739. The most special thanks to the most special of you
Secret love is bitter.
The melancholy string introduction plays the palpitating palpitations of the poet's heart - 'reflecting the composer's deep attachment to Constance, a girl from the Warsaw Conservatoire.'
The audience once again followed the orchestra into Chopin's musical world.
...
The second movement, Canto Largo, is in the key of A flat major.
Secret love is also beautiful.
When the piano appears like an extremely romantic and soft lyrical nocturne, the sad strings seem to be injected with an inexplicable emotion.
It was as if Kung Fu became brighter in an instant.
Qin Jian's eyes also became brighter along with it.
He raised his head and stared diagonally upward.
The soft light illuminated his eyes, and his pupils shrank intermittently.
His hands flow freely over the keys with rabuto.
The warm A major key touches the heart of every listener under his fingers.
"good."
Perhaps this is the resonance of all the audiences in the audience at this moment.
The sound of the piano passes through the theme, starting from the deep bass and gradually igniting the fire of passion.
Beating vibrato, pure white chords.
For the same paragraph, Qin Jian and Rachel Duan Ran chose completely different processing paradigms.
Rachel is green and Duan Ran is free.
Qin Jian is affectionate.
The flickering sound of the piano flashes like a phantom in the brilliance of the orchestra's sound.
Anyone who hears this performance will be deeply fascinated by this exquisite, smart, delicate and sentimental melody.
People seem to be able to hear the performer pouring out his deepest love.
So true and beautiful.
...
Qin Jian seems to be proving to the world that when he wants to play the game of affectionate love, no one can be more devoted than him.
However, there is no evidence behind all this.
In the process of preparing the final repertoire, he put in no less effort on Xiao Er's score than Xiao Yi.
As one of the greatest composers of the Romantic period, Chopin's romantic intensity penetrated almost every period of later generations.
After Beethoven's death, musical themes with internal emotional conflicts almost completely disappeared.
Emotional unity similar to the style of the late Baroque has returned to the world of composition. This was not only a popular trend at the time, but also stemmed from the profound changes in the perceptual world in people's hearts.
Just like what romantic poets want to express is not the logic hidden under experience, but the coherence of experience.
It is not a series of independent events, but a transformation from one emotional state to the next.
The short slurs that marked the phrasing of Mozart and Haydn have given way to long slurs in Chopin's works.
Sometimes a Chopin line spans several pages of music.
This is a new kind of originality.
It is Chopin's new understanding of the emotional intensity of romantic music in the 19th century.
...
This new understanding first appeared in the second movement of Chopin's Second Piano Concerto.
Always respecting the original work, Qin Jian used various performances to perform this movement.
In the end, among various complex connections, he finally found the resonance between him and Chopin.
"In this movement, the emotion must have absolute coherence, and I need the orchestra to constantly create pressure on the piano outside the piano."
These were Qin Jian’s exact words when he and Marek were communicating about the second movement in the afternoon.
"I hope the listener hears the music moving forward through multiple emotional changes, rather than moaning alone in a single emotion."
...
This was the reason why Marek was frustrated for nearly two hours during the rehearsal process. Qin Jian was even more familiar with the score than he was.
From volume to harmony, from string bowing to wind instrument continuous playing.
Qin Jian almost politely asked any musician in any part.
But with Qin Jian’s geek spirit, the effect of the last rehearsal of the second movement surprised everyone in the orchestra.
At that moment, Marik was completely impressed by this young Chinese man.
He hoped that he could help Qin Jian perfectly tonight to finally present Xiao Er on the stage.
...
At this moment, he knew he needed to show up with the band.
Suddenly, he drew a semicircle with his left hand.
The moment the right hand is pressed down, the string section's extremely fast jumping bows are like a swarm of swarms, making the music instantly enter a dense sense of tension.
It's like a fierce inner struggle in the unrequited love poet's heart.
The soft piano suddenly doubled in volume under the pressure of the orchestra.
The conflict of opposites immediately drops the musical atmosphere and introduces an over-the-top motive.
The music continues to be tense, and the piano becomes more and more anxious.
At this time, Marik did not dare to relax. With a glance, the bassoon voice appeared, and his gentle voice seemed to soothe his emotions.
But the piano remained unmoved.
Then one wooden pipe appeared one after another, and they gradually approached the sound of the piano in a layered manner.
Gradually, Piano's expression finally relaxed.
Gradually, the entire musical color also changed.
Then the entire stage performance seemed to enter into a musical motive.
...
The piano melody is connected to vibrato.
The string section no longer jumps, they lengthen the tone and lay the foundation for the harmony to move forward.
At the moment when all the instruments reach a zero point together.
It's as if all the musical instruments have slowed down, the camera has also slowed down, and the audience's auditory response has also slowed down.
Only Qin Jian's movements were not slow. He moved his arms sideways in a decelerating world.
Then a rainbow-like melody floated from the piano.
"Ding ding, ding ding"
"Ding ding, ding ding"
The double notes of the piano are like candies falling on the rainbow.
For a moment, the music scene was extremely sweet.
this moment.
It seems that all the poet's sweetness about secret love is concentrated in this string of notes.
After understanding this scene, I also understand the expression of Qin Jian's second movement.
...
The moment when the second movement ends.
The third movement was brightly ignited.
The gorgeous melody carries the rhythm of a mazurka, and Qin Jian adds a bit of mechanical arm-like playing movement here.
Some delay is added to the piano melody, and this delay has the flavor of Chopin's free speed.
Such a picture, accompanied by such music, is extremely vivid but there is no trace of deliberate showmanship.
On this stage, I can only lament that some people are born to be on stage.
...
The third movement was originally Chopin's farewell gift to the motherland, but the composer never imagined that this farewell would be an eternal farewell.
Therefore, when most performers want to play this section, they use a deep and grand scene to express it.
Maybe this is right.
Maybe there is another correct answer.
When Qin Jian replaced grandeur with a smile and melancholy before leaving, and replaced depth with longing for the future.
He thought this should be all the thoughts of the 18-year-old young man when he stepped out of his hometown and turned around to look at the motherland in the distance.
Audiences who expect Qin Jian to end Xiao Er with a big scene are bound to be disappointed today.
When the gorgeous arpeggios of the piano combined with the exciting harmonies of the orchestra passed through a rural mud puddle and disappeared into the dense forest in the distance.
The poet's life may have just begun to sail into the distance from this moment.
With the love buried deep in his heart.
And his talent.
...
“Wow!!————————————————”
Applause is by no means the end of this concert.
Besides, the applause is not over yet.
Let Qin Jian sit on the piano bench and take a breath. His back is already soaked.