416. Who will slap him in the face?! Paganini in the heat
After an adagio etude, Perlman went directly to the Latin three.
There aren't any track transitions.
The gentle prelude played by the string section and bassoon seemed to have foreshadowed the performance that Perlman was about to bring.
Most people thought they had expected it, but most people were wrong.
It didn't have the peaceful beginning that everyone imagined. Perlman's piano sound was filled with excitement as soon as it came out.
He swept all the musical instruments aside in an extremely domineering manner, and the powerful octave buzzed.
Qin Jian squinted hard and looked at the piano keyboard on the stage. However, it was too far away from the stage. No matter how hard he tried, he couldn't see clearly the other person's keys.
He blindly guessed that the opponent's right hand was falling at a vertical angle, but the part touching the keys was the belly of his finger, so the sound that came out could be both strong and crisp.
Qin Jian was still thinking about the opponent's playing technique at the beginning, and the music had already entered the development department.
At this moment, many people can't help but compare the version played by Horowitz in his late period with the current version. Most people conclude that the style is very different.
Horowitz's Rasan is brilliant and unrestrained, giving people a feeling of ease and ease as if they were climbing dangerous peaks as if they were walking on smooth rivers, and the music tends to be profound and perfect.
Perlman's cold notes give people a sense of frustration, but the smoothness of the music is not affected at all.
Qin Jian's listening experience told him that this should not be the performance of two masters and apprentices.
But the facts are right in front of us.
But when the entire first movement ended, Qin Jian had an indescribable feeling.
He has heard of at least ten versions of La San, and they are basically everyone's creations.
But it was the first time for him to hear the first movement of La San which was so meticulous, without any ostentation or showing off the timbre.
In the following second movement, the other party still adheres to this meticulous performance, and ends the movement with the cold and empty notes of the piano as the band reproduces the sad and graceful silent narration.
He led the orchestra directly into the third movement without interruption.
As soon as the music enters the third movement, the color changes instantly.
The passionate first theme gets faster and faster as it is repeated, and the volume of the orchestra gets louder and louder under his metaphorical hint.
The atmosphere at the scene also became more and more intense under the extremely fast syncopation rhythm.
Seeing that he was boiling too, Qin Jian took several deep breaths.
He needs to force himself out of this intense listening state and analyze the problem calmly.
After taking a few deep breaths, Qin Jian's brain started functioning again.
As one of the descendants of the Negozian school, Horowitz's performance naturally has the characteristics of this school.
There is no way to appreciate Mr. Huo's live performances anymore, and in his era when recording technology had not reached one-third of the current level, how much of Mr. Huo's essence can people appreciate from the noisy recordings?
Even though Rachmaninoff once admitted it himself - no other player can play the harp as well as Horowitz.
But that was only a few decades ago.
So let’s leave aside Huo Lao’s version for now.
As a close disciple of Mr. Huo and a top pianist, Perlman naturally had his own understanding of the works in his later years.
Perhaps the first movement of the La San played by Perlman twenty years ago was also full of virtuosity and enthusiasm, and would not be as cold as it is now.
Therefore, Qin Jianjue cannot judge too much of the content behind it just from the scene in front of him.
After calming down and thinking about it, he thought that at least from a performance perspective, this scene was a success.
And it is not difficult to analyze the characteristics of its performance.
First, Perlman did not inject musical emotions and dazzling performances into the music like many performers. His body was calm. Even in the most intense cadenza, his every move ranged from body language to facial expressions.
The expressions are not exaggerated.
It gives people a "performance state" that is both internal and external.
Second, it goes without saying that Perlman's skills are natural, but his performance does not even make people feel that he is inadequate. He did not spend a single extra point of energy to complete the technical aspects, but more things
It's all about shaping the tone.
Thinking of this, Qin Jian suddenly took out a small notebook from his bag.
Everyone was listening attentively, and he started writing.
After writing down what he just said, he added the second point:
‘Using timbre as a means of shaping music’
'Third, the continuity in musical tone.'
After pausing for a moment, he added again to the side, 'I have to ask this question, and then I will go down and look for Horowitz's version and compare it carefully.'
Despite the rapid progress of the third movement, he still sensitively captured the sounds of Perlman's music, and the sections seemed to be related to each other.
He had experienced this subtle feeling in Horowitz's 1968 performance of Carmen's Fantasia. Qin Jian knew that the problem was no longer at the level of ordinary phrasing.
With the sonorous octave presto of the piano, the orchestra entered the final climax under the full sound of percussion.
Ruggiero waved his hand, and the orchestra's momentum almost covered the piano.
After the peak, the whole music ends powerfully.
Ruggiero's raised hands and Perlman's left arm hanging in mid-air became the final freeze-frame on the stage.
The moment the echoes in the concert hall dispersed, violent applause and 'bravo' perfectly captured the next scene.
The entire hall seemed to be immersed in great music, and it must be said that Perlman's performance officially kicked off the seminar.
Qin Jian sighed and closed the book.
"Master is worthy of being a master."
He applauded, but felt a little regretful about the ending.
I couldn't help but sigh, "Masters sometimes grow old, and sometimes their physical strength cannot keep up."
Thinking again about the last few chords on the piano that were a bit overwhelming.
"If there is no percussion cover, I'm afraid..."
Of course, he also knew that even if there was no percussion to cover it up, no one would deny that this was an extremely wonderful scene.
It’s understandable, after all, Lage himself jokingly called it an ‘elephant piece’ after its premiere in 1909.
It is not difficult to see the physical demands this piece places on the performer. Looking at all piano works, there is no one that can match this point.
As an old man, being able to play to this point is already a perfect score.
Having said that, Qin Jian was worried about the old man's next performance, as the concert was not over yet.
"As soon as you finish pulling up three, you have to pull up two."
Looking at the program list in Xia Shu's hand, Qin Jian murmured in his heart.
Although there were no works on the program list after the second concert, but according to the nature of ordinary concerts, the old man will definitely continue to perform encores.
Normally, it takes a lot of effort to play one piece, not to mention two pieces in a row, plus an encore, which even an upright performer may not be able to handle.
Qin Jian was worried when the orchestra members on the stage returned one by one and got off the stage.
"This is?"
Then the door on the other side of the stage was pushed open, and three staff members pushed a grand piano onto the stage.
"La Er is the two-piano version." Qin Jian understood.
One lead and one accompaniment, it seems like this.
But who will play the accompaniment?
As soon as Qin Jian's eyes fell on the young man next to Perlman, he saw Perlman getting up and sitting down at the piano accompaniment.
The young man placed the music score in his hand on the music stand of the lead piano, and then sat down.
This scene did not cause any strong reaction from the audience, but the noise disappeared instantly.
"interesting."
Qin Jian's fingers tapped on the outer shell of the notebook, making a clear 'click-click' sound.