725. Who was underestimated before the game at the unexpected scene?
Translucent, grainy timbre is by no means uncommon on the piano stage.
There were Pleyel and Dreshock before him, and Paul and Cody after him. They were all professional pianists who played this kind of tone.
In actual performance, this kind of tone should be played by emphasizing the coordination of the fingers with the wrists, arms, shoulders and relaxed elbows.
Smart and sensual, extraordinary temperament.
In theory, as well as in practice, this timbre is very suitable for playing Chopin's Nocturne Barcarolle and other salon-style works.
But it is not limited to playing polonaise ballads and sonatas on large stages.
Not even suitable for concertos.
Because the performance steps required to trigger this tone are too complicated and delicate, it is impossible to play it loudly.
There is no volume that can compete with the orchestra, and no matter how good the tone is, it cannot be produced. This is a consensus rule.
Whether it is the 17 official judges responsible for scoring or the "private judges" sitting around, everyone understands this situation.
But at this moment on the stage of the concert hall, Qin Jian used an unreasonable volume to break everyone's consensus on the same timbre.
The piano is full of a sense of progression and power as the melodies of the first theme and the second theme intertwine.
The orchestra progresses layer by layer around the piano melody.
The format of the classical sonata was gradually unveiled.
When the first movement reaches the development part, Qin Jian once again played a thrilling musical motif by pressing the chords on the key roots.
A style with rough drama and sharp emotions suddenly emerged on the stage.
Immediately afterwards, without giving the audience any chance to breathe, the music developed into the reproduction part in various modulations, and the sound of the piano completely took over the dominant position on the stage.
Finally, in the key of G major, the piano and orchestra are perfectly integrated.
When the classical sonata form uses the rough and free spirit of romanticism to play heroic Chopin's quotations in the current symphony.
This combination is destined to create a chemical reaction and produce an unforgettable scene.
This is not only a genius idea, but also a brave attempt.
When the music reaches this point, it is no longer just a fragment of a competition. There is something worthy of reflection by modern piano scholars.
Perhaps people who are engaged in the field of classical music research should have realized that 'if you treat music as a conventional language, it is impossible to know everything behind it'.
What really deserves attention is what artistic purpose standardized techniques are expected to accomplish.
All modes of "sonata" have been developed by composers for hundreds of years and now have a complete range.
Either a single theme, or a dual theme, or a complete development part, or not, or a partial recapitulation part, or a complete recapitulation part, and so on.
The key issue is that when all these forms are placed in front of today's performers, how should the performers choose a performance method to interpret them all.
In the final analysis, to discuss such intrinsically important issues, we still have to return to the subject matter itself.
Chopin clearly marked the form of the first movement of Chopin - 'classical sonata form.'
So Qin Jian played this movement with a timbre and bold design that exceeded the audience's imagination.
Perhaps only Mozart, who was reborn in the 21st century and saw modern symphony and the music of the younger Chopin, would have thought of putting it all together in this way.
But this seemingly completely unconventional combination is actually an extremely orthodox way of playing sonatas.
It emphasizes decoration, emphasizes structure, and clearly points out the relationship between harmonic and theme materials.
None of the 17 judges could deny Qin Jian in terms of performance design.
Even at the end of the tragic movement, Qin Jian's grainy tone seemed to lack a trace of emotion.
But the music is still full of empathy and moves everyone.
When the first movement actually ended, the entire concert hall, on stage and off stage, entered into a brief confrontation.
Such a lively and interesting sentence should be inserted into this gap, Brendel——
‘The piano is just a musical instrument, not an artifact. Only with Jedi control can it play absolute music’
...
As Marik waved the baton again, cantabile strings sounded in a low voice.
Qin Jian raised his hands, and his hands, which had stood erect on the keyboard for the entire movement, were no longer arched.
His wrists were pressed below the horizontal surface of the keyboard, and his fingers were no longer bent at ninety degrees.
The piano's timbre changes again in the air with a clarity visible to the naked eye.
Like gentle breeze and gentle rain blowing across the stage.
Chopin wrote in a letter to a friend: "The second movement of the new concerto is in the key of E major. I don't particularly require strong dynamics for this part. I hope to play it in a romantic, calm, and slightly melancholic mood."
It does not mean that one is looking at something that evokes countless happy memories, such as a beautiful spring, a bright moon and a good night.'
This is the second movement, Romance, in E major, nocturne style.
...
Qin Jian has always paid attention to the transition between movements, the mood of the piano sound and the conversion of movement and stillness.
When the grainy notes are replaced by the cool and elegant early spring rain and dew, the nocturne naturally and easily covers the classical sonata.
The beauty of harmony under Qin Jian's fingers is fully displayed.
As the third dimension of tension in music, harmony is the fundamental reason for the changes in music color.
But when the point was reached, Qin Jian did not continue to fabricate sentimentality under the harmony.
If possible, he hopes that his performance can correct some listeners' preconceptions about this movement.
'It is not a midnight song written by Chopin with his pen dipped in moonlight for a passionate girl.'
end.
He moved through the arpeggiated triplets fluently, and the entire movement disappeared in the mist.
To some listeners, Qin Jian handled the ending of this movement a bit hastily.
But Qin Jian didn't care about this. He made it clear that today's occasion was not the passionate afternoon with Duan Ran in the small town piano room.
At this moment, this piece is not meant to be played to anyone except the jury.
This includes himself.
Marik has once again played a new chapter.
The compact strings begin a dialogue with the woodwinds at lightning speed.
The third movement, Rondo, Allegro, E major.
Qin Jian raised his head and lowered his arms.
The crisp sound of the piano humorously induces the first theme.
With a shake of his arms, his gorgeous hands, which had been silent for another movement, once again moved flexibly on the keyboard to create dazzling moments one after another.
Often in those fleeting musical breaths, Qin Jian's expressive piano sound and the entire symphony display a refreshing brightness and richness.
From most of the audience’s perspectives, it was as if the high-spirited Chinese youth from the first three rounds was back.
Needless to say his amazing playing skills, what makes people even more impressed is his powerful aura of kingly demeanor.
This characteristic is not only reflected in him personally, but the entire orchestra has entered into a seamless dialogue with the melody under his command.
This is the first time that the piano lead takes over from the conductor in this final.
Marek made no attempt to 'take back' control of the orchestra; this was a secret agreement during rehearsals.
And Qin Jian did not overemphasize the importance of "self" in the following paragraphs. His bass and woodwinds created a cold-toned atmosphere, and the treble melody and string group echoed each other.
With a general pattern that transcends both the performer and the contestants, he permeates the cultural symbols and individual musical vocabulary of the symphony into the overall stage atmosphere.
When the piano and the orchestra marched in harmony to the last moment, the piano's tone returned to its translucent graininess.
The contrast between strong and weak instantly opened up the musical tension again, and the crystal-clear melody instantly became bright and vivid.
The answer to the puzzle seemed to be revealed at the last moment.
The ten fingers on the keyboard stood up again and began to run for the last time like a flash.
The rich and colorful strong performance seems to form an all-encompassing kaleidoscope under the bright lights of the stage.
Dazzling and gorgeous.
At the last moment, each listener may have seen a different Chopin playing music from somewhere.
"When—"
Qin Jian casually dropped the last note in the complicated flow of music.