341. There is something unexpected in the heavyweight recording scene
With the band's secretive and grand opening, the recording of Piano Concerto K466 in D minor officially began.
In fact, the main clues for the development of classical piano concertos were laid by K271 in 1776, but it was not until the completion of the six great concertos in 1784 that Mozart had passed the technical scope of this creative form.
The emotional weight that the subject matter can bear remains to be tested.
Until now, Mozart had not written a piano concerto in a minor key, nor had he finished a comprehensive symphonic chapter.
After that, his creative focus shifted to opera overtures full of splendor and virtuosity.
After several years of precipitation, in the following 1785, the scope and depth of Mozart's achievements were completely expanded through the birth of k.466.
During Figaro's creative period, he spent a month writing k466.
This is a shocking work, just as Qin Jian was confused as to what emotions we should have when listening to such a masterpiece.
K466 departs from the history of the concerto as a specific form. This is not to say that his previous concertos are superior. The level reached by the earlier concertos makes any such deviation seem arbitrary, even if K466 is historically a more influential one.
s work.
But no one can regard it as just a concerto. K466 not only belongs to the history of concertos, but also the history of symphonies, and can even be classified into the history of operas.
As in The Marriage of Figaro, we enter a world where opera and chamber music meet.
"It's probably not his most frequently performed concerto."
Qin Jian's hands quickly jumped on the black and white grid on the Steinway, and the heroic sub-part melody seemed to be shallow but deeply sad, but it revealed a bright and elegant tone.
Just like Mozart in those bleak days when he had no prestige, when the gray sky in Vienna almost obscured his strength and talent, the release of this work still received high praise.
When he raised his finger, another hard chord came out, and the violently vibrating strings hit the band fiercely.
The sounds of countless musical instruments blended together, pushing the emotion of the music to its first climax.
In less than three measures, the piano's sound weakened again.
Like a flash in the pan.
It is true that for many later generations of musicians, K466 is not the most beloved and popular Mozart concerto.
Indeed, looking at the history of records released by DG, compared to the appearance rate of k491 and k271, k466 is pitifully like an abandoned son.
Qin Jian knew this very well, just like no one would regard Leonardo's "Mona Lisa" as their favorite.
In his mind, k466 can be said to have surpassed its own excellence.
Unfortunately, while looking up, it also caused him some inevitable troubles.
It’s not so much about how to listen, but how to play.
The best way to approach a work is to go back to the composer's creative background and read between the lines of the score.
In the former, Qin Jian already has an innate advantage.
So in the latter case, he chose a roundabout way.
“K466 does not address the advancement of normal concerto skills.”
After playing the second movement, Qin Jian could already feel the fatigue brought on by his body.
Astor once again made an OK gesture, and his eyes indicated whether he needed to rest. After all, it was a recording, and the recording could be divided into movements and then spliced together later.
But in the end Astor was just a recording engineer, not a musician.
Both of them, including Sayevi, expressed satisfaction with the first two movements to varying degrees.
Especially Sayevi, standing on the podium exuding indescribable excitement.
Qin Jian couldn't say this, he was just trying his best, and more importantly, he didn't want to interrupt this performance.
Everything happened within three seconds of lighting up.
Qin Jian shook his head at Astor, then looked at Sayevi again and nodded.
The third movement.
Three sections, sonata rondo structure with insert.
This time, the piano goes first.
Everyone's eyes were fixed on Qin Jian's position.
Qin Jian took a deep breath and sighed.
The finger falls and the piano sounds.
A series of smooth ascending arpeggios perfectly continues the exciting and unsettling thematic tone that preceded that movement.
Then the corners of his eyebrows slightly adjusted, and his entire facial expression changed drastically. The piano turned sharply downward, and the increasingly accelerated speed indicated that the mood of the music was about to change again.
The band entered lightly.
Together with the piano, the color transformation in music is completed.
"When————"
The double-handed accented chords and short pianissimo band take the contrast and drama in the music to the extreme.
Even though it is a concerto with normal technique, K466 embodies important progress in a pure musical technique - "the art of maintaining acceleration in rhythmic movement, that is, exciting creation".
This can be seen everywhere in k466.
In the classical music style, this can only be done by separating the steps and linking the various 'steps' together - that is, maintaining and intensifying a climax.
This is a technology as well as an art, and the process is extremely complicated.
Now let's take a look at how Qin Jian, who spent a lot of time and energy on this, made designs and changes in the process.
Starting from measure 99, the harmony that originally changed once every measure is now changed three times every two measures, so all the sixteenth notes on the piano begin to have a melodic meaning, rather than just being a harmonic decoration.
This acceleration in frequency directly affects measure 100. The upper melody part of the piano moves once by a quarter note, instead of the previous frequency of moving once by a half note.
As we all know, a half note is made up of two quarter notes.
This also means that by bar 104, the frequency of two changes in the harmony bar is replaced by four changes.
As a result, when the music reached measure 106, our violinists had to double the speed to move their bows.
This constantly accelerating new horizon may be the source of the so-called ‘romantic’ excitement this concerto arouses.
But Qin Jian was not doing so-called rhythm juggling magic.
This is another bold idea of his.
Perform dramatic operations on separate and clear forms.
The impression of continuity is obtained through level transitions within seconds.
"In this drive toward the climax, all separate steps should work in harmony to elevate the overall shape of the music to a higher level."
Perhaps when he reaches that level, he can find out where his confusion lies.
Although at this moment when the music was approaching the end, he only vaguely saw that level.
But compared to the confusion before, this is enough for a diligent performer for the time being.
However, most listeners or market parties don't care at all about what kind of performance design you have, let alone the creative ideas of dead people hundreds of years ago.
They just want to see you out of the ordinary or utilitarian.
Even capitalists will label you in various ways.
...
In a luxurious office with an area of 100 square meters.
As Sayevi's hands were drawn back to his chest on the big screen, the young Chinese man in front of the piano played his hands gently.
The picture returned to tranquility.
Five seconds later.
Astor's "ok" suppressing his excitement sounded in the hall.
Everyone was happy.
Seeing this, the figure in front of the screen took one last look at the young Chinese man in front of the piano, then turned around and came to the floor-to-ceiling window.
Half of the prosperous hamburger is like a model, all in front of you.