The orchestra's voice gradually quieted down in the brightness, and Yamaguchi Katsuo began to play the part he just started.
As soon as the clear main melody appeared, it was like a warm breeze blowing across the stage, full of warmth and kindness.
After the intense prelude, the warm K242 piano part undoubtedly brought a sense of tranquility to the audience.
Yamaguchi Katsuo's expression kept changing with the ups and downs of the melody, sometimes eager and sometimes intoxicated.
It seems that the whole person is playing the lead singer and the most devout listener at the same time.
The first movement slowly ends with a dialogue between piano and oboe.
Yamaguchi Katsuo raised his hand, and the audience fell silent. Then he looked up at the podium, and Linzel Jr. gave him a look of affirmation.
Then he leaned forward, his chin protruded slightly, his eyes swept around the orchestra, and he spoke a few times as if he was chanting something, and his right hand in the air shook again.
His magic wand slid out in an arc again.
The string section once again came out gracefully and neatly kicked off the second movement.
The Andante movement in F major continues the bright colors of C major.
Linzel's handling of each level of the woodwind section is very delicate and in place. He fully explores the subtle and colorful interactions between the various parts and calmly balances the development of the music.
Under his control, the orchestra always maintains a balance that increases by one point and is too long, and decreases by one point and makes it too short.
All this is waiting for the piano part to join again.
As the sound of the piano took over the tail of the string section and began to modify and vary the first theme, Kolinzel's conductor's baton moved slightly horizontally.
The volume of the entire orchestra immediately dropped by half, sinking to the lowest level.
The sound of the piano ripples in this soft ups and downs until the end of the second movement.
As the minuet of the third movement unfolded, Yamaguchi Katsuo smiled and puffed up his chest, his fingers dancing as if standing tall on the black and white stage.
The palace-style dance steps, under the golden haze, are light and yet solemn.
The music jumps from G major to A major, and from A major back to G major.
Over and over again, it returns to C major at the end.
Once clear color changes reveal the essence of the rondo form.
"Yamaguchi Katsuo's Mozart is like an opera. Each movement is full of unique charm, built on the harmony of the orchestra. It may seem light and sometimes careless, but the natural flow is actually difficult to control.
"
"Clear, concise, and rich in emotional variety, his study of Mozart is worthy of recognition."
"He got my first vote."
At the judges' table, a judge next to Rigel who was also from Europe said to him.
Rigel smiled when he heard this and said, "There are still nine players behind us, so don't worry."
....
At the end of the brilliant string music, Linzel Jr. waved his hands.
The hall fell silent.
The song ends.
Yamaguchi Katsuo stood up, faced the audience, and bowed deeply under the applause.
Then he left the stage with Little Linzel, and then the orchestra members also left the stage in an orderly manner.
After the wonderful opening of the Japanese local players, the next player was ushered in.
The second player to appear was a young player from South Korea.
Among the self-selected pieces, the young Korean contestant chose a Hunting Etude adapted from Paganini's Caprice by Schumann.
From the perspective of the jury, this piece may seem too unpopular.
Comparatively speaking, compared to Liszt's second creation of hunting, Schumann is slightly lacking in this aspect. The musical texture is thin and the melody lines are not flexible enough.
However, instead of the huge shock brought by Paganini's original works, the Korean player's interpretation was delicate and gentle, highlighting his own sensitive musical personality.
After the song ended, many critics changed their views on this piece.
In the next collaboration with the KBS Orchestra, Mazate's Piano Concerto No. 11, he still maintained his unique playing style.
This piece was composed shortly after Mozart left Salzburg for Vienna to become independent. It has always been called by the world as "the beginning of Wolfgang's further pursuit of individual expression."
The main piano part of the entire work refines the dialogue between the various parts of the orchestra in fast sound groups. In the second movement with Alberti's bass accompaniment theme, the Korean player's extremely surging and tense performance even more
Mozart was young and energetic when he first arrived in Vienna.
The performance is over.
Applause rang out again.
"Two very interesting works, very good."
A bearded old man from Israel did not hesitate to put a check mark on the score sheet of the Korean player in front of him.
Cast his first vote.
...
Under the applause, one after another works by composers from different eras were used by the contestants as their opening appetizers, and Mozart's works from different periods were also performed in the subsequent Mozart works.
The young contestants are better at turning the erudite style into the opposite of the gorgeous style. With the orchestra, they turn the cadenza into a wonderful monologue throughout the musical passages.
The Mozart of the older players with more stage experience usually does not have overly complex changes, and their musical views always remain unified from Mozart's witty remarks to violent conflicts.
Perhaps it is the cultural background and national genes of different regions and countries that create different styles of musical aesthetics. The power of the soil can always find tiny gaps in the strict musical structure. Even performers of the same style can make the audience
The ears can see the difference in the subtleties.
"This is probably the innate nature of music culture."
Qin Jian couldn't say whether his sudden idea was accurate, but just like Shen Qingci said, regardless of the judges' opinions and gazes, the musical works presented by each contestant were excellent, but it just happened that they were competing at the moment.
's playing field.
"They are all worth learning."
After the sixth contestant from Singapore finished playing, the host announced a fifteen-minute intermission.
In the noisy backstage, the staff were busy again.
Qin Jian stood up and moved his body, then twisted his shoulders and left his rest room, walking around backstage, looking here and there.
I have to say that as the game progressed, he became more and more relaxed.
Fifteen minutes later, a quarter past seven.
The game starts again.
Under applause.
The seventh player on the stage is still a contestant from South Korea, but interestingly, this contestant has adjusted the order of the performance.
First, I played Mozart's concerto, and put my own selection into the second piece.
"Is this okay?"
Qin Jian returned to his rest room and looked at the big screen curiously.
at this time.
As soon as the door sounded, Qin Jian looked over and quickly stood up.
Xia Dong walked in wearing a tuxedo, carrying two boxes of lunch, one on the left and the other on the right.