Looking back at the long history of music, every amazing work has a story behind it.
It is also true stories like this that have contributed to the birth of one classic after another.
Prokofiev's Second Piano Concerto is no different.
In 1913, due to the suicide of his best friend, young Prokofiev wrote this G minor piano concerto in memory of his friend.
From the perspective of the growth history of a composer, today, in this huge work, the novel chords and orchestration, and the strong Platts style are all unique to this work.
But all we can look back on is history.
August 23, 1913.
When Prokofiev took the stage for the first time with the concerto he composed for his classmates, what he received was that many people walked out and cursed him.
"Give this future music to the devil. We are here to have fun, and my cat can also play this music."
Most reports and comments at that time had this tone.
But this is nothing surprising.
Musical works from the Stalin period can only be listened to over and over again in the context of Russia's suffering.
Because these works are always connected to dark historical periods.
Perhaps Rachmaninov's decision not to return home after all was correct.
During that period of great turmoil, artistic elements, including musicians, were walking on thin ice.
In an era when life can disappear at any time, there is nothing stronger than the yearning for freedom and the desire for survival.
But this still cannot erase a composer's passion for creation.
Just like his predecessor Chopin, the young Prokofiev believed that he was also a master of music who could control perfect emotions.
In the final movement of the Second Piano Concerto, the sonata-style fourth movement, Prokofiev showed the world the most delicate part of his emotions.
The theme contrast of this movement is very obvious. It is different from the second movement where the peaks are chaotic, and there is no third movement that makes people confused and confused.
The main theme like a storm and the secondary theme like a Russian ballad complement each other, and they are withdrawn from the first movement. The secondary theme does not reappear after the recapitulation of the movement.
The movement begins.
Xia Dong's baton is stronger.
The timpani sounded again, and the whole orchestra seemed to continue the mania of the third movement.
The restless introduction and the main theme jumping up and down are walking in the heavy rain and wind.
But this time, the piano was no longer restless.
Under the gaze of the audience, He Jing's arms became a little lighter.
The playing of raindrops catalyzes the deep melody, and in the occasional thunderous drum beat,
Neither hasty nor slow, neither humble nor arrogant.
The storm always passes quickly. After the sound of percussion completely disappears in the hall, the scattered notes of the piano are like the last few raindrops after the storm.
As the last raindrop falls, it hits the empty connection
A few low chords passed by, and He Jing raised her hands slightly.
At this time, the entire orchestra fell silent.
Everyone's eyes came to the piano again.
Her elegant playing, just like the quiet sound of the piano at this time, cannot but be admired. In such a work that is full of hardships and mania, like a physical machine, this nursery rhyme-like sub-theme is rare.
Beautiful and comfortable, with delicate emotions, it's like a kind of memorial.
Paired with the scorching figure in front of the piano, it makes people unnaturally sink into it.
He Jing's hands were eloquently describing in the bass range.
After the piano monologue, Xia Dong moved, and the orchestra began to perform the sub-theme.
It still continues the delicacy and beauty created by the piano.
at this time.
The second half of the concert has vaguely come to an end.
It's just that the ending didn't last long in such beautiful tranquility.
An interesting feature of most of Prokofiev's works is that beautiful things always end in an unacceptable form.
For example, at the beginning of the Second Violin Concerto, when the violin is making a soulful statement, the orchestra tramples it with a rough rhythm of sixteen in front and eight in the back.
Another example is that in the second movement of the Pu San Piano Concerto, the tranquil and beautiful first variation theme impression is ruined by the crushing second variation that follows.
The same goes for this movement.
Just when the innocent nursery rhyme of the piano part was about to end, the noisy orchestra suddenly replaced it.
A moment.
Many people in the audience who were listening carefully sat up unconsciously or made a short sound of confusion.
On the stage, He Jing's expression was once again difficult.
After taking over the music again, she developed with a dark cadenza.
Compared with the spooky and terrifying first movement, the cadenza seems more calm here.
Music no longer thinks about the irrational venting of mental patients.
From slow to fast, He Jing's fingers moved faster and faster on the keyboard.
From sixteenth notes to sextuplets, her sweat dropped to her chin.
At this time.
The main theme emerged, and the orchestra accelerated again and began to unfold the sub-theme.
The most delicate and unique part of the whole work comes here.
Two themes unfold simultaneously.
The cold-toned orchestra began to roar unscrupulously, while the piano part still continued the sound pattern of the cadenza to finally develop the gradual theme.
Urgent, depressing, and full of incomparable enthusiasm.
At the critical point of the stage sound cover's endurance limit.
He Jing seemed to have completely let go of the suppressed emotions in her heart.
After the violent and continuous discordant jumps of both hands.
next second
He Jing made two desperate strokes with his right hand.
“Shua!!!!!!————————”
"Shua!!!!!!————————"
Amidst the roar of percussion and the metallic roar of the bass brass section, the song ended in G minor on the stage.
Prokofiev.
Piano Concerto No. 2.
...
quiet.
It was quiet in the hall.
In the forty-minute work, there has never been this moment of silence.
same.
The forty-minute piece requires absolute endurance and energy from the performer.
moment.
In the seemingly static hall, only the figure in front of the piano seems to be alive.
He Jing stood up slowly while holding the piano board.
This stop.
It seemed like it woke up the whole hall again.
A moment.
"Wow~~~~~~~~~~~~~~"
"Wow~~~~~~~~~~~~~~~~"
"Wow~~~~~~~~~~~~~~~~~"
Waves of applause came one after another, mixed with screams and shouts.
This is not a competition venue and there are no judges.
From front to back of the auditorium, there was unanimous applause.
One minute later.
The applause never waned.
He Jing stood at the front of the stage, looking quietly at the center of the audience.
After a while.
Bowed deeply.
This bow is like a final farewell performance.
She refused to get up.
For a while.
The applause was even louder.
at this time.
In the eighth row of the auditorium, Qin Gang stood up and took the bouquet handed over by Fang Xuehua.
Slowly walked towards the stage.
"This?~"
Looking at his father who immediately walked to the side of the stage, Qin Jian retracted his left foot as he stepped onto the stage.
There is also a cluster of delicate flowers on his hand.