Prokofiev's piano performance has been evaluated as a "difficult and pleasing piano concert" in his previous life. Every difficulty and every skill displayed will reward the pianist and the audience with jaw-dropping sound effects.

In the finale of the final chapter, the airtight octaves of the two hands roared like a stormy sea. The astonishing power erupted by "Li" was about to break the strings, and the colorful and exciting sound effects shook violently in the entire symphony hall.

The audience, who had been in a state of hypoxia for a long time, took a deep breath. The veins in their foreheads and the muscles in their calves were still trembling, and the sweat stains on their palms and vests began to feel cool.

This is undoubtedly a "large-scale" performance.

But the timing and the foreshadowing created by Fan Ning made all the conditions ripe.

Open-minded progressives are enjoying the impact on their senses, while a small number of composers or critics who are usually keen on finding faults can hardly question Fan Ning's creative level.

Because he doesn't know how to take the "right path", he chooses to attract attention and deviate from the norm?

Just kidding! Go listen to the medieval polyphonic music, authentic music and romantic music he wrote earlier?

Even the most conservative music critics couldn't help but feel at this time: There must be a reason for this arrangement of music, and there must be something about this steel song that I didn't understand?

Moreover, Fan Ning’s selection ideas and progression sequence from Sanshou Steel Association are——

Tchaikovsky-Rachmaninoff-Prokofiev.

Their vocabulary has become increasingly intense, but the core of the music, the selection of materials, and the spirit displayed still have the same Slavic national character!

Advocates of the legacy of authenticism, academic romantics, realists and nationalists, naturalists and impressionists, whether they pursue the stimulation of the senses and light and shadow, or look forward to the teaching of reason and balance.

Everyone can find something satisfying in these ten performances!

In this state of warm-up, where the audience was either shocked, expecting, or thoughtful, the last orchestral suite "The Sea", which the great composer called "supporting Impressionism", finally arrived as scheduled.

Fan Ning once again strolled onto the podium.

On the stage wall behind the symphony orchestra, a wide canvas oil painting began to rise slowly while being pulled by ropes.

Impressionist painter Claude Claude's "Seascape Gradient".

During the ten seconds or so when the coughing in the hall gradually disappeared, the audience looked down at the track list, which contained Fan Ning's title instructions for the first piece of the "Sea" suite:

"On the Sea, From Dawn to Noon"

So they first focused on the far left side of the banner painting, where the ocean was dark blue and deep, the sky was a gradient from gray to purple to cyan, and the night seemed to be slowly being unveiled, which was rare and attractive.

Dazzling light dances on the sea level

At the beginning of the music, Fan Ning gave weak but clear instructions to the string section.

"Buzz——"

The strings move from low to high, from weak to strong, and merge with the rolling sound of the sea waves struck by the timpani to form a weak overture sound.

"Ding dong~" "Ding dong~" "Ding dong~"

The two harps gradually blended into it with crisp and tranquil accompaniment.

The string section played an uneasy tremolo, and the woodwind section produced hazy and dissonant chords, so the blurry texture of the dividing line between sea and sky was outlined, and the pre-dawn water began to gently lap on the shore.

The night slowly opened, and the light reflected on the sea.

The dawn broke through the darkness, the fog gradually faded, and the sky changed from purple to cyan, gradually taking on a glorious front color.

"Endless as far as the eye can see, deep and vast, the salty wind is cold...it's the sea, I can see the sea!"

"I'm sure I'm not in the Symphony Hall!"

Within a few dozen seconds, quite a few highly inspired listeners had already withdrawn from the matter of "listening to the performance"!

The oboe and English horn alternately play an extremely weak main melody, symbolizing the beginning of the awakening of the sea.

At the same time, the violin counterpoints with an augmented second interval, which is a metaphor for the mist on the sea being completely driven away by the golden sunshine.

The sea sparkles under the sunlight, which means it is still peaceful, but contains infinite changes and deep energy.

When the woodwind section changes the theme again with euphemistic and pleasant tones, the string section accompanies it softly and ethereal, as if the singing is accompanied by a cool breeze, making people feel relaxed and happy.

More and more people are occupied by the strong sense of immersion.

"What's the situation? What kind of voice division method is this? No, no, I can't hear it. It's too complicated. What is the structure of this? I really can't tell it without looking at the music chart..."

"Why can two parts with different rhythms be played at the same time? Can the rhythm also be in counterpoint with the notes? How did he write this?"

Music fans were immersed in the music and couldn't extricate themselves, while those professionals who "discovered something was wrong", especially composers and conductors, gradually became dumbfounded.

The 16 cellos on the stage were actually playing parts in four different parts! And Miss Roy, who was in the first position, conveyed Fan Ning’s instructions very well!

Is this polyphony? This should be considered polyphony, right? But how can there be such "micro" polyphony? Can one voice be split into four? The resulting sound color is simply unprecedented and strange, like it is wrapped in a mysterious substance

The lingering tulle!

What the hell is this game?

"Maybe, maybe this is the new thinking of the master of polyphony..." Editor-in-chief Don Yetus felt that his cognition was being reconstructed over and over again.

