Every great composer's creations have a distinct personal imprint, but they rarely face every work with the same attitude.
Sometimes they write down what they see, sometimes they write down what they feel.
Sometimes they will completely open up their hearts, allowing the listener to feel their most secret emotions buried deep in their hearts.
Op.28 is such a set of works.
Chopin's perception and concern about life are connected in this series of small songs.
There are by no means a few chapters in the history of music that are based on life insights, but most of them are presented in the form of a long work.
There has never been a pure piano work like op28 that explains "light, dark, sorrow and joy" in such a concise and concise manner and cleverly juxtaposes them together.
Op28 was Qin Jian’s trump card in the third round.
But in the end, in the third round of music selection, when he had to choose between [op28 and a sonata], he still chose the sonata.
This resulted in him being able to only use some of the 24 preludes as self-selected pieces to fill the third round of competition time.
When designing the repertoire for this concert, the first piece he decided on was Xiao Er.
The second song is this set of op28.
...
The performance begins,
Qin Jian played calmly, like waves upon waves, and No. 1 in C major rose from the piano with excitement.
The two temperaments of desire and sensitivity interpenetrate each other and bring the entire music hall into someone's music world again.
The tone suddenly changed, and the waves seemed to be led into desolation by No. 2 in A minor.
Qin Jian's face also became solemn. He played the bass part under his left hand extremely heavy, and the music seemed to have a prophetic quality.
In the uneasy development of the music, a gurgling clear stream of sixteenth notes is like a flock of birds crossing the sea, and the innocent face of No. 3 in G major is refreshing.
The innocence of nature is undoubtedly evident at this moment, but then the first-class notes rush into the high-pitched area, and the birds turn into a wisp of half-tones suspended in the air and disappear in an instant.
No. 4 in E minor comes from a distance again, like a scavenger walking on the streets of today's city.
His desolate back is out of place in this world.
The piano's emotions rose at this moment, and the increased volume brought out a striking emotional impact.
Qin Jian embodies an introspective emotion through constantly controlled harmonic changes. Everyone who is so busy with life that he forgets himself seems to be able to find a resonance in this melody.
In the aftertaste, No. 5 in E major appeared like a hawker at another street corner...
One exquisite sketch after another, one scene after another emerges.
Each of the twenty-four preludes under Qin Jian's command seems to be centered on an emotion, depicting the emotion with music, and making unique progress based on the picture.
The entire set of twenty-four preludes in Op.28 is full of kaleidoscope-like magical effects under his interpretation.
Every time you turn it, the previous strange scene disappears instantly and is replaced by another strange new picture.
The rapid changes are completely different from the long spiritual exploration in any large movement.
Nature, personnel, mood, even people with different moods will see different pictures when they hear the same piece of music.
This has nothing to do with the aura of a gold medal winner in the Chopin Competition. This is Qin Jian's best musical portrayal.
Perhaps this is also his talent. He can always control the music to find the most suitable one among tens of thousands of scenes and pictures for everyone who listens.
...
No. 7 in A major is dedicated to every stranger.
...
No. 12 in C-sharp minor is for the confused who can’t find the exit.
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No. 15 in D flat major to the rain.
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No. 18 in F minor is dedicated to young people who long for freedom.
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No. 21 in B flat major for the subtle admirer
...
When No. 24 in D minor sounded with decisive pathos, the choppy notes revealed an unsettling power in the violent ups and downs.
It first appears in two separate measures. In these two measures, Qin Jian shows his third timbre, which is dark and a little crisp.
The two bars are like the final prelude, and then run through the entire number 24.
The musical picture returns to the sea.
But in the night, the sea level is full of dangers.
Two more sections later.
Qin Jian's right hand presents a theme of fierce galloping, with the heroism of constant struggle in it, and then a sound falling from the sky seems to hint at the tragic ending.
The theme keeps changing on the bass background, and finally the falling sound evolves into a decisive dive.
Qin Jian's left hand suddenly stopped at this moment.
A meal.
The stage atmosphere reached an absolute climax at this moment.
The next second.
I saw "Dang Dang Dang Dang!!" in front of the piano!
Three strong bass Ds finally fell with Qin Jian's arms!
severe.
Leng Su.
For the first time, there was no applause from the audience.
There seemed to be a lonely echo on the stage - 'The dive from top to bottom cuts off the line of life.'
With the sudden ending, people seem to have lost their passion for life.
At the end of the last prelude, it is not so much "I can no longer find the passion for life".
rather say.
'No need to think about it anymore, whether it's passion or anything else.'
Because that's it, there's no going back.
A cruel and real scene, Qin Jian wiped his sweat and stood up.
“Wow————————————————”
A faint bow, at this moment it seems that only the lonely performer is still immersed in the music.
He turned to the backstage.
Leave the applause as if it has gone and never returned.
...
complex.
An Jieyi's mood was too complicated.
Unbelievable.
Argerich was shocked.
Breathtaking.
Ygraz and Edmundo had nothing to say.
worship.
Ivanov felt that he fell in love with Qin Jian.
Deep fatigue.
Adams saw the invisible distance between himself and the music.
I would like a CD of this version.
Rachel wanted it so much that Vaughn made up his mind to let Qin Jian record this version of op28 alone, no matter what the price.
pride.
Duan Ran is proud.
Glad.
Liao Linjun finally listened to Qin Jian's 24 major and minor keys from beginning to end, and she saw the mode and color model that Qin Jian had established.
Worth full marks.
Branjano became more determined in his last-minute decision in the final scoring session, and Taribek laughed about it.
complex.
An Jieyi's mood was too complicated.
...
mozart.
Shen Qingci clearly understood that this set of works was developed according to the order of modes, with a bright major key corresponding to a dark minor key.
What the audience should feel during this process is the alternation of different musical personalities.
But Qin Jian used his unique self-understanding and performance skills to create a natural fusion of this contrast between light and dark in the picture.
"Or it may be more appropriate to say that they are complementary."
After sighing softly, Shen Qingci also clapped his hands.
He felt that this piece could be Qin Jian's first work on the world stage.
In his opinion, the connotation expressed by this piece of music has far exceeded that of the other party's La San played at the Bergen Music Festival.
The brighter the light, the darker the shadow.
Under the applause, Shen Qingci thought of Mozart again.
...
The applause lasted for a minute, and the concert was over.
on the stage.
The musicians of the Polish National Symphony Orchestra appeared one after another.