Qin Jian chose to use the prelude as the opening of this round, and the meaning is clear at a glance.
Prelude.
His choice seemed a bit crazy to many judges.
The prelude to op.28 has a total of 24 music fragments, and Qin Jian chose the first 15 fragments as filler pieces for this round.
This means that from the beginning, he will spend a lot of energy processing these fifteen fragments.
Everyone knows that each of Chopin's preludes is not as brief as it seems.
It can be said that each fragment is an independent work and an exclusive story.
Let me tell you fifteen stories first, which will be a test for Qin Jian.
If a story is not told well, then his opening will end in failure.
This is undoubtedly a blow to those who have high expectations for him.
So Qin Jian's repertoire seems like a gamble.
But his opening chapter is perfect enough.
Different from the previous players who played Op. 28-1, the previous players all played the first piece extremely positively, and it sounded like an upright C major.
But anyone who has read this piece of music knows clearly that Chopin clearly marked this piece as 'agltato (excited)'.
Qin Jian taught everyone how to show excitement in C major with his textbook performance.
His arrogant fingers are flexible and clever, seeming to express strong self-expression.
The calm stage left by the Irish boy was quickly rekindled by Qin Jian.
In the continuous development of op28-2, op28-3, op28-4..., every time he enters a new story, he will bring a new experience to the audience.
Until op.28-15, D flat major - Raindrops.
This is Chopin's most famous prelude, it is almost difficult to say one of them.
Audiences who are looking forward to sweet raindrops are doomed to be disappointed. The Chinese young man in front of the piano seems to have no intention of turning the D-flat major into a beautiful love encounter.
His expression and his arms were filled with a strong sense of confiding.
The thick sound of the piano is like a vicissitudes of male voice, and every sentence is telling.
After the performance entered the middle section and switched to C-sharp minor, he seemed to have brought each pair of ears into a narrow valley, and then raised his hand to summon the dark clouds in the sky.
The roaring chords are so gloomy
The entire layout of the 15 preludes unfolded at this moment, and the audience seemed to understand at once why Qin Jian's opening op. 28-1 was so disturbing.
Qin Jian ended his performance with a sound that seemed to be clear but not clear.
"Dang."
It's like the first drop of rain falling, but the song has ended, leaving only the artistic conception.
Close hand.
"call--"
Incredible performance and design beyond its years.
Qin Jian once again shocked everyone in the new round, including Shen Qingci in the audience and Branjano in the judges' table.
Both of them have played this set on stage in the third round.
The game continues.
...
Wiping the sweat from his palms, Qin Jian gathered his thoughts and started playing the next piece.
Drop arm!
"Dang!!——"
The soul-stirring heavy chords are like a blow from the soul rushing from the piano to the audience!
The atmosphere on the stage suddenly changed again.
Nervousness begins.
‘Op.35, Piano Sonata in B flat minor’—a death poem of a funeral march.
As soon as the solemn first movement Adagio begins, it expresses an anxious mood with an excited B-flat minor.
After the four-measure prelude, a vigorous octave kicks off the whole song.
The music reaches the first climax in gorgeous column chords.
Enter the second movement.
In the second movement's Scherzo form, Qin Jian's majestic expression foreshadows how he will play this movement.
The resolute and powerful melody is mixed with a little bit of drama, and the continuous chromatic scale of sixth chords is rigorous and orderly.
The first two movements are completed in one go.
In the third movement, the most important part of the whole song is the "Funeral March."
At the beginning, Qin Jian's left hand part uses pillar chords to evenly hover between the main chords and subordinate chords, creating a sense of heavy pace.
The single note in the middle voice of the right hand is like the soft tolling of a funeral bell.
The gentle melody, with the cooperation of the left and right hands, presents a musical picture full of sadness but solemnity.
The solemn theme touches people's hearts.
When it comes to outlining musical images, this is Qin Jian’s strength.
It wasn't until the entire sonata was performed that he breathed a sigh of relief.
Regarding this piece, even though he had just performed it in the official venue of the Chopin Competition, he could not say how he felt about this piece.
During the preparations for the war, he spent a lot of thought on this piece, but this is still the only way he can do it so far.
Smiling, he wiped the sweat from his palms again, thinking that there was a wrong note in the fourth movement.
It's harmless.
Putting the handkerchief aside he began to play the last piece.
'Mazurka No. 41.'
The melody starts dancing gracefully.
The young people on the stage used a beautiful body rhythm to bring out the dancing melody.
This is the first time in all competitions that Qin Jian has added obvious body movements at the beginning of the music.
His slender body and arms are his physical advantages, as well as his angular profile.
He seems to be trying to attract the attention of the audience with his "beauty".
...
In the rest room.
Duan Ran clenched his two small fists and stared intently at Qin Jian's every move on the screen.
It can be seen that she is really nervous.
Duan Ran's nervousness is traceable.
First of all, Qin Jian has something to say about the mazurka.
Every pianist will have obvious repertoire style preferences at a certain stage. This preference almost determines the performer's future performance style or he will be marked with some kind of special meaning.
Titles such as 'Mozart player', 'Bach interpreter' or 'Chopin expert'.
Qin Jian confessed that he likes Chopin's preludes, likes Chopin's etudes, likes Chopin's concertos, and even the sonatas that have troubled him for a long time have reasons for his liking.
But only the mazurka.
The mazurka was hard for him to like from the bottom of his heart.
Whether it was Fu Hua, a former Mazurka Grand Prize winner, who told him about the "beauty of blank space" in Mazurka, or Igraz, a native Polish pianist who had won the Mazurka Grand Prize in recent years, told him about it
'The origins of the Mazurka and the Polish nation.'
None of this really moved him.
He will listen to the parts that are beneficial to his performance from these suggestions, and then process them in depth.
Fortunately, he never planned to become a 'Chopin expert' from the beginning, otherwise it would be really against his will.
Yesterday in the piano room, he complained to Duan Ran about the cumbersomeness and tiredness of mazurkas. Duan Ran was surprised at that time.
She never thought that Qin Jian was playing mazurka with such emotion. On the contrary, she liked mazurka very much.
Qin Jian's admission made Duan Ran feel a little uneasy. Of course she didn't care about Qin Jian's attitude towards the mazurka, but she knew that Qin Jian had to play the mazurka in front of all the Poles and all the judges.
During the days when she was with Qin Jian, she had long noticed that he was ready to reach out to the trophy.
She looked forward to seeing that scene extremely.
How much she was looking forward to it, how nervous she was at the moment.
"Come on, hubby!"
It’s understandable that I’m so nervous that I can’t help myself.