What shocked several famous composers even more was that under Fan Ning's baton, there was a section where the woodwind and brass sections played in 6/4 time, while the percussion and string sections played in 4/4 time!

Two tempos, playing together at the same time!

The sections correspond completely!!

If that wasn't surprising, they later heard that somewhere in the middle of a 6/8 beat, a short section of 9/8 beat was suddenly inserted, and then returned to the original state, completely breaking the stable rhythm of the music.

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In another place, first the beat is 12/8, then suddenly the theme played by the horns and flutes changes to 4/4 time, and the whole band immediately changes to 6/8 time, and finally the brass, percussion and alto oboe play in 4/4 time

Went back again, but the string music was in 12/8 time again...

The audience only thought that the rhythm of the sea sounded so wonderful, but these music professionals had "What happened?" written all over their faces at this moment.

What the hell kind of gameplay is this?

Even the two or three masters who came to watch the performance opened their mouths.

"The sea seems to be so impermanent, but the real sea cannot rhythm as regularly as in classical oil paintings... But what is going on with this rhythm? What does its music look like? Did I hear it wrong?

Or?...How should I conduct the orchestra to perform this?"

"In the final analysis, it's because I don't know enough?"

Adonis, the chief conductor of the Royal Academy of Music Symphony Orchestra, is doubting life at this moment. He thinks that he may be a country bumpkin, although this sounds like nonsense...

In fact, Fan Ning, who had analyzed "The Sea" in a previous life, knew that the former's polyrhythmic counterpoint was achieved with the help of the "Hermiola Principle" in modern conducting methods.

Its budding form has been explored in the dance music works of Bach's period. As long as the common denominator of the beat prompts is found, combined with special scientific techniques and a sufficiently professional band, it can be realized.

The latter's command method of rhythm conversion is also realized through the transition prompt of the relationship between duration and proportion. It can be regarded as a common chord in the modulation technique. Otherwise, it may be a bit laborious to coordinate the demonstration based on inspiration alone.

Fan Ning is very clear in his mind that the musical language and structure of Impressionism are more vague and abstract, and the sense of rhythm is more wandering, but this should not make the performance ambiguous.

Because this effect is all deliberately and carefully designed by the musicians! If the shot is wrong, it will be over.

As the saying goes, "The audience can be dazzled by the rhythm, but you can't."

When he was taking piano lessons on Debussy's works, the professor emphasized with great seriousness, "Debussy's rhythmic ideas are stricter than classicism. If you make all the rhythms indicated on his score accurately, it's impressionistic."

The rhythm came out." The song "Moonlight", which I once thought was "elegant and out of the ordinary", was criticized by the old professor as having no merit, and he had to tear it all down and start over.

Especially now that I am the conductor, wandering movements is irresponsible to the musicians. The purpose should be clear and the meaning should be clear.

Of course, time was tight, and he admitted that it was indeed a bit of a quick success, which he attributed to the use of Qiming Church to give the key members a small start.

Accompanied by the crystal clear harp, the oboe and strings mixed to play the second theme, and the gentle face of the sea water occasionally revealed ferocious forebodings.

A very calm melody appears in the expansion section, and the playing of the alto oboe (English horn) shows a melancholy and hesitant mood.

The final theme reappears in a low and soothing manner. At the end, not only the accompaniment of the harp, but also the powerful blowing of the horn and the ascending melody of the trumpet join in. The dawn comes, and it is dazzling. The azure sea sets off the swaying golden light.

The second song, the title indicates "The Play of the Waves".

The audience's emotions have been completely absorbed in the drama. Fan Ning, with a hint of confident encouragement, instructs the band to play an introduction that seems peaceful but hides uneasy elements.

Soon, the band's radical ascending and descending chords staggered, and the alto oboe blew out the hazy first theme, which was the image of the waves starting to play.

In the accompaniment of the harp, the French horn blows parallel augmented triads with hazy timbre, and the strings and woodwinds alternately play descending tones, forming a strong contrast and contrast. The distance, virtuality, solidity, stillness, joy and anger of the sea are all visible.

“Boldly use woodwinds and harps to play independent parts rather than using them as foils...”

"Use trumpet and trombone with caution, they can easily expose the mystery of color..."

"All brass pipes can be played with mutes or obstructions when necessary..."

"The lower range of the flute is a good way to express pain and melancholy..."

"The bassoon and alto oboe are two instruments that work wonders when combined with strings or French horns to blend colors..."

The orchestration of Impressionist music and the colors of Impressionist paintings are both soul elements. Miss Lausanne specially brought a small notebook. At this moment, she bit her lips and carefully and quickly recorded her listening experience.

This Mr. Fanning, whom people love and respect, he has really mastered Impressionism!

Under the guidance of Fan Ning on the stage, ever-changing orchestration forms were displayed one after another: the coordinated performance of flute and violin, the vibrato of the second theme of the oboe, the woodwind section emphasized the augmented second interval with a stubborn A flat ensemble, and then the oboe again

Play hollow chords parallel to the English pipes…

One voice after another intertwines and entwines like waves. The musical moment is almost completely impossible to capture. We can only grasp a rolled-up superimposed form. It continues through constant turns, seemingly disintegrating and disappearing, and then constantly reappearing.

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To be continued...