When the notes flying all over the sky rushed towards the bottom of the stage fiercely, several people in the judges' table seemed to have some illusions.
Just like Branjano, they had seen this scene before in the Nalu competition fifteen years ago.
Sitting in front of the piano are two identical young figures.
They come from the same place and have the same talents.
The same opening track was chosen and the same opening method was used.
So much so that Argerich's immediate reaction in her mind was: Qin Jian used the imitation trick he used in the preliminary round again! This time he was imitating the Chinese pianist she admired very much.
Argerich was not the only judge who held this idea, including some people in the contestants' seats and some senior viewers in front of the screen.
In the preliminary stage, Qin Jian's performance style did leave some psychological shadow on them. At that time, some judges and Xiao fans confessed their shamelessness towards "imitating other people's behavior in the competition".
But just after eight short measures of music, everyone who had this idea couldn't help but change their expressions.
The development of music has changed, and indescribable motives are whizzing away to places no one expected.
Music notes were flying in the hall for a while.
On the black and white keyboard in the center of the stage, a pair of big hands played the eight-bar intro like a dragonfly and then cut into the theme.
The melody in the high register is sometimes impassioned and sometimes deep and lingering.
The accent marks in each section seem to be carved with edges and corners, intensifying and extending the emotion.
The music leads to tension in an instant, and then falls back in an instant.
As a result, a huge torrent was formed, with ups and downs.
With the tall and passionate figure in front of the piano, everyone's heartstrings were gradually involved in this torrent.
At this time, the entire hall seemed to be immersed in waves.
The cadenced and dislocated opening creates a contrasting opening for Qin Jian's revolutionary etude.
This is also the writing technique that Chopin was good at in composing music.
The combination of the two creates a very dramatic stage effect at the opening of Qin Jian.
Based on this alone, he is already half a chip ahead of Robert.
The audience watched the competition, listened to Chopin, and listened to the excitement. They enjoyed the process.
Players will think while playing music.
The judges must look for clues under the surface of the music, because the contestants' thoughts are hidden there.
The competition has entered the first round, and the judges’ perspective when examining the contestants is no longer limited to the contestants’ basic skills and on-site performance. At least in this round, they will add another assessment on top of the contestants’ technical performance—music processing.
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Music processing is the expression of the core of the work.
And from the perspective of the work.
Among Chopin's many etudes, Revolution is undoubtedly the most exciting etude that best expresses the inner tension of Chopin's music.
Based on the principle of a single theme and a consistent repertoire style, this piece has become a frequent visitor to the Chopin Competition.
In almost every competition, more than two contestants will perform this piece in the preliminary round or the first round.
Usually when it comes to Chopin's "final work" in Op10, it is inevitable to say that the birth of this work stems from that sudden revolutionary event.
Warsaw fell and all lives were lost.
So how should one perform a work that was born under such a bad fate?
From what angle should the performers understand the poet's emotions when he was creating?
These can all be attributed to professional issues in the field of modern piano.
People can hear versions played by various pianists from various periods on the market.
Whether it is Cortot in the first half of the 20th century, Rubinstein in the second half of the 20th century, or the subsequent Chopin Competition champions.
It's just that there are very few versions that are regarded by everyone as absolute classics.
There are factors of the background of the times, factors of the continuous development of piano technology, factors of layers of changes in recording technology, and even factors of performers constantly denying themselves.
All of this illustrates the complexity of this piece.
For such a piece of work, every player, performer, and judge has his or her own thoughts.
‘Endless shouting to silent despair’—is Qin Jian’s current understanding of this work.
He condensed all the emotions and thoughts of the work into the treble part of the right hand.
Among the two techniques used in the treble part, for octaves and chords, he uses a "push down" method to cushion the keys.
This is an unusual playing technique, and he has not demonstrated it in the preliminary round.
Coupled with the powerful strength of his fingertips, every time his fingers touch the keys, he will form a blur of sound. While adding extended timbre and charm to the sound, the music expresses something more profound than hysteria.
It's like a strong sound followed by a silent cry.
And every silent cry is paving the way for the next upcoming emotional climax.
High emotions can always come down in a moment of relaxation.
This rigorous and refined cycle also builds the internal structure of the work into a tight fit, full of tension.
In the last four bars of the performance, the music breaks out from a weakened light intensity for the last time.
On the stage, Qin Jian's expression suddenly tightened, and his hands quickly slid from high to low.
Ten fingers are tightened, raised and lowered sharply, and the keys are dropped with the fingertips!
“Dang Dang!!”
Finally, the last two notes on the score are completed with two powerful ending chords of fff intensity.
After the reverberation of the last shout faded, every pair of eyes in the audience stared at him.
Qin Jian was not in a hurry to take back his hands, as if the music was still going on
He stared at his hands with a solemn expression.
One second, two seconds...until five seconds pass.
When the stage fell into complete silence, an invisible pause concluded his opening work.
Raise your hands and retract your arms.
The two movements were accompanied by a light breath, and Qin Jian seemed to have unlocked the stage breath that was locked by the music.
"call--"
this moment.
The hearts in the audience seemed to slowly sink.
But the picture of music is still rising and falling on the stage, a shout followed by a silence
In such a revolution, there is no indescribable sorrow, only silent excitement.
Shocking.
From the dramatic opening to the mysterious ending, Qin Jian almost subverted the image he left in the preliminary stage.
From the judges' seat to the audience's seat, everyone's eyes seemed to be watching the figure in front of the piano from a distance from different angles.
Fang Zongyao seemed to have seen the return of the mysterious Qin Jian in the Huayun Competition.
Backstage, Duan Ran looked at the big screen and was secretly excited.
On the screen, Qin Jian picked up a handkerchief and wiped his palms, then raised his hand and started playing again.
The flowing arpeggios unfold slowly, and the melody of the shepherd boy's piccolo is like stars.