交响乐团中提琴 刘珈妤
看了今天下午半决赛的最后两位选手，风格非常不同，日本选手荒井优利奈的音乐旋律温柔细腻，而中国选手唐韵的音乐则热情有力，虽然美好的音乐本无法互相比较，可前后对比，唐韵的音乐成熟稳练非常多，而荒井优利奈的音乐则略青涩一些。唐韵的音色尤其像一位我非常喜欢的小提琴家奥伊斯特拉赫的音质，浓厚沉稳，揉弦充满激情美好，似乎这最后一位的结尾，也映衬了本届艾萨克·斯特恩小提琴比赛的初衷，将古典的美好传播传承下去，不分地域国界人种。。。非常感动能有机会聆听现场，也预祝后面的决赛我们能与各位优秀选手同台成功，也希望他们能将自身成熟音乐家的气质，感染到现场聆听的每一位观众!也非常感谢我们乐团的组织方，将如此高规格的赛事带入上海，惠及上海的文化艺术！
SISIVC时评&花絮|一大波专业点评向你涌来
上海艾萨克斯特恩国际小提琴比赛 今天
上海交响乐团首席 李沛
今天上午的两位选手表现非常不错。他们都选择了贝多芬第三奏鸣曲，这是一首很考验演奏者功力的奏鸣曲。要求演奏者在特有的框架下，充分展示贝多芬的挺拔、弹性以及柔情。两位选手都很有自己个性。第一位李泉帅，演奏光彩不失阳刚，三个乐章性格分明，音色把握以及与钢琴的对话都比较到位。第二位陈家怡，演奏很有气场，能听出她对乐曲有自己深入的理解。从运弓、揉音以及和钢琴的交流，都体现出对乐句及细节的良好把控。
克莱斯勒的作品，两个人都能很快的转换风格，曲目的自由空间也让他们能更尽兴的的展示自己优秀的技术水准和乐感。
这次比赛曲目对选手的考验真的是全方位的，奏鸣曲和克莱斯勒作品都是对选手技术及修养深层次的考验。作为听众，真心为年轻演奏家们高水平的表现喝彩。
上海交响乐团第一小提琴 苏婷
上海交响乐团大提琴首席 黄北星
曲曲经典投身心，阵阵精彩扑面来。本届上海艾萨克·斯特恩国际小提琴比赛，真可谓是一个出类拔萃的音乐盛宴！今天上午我们一共听了两位选手， 整体的水平还是要比以前的好很多。现在选手的技巧趋向细腻，而基本功更加扎实。今天的第一位选手就是这样的一个特别好的例子，他的基本功相当扎实，揉音很好听，音乐处理也很细腻，但是张力相对较小一点。第二位选手呢，我们都很熟悉，她是我们的同事陈家怡，祝贺她发挥得非常好，尤其喜欢她演奏的克莱斯勒《中国花鼓》，技巧高超，音乐处理非常独到，B段音色的掌控很有韵味，达到了“乐由心生”的境界！
浩浩汤汤艺如洋，琴乐如潮举明月。此次斯特恩小提琴比赛精英荟萃，新手可畏。大赛搭建独具魅力的难能可贵的大平台，为新秀的脱颖而出创造了升华的美妙舞台。＂言由心生，乐随情抒＂，祝福音乐新秀，尽情绽发青春与热情，传悦播馨。
上海交响乐团中提琴 刘珈妤
看了今天下午半决赛的最后两位选手，风格非常不同，日本选手荒井优利奈的音乐旋律温柔细腻，而中国选手唐韵的音乐则热情有力，虽然美好的音乐本无法互相比较，可前后对比，唐韵的音乐成熟稳练非常多，而荒井优利奈的音乐则略青涩一些。唐韵的音色尤其像一位我非常喜欢的小提琴家奥伊斯特拉赫的音质，浓厚沉稳，揉弦充满激情美好，似乎这最后一位的结尾，也映衬了本届艾萨克·斯特恩小提琴比赛的初衷，将古典的美好传播传承下去，不分地域国界人种。。。非常感动能有机会聆听现场，也预祝后面的决赛我们能与各位优秀选手同台成功，也希望他们能将自身成熟音乐家的气质，感染到现场聆听的每一位观众!也非常感谢我们乐团的组织方，将如此高规格的赛事带入上海，惠及上海的文化艺术！
今天晚上Officially开始为多伦多之行Packing：）主要是行头，衣服鞋子包包首饰和各种配饰，我和上海家人还有他们的朋友们在多伦多会有高大上饭局！Countdown！我觉得好激动啊！也不是第一次去加拿大第一大城市多伦多了，反正我就把多伦多当故乡上海了！！！就像我每次去纽约，把纽约当上海一样：）
发帖记录一下激动的心情。
2018年8月21日
Sirapaz
Montreal
发帖记录一下激动的心情。
2018年8月21日
Sirapaz
Montreal
最后编辑: 2018-08-21
插播好听的《晴》
汪苏泷是暖男一枚：）
汪苏泷是暖男一枚：）
《银河》
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