The second movement of "Yang Jingxing Symphony No. 2" begins with a short solo section of the flute. It is said that the flutist in New Ireland did repeated research on the timbre and finally decided to use a rose gold mouthpiece with a platinum flute body, although the resulting timbre was not obvious.

It is much better than the sterling silver flute of the Urami Philharmonic, but the performer still enthusiastically showed his enthusiasm through the details of the melody.

The clear and graceful flute leads the triangle, violin and other woodwinds, making everyone form a picture that seems pretty but also obviously petty. Then they all consciously open their voices to the bell-like unison of the cello group and become the background. Then.

The cello phrases in the next six bars are particularly broad, long and steady. Puhai was once evaluated as "vast and calm" after its premiere, but Niuai's performance today seems to have a lot of small waves.

Of course, the symphony cannot always be calm. After it is sufficiently broad and steady, the brass and the violin group begin to show some activity, then cheerful, then vivid, then gorgeous and even gorgeous.

The overly showy tunes in "Yang Jingxing's Symphony No. 1" were once bluntly criticized by an influential French music critic. The general meaning is that it is certainly good to sprinkle a few thin slices of truffle on the tender steak, but this

The dish cooked by a composer is a plate of dark and thick truffle chunks. Chewing truffles dry will never be a taste treat for gourmets with a little taste. This music critic is even worried that Yang Jingxing will look at those new

The path of Century Musicians has deviated, pessimistically predicting or warning that Yang Jingxing will make a lot of money in the future but will not create more further industry surprises on a more difficult and glorious road.

Judging from the first few dozen bars of the second movement of the Second Symphony, Yang Jingxing really has not improved at all, and can even be said to have deteriorated. During these three or four minutes, except for the sixteen folk musicians on the stage, they remained steady.

Almost all the other musicians besides Duan Zui began to perform one after another. With more and more people, the music performed became clearer and more specific. Especially after the violin group took the leading role, the color of the music became more rapid and intense.

, each musical element appears so rich and colorful, allowing all parts to work together to demonstrate the in-depth implementation of the music genre of "symphony music".

"Yang Jingxing's Second Symphony" finally became fully "symphonic" in the second movement. The music became more and more blatant and even explicit in expressing the composer's love for music genres, and he wanted to mobilize all the elements to express all the advantages of the symphony. The music

He also makes no secret of the composer's tribute to or imitation of outstanding composers in the history of music, and just openly shows off his "comprehensive induction" ability.

For most ordinary diners, even if the first dish served is a plate of bare truffles, they probably don't dare to immediately jump up and criticize the chef's quality. They may be moved by the restaurant's generosity and sincerity, not to mention the truffle carvings.

It's quite beautiful.

The strings on the stage were supported by wind instruments and moved up again and again, surprising the audience again and again and re-establishing higher expectations. At first glance, the audience seemed to have established trust in the stage again, and the audience generally felt

Staring attentively, after all, the current music is the most familiar and familiar to them.

The music "symphonically" gets better and better, constantly confirming and recreating the glory and greatness of this art for the audience. Seeing that the climax of the next summary and sublimation is about to come out, some listeners show more than just love for music.

Attention, even nervous concern.

After a series of rising emotions, the music did not usher in the sublimation it should have. The "symphony", which was already rich and a bit boring, came to an abrupt end in a form that transcended common sense. Unlike the seamless connection of the Urakai Philharmonic,

Niuai paused for a while before letting the dulcimer and three-stringed instrument shine.

The "symphonic flavor" performed by dozens of musicians has almost not completely dissipated, and the initial notes of the dulcimer and sanxian are so thin that they are almost drowned in the reverberation of the "symphony". Fortunately, on the stage

The folk music performers did not seem to lag behind in terms of momentum.

Maybe the appetizer had shown enough sincerity or strength, or maybe the conductor's glance back between the movements was intimidating, another "tease" to the composer. Not only was there no commotion in the audience, there was no reaction at all.

No one made any obvious noises, and there were very few body movements. It seemed that the music on the stage was going on as expected, and everyone continued to focus on it.

As the dulcimer and the three-stringed instrument began to interact and gradually became fuller in supporting each other, it seemed that some Western listeners had been able to understand the emotional color of the Eastern instruments, and put on a smile even when the color of the music was not very clear.

The predictions of these few people are not wrong. As other parts begin to support or compete, the artistic connection between dulcimer and sanxian becomes closer and closer, and the musical colors of each other become more and more clear. They are undisputedly cheerful, but

It is also different from celebration. It is not as grand as celebration, but it is more detailed and clear than general celebration.

In addition to the subtle contrast of each other's joy and happiness, the dulcimer and the three strings lead the other parts to gradually achieve the unity of emotional color. The music becomes "symphonic" again, and the process appears efficient and smooth. As for the composer's technical skills

Whether it was a trick or some kind of creative work was done, it is not the premiere audience’s responsibility to judge.

Overall, it seems that the audience at Lincoln Center basically accepted the collaboration between the two groups of folk music in the second movement. The audience was very peaceful, and many people's expressions were affected by the color of the music and seemed relaxed and even happy, which proved that

New York’s cultural acceptance and tolerance.

