The works played in the second half of Fu Diao are Chopin's 12 piano etudes. The collection number is 25. The first one was completed in 1834, the second, third and twelfth ones were completed in 1836, and the rest were completed between 1832 and 1834.

Presented to Countess d'Azoul.

Fu Tiao's hand dropped the first note extremely gently. He did not move directly, but slowly raised it, letting the damper slowly get close to the trembling strings. After creating a hint that it was about to dissipate, his

The hands fell again.

A series of extremely continuous arpeggios flowed out of Fu Diao's hands.

It is not as explosive as other arpeggiated etudes, but it appears to have a touch of softness, just like slowly flowing water floating in front of everyone.

According to Chopin's idea when he created this piece, this piece is called "The Shepherd's Piccolo". This is how Chopin explained this piece to his students.

"Because the storm was coming, the shepherd boy took refuge in a safe cave. There was a heavy storm in the distance, but the shepherd boy took out his flute and played an elegant melody as if nothing had happened."

In Chopin's original score, he marked the first note of each group of sixteenth notes in his right hand. Schumann also believed that this piece was better than the shepherd boy's piccolo etude given by Chopin.

The work is actually more like a harp etude.

Fu Tiao consulted a lot of information before practicing this piece. On the train from Brussels to Paris, he kept looking at the music score in his hand and thinking about its content. Therefore, he had no idea about all the images Chopin wanted to express.

There is already a relatively accurate expression.

Just as Chopin imagined, Fu Diao's right hand added a little weight to the first note of each group of sixteen notes, and the lines of the music came out instantly.

It is obviously a piece played with both hands, but under Fu Diao's fingers, it becomes like a monophonic melody, extremely melodious and peaceful.

The other notes are just as side dishes of music surrounding the main melody. As mentioned before, like a harp etude, they are like ripples that slowly flow as the music sets foot here.

And everything he did made the musicality of the main melody of the music become the most important part. Whether the main melody is expressed well or not is even more critical.

But the question is...will his musicality be weak when Fu tunes it?

From the first half of the performance, everyone could tell that Fu Diao's musicality was unparalleled. He only discussed the beauty of the music without discussing whether it was in line with the composer's personality.

Shell, Fu Tiao can directly crush many people.

For example, in the preliminaries of the Chopin International Piano Competition, you could hardly hear anything Chopin in the works played by Fu Tiao, and it didn't even feel like Chopin.

But why was Fu Diao able to pass the preliminaries and successfully enter the main round of the Chopin International Piano Competition?

It is because of what Fu Tiao did for the beauty of music itself that he made the beauty of music more deadly and more attractive to everyone.

Even if the Chopin feeling in the music is not strong, you can still feel everything Fu Diao wants to express from the beauty in Fu Diao's music, and appreciate the beauty of his musical world.

This is the main reason why Fu Diao was able to win the Xiaosai qualifiers at that time.

If it weren't for this beauty and his skills, even if he was just a little bit worse, he might not have a chance to enter the main competition.

Now, Fu Tiao has made good use of his interpretation of musical beauty to interpret Chopin's Etude Op25-1, the Shepherd's Piccolo Etude, with extremely gentle ups and downs of music.

The people off the stage had not heard enough of everything expressed in the melody, and Fu Tiao had already started to change the music.

When the last note fell, Fu Diao's fingers only stayed for a moment, and the second work of Chopin's Etude No. 25 emerged from it.

Op25-2, F minor, 2/2 time, Presto, etude for flexibility of fingers and arms.

Chopin did not give this piece an exact name, but this piece has been played by more people than the first piece, and it has more of an etude flavor.

Therefore, many people call it the bee or top etude.

Before everyone could get out of the softness of the first piece, Fu Diao's hand had already fallen.

After just a moment's pause on the first note, a series of third notes burst out from Fu Diao's hand.

It keeps spinning, up and down, as endlessly as a Möbius strip.

The extremely even triplets run through it without any flaws.

In this swirling music, Fu Diao's arm didn't even move much. He just rested it on the piano extremely softly, letting his fingers drive the arm to run.

A dreamlike feeling came out of his fingers, dreamy and confusing, making people's brains even hallucinate, and they didn't even know the progress.

Obviously the speed is so fast without any pause, but for some reason, under Fu Diao's interpretation, you can even feel a trace of silence.

Just like the song in a child's dream.

This extremely confusing feeling flowed through everyone's ears. Everyone didn't even know what they should say now, but they just felt extremely shocked.

