504. Remember that the stage is 15 meters away from the jury's seat
"A minor."
After a short period of silence, Qin Jian stretched out a finger, then pressed and lifted it casually.
"Dang!————Dang!————Dang!-Dang!——Dang!——"
The bright and thick single notes maintain a consistent volume and unfold forward with a clear rhythm, opening the introduction.
The thick F-like dynamic expression here completely subverts the p mark on the original score.
In other words, if you look at the first half of Qin Jian's introduction according to rigid academic standards, he will probably be given a yellow card.
"You committed a foul." Generally speaking, the referee will say this.
However, this is Chopin's arena, and freedom is the prerequisite for everything.
What's more, on this stage, everyone under the stage clearly and clearly knows that Qin Jian is by no means the first guy to do this in history.
The same work, the same passage, in 1960, a young man from Italy handled it in the same way.
When the double notes took over the second part of the introduction with the same rhythm, the volume of the piano instantly changed from f to pp-like thin and silent. If it weren't for Kawai's ultra-sensitive hammer, perhaps no one would be able to hear the continuation of the performance on the stage. of.
Across nearly five volume steps, Qin Jian not only demonstrated his extremely precise control over his finger power, but also the Chopin experts in the audience roughly guessed the answer to this part of the game.
The alto-bass part outlined at the end of the introduction gradually faded away during the trembling progress. At the moment when the air around the castanets suddenly became quiet, an extremely uneasy emotional rhythm appeared on the stage.
At this moment, Qin Jian's eyes narrowed, and he pressed down the wrist of his left hand for a moment to play a heavy whistling single note. At the same time, he opened his right hand with all his strength and contracted it very quickly, moving his arm to the far right side of the keyboard. Above the treble area.
Slam it down suddenly!
It's smashed!
Qin Jian smashed against the piano keys with an overwhelming momentum.
When a big hand that can span the keyboard twelve degrees shrinks into a claw and hits the piano at its most vulnerable point, the audiovisual scene can be imagined.
The Kawa piano opened the theme of winter wind like a howl, and a real whirlwind of sound mixed with chill rushed from top to bottom and rushed in all directions.
Cold, cold sobriety, every sound appears where it should appear, proving to the listener its existence and its indispensability.
I have to say that the judges were so shocked by this scene that they had forgotten that the Italian was so strong.
Because not every player who can play the winter wind to such effect has such a big hand.
Maybe you don’t need such big hands to play Chopin, but so what?
Qin Jian's eyes gradually became indifferent again, and he knew that the next thing to do was to complete the piece.
Regarding Dongfeng, Qin Jian only likes the two-person version so far.
Before he heard Duan Ran's winter wind, he only liked Pollini's.
As the gold medal winner of the 6th Chopin Competition, Pollini's playing style is characterized by a strong sense of imagery.
Every one of his Chopin pieces is like this.
Pollini is like a painter who adjusts the angle and strength of the brush according to his own artistic ideas, and expresses the rhythm of the music picture through changes in the weight, speed, speed, clumsiness, and thickness of the lines.
Therefore, the rhythm he uses to build the musical framework naturally becomes the main feature that highlights the character of the work.
In the process of continuously amplifying it, Qin Jian more clearly discovered this sense of rhythm that creates different rhythms and purposeful emotions.
"It's an extremely romanticized version of the self."
"Can it be copied?"
"You can give it a try."
Finger technique is the prerequisite for the development of all possibilities, and the technical elements of a piano work are basically its components.
If you want to talk about the restoration of a work, you must take into account a category, which - longer or shorter, more or less strong or weak - accurately defines the duration of each rhythm unit, the decibel of the volume, and the angle of touching the keys.
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Every detail is restored to the extreme using technology, and then these limbs are pieced together accurately in proportion one by one.
When all this is finally presented for the second time in a highly integrated way, who can say that this is a fake without artistic sense?
The winter wind in front of me is such a work of art.
At the end of the song, Mikuli, a judge from Poland's native Chopin Academy, wrote "yes" behind No. 21 on Qin Jian's score sheet.
There is no score in the preliminary round, only yes or no. In the end, the top 80 contestants with the most yes among all contestants will enter the main competition list. If there are players with the same number of yes at the end of the ranking but they can only advance by one,
All judges will videotape contestants with the same number of votes for a second review.
Qin Jian already got a yes of his own at the end of his third piece. This is not unusual, because each judge's judging standards and perspective are different due to differences in regional experience.
Mikuli likes Qin Jian's control over the piano. He feels that any player who can switch between the three tone playing styles at will should enter the next round. He is looking forward to his performance in the future.
Qin Jian has already left a very deep impression on Mikuli.
The moment when the fourth work Mazurk No.23 in D Major Op.33 No2 "Mazurka in D Major" ended in a joyful dance.
Deng Taishan, the gold medal winner of the 10th Chopin Competition, gave Qin Jian a second 'yes'. Perhaps the other party's performance reminded him of the mazurkas he once played in this arena, or perhaps the other party also liked him.
He is a performer who is silent in his personal world.
In short, this artist from Vietnam was impressed by Qin Jian, but he expected to hear the other party play something different in the next round. After all, this was a competition that he believed would change his life's destiny.
The thoughts of Mikuli and Deng Taishan also represent the thoughts of most judges. Moreover, in their opinion, if a player wants to advance from the 160-man roster to the 80-man roster, the process is not complicated.
They only need to screen out players with basic basic technical literacy.
Of course, each of them has their own different standards regarding this basic technical literacy, but there are very few examples in history of Xiao competition judges making mistakes.
Therefore, the list they selected is also the most authoritative in the entire piano industry.
One after another ‘yes’ appeared in the frame of player No. 21.
But Argerich remained silent.
On the stage, the performance of the fourth mazurka ended. Qin Jian wiped the sweat from his forehead. The moment the white cotton towel covered the corners of his eyes, his brows furrowed, and he looked like his body was extremely tense.