751. Cliveley, the first stop of the Polish concert
In a real class, the person who gains the most is always the lecturer.
When he imparts complicated knowledge to students from a higher perspective, this process not only allows him to review this part of the content, but in most cases also triggers his self-reflection.
It is easy for him to take advantage of this state to continue exploring in depth.
...
After finishing the rehearsal work, Qin Jian temporarily said goodbye to the student orchestra of the Gdańsk Conservatory of Music. He returned to the hotel to rethink his various views on Xiao Yi.
Undoubtedly, he had taken over the position of conductor during the entire rehearsal process in the afternoon. He continued the playing style he played on the final stage and asked the entire orchestra to move forward according to his needs.
He told everyone which part of the music the volume changes in every detail serve.
Everyone did as he was told, and sometimes he was satisfied with it just once, and sometimes even after repeated polishing, the music picture he wanted was not presented.
After reflection, he did not think that the main reason was because the musicians in this student orchestra were not as good as the musicians in the Polish National Symphony Orchestra.
It is true that in comparison, young musicians are indeed not as good as older musicians in polishing certain skills.
This is something they cannot compare to the veteran musicians, and this must be admitted.
Skills appear in a string player's bow arm as a player ages, and in a wind player's breath.
But also from an age perspective, young musicians have greater enthusiasm and the ability to accept new things.
And extraordinary music interpretation ability.
Qin Jian clearly remembered the scene in the afternoon...
...
When the rehearsal reaches the second movement, before the piano enters the music in the second movement, the string section and the horns jointly build a harmonious foundation, and then he enters.
He stopped at this point in the first rehearsal and expressed to the musicians in several parts that he needed a softer harmonic sound effect.
He told everyone based on the "weak" standard when working with the Polish National Symphony Orchestra, but he only gave the acoustic standard.
So one can imagine what happens next.
After several times, it becomes worse than once.
When he saw the principal horn player grimacing and not daring to look at him, he knew that the other player could no longer be weak.
There is also the cellist who always follows his attention, and the other person also uses trembling arms to express that he is trying his best.
So he asked everyone to stop again, and in fact it was indeed time to stop.
In that case, if he insists on proceeding according to his own ideas, he can no longer use an intuitive standard to make demands on everyone.
He realized that he should lead everyone into his ideas instead of just emphasizing the volume.
Then he paused the rehearsal, sat back at the piano and thought, 'How exactly am I going to play this part?'
Soon he discovered that he had not thought about the so-called "weak" when playing this section.
What is the criterion for weakness?
At that time, he asked himself such a question, and he discovered that what he wanted was not "weakness that has nothing to do with the comparison of strength and weakness."
He thought about it quickly, and then started explaining it to everyone again.
He asked the translator to tell everyone: "It feels like you want the music you play to be like a marshmallow wrapped tightly, but you can't squeeze it out of shape."
After the translator conveyed his words to the young musicians.
There is no miracle happening next, but the problem is solved.
...
He also remembered the look of disbelief and admiration from everyone when the problem was solved.
In fact, he didn't expect the effect to be so significant.
This made him understand something.
'If you are playing by yourself, you can try various phrasing and playing methods on the piano and hear different sound effects.'
'But when you're actually in front of a band, it's a lot more complicated.'
Through thinking throughout the afternoon, he recalled the Rhapsody on a Theme of Paganini, which he collaborated with the Yanjing Symphony Orchestra for the first time, and also recalled the Mozart record he recorded with the Berlin Philharmonic.
There is also a scene with Sabina and two scenes with Marek.
He found that the complicated situation had always been there, but he didn't realize it from his heart.
The reason why he was able to complete wonderful concerto performances one after another must be said that several major international conductors have been protecting him with a higher level of care by his side.
For the first time, Qin Jian realized that being a qualified conductor was not just about memorizing the entire score.
A conductor must have the ability to guide the musicians to turn the score into actual musical effects in their own way.
This is superhuman ability, and the command is superhuman.
Qin Jian had no intention of becoming a great conductor, but with the goal of becoming an excellent pianist, conducting was a subject he had to understand deeply.
Just like composition, without a composer there would be no performers.
Without a conductor, there would be no written live symphony, and there would be no moving large-scale piano concertos one after another in front of people.
“There’s a long way to go.”
Rubbing his temples, Qin Jian looked forward to the future.
'I can only say that music is truly the beauty of the world.'
Putting away his notebook, he took a shower and relaxed for a while.
....
At 19:30, the concert started as scheduled.
In the first half, according to the repertoire, Qin Jian played the Polonaise Op. 44, four consecutive etudes Op. 10-1, 5, Op. 25-2, 6, the Scherzo No. 1 in B minor, and a complete set of Mazurka op41.
In the second half, he performed Concerto No. 1 with the student orchestra of the Gdańsk Conservatory of Music, which won the full house’s applause.
The student orchestra of the Gdańsk Conservatoire exceeded expectations in this performance.
And he gave the fans a fantastic performance just as the audience expected.
When the orchestra played the last note, the audience burst into warm applause.
I don’t know whether it was arranged by the organizer or it was local custom. After Qin Jian finished the concerto and shook hands with the young conductor, one after another flower senders used his piano legs to decorate the Steinway into a big flower bush.
Faced with such enthusiasm, Qin Jian returned three times in a row.
The concert ended with enthusiasm.
After the event, Qin Jian and the young musicians of the orchestra drank and chatted happily at the celebration banquet arranged by the organizer.
The pleasant banquet lasted for two hours.
...
On the morning of October 29, Qin Jian, accompanied by a young conductor, visited the Gdańsk Conservatory of Music. During this period, he met two Chinese students who had just finished class in front of the teaching building.
Two international students excitedly asked Qin Jian for his autograph and a photo. One of the female international students boldly asked Qin Jian that he could post more personal updates on Weibo.
Qin Jian checked out Weibo during lunch, and before he knew it, he had 800,000+ fans in a week.
His last Weibo post "From today on, music is no longer a competition" has received 17,432 comments and been forwarded 5,873 times.
After reading through the comments, he felt everyone's love for him.
While waiting for his flight in the afternoon, he sent a message in the airport lobby: "Goodbye, Gdansk."
The accompanying picture is a close-up of his performance at last night's concert, and a photo of him on stage with the student orchestra of the Gdańsk Conservatory of Music.
The plane took off and Qin Jian's concert in Gdansk ended successfully.