After listening to Duan Ran's words again, the two of them came to the practice room after a simple meal.
However, he didn't practice for a long time tonight, and Qin Jian spent more time meditating.
He thinks it is meditation, but it is actually thinking.
Unaffected by the fatigue of the past few days, when the last recording day came, the turbulence in his heart a few days ago had turned into a calm.
Recording is a hard job, and it is rare for ordinary performers to record a set of works continuously in a short period of time.
Most of them record a major work by a certain composer and add one or two smaller works.
For classical piano repertoire, a three-movement sonata is not a small work, and recording a concerto is no less difficult than a symphony.
Let’s take a look at Qin Jian’s recording track list.
Three concertos, three sonatas, and two pieces for two pianos and four hands.
The reward is worthless in the face of such a huge list.
Qin Jian really didn't care, he only cared about whether this set of Mozart's works could be recorded to his satisfaction.
As this set of records is tailor-made for him, the track that is undoubtedly the most favored by major officials is k491.
K491 can be said to be the main work and selling point of this set of records.
After all, with this song k491, he finally won the championship title.
Therefore, in the performance design of the recorded tracks, k491 followed the playing style on the field.
This is also a way to cater to the market to a certain extent.
But his ambitions and ideas did not stop there. He knew that in Mozart's huge piano library, there were too many that deserved to be explored in depth.
For example, he arranged to record the last song k466.
There are countless sayings about "Piano Concerto in D minor" k466, among which the most popular one is - "It is a work of art and a myth."
The historical importance of K466 lies in the fact that it is among those works that in the minds of most musicians made Mozart the supreme composer of the decade after his death.
It represents Mozart, considered by later generations to be the greatest romantic composer, and it was this work that pushed Haydn into the background for a century.
It is a concerto that Beethoven played and wrote the cadenza for.
It is a work that fully embodies the element in Mozart that was correctly named in the 19th century as "Half of Man and God", which has made it difficult for future generations to fairly evaluate his other works for a long time.
Every time he thought about this, Qin Jian always felt that Mozart, who was only a piece of paper away from him, was as far away as if he were on both sides of the sea.
a long time.
"Listening to this work is like listening to Beethoven's Fifth Symphony. Sometimes it is difficult to tell whether one is listening to the work itself or to its reputation."
Qin Jian murmured to the piano, as if talking to himself.
Duan Ran looked up when he heard the sound.
moment.
She put down the book in her hand, stood up and walked behind Qin Jian, gently pressed her body against his back, bent down and leaned into his ear: "What's the matter?"
Feeling the warmth coming from behind, Qin Jian raised his hand to hold the left hand on his shoulder, and gently rubbed the little finger with a severely bulging joint.
"It's okay, I'm just a little confused," Qin Jian smiled, "I want to go see Salzburg."
Duan Ran let Qin Jian play with his deformed little finger, "Mozart's hometown?"
Qin Jian nodded, "Yeah."
Duan Ran's heart moved, "When?"
"I'm still thinking about it." Qin Jian patted the back of Duan Ran's hand and said, "Okay, let's go. That's it for today."
"Have you found your condition for tomorrow?"
"Um."
"Then wait for me," Duan Ran said, quickly walking to the pearwood grand piano and sitting down, "let me play for a while."
It can be seen that Duan Ran really likes this piano.
While he was thinking about it, Qin Jian couldn't help but be startled when the delicate rhythm of the piano suddenly started playing.
Then his eyes lit up.
In the hall, the elegant sound of the piano is like the steps of a waltz, light and agile.
Not Chopin, not Liszt, not Beethoven and Mozart.
Duan Ran is playing a jazz piece, a light jazz piece.
Qin Jian couldn't help but walk towards her. He had never imagined that Duan Ran would look like a knight.
Different from playing classical music, her expression and hands perfectly show the little emotions in the syncopation.
Duan Ran turned his head as if he felt Qin Jian approaching.
She bit her lower lip habitually.
Just the next second.
She gently gave a playful 'wink', like a small decorative vibrato under her finger, full of little teasing.
Turning around, her left hand was raised and lowered, a modulated chord, and the music changed again.
They kept a distance of two meters quietly until the music gently stopped at a turning point.
It leaves you feeling unsatisfied.
Applauding, Qin Jian walked to the piano.
"Is this your arrangement?" Qin Jian swore that he had never heard such a melody in any music clip.
Duan Ran shook his head, smiled, and said, "I played it blindly."
"Wow." Qin Jian exclaimed, "Then I think it should have a name."
"Well--"
Duan Ran thought for a moment, "Just call it "13"."
"Huh? What does this mean?" Qin Jian was puzzled.
Duan Ran stood up and slowly closed the lid of the Lihua Qin, and gently dusted off the dust on the lid.
"You guess."
...
...
Qin Jian guessed all the way, but he didn't get it right.
But compared to guessing the numbers, he was more interested in the melody.
I guessed and hummed all the way.
"Good night."
"Sweet dreams."
A night of silence.
At ten o'clock in the morning the next day, Qin Jian once again stepped into the orchestra studio of Air Studios on time.
At this time, all orchestra members and staff in the studio, including the conductor, were ready with headphones.
I sat down in front of the piano and adjusted it a little.
Qin Jian nodded towards Astor and Sayevi.
Everything is ready.
With a wave of Sayevi's big hand, the string section moved, magnificently.
In the opening band section, that is, the beginning of the first movement, once an orchestra accepts that the soloist is the only dramatic role in the work, they will involuntarily develop their own musical part around the soloist.
This is also what Qin Jian and Sayevi had previously discussed about the recording issue of k466 - this piece will be performed completely according to Qin Jian's will.
So to a certain extent, the entire band section at the beginning always conveys a certain introductory atmosphere.
Writers often use this technique in story writing to foreshadow what is going to happen.
If the story is short, this problem disappears naturally in music.
But in a long masterpiece like k466, which lasts for more than half an hour, it is obvious that the first two minutes and ten seconds of the band clip are particularly important.
It is necessary to prevent readers from losing their sense of urgency for what follows amid the cumbersome story preparation, and at the same time to ensure that they understand the beginning of the story.
...
...
One day during a break in rehearsal.
"Conducted by Sayevi, the orchestra showed its emotions from the very beginning."