The sound of the piano sounded again, and the delicate timbre of cotton silk was full of dreams, like the bizarre pillow whispers before waking up from a dream.
Gives people a refreshing and unique feel.
Especially for those ears that are still immersed in the first movement and have not yet come out, the deliberately prolonged keystrokes in the piano sound in their ears seem to further expand the picture of the music for their eyes.
It made them see more clearly.
As if he were actually drawing a real picture, in the first movement Qin Jian used bright and transparent tone to clearly depict the outline of the background.
The majestic continuous chords outline the majesty of the Ural Mountains and the vastness of the Kipchak grassland. The complex musical texture is like the rings of the birch forest, and the waves of fast and delicate fingers are like
It heralds the endless stretch of the Volga River.
The composer developed the simple and moving Russian melody motif into a huge and magnificent movement with his excellent composition skills.
The above is just Qin Jian's interpretation. The expressiveness of music will ultimately come down to the relaxed rhythm and the performer's arrangement.
At the beginning of the second movement, Qin Jian changed from the broad strokes of the first movement to using his fingertips to lengthen the notes, focusing the composer's perspective on every detail in the painting.
...
The second movement is Adagio, a complex three-part form.
An Adagio that doesn't look that soft to him, and a three-part style that's equally uncomplicated.
Perhaps after experiencing the sunny afternoon when he met little Dalia, Qin Jian found some inspiration and played a second movement that he imagined.
He still feels that it must be right until now.
That night Qin Jian returned to the room and spent a lot of time drawing out the musical form structure of the second movement.
He divided the 217-bar second movement into three parts, and temporarily replaced them with three symbols: A, B, and A'.
In order, he regarded each part as three time periods of a person's day.
Part A represents from early morning to afternoon, Part B represents from afternoon to evening, and Part A’ represents from evening to dawn.
Although each part has its own unique structure and meaning.
After planning the time context, and taking the perspective of a composer on an ordinary day in 1909, Qin Jian began to compose the painting.
...
Like every morning, what wakes up Lach is still a melody before waking up from the dream. This melody is the first line of the second movement, leading to the beautiful section A.
Dreams are always like this.
Qin Jian uses hazy colors to show Lahe's dream.
The music continues.
When Lach opened his eyes, he didn't look at the empty ceiling for too long. He stood up and ran towards the piano.
Composers must seize every moment of inspiration.
The composer was probably wearing a beige pajamas, Qin Jian imagined, and used four bars of lazy melody to supplement the picture in his mind.
The composer's piano is brown and covered with vine-like patterns. There is an open picture book and an uncapped pen on the piano cover.
The bright sunlight coming through the window made the music shift to the warm D-flat major at this time.
Qin Jian seemed to be playing together with Lach.
The romantic sound of the piano had a hint of loneliness at a certain moment. At that moment, perhaps Lach thought of his distant grandmother. He had not received a letter from his hometown for a long time.
He was a taciturn old man.
The sound of the piano slowly and repeatedly supplemented the background and lines of the picture in the memory, until at noon, the composer stood up from the piano, put on a gentleman's hat and left the apartment.
The music then enters section a2.
Today is the weekend, and Lahe wants to go out for a walk.
As soon as he stepped out, he saw a bustling street with the cries of small businessmen and hawkers on both sides of the street.
The streets are paved with stones that look like Russian buns, and people walking on them make a lumpy sound.
Qin Jian used his wrists and used a little force on the melody of his falling fingers, as if he was imitating the footsteps of hurried passers-by.
Crossing the street, Lage stopped by a stall.
He bought a loaf of bread for two pennies.
At this moment, the music passed through the link part and already had a long line of ups and downs.
At the corner of the street, Lage gave the bread to a female scavenger holding a child in her arms.
After two years of famine and turmoil, in this most prosperous place, there are also the largest number of people at the bottom of the class.
The music continues to fill the background of the picture, and the gray tones outline the female scavenger's headscarf, and the color can no longer be seen.
Lach continued to move forward, and the melody that fluctuated began to stir again.
The inner and outer melodies of the left and right hands sounded at the same time, and Qin Jian focused on depicting the inner melody. He felt that this was the composer's psychological activity, although he was still not sure what kind of mood it was.
Suddenly, the sound of the piano became fierce and high-spirited as Lach advanced, full of excitement and incomparably gorgeous.
The picture goes from the bustling street market to the covered bridge over the Volga River.
Variation 1 plays.
Qin Jian once again released part of the power of his fingertips. In the process of pushing the chords, he consciously leaned forward and pushed each chord to the top.
It's like the heavy chants coming from the mouths of trackers on the river bank.
When the music shifted to the key of E flat minor, it immediately came to the Arc de Triomphe in Moscow.
The will to win is recorded here.
Lach's pace became faster and faster, passing through the Kremlin, which was lined with towers, and passed through buildings that represented victory.
Qin Jian waved his arms enthusiastically, still humming the accompaniment of various musical instruments in a low voice, as if praising the heroes' great achievements.
From the beginning of the first variation in bar 71 to the end of the third variation in bar 110.
Three undulating variations ushered in the sunset.
Finally settled on Red Square.
This place has been rebuilt and is still red. Under the sunset, it looks like the fire in 1812.
This concludes Part A.
"Fantastic."
Some people in the audience were whispering, while others were silent.
The music did not stop, and neither did Lage's steps.
The F-sharp minor key of the prelude to Part B zooms out again.
There were bursts of people's voices, and Lage came to a racecourse.
On the stand in the center of the stand, the nobles waved their courtesy or silk scarves selflessly, shouting hysterically, and the horses in the horse pen under the stand were also neighing.
Lach seemed unwilling to linger here.
Just at the moment he was about to turn around and leave.
A string of rapid chromatic scales glided over the powerful chords, like roaring artillery fire, instantly shattering the aristocratic carnival.
Wild horses fled in all directions, and the panicked revelers dispersed into the endless night.
The short part B ends.
There is only one dawn between night and sunrise, and the music still continues.
Lage returned to the apartment and returned to the piano.
He also puts his hands on the piano.
The sound of the piano at midnight seemed to be his inner voice.