Chapter 205: The necessary clause for the blue variation
"when!!!!!!"
A violent chord strike shattered the third motive at the end.
This is also the most intense clang since the beginning of the first movement.
But Qin Jian's wrist turned sideways and lowered in the next second, and the piano's volume shrank rapidly and ended in the key of A minor.
The fleeting, intense beam of light plunged into darkness again under the trembling tail notes of the piano.
Under this method of highlighting the control of explosion, it gives people a strong contrast between strength and weakness and psychological hint.
With Qin Jian's facial expression gradually relaxing, the ending part where the melody and rhythm have stabilized has completed his mission.
However, the end of the "ending part" does not mean the real end.
"He is nurturing new development for the development department." During the judges' table, Nobuyuki Tokai closed his eyes and listened to every detail of the music.
Throughout the whole lesson on "how to play with passion", Qin Jian once again focused on discovering what is behind the music through the surface structure of the work.
These are the thoughts Qin Jian accumulated while practicing the Sonata No. 1 in F minor and the Pathetique No. 8 in imitation of Czerny’s style.
And this kind of thinking that settled over time gradually integrated into his body and blood.
From a certain perspective, this kind of thinking has nothing to do with Chris.
The collection of sonatas played by Uncle Che can only shorten the distance between Qin Jian and these thirty-two sonatas, but it cannot naturally break the barrier that hinders the ideological gap between the two eras.
Just imagine, on a piece of dry music score from hundreds of years ago, how should modern people find a clear expression of the movement between the details of the music and the whole from the black and white writing lines?
Therefore, Qin Jian based his "learning of Beethoven's sonatas" on a repetitive cycle of listening, practicing, analyzing, and thinking.
In his view, this prevents the intimate relationship between material and large scale in the sonata style from becoming an empty talk on the score page, and at the same time allows a close observation of the great composers of the eighteenth century. The fruits of joint practice.
As the music develops, Qin Jian's "fate motive" under the ff mark pushes the music to a climax again after passing through the four sections of the music development part.
On the big screen, his expression at this moment has completely returned to plainness. His long eyelashes under fluorescent light follow the rhythm of alternating triplet notes in the high and low registers, giving the audience a sense of audio-visual harmony.
Finally, with the long blast at the end and the slightest noise gradually emerging from the scene, Qin Jian ended the performance of the first movement.
"call."
Slowly exhaling, Qin Jian picked up the handkerchief beside him and wiped the sweat from his palms.
Then put the handkerchief back aside.
Open your hands and press the keys again.
A set of bright and warm chords filled the entire concert hall.
With the music, the auditorium also entered an intoxicating and wonderful ideal environment from the first movement of fierce struggle.
It's like amidst the hardships and ups and downs of life, the soul is still full of vitality.
In the second movement, Beethoven still uses the structural skeleton method of writing classical variations without changing the melody and harmony basis.
In the rhythm subdivision of the first variation, Qin Jian changed the original quarter notes in the melody into eighth notes, which corresponded to the syncopated rhythm of the left hand, and some false flowing sounds with embellishment appeared.
After the second variation is one octave higher, the melody becomes a common sixteenth note.
The free rhythm under Chopin's hand position at Qin Jian jumps in the texture of decomposed chords, while the melody hidden in the texture seems to flow from his fingertips. The sound is like a standing butterfly, fluttering its agile wings, flying
Towards my distant hometown.
Precipitating clear light.
As the deep music played under his finger, Qin Jian's eyes became more and more blurred.
.....
Aso Natsuki was sitting in a corner of the front row of the audience. At this moment, she could only vaguely look at the young man in the center of the stage who seemed to be blended with the black grand piano.
But on the big screen behind the piano, she looked really clearly.
On the black and white groove, ten slender fingers lifted up while falling, and fell while rising.
Although there is no gorgeous fingering like the dazzling skills of the winter wind, the sense of flow that vaguely appears in the music is like the windy singing and elegance.
A thousand words can be said, but the truth cannot be exhausted.
"sounds so good."
As the last variation adds a repetitive part, the sound of the piano in the air reaches the highest range, and the melody as bright as a butterfly seems to rise into the blue sky in this gorgeous and flowing movement, flickering with changes at the end of the sky.
However, just when everyone was silent in the rhythm of beauty and harmony.
Sudden.
A horrifying diminished seventh chord quietly emerged from the left hand on the big screen.
It was like a touch of gray appeared in the sky.
Just at this moment.
Qin Jian breathed out suddenly, and the veins in his hands exploded again.
He raised his hand again and memorized two sets of diminished seventh chords, as if he had shattered the perfect dream he had sketched out with his own hands.
Under the cold chords, the music entered the third movement without any interruption.
A passionate final movement.
One of Beethoven's most legendary musical chapters.
Although in structural analysis this can only be an Allegro movement with a simple structure, even though it was just casually written by Beethoven while walking on a quiet country road one evening in the summer of 1806, even though its tragic chords do not sound like
There was no celebration of victory at all.
But there is no trace of frustration in it.
After the strong chord, Qin Jian stared at his right hand that had to get up quickly.
When a series of intensive phrases descending from a high altitude at a high speed slid to the bass range, his left hand also joined the music.
The roaring octave unison became more and more fierce in the heroic, with Qin Jian's last flying left hand breaking the gloomy bass tone in one fell swoop.
This piano soundboard seemed to sound the final marching horn.
The complexly intertwined left and right voices move forward with charge.
Qin Jian mobilized his emotions and guided the will of the music while his right hand continued to move quickly, without knowing that beads of sweat had fallen from his stern chin on the big screen.
His left hand flew across the mid-bass range, and his swinging left arm jumped in with a unique rhythm and distance to form a percussion part.
The two interdependent voices depend on each other and complement each other in Qin Jian's emotions.
Until this moment.
At the end of a forty-minute performance.
The deafening sound of the piano in the hall made every corner of the judges' bench move.
"Too delicate."
"In this never-ending movement, the phrasing of both hands is really the most difficult test for every player."
A Korean judge who had never made such remarks finally couldn't help but feel moved.