455. Fang Xiaoyu, you are not qualified to be nervous
After sending Fang Xiaoyu away, the art exam at Hua Guo Yuan also ended on the same day.
The campus outside the window of 309 has also returned to what it should be like during a school holiday.
Qin Jian's life also returned to its normal quiet rhythm, spending every day practicing the piano, translating documents, and listening to records.
I would check into my room the next day and take a shower. Occasionally I would go out for a walk after my busy work. I would watch videos with Duan Ran before going to bed, or ask Ye Yisheng about the progress of his foreign art exam. When I got interested, I would open a can of beer and sit there in the middle of the night.
Play jazz in front of the piano.
A person's little life is also extremely nourishing.
Fang Xiaoyu called him the next day after returning home. On the phone, Fang Xiaoyu asked him if he needed to maintain a certain amount of practice time during the cultural classes. Qin Jian told her that he didn't need to practice piano again until the end of the college entrance examination.
She learned the piano and told her to just concentrate on her homework and sprint for 600 points.
"You don't have to worry about professional qualification certificates."
Qin Jian's words of reassurance also gave Fang Xiaoyu's family reassurance.
Of course, he didn't say this out of nowhere. On the night after the piano retest, Shen Qingci personally called him, and the tone on the phone was very clear.
"Let the children prepare well for cultural classes."
The head of the piano department of the Huaguo Conservatory of Music has already spoken out, so how can there be any difference?
In addition, when it came to practicing the piano, Qin Jian began to experiment extensively after discovering the mystery of chord playing hidden under the harmony.
He used Stov's playing style as a model and tried to find this chord playing style in other judges' performances. Through this series of attempts, he found that not all Polish pianists could use this chord playing style.
A chord playing method based on velocity ratio.
Especially as the judge of this competition*** - Rafat Branjano.
Branjano's chord playing does not pay attention to the distribution of finger strength. He plays it completely with one finger, and the power of each note is almost equal.
For this reason, Qin Jian spent two days studying the other party's performance. As an authentic Pole, Branjano's performance did not lack the unique national customs of the Poles, but there was an extra touch of speaking.
Unforgettable stereotype.
But this kind of rigidity will give people a strong memory point and sound like a distinct individualistic style.
Branjano's approach is completely opposite to that of his contemporary Shen Qingci.
By watching the preliminary video of the 15th Chopin Competition ten years ago, Qin Jian can clearly feel that Shen Qingci's playing style at that time had a shadow of today's. He used the French school's playing style as the keynote, and then
Infused with a lot of personal emotions, coupled with powerful finger skills, the music flows with unbridled imagination.
It's just a pity that these two completely different playing styles did not have a real head-to-head competition in the 15th finals.
Therefore, some commentators later said that Shen Qingci's temporary withdrawal greatly tarnished Branjano's championship trophy.
But it must be admitted that Branjano's playing style is extremely difficult to imitate.
Qin Jian has suffered a lot in this regard in recent days. He can't always seize the opportunity when Branjano's rigidity appears.
Even if he plays the same note at the same position in the same work as Branjano at the same speed, Branjano shows the kind of memory point that can give people a strong impression, while Qin Jian is so ordinary that he can't be ordinary anymore.
.
Qin Jian did not describe each judge with the mentality of checking in all, but in reality, as Shen Qingci said, what they played was Chopin.
Although they are all different, they are all Chopin.
This may sound a bit mysterious, but it’s easy to understand once you break down the explanation. Their performances all contain the spirit of the Polish people.
This kind of spirit cannot be found in Chopin's hand position formula, and the latest content of the hand position formula, 'elastic speed', is the content of the next stage.
...
A week passed like this.
At noon on Monday of the new week, Qin Jian took the initiative to call Shen Qingci after finishing his early morning practice.
He felt that it was time for the other party to hear his practice results.
After the two agreed on the phone to meet at 13:30 in the afternoon, Qin Jian left 309.
Today he will play up to 7 versions of Chopin's works for Shen Qingci, including etudes, nocturnes, ballads, and a short sonata.
...
At exactly 13:30 in the afternoon, Qin Jian arrived in front of the Steinway in the living room and started playing.
In order, he played the 12 pieces in a complete and coherent manner.
It took a total of 40 minutes.
During this period, Shen Qingci sat on the sofa without any interruption and did not smoke.
Let Qin Jian talk from beginning to end.
After it was over, he came to the piano and said, "Let's talk about it."
Qin Jian pondered for a moment and then said: "Each Polish performer has his own characteristics. I don't think this characteristic can be explained by simple analysis. For example, Harvey's First Ballade uses a softer approach.
Performance, while Calliacon's performance is much more powerful at the same speed. From the overall perspective of the music, they all use a third-person statement to express. This may be related to their age, but
There is an amazing sense of consistency in the spiritual connotation of the music.”
After a pause, he added a conclusion: "It's like the front and back of a hand."
Shen Qingci: "Is there any more?"
Qin Jian thought for a while and continued: "From a purely imitation perspective, I think it is almost impossible for a foreigner to express the true Polish taste."
Qin Jian did not use 'difficult,' but directly used 'can't'.
This is his recent sentiment. He recorded a Psalm of Escape a few days ago.
After the live performance, he almost felt that he was almost the same as Stoff, but when he listened to the recording two days later, he found that it was still easy to tell which one was played by him.
moment.
Shen Qingci lit up a cigarette.
"Qin Jian, do you know what is the most important content in musical expression?"
Qin Jian was not sure, "Information?"
Shen Qingci was a little surprised by Qin Jian's answer. He nodded: "The information can be about a performer's personality, a performer's cultural background, and a performer's exploration and expression of Chopin's possibilities."
"Possibility?" Qin Jian tried to grasp the key points in these words.
"It's a possibility."
Shen Qingci affirmed: "In fact, Poles have also been seeking innovative interpretations of Chopin."
"In addition to some very interesting renditions that came out today, they wanted to see more paradoxes."