As we all know, the most prominent label on Mr. Pei’s body is that he “collected the great achievements of classicism and pioneered romanticism.”
Standing between two great peaks of the era, Mr. Pei, who wrote a collection of thirty-two piano sonatas that are regarded as the "New Testament of Piano" by later generations, once said: "The possibilities contained in the sonata form are endless.
.”
These prophetic words basically enveloped later generations for a hundred years, spanning the entire Romantic period.
Until the end of his life, Uncle Pei explored and found all new ways of this form in his piano works.
The opus 26, the piece chosen by Nobuyuki Jui, is a special existence among Beethoven sonatas.
This work, which has broken the traditional structure in the past, has four movements, but without exception, none of them belong to the sonata form. They do not interfere with each other and are integrated into one.
It is special, can its performance also be treated in a special way?
Nobuyuki Tokai gave his own answer.
He also broke the tradition of playing a piano sonata with the same sense of timbre.
Especially in the first movement, Qin Jian now recalls that the other party used almost 4 to 5 very recognizable timbres to play, and in the second movement, the other party used two obviously different timbres to play back and forth in the high counter part.
Present.
On the one hand, this shows Nobuyuki Jui’s meticulous technique, and on the other hand, it also shows everyone in the audience the variability of CF7’s tone.
A controlled variability.
In Qin Jian's view, Shijing Nobuyuki's move was undoubtedly a win-win situation.
This kind of controllable and versatile timbre that breaks the monotony of the traditional cfx timbre sounds more like what the cf7 piano itself brings to piano enthusiasts. In their minds, this piano has far surpassed the cfx.
It also includes several big-name products of the same level as CFX, including the old version of Steinway D274, Fazioli f308, etc.
In the hearing of professional pianists, their perception is naturally different from that of ordinary pianists. They will not simply think that this is brought about by the piano. This is also what surprises them the most - as a
Players, they may already be looking forward to where they can extend this controllable timbre change when they play on this piano.
If there was a piano that could break the long-standing tone problem that he had been confined to, Qin Jian himself would want to buy one and play it at home, although he had no such problem.
So for players who really have this kind of problem, the value of this piano is immeasurable.
Of course, this characteristic of this piano basically excludes other types of performers, such as Duan Ran. Although it sounds a bit awkward to temporarily define Little Fatty Duan as a performer, she has indeed not received the performance yet.
He has a bachelor's degree, but after all, he has already entered the small list of roles. It is not too much to call him a young performer.
With Duan Ran's personality, she would never like this CF7. Duan Ran likes pianos with thick and unified timbres. She is better at arranging music on pianos with stable pronunciation through upper body techniques to show deeper emotions.
Color, so she tried the new Steinway once and decided.
"Why."
After just listening to two movements, Qin Jian made random guesses. He didn't know if he was overthinking, or if he was right.
"But Duan Ran will definitely not like this CF7."
Qin Jian dares to bet with anyone on this point. The best bet is a cf7, so that he can save 270w.
As the second movement ends.
The music comes to the third movement, which is also the movement that Qin Jian has been looking forward to since the first measure - the funeral march.
It sounds somewhat similar to the third movement "Funeral March" of Chopin's Sonata No. 2 in B flat minor, but in fact it is not.
The difference between the word "funeral" and "funeral" means that the music presented is completely different.
The world knows a lot about the hero's funeral in the second movement of Pei's "Eroica Symphony", but they don't know that the third movement in this sonata is called the Funeral March.
Uncle Bei himself named it - "a funeral march composed to commemorate the death of a hero."
Who exactly this hero is is still unclear.
However, this also provides an open way of thinking for future generations of pianists. Everyone can use general abstraction to understand in the future, and can conceive of the hero based on the notes and sentence lines presented in the score.
Whose last name is.
However, what Qin Jian was a little surprised about was the version played by Nobuyuki Tokai at this time.
This section of his performance is different from the usual performers who seize the tonal basis of march music and tenaciously repeat heavy chords.
In this way, although it does not create the lingering impression of severe thoughts and the slow feeling of mourning that lingers in the listener's heart, it does give the whole music the feeling of a human elegy in the wailing melody.
It's sad but not sad, touching but not heavy.
Nobuyuki Toshii's performance seems to be a way to bid farewell to the hero who should be mourned.
Qin Jian listened more carefully. Shi Jing stretched out his fingers, as if he was consciously controlling the volume of each note. In passages that were extremely lyrical, he only slightly increased the tonic power of individual main chords. The music was still there all the time.
A feeling similar to the expression of 'human voice'.
This somewhat detached dramatic treatment gave Qin Jian a sudden inspiration at a certain moment.
Nobuyuki Toshii's interpretation has a tendency to go against the composer's score. To a certain extent, it can be said that he has greatly weakened the sharp contrast between different textures, thus turning the original dramatic conflict into
Another kind of dramatic conflict gives the audience an additional perspective on thinking about music while the main music environment remains unchanged.
Finally, through the controllable tone coordination of CF7, the performance is led to a profound realm with a human-like tone color.
It gives people a feeling of being shallow and deep.
"It's really an advanced treatment."
Qin Jian admired the blind pianist even more from the bottom of his heart. He seemed to understand why Shen Qingci always placed him in such a high position.
A pianist with advanced ideas is indeed more worthy of respect than a group of pianists with only brilliant skills.
And he is a person who has never seen this colorful world.
Qin Jian then thought of his Chopin Funeral March. After listening to the performance on stage, he felt that he had indeed been a little superficial before.
Looking back now, the structure I studied was only to better integrate technology, which also led to subsequent deviations in emotional understanding.
"Why."
Fortunately, I have eliminated all the whitewashing content.
Next, it seems that we can rethink from the perspective of the dramatic conflict between textures and the overlap of artistic conception.
For a moment, Qin Jian felt a rare relief in recent days.
"It seems that today's class can't be held again."
"Sorry, Teacher Shen."
Qin Jian looked at Nobuyuki Shii on the stage with a little gratitude in his eyes.