Time still goes by day by day, without stopping for a moment.
It seems that it is already late November.
Counting the days, the two of them have been living here for about a month.
After that night, sharing the same bed became as common as walking hand in hand in the mountains.
It is understandable that Qin Jian would occasionally react like a normal man.
But it never made any progress.
There is nothing worth savoring in this statement, literally.
Rachmaninov's Third Piano Concerto is already under construction. Although it is not a masterpiece, Qin Jian feels that his current performance has reached the edge of his ability to control it.
There is no way to improve any more. If you force yourself to make a breakthrough at a certain point, the consequences will definitely be counterproductive.
Although he had made enough mental preparations, the size of La San still exceeded his imagination.
It's not like the Caprice on a Theme of Paganini, nor like any of Mozart's concertos.
The complete three-movement Rachmaninoff Piano Concerto is a particularly special existence.
In the past month, he had cried, laughed, been excited, and been silent for La San.
Although he had never collaborated with an orchestra before, he was amazed by the richness of the harmonious sounds after playing the entire string instrument.
One night, the third movement echoing in the mountains made him think that several people were playing at the same time.
In fact, he is the only one.
The difficulty of pulling three is that the performer needs to have extremely high melody control ability and at the same time have a strong inner hearing.
In order to better understand this work, Qin Jian searched for various versions of La San's records in Salzburg more than once.
Fortunately, we are in Salzburg, where there are countless resources.
Kaubal's roughness, Chilman's delicacy, and Tallin's gracefulness.
Scenes of different colors outlined the outline of La San more and more clearly before his eyes.
Of course, color alone is not enough. Difficult technical segments are like critical points. If they cannot be solved reasonably, everything will become meaningless.
Although the technical difficulty of k491 and La San should not be compared, when actually practicing La San to the later stage, some existing problems were exposed in Qin Jian.
Duan Ran didn't feel anything about Qin Jian's statement.
"I don't think there is any problem with these four measures. The timbre, intensity and the preceding and following sections are all very harmonious. Let's talk about it. Do you still remember the recital of Metz's Rach works that I told you about? Didn't I still
I sent you excerpts of her Paganini performance, but I don’t think her rach is as good as yours.”
As a contemporary master of Rach performance, Metz's handling and processing of works are naturally beyond the comparison of ordinary people.
Qin Jian didn't want to compare with anyone.
"Believe me, it can be better here."
Then after 9:30 every night, it became the time for the two of them to practice the piano together.
Basic exercises include four-hand scale exercises, speed octave, third and sixth, double three and double six.
Qin Jian was determined to take this opportunity to completely eliminate some minor problems on his fingers. This had nothing to do with the piano space. Some small flaws retained in muscle memory would occasionally jump out of his nerves and interfere with him.
Finger skills are Duan Ran's strong point, just like the first time he heard Duan Ran play Dongfeng. Even now, Qin Jian feels that Duan Ran's finger skills are No. 1 among his peers.
Duan Ran has his own way of practicing finger exercises.
Qin Jian found it extremely interesting after listening to it.
With the help of Duan Ran who was confused, Qin Jian felt that he was one step closer to solving the problem.
But there is still a long way to go before we can break through the limit, and the rest will depend on time.
As for the seminar on Rachmaninoff's works at the end of the year, Shen Qingci had already applied for a military order for himself, so whether he was a mule or a horse, he would have to be taken out for a walk.
Of course, Duan Ran also benefited a lot when the two discussed piano technical issues together.
The most powerful thing about Qin Jian's control over the piano, and the thing that is difficult for everyone to grasp, is that he can adjust different timbres according to different rhythm patterns, key touch methods and intensity levels.
This is the fundamental reason for his strong musical expression, which Duan Ran envies endlessly.
"When I usually play a note, I first think about what note I want to play. After I'm sure what kind of tone I want, I go back and think about how to put my fingers."
"But the premise is that I have to be very clear about what kind of sound I want."
Qin Jian emphasized one point, "If there are two speakers in my mind, then I won't drop my fingers."
"I know that even if I press it, what comes out will not be what I want."
Every time Qin Jian said such words, Duan Ran could feel the strong confidence exuding from him.
He will also be timid sometimes, just like when he learned about the three-year contract handed over by DG Company, Duan Ran saw his timidity.
But when talking about the piano, he never talks eloquently, but every word he speaks is sonorous and powerful.
"Just like you asked me why you heard two tones in the Allegro when playing the third movement of the Pathetique. In fact, I had already sketched two melody lines in my mind during practice, and a complete melody line.
The melody line only needs to highlight a certain note, and the other is fragmented melody fragments that need to tie the fragmented things together completely and tightly.”
"In order to better outline the depth of the intertwined tone of the two melody lines, and to make their separation clear, the finger drop must be designed here."
"I will use my left thumb to increase the thickness of the tonic in the first melody line, while relaxing my right arm, touching the keys with my fingertips, and while relaxing my wrist, I will send the weight into the bottom of the keys."
Although it sounds like it should be like this, Duan Ran knows that this is not the case in practice.
Next, during her own practice, just how to design the tone gave her a headache.
She didn't know how Qin Jian's theories came out of his mind. Sometimes some advanced ideas even made her subvert some traditional understanding of piano.
But I have to say that she has made rapid progress during this period.
Integrating some of Qin Jian's experience, her Chopin became a little different.
Gradually, Duan Ran also raised objections to some of Qin Jian's remarks.
It's not just friction that creates sparks. Two geniuses hid in a cabin in the mountains and fought fiercely in another way.
When there is endless debate, the winner will be determined by guessing the game in the end.
Qin Jian loses more and wins less.
...
Discussing piano technique seems to have become the topic before parting.
Day by day passed by, as if I was living a normal life.
No one mentioned when to leave.
But both of them understood that the end of this strange time was not far away, maybe tomorrow morning.
When Duan Ran woke up from his dream again, there was no piano sound today.
The pillow still smells of Qin Jian, but he has been busy at the small wooden table for who knows how long.
Duan Ran rubbed his sleepy eyes and stepped on his slippers, walking towards Qin Jian.
She bent down and gently put her hands around his neck, and her eyes fell on the music book in front of her.
The nearly ninety pages of music score marked "Ada and Zira" finally reached the last few bars of the last part.
"Is it almost there?"
The soft warm breath in his ears and the scratching of lace on the shoulder straps of Duan Ran's black pajamas gave Qin Jian a double experience.