The music is getting more and more joyful, and the composer seems to be preparing to follow the habits of more people this time, and be ready to return to quiet and peaceful after enough joy. The dulcimer and the three-stringed instrument comfort each other and relax, and it feels like laughter is gradually turning into a smile.

The trend of the music is very obvious, and the facial expressions of the audience are full of prediction and confidence.

When the music was about to enter a peaceful state, suddenly like a bolt from the blue, the pipa group fell from the sky in an almost cathartic way. Although it repeated the motive theme of the three-stringed lute and the dulcimer, it was a completely different color expression, which seemed so decisive.

Resolute, like a divine dragon that suddenly appeared in a peaceful sky and sprinkled thunderbolt colors without seeing its head or tail, but disappeared without a trace after two short sections.

There was a general reaction from the audience again, but unlike the somewhat artificial commotion of novelty and wonder after hearing the rare instrument in the first movement, the audience's reaction this time was much more subtle and short-lived but also much more real. This time it was more

It's like people's subconscious instinctive reaction, either to give face when they are happy or to boo when they are unhappy. This time, they instinctively controlled themselves as soon as possible after being suddenly startled. There were more expressions than actions and sounds.

Almost none, and most of them can stabilize before Pipa disappears.

Jeromil, who was waving his baton with abandon, must not have known the audience's reaction. Even the musicians didn't seem to notice. They were more focused on music or their jobs than the audience.

Next, Western string music began to take on the important task of leading the music towards sadness. It is generally believed that music is better at expressing sadness. The young composer who is always playful and smiling in life has not shown any shyness in artistic creation, and has successfully brought the concert hall into another era. An auditory visual atmosphere.

After the Western orchestra tried its best to pierce the heart and soul, and the grief was so heartbreaking that it made people feel unbearable, there was a heavy feeling in the audience, as if men, women, old, young, Asian, African, American, and Latin American people all had the same resonance. And when the violin was used to set it off After the pipa and the dulcimer echoed by the woodwind trumpet began a sad duet, it seemed that most of the audience could feel the different sadness that experts commented and swallowed their tears sadly, especially the Chinese compatriots. Even more worried.

However, the stability and calmness performed by the erhu and the sanxian together quickly appeased the audience, followed by the tranquility and tolerance of the Western music. The two-pronged approach had a remarkable effect. The audience became more and more peaceful, and no one seemed to express any concern on the stage anymore. The timbre and melody are novel, and everyone seems to have adapted to the composer's various methods.

The fourth part of the second movement expresses solemnity. The music actually uses Western music symphony to express the solemnity and splendor. However, the erhu and pipa are used as the protagonists to implicitly reflect the solemnity and majesty. It seems to have achieved good results. The audience There wasn't even much movement to change sitting positions at the table.

When the second movement ended with the formidable timpani playing, and amid the thick reverberation, Jeromil did not look back. After a two-second break, he turned over the music score with slow and steady movements. The musicians were also fully prepared and continued. After the third and fourth movements, there was no rest.

The audience was very conscious and kept absolutely quiet. After the first movement, there were very few interactions with each other. Even the Chinese compatriots did not seem to like to create excitement anymore. The Puyin alumni were strong in numbers. There was little interaction between them. Teacher You carefully looked around and saw that there seemed to be nothing interesting to see or report to the director, so he continued to stare at the stage.

Before the start of the third movement, Wilson, the New Zealand concertmaster, and Pipa Wang, the principal of the Puhai National Orchestra on the stage, smiled and greeted each other, as if they were sympathetic to each other. However, after the music started, neither of them were polite, and the first violinist was the soloist. The pipa player has a deep personal understanding of the music, and the priorities are full of care enough for his colleagues to appreciate the music carefully.

There was already a lot of tension between the two chiefs, and as each other's companions jumped out to help out, the two melodies became more and more impassioned, and it looked like a group fight was about to happen, and something big was going to happen. Many viewers were still excited, Although he didn't open his mouth to cheer, his eyes were shining.

But there was no real fight on stage, they were just shouting, and as other voices gradually joined in and started shouting more and more arrogantly, the scene became chaotic. The audience became increasingly confused about the situation, not only Focus, even listen hard and look at the stage, and try to grasp the theme and direction of the music.

With the first full performance of "Yang Jingxing's Second Symphony", the composer seemed to have lost control of the work, and it sounded like a clueless noise. If this noise lasted a little longer, it would be so big Most listeners will definitely lose their patience. Fortunately, the music starts to straighten itself out after it reaches the extreme level of chaos, and this self-straightening process is still unconscious, appearing natural and confusing, as if it is magic. Everyone knows that there must be some secret to the mechanism, but they can't figure it out for a while.

More audiences don't know how to explore the principles of magic. What they need is just the kind of surprise. So when the music progresses to the point where the pipa and the violin echo each other, the audience is a bit like watching a magic show, staring at the stage with their eyes.

Not even blinking.

