417. The real giants of the piano world - the four major schools
"when----"
"when--"
"when------"
"when----"
The young man moved.
Like the opening of every second movement, eight bell-like chords buzzing from weak to strong kicked off the first movement.
The young lead player skillfully controlled the volume of the opening octave chord. Judging from the live effect, the inner part of the chord was handled quite properly.
From the position of the Qin key, you can clearly hear that the sound of the piano is filled with infinite tension. This tension originates from the strength and angle of the falling fingers.
It's just that his playing posture is rather strange.
Generally, performers who have reached a certain stage will pay special attention to their sitting posture and the state of their upper body. Holding their chest and head raised can mobilize their waist strength more effectively, especially when playing a large piece of music that lasts for more than half an hour.
At this moment, the young man's piano bench was far away from the piano, his entire back was arched high, and his two elbows were almost at the same level as his shoulders.
The two arms raised high are like jumping beams connecting the body and the keyboard.
From a distance, the whole person looks like a suspended puppet.
"It's really interesting."
Qin Jian thought to himself.
He can still produce such a powerful sound with such a unique posture. It doesn't take much to guess that his fingertips are very powerful, at least not inferior to Duan Ran.
But in this case, how should he pedal?
Qin Jian tried to imitate this posture and pretend that he was pedaling, but he found that when he stretched his legs, he stretched his Achilles tendon, which was extremely uncomfortable.
At this moment, the young man on the stage gave a standard answer. Following the lyrical passage of the first theme, his left leg stretched out like a spring. The moment he stepped on the pedal, he performed a singing song. Revealing a misty beauty.
Deep melancholy.
Looking at his expression again, in the same lyrical passage, his expression is much richer than that of his teacher Perlman. He moves his left and right hands together and opens and closes his mouth, as if he is reciting music scores.
Extremely devoted.
The music has officially entered the main theme. At this time, the piano part as the lead should focus on listening to the band's melody and harmonic changes, and then conform to it well and understand the music and move forward.
But since it is a two-piano version, the concerto tasks of the entire symphony orchestra fall on Perlman.
The old man used rich harmonic changes to pave the way for the music, providing the best soil for the young people who played the lead.
Qin Jian has also seen this scene in Xia Shu and Shen Qingci, and the difference between the two scenes is that in the former, the young people are driving the music, while in the latter, Shen Qingci's concerto is pushing Xia Shu to walk.
Each has its own characteristics.
The music soon reached bar 63, and the piano moved to the high register with a feeling of slowing down a little.
The smooth and flexible movement of the young man's fingers brought out a sound flow, and the entire musical mood was a little less melancholy and more bright than the first theme.
However, this reassuring musical mood only lasted for more than ten bars. The music developed to bar 75, and Perlman's concerto once again continued its previous mood of strong dissatisfaction.
"When--when--"
The concerto suddenly played two incredible bass chords, like two big bells falling from the sky.
Humming.
Shen Qingci sat up.
Dilange sat up.
Savier sat up.
The leading professors from the major music schools sat up almost at the same time.
Their eyes all fell on Perlman, as if the melody he was imitating the viola playing in the orchestra was the main melody of the music.
The dissatisfaction in the music that lasted less than five seconds was swept away, and the melody entered the sub-theme with a gentle and soothing expression.
This appalling entry point also exploded in the hearts of all the big guys like a bomb.
Including Ruggiero who was backstage, his old friend did not tell him in advance that there would be such a scene.
Not only did they hear this obviously altered concerto, but most of the young people present also heard it.
But depending on where you are, your perspective on this issue will be different.
Young people heard about novelty and creativity.
The elders heard the second creation.
Secondary creation and adaptation are two completely different concepts.
Probably anyone who is (really) proficient in the mysteries of classical composition can try to select a fragment of Rachmaninoff's work to adapt it, such as changing it according to Liszt bell, Satyr dance style, Field's nocturne style, or even
It can also be played as traditional jazz or blues based on its main melody.
Basically, it can be classified as skin-changing and fun.
but.
Secondary creation is not just about changing skins for fun. The first thing that must be maintained is the tone, style and will of the original work, which must be both authentic and creative.
...
However, La Er, which can be called a masterpiece, took Lach three years from conception to completion, and it is also a work that confirms his status and influence.
Especially during the period of confusion and despair among Russian intellectuals at that time, this piece was full of his inner sorrow and grief, and the majestic climax in the music expressed his full anger.
In other words, it was the times that created this great work and gave it special historical meaning.
This includes Rachmaninov’s combination of his strong piano playing style, the wide-singing and simple emotional expression of traditional Russian music since Glinka, and the face of an intellectual facing reality.
Dissatisfaction and seeking personal spiritual sustenance.
Even if today's musicians and historians look at this work from a historical and macro-synthetic perspective, it is impossible to fully understand it.
So, let me ask you about such an epoch-making work - who can make a second creation on it?
Perlman has the answer.
Perhaps as the last disciple of Lage's close friend Horowitz and the successor to the leader of the four major schools, he has this qualification.
Everyone present also believed that he might have this ability.
However, he only gave half of the answer at the end of the song, and the other half could only be left to time to judge whether the answer was right or wrong.
...
After adding up the two movements, there are only five re-creations by Perlman, involving about 14 bars.
His compositions focus on multi-part statement syntax and counterpoint harmony in concerto.
Although the musical emotions in some places are more or less exaggerated or reduced, the entire work still maintains the tone of the original work.
This makes some people feel regretful, while others feel happy.
After the song ended, private comments were mixed.
However, judging from the atmosphere of the entire scene, the premiere of the "Second Creation of Rachmaninov's Second Piano Concerto for Two Pianos" brought by Perlman and his disciples was a success.
Following Perlman's demise, Ruggiero took the stage and first expressed his emotions deeply.
"Perlman did an admirable thing."
Then he humorously said to everyone: "It seems that our next seminar has a new topic."
indeed.
Secondary creation is as important to the inheritance of a genre as any other link, especially today when classical repertoire is becoming increasingly scarce.