618. Reasons for rejection joke about substitute culture in the circle
"when-"
With an ordinary finger drop, the piano sounded.
The addition of the piano was a shot in the arm, taking center stage.
Just like the beginnings of the masters who were the best at playing La San in history, Qin Jian entered the orchestra under Sabina's swing with the most natural angle and posture by relying on his auditory perception.
Not only the angle, but also the intensity.
Bruno: "Precise."
Under Qin Jian's fingers, the Steinway D274s did not present a heavy texture that overwhelmed the balance of the music. The process of exerting force from his arms to his fingertips seemed to become visible in the music.
When the piano finished the second measure of the theme, Sabina on the conductor's podium felt like she could temporarily relax.
A good beginning is always half the battle.
The music moved forward steadily. It was probably because the music was so balanced that it was so harmonious that everyone forgot to listen to the piano's timbre.
The entire hall was immersed in the vicissitudes of the vast northern source of silence, and the strong Slavic music rippled in every corner of the hall, infecting every pair of ears and eyes.
But this is not the credit of the pianist, this is Rachmaninoff's great musical thought.
The great pianist Serkin once commented on this theme fragment: Every pair of hands can bring this fragment to life, whether it is a child or a pianist.
Until the bassoon melody suddenly appears with an elegiac wail, the hoarse melody intertwined with the piano.
After comparing the two, people's attention returned to the sound of the piano again.
clear.
The sound of the piano is so clear.
But clarity does not mean greenness. Sometimes it is bright, sometimes lively, and sometimes it seems to be singing affectionately.
Gradually.
The audience found an interesting scene. The entire stage was in a dynamic state from the beginning of the music.
The conductor's baton, the musicians' hands, and even the advancing rhythm of various musical instruments.
Everything is in motion.
But only the figure in front of the piano - the figure in front of the piano seems to have never moved a bit since the fingers started beating. This is the perspective of the audience in the back row.
The audience in the front row could see up close that the piano player never even showed an expression, only his eyes were always looking at the nimble hands on the keyboard.
His eyes seemed curious and full of longing.
At this moment, no one knew what kind of picture was in Qin Jian's mind.
The distant melody of the cello part emerges at this moment, making the overall musical image more complex.
The Helsinki Orchestra gradually began to exert its strength under the conductor of Sabina, and seemed to occupy the dominant position of the music in a small breath.
But at the same time, the figure in front of the piano was not to be outdone and increased the volume under his fingers.
The two voices have a preliminary prototype of confrontation in the inner voice structure.
Hearing this, Bruno, who was playing with his finger a second ago, suddenly stopped.
His shrewd little eyes flashed: "Interesting."
He knew that there had been no rehearsal between the piano and the conductor on the stage, so he was looking forward to where the music would go after this scene.
The change in piano timbre is not abrupt.
Taking over the cello part, Qin Jian continued to make his own tone without haste. In the medium-to-strong dynamic range, he used timbre changes and delicate emotional processing to deepen the musical theme.
Although he took control of the music with absolute force before taking the stage, he knew when it was time for him to appear.
When is the time to make concessions?
"when--!"
As Sabina raised her arms for the first time and was about to swing them down, Qin Jian's eyelashes flickered for a moment, and he hit an octave with his right hand as if to add some firepower to Sabina.
And his left hand was also ready to turn his wrist quietly. No camera could capture the details of this scene.
The little finger of his left hand instinctively hooked to the side, and the whole hand entered the preparation mode in a curled-up shape.
These occur in just 0.1 seconds.
The next second.
Qin Jian's left hand, which had been calm for 33 bars, suddenly startled the whole stage with a leading role!
I saw his left hand beating crazily with a dazzling fingering technique, and his whole body was shaking slightly.
Under the external harmony of the string section, each of his fingers seemed to be piercing the keys from bottom to top.
The complex sound patterns flicker like particles.
then!
Sabina waved her hand, and the entire string section of the Helsinki Orchestra began to move neatly!
"Buzz!——"
With a movement, the stage entered the performance of the first theme, which was taken over by the viola part.
With the second move, Qin Jian instantly lowered his playing power with both hands. Under the cantabile theme, he transformed into an accompaniment and started playing decomposed chord patterns at a weak volume to accompany the entire orchestra.
His performance is evenly coherent, elastic, steady in rhythm and calm in rhythm.
It seems that Sabina is in control of the orchestra at the moment, and only a true insider can see that -
"Qin Jian is leaving with the command."
Duan Hong looked at the stage and thought to himself that Qin Jian's entire accompaniment was leading the orchestra's speed, and the speed was still accelerating.
Yes, the music is getting faster.
However, the sound of the piano and Sabina's conductor at this moment are completely synchronized. They use the same intensity changes, the same breathing, and the same phrase processing to deepen the outline of the musical image again.
While Duan Hong praised Qin Jian, he also did not forget to take a few more glances at the conductor's podium. His praise was also given to Sabina, who was able to grasp the lead singer's performance motivation almost exactly without any rehearsal. .
She is indeed the ‘Iron Lady of Helsinki.’
“I haven’t seen such an exciting live performance in a long time.”
Just before the tension in the music almost reaches a kind of saturation.
Qin Jian's right hand suddenly half-raised!
Then it fell suddenly and rapidly!
"when--!!"
An exciting SF burst of sound opened a vent for the atmosphere in the entire hall, bringing the entire music to its first climax.
After the small climax, the music then entered the connecting part.
After a wave of silent confrontation, the piano and the conductor's podium seemed to have a deeper understanding of each other.
Throughout the connection, the two momentums in the music seem to have restrained, and they seem to be looking for the same way out after reaching an agreement.
Music moves forward steadily in the link department.
Throughout the 41 measures, Qin Jian uses an exquisite layout to clearly divide the complex musical levels.
The technique is clean, elegant but not too reserved. It seems to combine some of the traditional skills of Russian piano. It has a sense of style and dazzling skills of in-situ ballet without losing the rationality of German and Austrian piano. It is controlled and full of unique charm. Deep thoughts run through it.
At some point, Grisbeck's figure appeared in the dark corner of the backstage exit.
He stood upright like that, his expression still extremely poor, staring closely at the piano, listening to the sound of the piano coming from the stage, the corner of his mouth occasionally twitching slightly, and the fingers of his right hand moving irregularly.
He was dressed in costume and accompanied by Sabina's assistant.