The second piece of Qin Jian's first round - op25.no1, is in A-flat major, which is in sharp contrast with the revolutionary tonality.
It should be said that Qin Jian's first choice song also has the willful spirit of Duan Ran. Shen Qingci and him argued about it for a long time at that time.
Shen Qingci bluntly said that this piece was not suitable for the competition stage, as it was too weak in terms of technical difficulty and musical expression.
Qin Jian certainly understands these words, but personally, he wants to bring this piece to the arena.
Not for extra points, just for a small wish of mine.
He also frankly told Shen Qingci at that time: "Teacher Shen, this piece is very special to me."
Perhaps this sentence moved Shen Qingci, and finally Shen Qingci agreed.
As for why this piece is special to Qin Jian and what the special point is, this paragraph has been mentioned in a certain corner of the story.
At this moment, Qin Jian hardly needs to look for the performance state of a certain night, and almost naturally puts himself into it.
The simple performance already has a non-Chopin performance, with a tendency to break the romantic style.
The flowing notes are like words from the heart, bathed in the bright morning light, shining golden and silver.
Qin Jian's playing was calm, with his arms stretched out and his wrists turning flexibly, like a gentle girl, exuding a warm atmosphere.
At this moment, his eyes were full of tenderness.
The melody kept turning under his fingertips, containing the brilliance of youth.
The sound levels gradually become richer.
Before the end, the bass continuation returns to the key of A flat major, and the hazy pianissimo tells the final musical thought.
The dreamy stage became quiet as he raised his hand.
At the end of the song, he fulfilled his wish.
This piece is his tribute to his encounter with Chopin's music.
The two etudes are all over,
Qin Jian paused for a moment, then raised his hand and dropped his fingers again.
Then he presented his third piece, Nocturne in C sharp minor.
In this competition, the Nocturne in C sharp minor has been performed many times, which shows its popularity.
As a unique piano music genre, Chopin's nocturnes are full of Chopin's subjective color. The musical artistic conception it creates is unique in the entire Romantic music period and even in the entire Western music heritage.
Like etudes and scherzos, nocturnes are a must-select music genre in the first round of the public competition.
It is a touchstone to test the contestants’ handling of Chopin’s music and art.
Therefore, most players will prepare Nocturne as their trump card in the first round.
It's just that Qin Jian didn't put too much thought into the nocturne. Each contestant had a personal repertoire design. He placed the highlight of the first round on the fourth Scherzo.
With the stage atmosphere created by the shepherd boy's piccolo, he ended the nocturne easily.
Perhaps the first two etudes were played too unusually by Qin Jian, which made the following nocturne seem too ordinary.
After listening to the revolution and the shepherd boy's piccolo, some spectators and contestants couldn't help but expect Qin Jian to play some new tricks in the nocturne, just like the B major nocturne in the preliminary round.
But they were all disappointed.
However, there are still some audiences and contestants who are looking forward to Qin Jian’s Scherzo No. 1 in B minor.
This scherzo has been rated as 'the most tragic of all Chopin's scherzos.
The great Polish music historian Claudio once commented on this work - "The failure of the Warsaw Uprising made Chopin more haggard than the fall of Warsaw. His inner loneliness, pain, longing for relatives in his hometown, and depression are all reflected in this work.
It is concentratedly reflected through creative sound forms.'
Scherzo, literally, is a type of music with witty and humorous emotions.
That’s right, this was indeed the original intention of Scherzo when it was born in the 17th century.
However, this kind of musical form was used by Chopin to express the deepest pain in his heart.
The emotional expression of this piece is no less difficult than revolution, and more complex than revolution.
The three-stage structure of ‘ABA’ requires it to experience the dramatic contrast of ‘fast, slow and fast’.
Every piano player who has reached a certain stage has his own understanding of "fast" and "slow".
Qin Jian raised his hand for the last time in this round.
He positioned his hands on the keyboard and took a gentle breath.
The next second.
I saw the veins on the back of his right hand suddenly bulging, and then his hands suddenly jumped into the air about 10cm away from the keyboard. After a pause, his hands suddenly fell down in the air like a grasp.
"when--------"
"when--------"
Two dissonant seventh chords that run straight ahead are like two self-deprecating sneers!
It was these two dissonant seventh chords that greatly shocked the people of Chopin's era.
The sarcasm sets a certain ominous musical tone.
The chord sounds gradually fell.
A moment.
Standing up and raising his head, Qin Jian focused his eyes, frowned, and raised his arms and lowered his fingers again.
Then a group of running notes poured out quickly with his fast fingers, and a dense flow of sound developed in a hard, mechanical rhythm.
Each note is like a metal arm striking the keys, and finally ends with a three-note ascending motive.
The music then progresses to the middle section, and the tense atmosphere on the stage is relieved.
Instead, there is a beautiful and melodious melody.
The second topic begins.
Here Chopin quotes a Christmas carol from Poland called 'jezuniu'.
This melody from the motherland is quiet and full of peace.
Qin Key uses all-finger touch keys, trying to make every note blend out.
The piano melody is as gentle as a whisper, which is in sharp contrast to the first theme's volcanic eruption of anger.
The inner tension of the music is immediately apparent.
It’s just that the beautiful scene is fleeting, and the peaceful and dreamlike harmonious sounds seem to be brewing greater sadness for hunger.
In an instant, Qin Jian's expression changed, and his resolute hands turned into claws and fell down again.
The three-tone motive of grief and indignation strikes again!
Pushing the music to the climax of the whole song!
At the end of the whole piece, the stage scene showed a hungry and thrilling look, with the figure in front of the piano sometimes leaning up and sometimes leaning down sharply.
He opened and closed his arms widely, and the strands of hair on his forehead moved with his head.
In this scene, the music once again entered a storm-like riot, the intensity and momentum of which seemed to completely overturn the object.
"when!"
"when!!!"
"when!!"
"when!!!!!"
'Anger, a cry of rebellion.'
At the end of the set, an extremely dissonant ninth chord was repeated eight times under Qin Jian's hands at the strongest volume. The tension and tragedy of the music also reached its peak at this moment, and this tension finally ended in a series of It is released in the running of the scale.
The sound falls.
Close hand.
The song is over.
At this moment, perhaps everyone in the audience should ask themselves a question.
"It sounds so majestic and wears such a somber garb. Isn't that humorous enough?"