These are just two works, and this is just the beginning of Fu Tiao, the beginning of Chopin's etudes.

Before they even entered the state, Fu Tiao was already bombarding their emotions with extremely strong roars, driving their emotions forward.

Compared with Op25-1, which no one has played specifically, Op25-2 can be accepted by more onlookers, after all, it is more well-known.

In this etude, in addition to showing his musicality, Fu Diao also fully demonstrated his finger skills.

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For many of them, Chopin's etudes are not difficult, and can even be considered simple. Few people would choose to use Chopin's etudes as etudes to practice.

More people will play it as music.

Rather than paying attention to the technique of Fu Diao, what everyone cares more about is the musicality of Fu Diao.

The beauty in Fu Diao music is also vividly displayed in works with strong technical sense.

Even after only listening for a few minutes, everyone had already returned to the state of the first half.

At this moment, everyone was staring at Fu Diao on the stage with serious expressions.

They didn't know why, but they felt that they could learn many things from Fu Diao's performance.

Fu Tiao didn't care what people thought about him off the stage, he just quietly played the piece in his hand.

Chopin's etudes are not very long, and almost all of them can be played in three or four minutes.

For example, the entire set of works played by Fu Tiao is only over thirty minutes long. Adding the first half and intermission, it just makes up a whole concert.

When the last note fell, everyone immediately gasped a few times, cleared their throats, and waited for the next piece of music to appear.

Chopin Op. 25-3, F major 3/4 beat, Allegro, rhythm and touch etude. The difficulty lies in the simultaneous expression of three different rhythm patterns, as well as the changes in stress and tonality during it.

After Fu Tiao briefly walked through the content of this piece of music, he nodded slightly, raised his hands, and pressed the first note.

A completely different sound than before suddenly surged out.

It used to be in the key of F minor, but now it has moved to the key of F major, and the unique brightness and bright tone of the major key immediately dispelled the dream and confusion brought by the previous minor key, leaving more of a complete feeling.

Different sense of brightness.

Fu Tiao's grasp of the rhythm of this piece is simply terrifying to the extreme.

Maybe it's because he often played jazz before, or for some other reason, but his control of rhythm is simply superb.

The difficulty of this piece lies in the simultaneous expression of three completely different rhythm patterns. Fu Diao seemed to have no problem at all. His fingers ran directly through it, leaving everyone listening with questions in their minds.

Especially those who have played Chopin Op25-3 themselves.

They even doubted whether what they were listening to was Chopin 25-3.

Why was Fu Tiao able to interpret this piece of music so easily? But he played it as if he was lame in one leg.

Even though they thought they were playing smoothly at the time, when they heard Fu Tiao's performance now, they had a little doubt for some reason.

So was it really smooth before?

Are you really good at controlling these three rhythms?

During Fu Diao's performance, there was a group of people who came from Brussels. They were even more excited when they heard Fu Diao's performance.

They had listened to all of Chopin's etudes Op. 10 played by Fu Diao before, and now they heard all of Chopin's etudes Op. 25 played by Fu Diao. This time it could really be considered complete.

Completely complete.

Although the others had not heard Fu Diao's op 10, when they heard this op 25, their emotions couldn't help but be aroused, and they couldn't help but exchange glances.

"My God, the flow of the music just now is really amazing. I really like his interpretation method."

"There is also the feeling of the sea that he is born with. It is obviously Chopin, but what he interprets is not just Chopin, but Chopin with his own characteristics."

"So strong, so powerful, this performance is really beautiful."

"These are just the first three songs..."

Everyone's reaction was different, but almost everyone was shocked and obsessed with the beauty of the music under Fu Tiao's interpretation.

That kind of unique charm that only Fu Tiao can interpret.

Compared with the emotions of these people, the emotions of the people at the Conservatory of Music in Paris in the distance were different.

When they listened to Fu Diao's performance, they were no longer too lazy to think about how powerful Fu Diao was.

They only have one thing on their mind now...

That's how miserable Zhao Chengzhen really is.

How many lifetimes of bad luck did he have to encounter someone like Fu Tiao?

Fu Tiao's current Chopin can really be regarded as a world-class pianist, and it is no longer a problem to go on tour concerts with Chopin alone.

Some people may have thought that Fu Tiao's current Chopin concert was an ordinary concert. He simply appeared in front of the world to show his identity as the champion of the Chopin International Piano Competition and to prove his strength to the world.
To be continued...