The camera returned to the stage, where Koch and his students were seated in front of two pianos.
The scene was quiet.
I saw the teacher and student on the stage looking at each other, nodding to each other, confirming each other's status.
The next second, the four hands in front of the two pianos soared into the air at the same time.
"when--"
Landed at the same time.
"when--"
again.
Qin Jian frowned and a question mark appeared in his mind.
Two overlapping tones of the main chord of E flat major played over the stage.
It's just that the gentle intensity doesn't have the momentum this movement should have at all.
From the very beginning, Koch surprised the audience.
No matter what type of change it is, when the first movement of the Eroica Symphony does not break through the dam with a majestic chord introduction, will there be an endless torrent pouring down in the follow-up?
Immediately afterwards, Koch gave the answer to this question.
The two pianos work together to present the theme of the first movement.
The simple material interpreted by only two pianos, without the symphonic effect of the entire orchestra, is still full of a lingering passion for struggle.
In terms of intensity, it only sounds half a level stronger than the two soft chords just now.
Koch captured the audience's attention in just one moment.
He seemed to be using stage facts to tell the belated audience, "Listen carefully, this is indeed the first movement of Beethoven's Third Symphony."
From here on, different audiences have different focuses of attention.
From the perspective of a piano player, first of all, he expressed his admiration for the superb ensemble skills of Koch and his disciples.
When the music started, he first heard two clear chord parts.
There was no problem, he didn't even have any confusion about the strength of those two chords due to auditory inertia.
But that doesn't mean he didn't have doubts at that moment.
But now his doubts have been eliminated. At first, he didn't understand why the two players used different touch methods to play two chords that were supposed to be harmonious, creating an external antagonism.
Maybe others don't notice this, but he is Qin Jian after all, and no moment when the piano is struck can escape his ears.
Now he understands, as a creator.
Especially after hearing the theme unfolding behind the two, he understood Koch's intention in adapting it this way - symphonic piano is still not an outdated topic today.
As we all know, Beisan symbolizes Beethoven's bold and innovative spirit in symphony creation.
Beethoven, who loved the Republic all his life, admired Napoleon very much and once regarded him as the heroic incarnation of idealism with the mission of a great republican system.
If a musician is infected by the revolutionary enthusiasm of a revolutionary, then apart from being a "hero" who writes a majestic work for him, what else can he do that can compare with him?
Beethoven did not find the second way, so this work was created.
Suffering from increasingly serious ear problems, in the spring of 1804, Beethoven's pen and Beethoven's third pen came out.
This is a work written by Beethoven to Napoleon.
Even though in the end, because Napoleon proclaimed himself emperor, Mr. Pei tore up the title page of the score that was about to be sent to France in anger, the indisputable fact is that this work has indeed been born.
Before the advent of Beisan, no composer or symphonic work had ever expressed such a great theme or scale, and contained such a variety of intense and tense contents.
The powerful fighting spirit contained in it has become increasingly full of dramatic tension after several generations of precipitation.
If Qin Jian himself were to adapt this work, he would definitely start from this fighting spirit.
And Koch obviously started from the spirit of this theme.
It's just that Qin Jian may not think of playing a game between the overall volume and local performance techniques.
That is to say, the spirit of struggle does not need to be reflected with huge playing power. The confrontation can be fully reflected by playing the same set of chords with different playing techniques between the parts.
“Exquisite.”
Although the principle is simple, Qin Jian knew that if he wanted to use the two piano parts harmoniously to achieve this, it would be no less difficult than rearranging the entire work.
Simple but not simple, Qin Jian gave high praise to the opening part of this piece adapted by Koch.
With the arrival of the expansion part, another surprise appeared between the two pianos.
Anyone familiar with Beethoven's symphonic works knows that he was accustomed to controlling the development of music within one-third of the presentation.
In the first movement of this work, Mr. Pei greatly reversed this relationship, making the ratio of the presentation part and the development part about three to five, which exceptionally expanded the internal structure of the sonata form.
Therefore, this piece encountered a lot of criticism during its premiere.
Critics complained of its excessive length and protested the lack of fundamental unity in this seemingly most unified work.
Even today, controversy remains over this issue.
Some so-called "New Viennese School composers" still insist on calling the "cello and oboe" duet in the development of this movement a new theme.
Qin Jian disagrees with this point. In his opinion, this duet is actually derived directly from the main theme and does not involve starting from scratch.
In the symphonic version, it is the oboe lines that are later discarded, while the cello motive is retained and later transferred to the winds.
This transfer is a strong evidence, because the relationship between the cello melody line and the main theme is very close.
This is not only a musical relationship, but also a relationship that must be heard clearly.
If an arranger follows the rules of Baynesian symphony, he will not give up the expressive tension in this development.
There is no doubt that Koch is such a person who adheres to principles in essence. He played the part that should have been played by the cello to make the character of the melody stand out as much as possible.
The student who played the oboe did not flinch at all, displaying an authentic German-Austrian piano.
The two are in confrontation, drawing the huge development department into a circle of chasing each other, competing with each other, but driven by external forces, they have to be trapped in a giant whirlpool of counterpoint and polyphony.
Qin Jian lamented Koch's insight into Beethoven's musical works.
He was convinced that even if he was given another three years, he would not have the extra imagination to change such a work.
It is not difficult to imitate a cat and draw a tiger, but in addition to this complex relationship, what is even more amazing is that Koch has an extraordinary continuity in weaving the musical motives under the complex structure.
The brilliant music gradually came to an end. At the moment before the end, Qin Jian naturally thought of Mozart's usual ending method from the music.
The clearly arranged units were clearly listed in front of him.
He is confident that at least for now he understands Mozart's music better than Beethoven.
Koch skillfully blended the musical phantoms of Beethoven and Mozart at the last moment, which amazed him.
"Wow——————"
When the song ended, the applause did not seem to be heavy, but there was still a lot of cheers.
Qin Jian didn't care what the people around him thought of this two-piano piece.
For him, today he finally saw how the Viennese people, who inherited the spirit of orthodox German and Austrian music, perfectly combined creation and piano performance simultaneously.
At this moment he had a little self-doubt.
Regarding the selection of mentors, might his previous decisions be a bit prudent?