When Avery Fisher Hall welcomed the second full performance of "Yang Jingxing's Second Symphony", the same material transformed into a completely different musical image. This seemed to be the climax of the magic, and the audience was filled with excitement.

He was so focused that he didn’t dare to miss anything, and of course there were also a few colleagues who were shocked or eager.

As the four melodies combining Chinese and Western elements became more and more harmonious and even closer as they progressed, there was a vague sense of discipline in the concert hall, on the stage, and in the auditorium. At this time, almost all Chinese and Western musicians were in action,

There seemed to be no barriers, and their faces were full of love for music and art work. In fact, some of the sixteen folk musicians who came to the United States this time were questioned by 306, but at this time they also exuded the full potential of the performers.

His temperament also seems to be so affectionate.

In the auditorium, the obvious differences between China and the West before the opening seemed to be merged and unified towards the end of the concert, and a strange orderliness could be seen and felt. At this time, there was no fresh curiosity on the faces of the Western audience.

The Chinese compatriots no longer have such obvious family affection or loyalty. Everyone's attention is only on the stage, their expressions are only focused, and no one even glanced at the composer for a long time.

When the four melodies are completely integrated, the music reaches an unprecedented brightness and transparency when played in unison by the whole group. Then, with the support of the unprecedented center-joint form and technique of the work, the music becomes more glorious and magnificent. Each melody is like the colorful colors of the mythical world.

Towering trees grow hundreds of feet into the sky to form a vast cosmic forest, or simply look like colorful nebulae. The work creates not only auditory shock, but also awe.

The end of the third movement was simply majestic. The fourth movement started immediately, but it became so romantic again. The solemn audience simply couldn't adapt to it. It took them a while to put down the heroic ambitions established in the third movement and instead appreciate the pictures.

In comparison, the rondo is simply entertaining, but when the Ercanon variations of folk music are also clear, the artistry of the music greatly exceeds the entertainment.

From a functional analysis, the fourth movement can be seen as a summary and expansion of the whole piece, or to use Puyin's internal saying, it is actually Director Yang once again verifying and confirming the existing strength of folk music and the potential that needs to be tapped. The fourth movement

Although the climax sounds like the highest climax of the whole song, it is actually a continuation of the third movement. After the collision of the Canon Variations of folk music and the Rondo of Western music, the already huge musical material began to expand and expand, making

The music became unstoppable. At this time, the musicians on the stage were playing with all their strength, and many audience members seemed to be secretly cheering for the musicians.

After all, the number of people involved in folk music was small, and some of the catchy sounds were almost drowned out during the climax. However, as the climax subsided, the Western instruments gradually stopped, and Chinese folk music began to gradually become more prominent, and some anxious Chinese listeners were a little overjoyed.

.

The musicians in New Ireland stopped. Only folk music was still playing on the stage. The four groups of folk music played the most traditional Chinese melody. After the warm climax, they returned here. The Chinese audience seemed to be in a trance.

, but Western audiences did not protest.

The dulcimer, pipa, and erhu faded out one after another, but Jeromil was still working hard on the stage. The other musicians also expressed concern for the three-stringed virtuoso players who shouldered the final important task.

Sanxian played the long cello phrase of the second movement. It can be seen that in addition to professionals, many listeners also have memories of this phrase, but the expressions of the colleagues are more colorful.

The sanxian also stopped one by one, and finally only one was left, playing the ten notes of the last two measures of the whole song under the attention of everyone in the concert hall. The Second Symphony was performed twice in New York and Urami.

In fact, the difference is quite big, but at the end of the music, Yeromil's performance was exactly the same as that of Lian Lixin when he was in Puhai, and he was also so affectionate.

Yeromil's movements were more artificial than Lian Lixin's, and the performers were also affected. The last two notes were played too slowly and a little too hard, but they probably didn't care too much about such details that had nothing to do with the overall situation.

The last note also settled. The performer looked up after maintaining his posture for a while, but Yeromil had not yet regained his posture. He seemed to be frozen in place and seemed to be listening to something. However, he could not hear anything at this moment.

The concert hall was as quiet as a college entrance examination room.

Yeromil had been standing still for three or four seconds, but there was no applause and there was still silence in the concert hall. The Chinese compatriots who were so nice during the day also lost their temper. No one took the lead, and they continued to imitate the Western audience.

Looking at the people on stage who were pretending to have nothing to do with themselves, and who told Yang Jingxing in the morning that he was homesick and loved his family, he now seemed so indifferent.

Yeromil regressed and put down his baton, which was pretentious but self-humiliating in the air. Then he seemed to stand at attention, and then turned around to face the audience. He did not completely admit defeat, but his face still showed stubbornness and pride.

I don’t know who took the lead, but was so disrespected by the conductor. In just one or two seconds, the entire audience picked up their hands and started clapping. It sounded very neat and well-trained, and it was a thunderous applause.

Yeromil may have thought he had won, so he continued his indomitable expression, only slightly twisting his neck to achieve a majestic inspection effect. The audience was indeed frightened and continued to applaud, and some even had flattering expressions on their faces.
Chapter completed!