432. Peter and Kosahua House of Representatives Appear
The hands of the big screen clearly and profoundly depict the details of every note.
Even if you put aside things other than the notes, the pure beauty of the music and the scene of the performance can make people sink into it.
Perhaps this is the greatness of composers. Through their individual life experiences, no matter fortunate or unfortunate, they will use their talents to compose them into pieces of sound, leaving their experiences to every subsequent generation.
Among the countless lucky listeners, those who can play them with their own hands are undoubtedly even luckier.
A composer may not care how his music will be performed, but Qin Jian does.
This is a sentiment that is difficult to express. He praises the greatness of music, so he wants to maintain the music in the same state as it was from the moment it was born.
This is still not an easy task, and the complicated process is no less complicated than those who work hard to innovate their works.
Fortunately, he enjoyed it, and it would be even better if he could also experience that kind of creative experience.
Through all the lessons besides playing the third piano, Qin Jian roughly divided Lahe's life into four stages.
The first stage is birth and growth.
Both of Lage's parents were music lovers and amateur pianists who came from an ancient musical family.
His ancestors were Tatars from Asia. This exotic temperament was revealed in his unique oriental eyebrows and eyes, which revealed a strangeness.
Contrary to the many piano prodigies who practice hard and take the stage early, the child Lage only received formal piano education late and has always been a bit lazy.
It was not until his mentor Vizhnev began to strictly control him that he finally showed his extraordinary talents. When he graduated from the Petersburg Conservatory of Music, he won the gold medal for his one-act opera "Aleko" and won the gold medal.
His identity as a talented pianist and composer was revealed.
Rach's music was rooted in the trend of Russian Romanticism from the beginning. In terms of ideological style, he was very consciously a descendant of Tchaikovsky, whose encouragement gave him great confidence.
The pain caused by Tchaikovsky's sudden illness in 1893 was fully revealed in the "Elegy Trio", and his works since then have shown the style of a precocious artist.
With long-breathing tunes, rich lyrical qualities, plus gorgeous but not excessive techniques, as well as the tragic meaning and irrational power in his bones, his distinctive personality has become very prominent.
But it was not all smooth sailing for the fledgling young Lach. The failure of the premiere of his First Symphony in 1897 brought him to the brink of collapse, and he stopped composing.
It wasn't until three years later that he met a music-loving psychiatrist, with whose help he finally got out of his predicament.
It was at this time that he wrote the masterpiece that made him famous forever - La Er.
The astonishing success of the premiere firmly established his reputation as the leading Russian composer of the time.
Continuing this glory, Lach, who was approaching middle age, ushered in his middle age, which was when Qin Jian divided his second stage - the glorious platinum era.
The following ten years were Lach's most productive years as a composer, and they were also the most turbulent political situation in Russia.
The Third Concerto was born and completed during this second stage.
As for the third stage of ‘exile’ and the fourth stage of ‘extinction’, they have nothing to do with this moment.
"According to a composer's life trajectory, the performer's homework should end here."
Qin Jian didn't need to retract his thoughts, all this had been planted in his brain, as clear as the band score passing line by line in front of his eyes.
What he has to do is continue to express.
His cadenza does not have a roaring roar, and the octave theme that should have been intense is as calm as the moonlight.
In the eyes of the audience, the jumping trajectory of the hands on the piano could no longer be captured, but the tight veins on the backs of the hands were clearly visible.
When a completely mismatched picture between hearing and vision was presented on the stage, Qin Jian once again brought a problem to the audience.
"How did he do that?"
The young man is thinking about the technical details of his playing.
"What is he trying to express?"
The older man was thinking about his intentions in playing at the root of the key.
The cadenza is the place where a composer best conveys his emotions, and Qin Jian hopes to reveal the composer's heart in his eyes here.
An introverted middle-aged man, a talented composer at the peak of his creative skills, a bloody Cossack man, and a fragile and extremely sensitive soul.
When such a combination is put into a body, it is in such a turbulent era.
Facing the unknown world in his heart, he was angry, melancholy and confused.
But he is just a musician, and he can only vent all this on the notes, which leads to this passage with an extremely complicated structure.
And among this complexity, there is only no destruction. A kind composer cannot write notes of destruction.
Therefore, violently crushing this cadenza with a strong posture will only destroy the artistic conception of the music and make things that should be clear become completely blurred.
Of course, this is just Qin Jian's idea.
At this moment, his hands seemed to be fighting each other, and the melody of each hand seemed to be clearly hovering in the listener's ears. In addition, there was no accompaniment from the orchestra, and the two melodies seemed to be fighting to get to the stage.
the upper hand
This represents the fierce collision between the two most contradictory sides of Lage's heart, which completely sublimates the first movement.
Qin Jian's hands on the big screen were completely blurred, and even the veins on his hands could no longer be seen clearly.
The two opposing melodies have reached the point where they are incompatible with each other.
Just at this moment.
Lage's powerful acting skills were once again demonstrated at the last moment when the conflict was about to break out.
"When..."
A gentle two-hand chord instantly merges the two melodies.
The next second.
The music returns to the calm harmonies like the sea. There is pessimism and helplessness in this calmness.
Finally, it disappeared secretly into this lonely arpeggio.
At this point, Qin Jian breathed a sigh of relief, even though his palms were already soaked through.
The first movement was basically presented as he intended.
He always transitioned the music with a smooth playing, maintaining his point of not overly exaggerating the background.
He could never accept the wanton artificiality of a work that had not yet been exiled, and the energy consumed in the first movement was too great.
However, in the passages that required technical support, he absolutely spared no effort and tried his best to show the huge composition concept that Lach had formed in his middle age.
You are not welcome to show off your skills.
On the musical level, he does not have any more lyricism. He is basically laying the groundwork, depicting the musical scene with notes and stabilizing the mood of the music.
In his design, emotions need to be accumulated through the narrative of the second movement and then released in the third movement.
“Overall it’s pretty good.”
At the end of the first movement, although there are still a lot of technical difficulties, Qin Jian has already memorized them skillfully.
"when--"
With a soft sound, he raised his hand.
The first movement ended successfully.
"call."
Qin Jian picked up a handkerchief and wiped his sweat and palms.
Then prepare your playing posture again.
Second movement.
‘Intermezzo, Adagio’
Intermezzo, Adagio.
With the moderate foreshadowing in the first movement, Qin Jian began to work up his energy to interpret his story in the second movement.