After getting up, I have been busy for several days in a row.
...
Ruggiero made it very clear in his schedule that after the concert, he would enter several discussion stages.
Qin Jian was fortunate enough to be invited to participate in this meeting. Although most of the time he could only wait for the translator, he gained a lot after a few days.
Among all the topics, some were raised by academic groups participating in the symposium. For example, a team of teachers and students from the Max Planck Conservatoire proposed whether the strong emphasis at the end of Rach's third prelude should be uniformly revised.
Weak mark, because the three versions circulating on the market are different, which poses a certain obstacle to teachers' teaching.
Some are proposals proposed by the organizers this time, such as the issue of how to play the string orchestration of the main theme of the first movement of Rachmani's Piano Concerto No. 2. There are also several versions currently circulating in the industry, and this
Discussion and resolution of problems require the guidance of all walks of life.
The final task is to select some of the more controversial or worth learning works from all the concerts this time for everyone to discuss.
There are, for example, the concerto piano part in the two-piano Part 2 performed by Perlman and his disciples on the first day of the opening concert, as well as He Jing's Paganini, and Larmore's direct arrangement of G minor.
prelude.
This category all belongs to the category of secondary creation, which is what this seminar will focus on.
When the meeting reached this point, Ruggiero raised a question to everyone in the conference room, "the issue of the development and inheritance of Russian piano."
He believes that the development and inheritance of Russian piano not only requires pianists rooted in the soil to bring the sound of Russian piano to the world, but also requires musicians from all over the world to focus their attention on this. He expressed that he welcomes everyone to perform on Russian local piano works.
Second creation.
"We will include any creative works."
These were Ruggiero's original words, and he also affirmed Professor Di Lange's structural modification of Paganini's Rhapsody.
"He was a great pianist and a great musician."
In addition, the following topics also mentioned some works worthy of discussion, such as Qin Jian's La San solo.
In the afternoon of the fourth schedule to discuss revising the music score, Ruggiero came up with a project proposal for Qin Jian’s solo.
Qin Jian, who was a party involved, of course also participated in this meeting, but he still participated in the discussion as a bystander.
In this proposal, Ruggiero believed that the part worthy of study was not the second movement, but the cadenza of the first movement.
He was the first to put forward his own opinion: "In the cadenza, the main theme and the sub-theme appear at once, and the subsequent recapitulation has almost no reappearance of the sub-theme, only a few very short codas, which sound almost
It’s like playing hide and seek.”
His words undoubtedly meant that Qin Jian's treatment was somewhat uncharacteristic. Only in Shen Qingci's subsequent translation did Qin Jian realize that Ruggiero was expressing this meaning.
In fact, Qin Jian did this intentionally. He not only wanted to clearly portray the "sound" in the cadenza movement, but also wanted to express his own understanding of the cadenza, so when he actually performed, he used
The power of seven points highlights the main theme from the melody, while he uses almost only 20% of the fingertips to play the secondary theme, playing it completely as a passing tone.
Therefore, to the audience in the audience, it sounds like the performer has developed the cadenza into a special paragraph.
After Ruggiero jokingly gave the question, he then gave the question.
"Because of the cadenza's treatment, the asynchrony between the tonal structure and the material structure makes this passage seem to have acquired the meaning of a double musical structure. What do you think?"
This issue has gone far beyond Qin Jian's knowledge field. It is not his fault. Almost all the people present who can participate in the discussion of this issue are big guys from top universities.
Even though this controversy originated from his performance, he himself did not think of it.
After several subsequent rounds of speeches by the bosses, the scene became intense.
It's intense because there are conflicts.
The conflict arises from the emergence of two valid viewpoints.
Viewpoint 1:
Gustav, a Russian piano expert from the Hannover Conservatory of Music, believes that--'Although the main theme of the music has been completely reproduced in the main key in the cadenza, the entire cadenza still belongs to the development stage, and the real cadenza is
The recapitulation is very short, and the subpart is omitted. The recapitulation is both online and at the end.'
The reason for this school's view is that the theme of the minor part in the cadenza is not reproduced in the main key, but in the secondary key of E flat major, which is the main key. This tonal layout in the subordinate direction also reflects the development of the part.
characteristics, and the 'general preparation' of the main theme can be found in the final stage of the cadenza - "On the contrary, there is no such process before the main theme reappears in the cadenza."
Gustav used this last sentence to reaffirm his point of view and throw the question to the other party.
And point two:
People such as Yesayev, a representative of the Russian piano group Gordon Weiser and director of the piano department of the Luxembourg Conservatory of Music, believe that - 'the reproduction of the main theme in this cadenza should be regarded as a recapitulation
at the beginning, because the piano solo in the cadenza has completed the dynamic reproduction of the main theme and the secondary theme, and according to the player's speed, this reproduction is about two-thirds of the way through the entire movement.
Finally, Yesayev also responded to the other party's words, "As for the theme of the secondary part not being reproduced in the main key, this is a common phenomenon since the Romantic music school."
He added, "Moreover, the fragments of the sub-part theme material in the epilogue appear on the main key, which provides necessary supplements to the fact that the sub-part theme does not return to the main key."
...
A fierce debate finally came to an end with applause. This meeting was also regarded as the most exciting discussion in this seminar.
Later, Qin Jian also read the translated meeting report and realized that the details were far more complicated than he imagined.
And the academic debate among the big guys about his cadenza has undoubtedly given him some new understanding of his own handling.
The truth is revealed.
Although there is no absolute left or right in music, clear thinking will make it easier for him to see his own ideas clearly.
Compared with the gain in honor, this kind of gain is even more rare.
Of course, in addition, as the "initiator" of this meeting, Qin Jian's gains are far more than this. After that, the official made the first movement of this version of La San played by him into an official
The music score was recorded in the minutes of this meeting.
It is an honor and he is the youngest person to receive this honor.
...
As the follow-up agenda of the conference came to an end, it was already mid-January before I knew it.