"The first group to appear in this round of competition is Natsuki Aso/Shuichi Sato, from Japan. The entry piece is Ravel's Mother Goose Suite, and the designated piano is yamah."
As the first opener of the final group, it was another popular group from Japan. As the announcement sound fell, there was a loud cheer in the hall.
Under applause.
Aso Natsuki, who was wearing an orange backless dress, slowly walked out from the backstage. Her bold and stunning outfit once again pushed the atmosphere of the scene to a small climax before the music even came to mind.
The little fat man Shuichi standing next to her still looked honest and honest, but his peripheral vision kept glancing at the graceful figure beside him.
bow.
Take a seat.
The whole place was quiet.
Act One, Sleeping Beauty Pavan Dance.
Aso Natsuki slowly and elegantly raised her hand, and her green-white fingers crossed the bass area.
A low and hazy melody floated out, delicate, graceful and full of poetry.
Coupled with her ethereal gaze on the big screen, the statement of the music is more highlighted, and nursery rhymes full of innocent fantasy fill the air.
...
This Impressionist work was originally a suite composed for children using five fairy tale themes.
The creator Ravel once said: 'I wrote this suite to evoke the poetry of childhood.'
Aso Natsuki's pure and straightforward playing technique, which appropriately discards superfluous techniques, does sound like it has a different kind of childishness.
.....
Music is developing scene by scene.
With the addition of Shuichi Sato, the music scene suddenly seemed to enter another world.
With the cooperation of dual voices.
The crisp high-pitched vibrato is like the birds on the treetops in the forest, chirping non-stop.
The bass melody with almost no modal characteristics is like a dwarf lost in the forest.
The bass melody follows the vibrato that keeps changing positions, just like a bird guiding the dwarf home.
During this process, Aso Natsuki's expression changed again and again on the big screen, as if he was really in a musical fairy tale.
From lonely wandering to the emergence of hope, she interprets her understanding of this music with her eyes.
Then a series of cheerful jumping sounds jumped out.
The dialogue between two people and four hands in two pieces of music is vivid.
And just after the high note suddenly jumped to three harsh chords, it suddenly disappeared.
On the stage, the little fat man quietly stopped his hand.
In the square inch of black and white crochet, only Aso Natsuki's hands were left, and they lost their direction again.
After a while.
The bass melody gradually dulled in the empty hall, as if it had lost its direction again.
at last.
As the sound weakened one by one, it completely stopped.
The whole place was silent.
The silent blank space may still be filled with loneliness and helplessness.
Perhaps, there is also a hidden way home.
On the big screen.
Aso Natsuki smiled, but her expression was also complicated.
With the last finger she gently raised.
Act 2, Little Thumb in the Forest.
Finish.
...
"She is so beautiful."
Duan Ran murmured as he looked at the big screen that was gradually cutting off. He turned to look at Qin Jian, only to find that the other person's locked eyes were also falling on the stage.
Then he pouted somewhat dissatisfiedly.
"Hello."
Duan Ran poked Qin Jian hard, "What do you want me to ask you?"
"Ah?" Qin Jian came back to his senses and turned his head blankly, "What's wrong?"
"What are you thinking about?" Duan Ran asked with a wink.
"Duan Ran, are you familiar with this score?" Qin Jian asked.
"Ah?" Duan Ran was a little surprised by Qin Jian's reaction, "I'm not familiar with it. I haven't been exposed to Impressionist works. Is there any problem?"
As the music played again in his ears, Qin Jian sighed deeply, "I was wondering whether the few blank bars after the bass part stopped were rests specially written by Ravel, or whether they were musical effects designed by themselves."
"Ah...?" Duan Ran was speechless.
"Impressionist works always make people confused. I have heard the symphony version of this suite before, which depicts scenes from a fairy tale, but this is the first time I heard the piano version for four hands."
"This little fat guy is really good at bullets." As he said that, Qin Jian seemed to remember a certain scene before the preliminary round, and couldn't help but smile: "I praised him like this last time, but you didn't seem too happy."
"No way!"
Duan Ran snorted and turned his head, then changed his voice and said, "Then tell me what story this piece of music tells."
"Act 4"
Qin Jian nodded critically, "Beauty and the Beast."
"Is it that Beauty and the Beast?"
"It's that Beauty and the Beast."
...
Beauty and the Beast is based on Lady Beaumont's famous fairy tale, and Disney has adapted the animation of the same name based on this work.
The handsome prince was transformed into an ugly beast by magic, until one day he met a beautiful girl, true love came, and the spell was finally lifted.
Ravel also extracted musical material from this romantic story.
He used soft high-pitched melody to depict the charming and light steps of the girl, and used a large number of low and weird dissonant bass sound effects to express the complex heart of the beast.
In the dense melody that intersperses high and low voices, he uses musical materials to outline the entire musical scene.
"Just like you heard."
Qin Jian curled his lips, "The only flaw is that Aso Natsuki should play the high-pitched part, and it seems more reasonable for the little fat guy to play the beast's part."
"Nope."
Duan Ran retorted, "I think Fatty's bullets are pretty good."
"Uh... ok."
....
The music continues.
As soon as the bright C major in the fifth act was played by two people, the two voices sang in unison, echoing the music in the previous acts of the suite. Sleeping Beauty woke up from the spinning wheel, the little finger found the way home, and the girl was relieved
After hearing the prince's spell, the forest seemed to be alive again.
at last.
Aso Natsuki's undulating arms played a song-like chord, and the little fat man Shuichi quickly moved one hand back and forth in the high range, making the sound like a silver bell.
In a glorious and complete atmosphere, the whole song ends.
"When——"
"When————"
...
"Wow~~~~~"
"Wow~~~~~~~~"
Accompanied by warm applause from the stage, the group players from Japan completely sounded the clarion call for the ensemble finals.
Not only were there cheers in the audience, but there were also admirations everywhere in the players’ seats.
Even on major live broadcast platforms in Japan, Aso Natsuki's name was once again on the screen, but this time the doubts disappeared.
On the stage, Aso and Natsuki left the stage.
Players from each group took the stage one after another.
The second group of contestants, twin sisters from Singapore, presented Schubert's Fantasia in F minor with brilliant colors.
The third group of players, a famous young performer from India, and his students performed Dvořák's Slavic dances.
The fourth group of contestants, a young male duo from Fu Hua's disciples in the judges' table, still performed Brahms' piano work, Waltz No. 21.