554. The same as a fallen person! Are you different?
With the support of his assistant, Nobuyuki Tokai stepped onto the stage to the applause of the audience.
Yoshino Nobuyuki took the initiative to take Nobuyuki Toshii's arm from his casual assistant and gently helped him to the center of the stage.
Nobuyuki Totsui bowed to the audience, and then Takuma Yoshino escorted Nobuyuki Totsui to sit in front of the piano, and the applause from the audience gradually subsided.
Except for a few Yamah artists in the audience, no one has heard the mystery of this piano. After Yoshino Takuma's introduction, there is no one who is not interested in this piano at this moment. If there is, it is only a very few.
""Mr. Shijing, I'll leave the rest to you."
Yoshino Takujin leaned over Nobuyuki Toshii's ear and delivered his last words on the stage, and then left the stage.
One person, one piano, there is nothing else on the stage at this moment, and the background light screen has also turned black, becoming a Beijing furnishing on the stage.
The entire press conference was quiet for less than 10 seconds.
In the eyes of everyone, Nobu Shijing took action, raising his hands and lowering his fingers, his movements in one go were undoubtedly those of normal people.
"drop."
A soft bass sound floated out from the matte black soundboard raised high in the CF7.
Qin Jian felt that what he heard was a beep. It was hard to imagine that a bass could make a crisp sound like a beep.
This alone is different from CFX. Qin Jian still clearly remembers the first time he played the upgraded version of the Steinway D274 in Warsaw. The bass of almost the same range and the richness of the Steinway were heard in his ears at this time.
The bass that sounded just now was so clear.
Immediately afterwards, as the soothing and warm melody flow slowly filled the entire hall, even most amateur piano lovers could recognize which piece it was.
Beethoven Piano Sonata No. 12 in A flat major.
The length of the four movements of the whole song may seem a bit too long at such a press conference, but no one in the audience cared about this problem. As the theme of the first movement "Andante of Generations Variations" slowly opened, the first variation was already
With soft decorative motives, it opens a door for everyone's ears.
The entire press conference seemed to be transformed into a small exquisite concert hall.
In the concert hall, some people are listening to Beethoven Sonata, and some are listening to cf7.
In Qin Jian's opinion, there is no difference. The Beethoven sonata at this moment is cf7, and cf7 is the Beethoven sonata.
Similarly, Nobuyuki Tokai plays Bedouin and CF7, there is no difference.
No matter how amazing a piano is, it needs a good pianist to show its excellence.
People, works, and piano are a whole, interdependent and mutually reinforcing.
Unintentionally, Nobuyuki Toshii is an absolute pianist. This was the first time Qin Jian heard Nobuyuki Toshii live.
The other party just used one note and one chord, and in the breath of a short melody, Qin Jian felt the difference of this piano, and also let Qin Jian hear the state and feeling of an Asian playing this piece.
Listening to the variations one after another in his ears, Qin Jian's left index finger tapped gently in the flickering light. He was imagining what it would be like to play on the piano by himself at this time, and handle it in his own way.
What kind of sound will appear?
Just when the last strong note of the third variation jumped to the fourth variation, Qin Jian was startled. At the moment when the fourth variation changed to a soft three-beat dance music, the piano tone in Qin Jian's ear changed.
There were obvious changes.
From a crisp sound to a soft sound without any trace, many people present noticed this, which is enough to show that this change has nothing to do with the sharpness of the ears.
Immediately afterwards, Nobuyuki Tokai on the stage did not stay in this tone for too long. He raised his left arm and lowered it to gently launch a bright major chord. After that, the music entered the fifth variation with a small motif.
After the music reaches the fifth variation, the timbre changes again.
This time, the sound penetrated deep into one's soul, like the vibrating bass of a church evening bell. Qin Jian seemed to hear the bass of the old Steinway.
This scene simply overturned his initial understanding of the bass of this piano, and his ears seemed to still be recalling the sound of "Beep" played by Nobuyuki Shii at the beginning.
The smile on Qin Jian's lips gradually faded. It seemed that his estimate of this piano was still wrong.
But there was one thing he couldn't figure out, so he planned to go down and ask Shen Qingci.
As the end came, the variations on the theme turned into a lingering sound in the brief silence, floating lightly into silence.
At the end of the first movement, no one applauded.
In the cheerful and humorous second movement, the theme highlights the jump adjustment. Listening to Nobuyuki Toshii's flexible and energetic ten-finger Qin keys, you feel like you are playing Chopin's black keys on this piano.
When it was reproduced after changing the velocity, Nobuyuki Tooi's fast finger movements once again magically transformed the piano's tone into a sharp yet bright feeling.
The two timbres are presented interchangeably in the high and low ranges, making the overall tone more colorful.
As if he had become accustomed to this feeling of changing timbres, just like Shen Qingci at the beginning, Qin Jian's attention gradually shifted from the sound of the piece to the performer.
Qin Jian is no longer the same person as before. As a piano player, objectively speaking, he has performed on many big stages.
From Tokyo to Vienna, from Hamburg to Moscow, until the recent Chopin preliminary competition, he had met a quarter of the world's pianists.
If you count the ones he has heard, then he dares to say that at least one-third of the piano players are familiar to him.
The farther you go, the position is different, you see more, your field of vision is different, you hear more, and the angle of listening is also different.
Subjectively speaking, after listening to the two movements of Nobuyuki Shii in their entirety, Qin Jian felt very comfortable listening to them.
"Very comfortable" is a comment that seems ordinary but has profound meaning.
After studying the Russian piano literature for nearly half a year, I can say bluntly that Qin Jian can tell whether the performer has used traditional Russian piano playing techniques by just listening to a few melody lines. If the other party can
By playing a complete passage, he can basically tell which genre the other player is from.
Although Shen Qingci didn't mention it, Qin Jian can almost judge that Nobuyuki Toshii should have inherited part of the performance techniques of the Niegozi school. He has an exposed appeal in his works, and his lower fingers are extremely delicate.
Maybe it's just that the inconvenience caused by his eyesight makes his body movements and overall temperament look relatively inner.
Speaking of which, Qin Jian has to say that Shijing Nobuyuki's ingenious thinking allowed him to choose such an excellent piece of music for an occasion like today.