696. Head-to-head! A Q{xml}A with Branjano and Andrzej
There is no rule that stipulates that good music must first express inner love for the notes on the score, and then turn them into beautiful notes from the piano.
Just like Mozart's famous collection of works, a considerable part of them were written out of necessity.
One cannot deny the mystery of those gorgeous notes just because of his writing motives.
When a thin girl sits in front of a huge piano and plays polonaise with a childish tone, who can say that there is no heroic side in her heart?
Musical expression is both subjective and objective.
The two can be divided into two major camps. Each camp has representatives of its own school and the most famous performers in the world's music scene.
The former can ignore the relationship between various notes and chords on the score, or the differences between strengths and weaknesses, and only rely on personal feelings to guide the development direction of the music. In exciting places, it is easier to arouse the enthusiasm of the audience in the audience.
The latter takes rigorous and orderly progression as the basic prerequisite for performance. The music is calmer in their hands, and each precise pole constitutes their overall musical idea, making people unconsciously recall the mystery after listening to it.
But both are abstract, and music itself is abstract.
Qin Jian defined his personal performance as the objectivist in subjectivity.
He naturally likes to regard the emotions in music as the most vivid motivation in the development of music. Many emotional people are like this.
Therefore, you can often hear music full of passion and power in his performances.
But the passion and power behind it are not achieved by simply hitting the keyboard with force or pedaling the sustain pedal crazily. Everything expressed in the music can be traced, and it is all on the score.
Qin Jian has always been loyal to the composer's writing intention, which can be seen in all the works he performed, from Mozart to Mombo and others.
When he gets a new piece of music, the first thing he does is always study the music sheet.
The composer wrote all the details between the lines of the staff.
On the afternoon of the day he got the collection of Mazurka works, Qin Jian read it roughly three times.
After some screening, he selected two sets, op41 and op56.
This was the mazurka he decided to use to enter the Chopin Competition.
The next day, he carefully studied the two sets of mazurkas from beginning to end, not missing a single section.
In a whole day, he made sure that he had thoroughly understood the music charts of these two sets of works.
But this does not mean that he already had any affection for these two sets of works when he started practicing on the third day.
In fact, when he skillfully played these two sets of works to Shen Qingci, they still seemed to have never entered his heart.
But Shen Qingci nodded and said 'ok.'
Later, he summed it up and came to the conclusion that liking a piece of music does not mean that he can play it well, and vice versa.
Works that you don’t like may not be untouchable. Qin Jian is a piano player and will be with the stage for the rest of his life.
He cannot guarantee that he will be able to perform his favorite music at every concert in the future.
A mature professional pianist will adapt to the market.
A good contestant will adapt to every aspect of every round.
...
Xiaopang Duan was worried that something was wrong with Qin Jian because she knew something that others didn't know, but at this moment, the audience in the audience was intoxicated by the mazurka No. 41.
They watched the smooth and pleasing performance in front of the piano, listened to the graceful free-speed rhythm in their ears, and sighed in their hearts.
In the previous rounds of competition, Qin Jian's performance has left a deep impression on the audience.
This created a full sense of expectation for him in this round of competition. This sense of expectation cannot be embodied in how he will handle a certain detail in the music to satisfy the audience.
He only needs to play the music according to his intention during the game and let the audience hear it.
As for how the judges viewed his mazurka, his design was "not paying too much attention to every note."
He was thinking more about how to make the entire set of mazurkas smooth and logical.
The benefits of not being distracted by the work are reflected here. In the design, he completely set aside his personal playing habits and completely followed everything required in the score.
In addition to this absolutely calm processing, coupled with his unique ability to change timbre, the first three songs of op41 were completed in one go under his fingers.
Op41-1, the complex trilogy in C-sharp minor is embodied in an exotic mood under his calm fingering.
At each staccato beat, he would raise his hand to pick up the sound, seemingly allowing the audience to see the rhythm beating on the stage.
The sad atmosphere of the main color seems to be constantly purifying this beating rhythm.
His playing seems to be saying - jumping is not exclusive to joy, sad waltz can also be used.
‘Balanced handling’ is what he demonstrated in no.1.
After the music smoothly enters Op42-2 in E minor, the lyrical Andante slowly stops the beating.
When Chopin's emotions could not allow the notes to continue dancing, Qin Jian slowed down the rhythm appropriately.
A singing voice appears, and his performance is like the monologue of a piano poet, so sad that it makes people cry.
‘Control of timbre’ is his demonstration in no.2.
The clear rhythm wipes away tears. Op.41-3 in B major is not as robust as a mazurka. Some music historians have commented that this mazurka is the one with the least characteristics of Chopin.
But Qin Jian doesn't think so. Isn't the least distinctive a characteristic in itself?
Faced with complex key changes, he used his methodical performance to give this mazurka a crystal-clear side.
‘Perfect fingers’ is his display in no.3.
At this point, only the last section of op41-4 is left before Qin Jian's third performance.
Finger drop again.
The bright A-flat major dramatically opened his final performance.
Lightly falling fingers, dots of Chinese tones float from the strings.
Qin Jian no longer controls the tone, but also puts away the power of his fingertips.
At the end, the music seemed to flow on its own in the sky above the concert hall.
Gorgeous.
Losing its decorative appearance, the mazurka danced with a sense of freedom at the last moment.
...
When the music completely disappears in the hall, the feeling of freedom still exists in everyone's heart.
"Pah, pah, pah, pah"
The first round of applause came from someone in the contestants' box.
“Wow————————————”
Applause from the Liancheng Line broke out in the next second.
"bravo——"
“bravo————”
A louder cheer woke Qin Jian from the piano.
I saw the tall young man standing up with one hand holding the piano, turned around and bowed.
There was a sense of gratified satisfaction on his face.
bow.
"Thanks."
He said this and bowed again.
Then step down.
In the judges' seat, the judges communicated with each other.
Taribek first made a brief evaluation.
"all in."
He watched Akridge write a 25 on the paper.
...
Knowing how to "retract and release" is the only way for a performer to become a master performer.
Talibek felt that Qin Jian's last set of mazurkas showed the style of a master.
Especially the last op41-4, he couldn't think of a better way to end it.
"He is a young man with great physical strength."
The Russian judge on the other side of him commented, "He is one of the few Asian players who can maintain the quality of his tone after playing for 55 minutes."