596. Because of his beautiful speaking skills, he became a piano poet
The graceful melody presents a natural beauty under the broken chords like vintage wind chimes.
The atmosphere of the concert became full of romance because of this coherent and calm melody.
"Due to the approaching storm, the shepherd boy took refuge in a safe cave. The storm was raging in the distance, but the shepherd boy took out his disciples and played an elegant melody as if nothing had happened."
It was extremely rare for Chopin to personally explain the scenes represented in his works.
As one of several themes in the Romantic period, this pastoral work is one of Chopin's few emotional writings that expresses the quiet nature.
Unlike the turbulence of the torrent, nor the fierceness of the winter wind, Shepherd Boy Piccolo is more like a warm art song with a sense of freedom.
This piece has a special meaning for Qin Jian. To be precise, it should be the first piece he wanted to perform in the Chopin Competition.
At first, his understanding of this piece was about the emotions between men and women. He believed that the continuous and soft melody without gaps in the piece was a kind of ambiguous statement.
Today, he still feels that this work is still an expression of subjective emotions about people, but he no longer limits this 'emotion' to people.
Man and nature, man and all things,
Here he would like to thank old Assad.
Before the end of each class, the two of them would chat about some Chopin topics, just like ordinary chatting.
During this process, Qin Jian heard different interpretations of Chopin's works, one from an Arab composer.
"When we talk about romanticism, emotion is always the first part to be expressed. For humanistic and social emotions, the expression of romanticism is authentic and credible, because humanistic emotions are all direct participation of people, and the emotional role
The object is 'people' or 'some people participate.'"
This is an introduction-like point put forward by the old Assad.
"In contrast, natural emotions are rather special. The specific things we define as emotional objects here are inanimate, such as wheat fields, mountains, and oceans. In other words, the emotions between humans and nature are one-sided between humans and objects."
After further developing this idea, Assad Sr. established a connection between the music of the Romantic period and this emotion.
"So the music of the Romantic period often carries strong subjective feelings, using self-imagination as a bridge to build the emotional relationship between man and nature."
The influence of these views on Qin Jian was also based on the premise that Qin Jian wanted to change his thinking about playing. When he tried to reinterpret this composition, he happened to encounter such views.
Old Assad pointed out for Qin Jian: "Essentially speaking, the relationship between 'music and nature' belongs to the category of aesthetics. During the classicism period, there were a large number of art and music works describing nature, which directly affected the nineteenth century.
music, the enrichment and development of romantic naturalism.”
Not only that, regarding the counterpoint details of the work, Assad Lao also clearly delineated the extended performance range of this work from the perspective of a composer.
"The work is composed of a single line, with rigorous counterpoint and a high degree of harmony."
Similar to this summary of the work, Shen Qingci also said it, but Shen Qingci explained this work more from the perspective of performance skills.
It was the first time for Qin Jian to go through the process of analyzing humanistic emotions to the transition to natural emotions like the old Assad, and to analyze the counterpoint of works through the perspective of the composer.
Of course, old Assad also talked a lot about related content, but there were too many shortcomings in knowledge that exceeded Qin Jian's. Furthermore, Qin Jian was not interested in his career in composing, so in general, Qin Jian just took advantage of himself in the end.
The part that needs to be thought about and absorbed.
Through the process of practice, inquiry, adjustment, and practice again, he finally found a Chopin-style way of playing the A-flat major etude on Little Brown——
‘1. Keep your wrist level in all measures and passages. In order to achieve uniformity of timbre throughout the piece, Qin Jian believes that this is better controlled on a modern piano.’
‘2. Every finger used must be independent and quick, and each touch of the key must be completed at the shortest height and fastest speed, and strive to keep every sound clean and crisp.’
In this way, the sound will naturally add a lot of freedom to the broad melody. The stability of the wrist and the independence of the fingers will make the freedom of the voice unfettered, symbolizing the warm and free atmosphere in the pastoral scenery.
It should be pointed out here that Qin Jian's performance was not just based on Old Arthur's description. He also referred to the essentials of Chopin's clavichord playing for the specific playing method.
It can be said that the current etude in A flat major is the most direct manifestation of Qin Jian's learning achievements at this stage. It contains thinking, common sense, reflection, and more importantly, there is a spirit of inquiry that belongs to Qin Jian.
After thoroughly understanding the harmonic structure of the counterpoint of this piece, Qin Jian did not try to break the rules, but used an imaginary Chopin music to express his pioneering romantic naturalistic emotions.
Because of returning to the work itself, Chopin has given the ultimate interpretation - 'This piece is dedicated to the natural scenery.'
Qin Jian has always respected the composer's own intentions.
However, no matter what the venue, the beautiful melody of romanticism can completely separate from its connotation and impress others with its melody alone.
When Qin Jian finished playing the last note, Iduo clapped his hands excitedly. He seemed to like Qin Jian's performance very much.
He murmured Chopin's name, and old Assad corrected him: "He is your friend, Qin Jian."
"Qin Jian," Ido repeated, his eyes sometimes condensed and sometimes scattered. "Qin Jian, Qin Jian, my friend."
"Yes, we are one of the few friends." Old Assad sighed, and at the same time he was also very satisfied with Qin Jian's 'job' just now.
Soon the wave of applause drowned out the teacher-student conversation.
Qin Jian stood up again, this time he did not bow, he just smiled and nodded at everyone before leaving the stage and heading to the prayer room, which was his temporary resting place.
He did not feel tired after playing the two works. On the contrary, through the outstanding performance of the shepherd boy's piccolo, he felt that he had found his best state.
The short break passed quickly, applause rang outside the door, and Qin Jian got up and returned to the church hall.
When he came back this time, he found that there were more empty seats under the stage. It seemed that many people had left while he was taking a rest.
But when the first song ended just now, the boy who came in midway was still there.
At this moment, the little boy was still looking at Qin Jian with curious eyes. Qin Jian noticed this and stopped and bowed lightly to the little boy with a special etiquette.
The little boy was shy and covered his face in the crowd's attention and laughter.
Obviously, Qin Jian's gentlemanly behavior moved everyone, and they gave even greater applause to the stage.