Thinking about the choice of teacher, Qin Jian inevitably thought of the "intense" scene he experienced at Shen Qingci's house that night.
Shen and Liao had differences of opinion after hearing his performance of Beethoven's Piano Concerto No. 5.
The point of disagreement is that Shen Qingci approved of Qin Jian's use of Mozart's playing techniques to deal with certain passages of Bei 5. What he emphasized was technique.
Liao Linjun questioned this recognition from another angle.
"Beethoven's late works already tried to weaken the writing form."
Liao Linjun said this at the time. What she wanted to express was that this technique was not suitable for Beethoven's late works, especially when dealing with large-scale works. She emphasized the connection between movements.
But Shen Qingci then scorned Liao Linjun's view and said that Liao Linjun's arguments were only "Koch's personal views."
The implication of these words sounded a bit like "Koch's own performance level is still open to question" to Qin Jian at the time.
As a result, the final scene escalated from an argument to a quarrel.
Liao Linjun then ended the topic with a view that "Although Koch is only a piano scholar, he is an orthodox representative of the fourth generation of German-Austrian piano", which can reach a consensus among everyone in the circle.
Although there was also a reason why Shen Qingci chose to give in strategically, Qin Jian knew that this dispute was far from the end, and the two's resignation was just a temporary stop at most.
After listening to Koch's performance in person, he had to rethink several issues at this time.
First of all, if Koch is just a piano scholar, then Qin Jian believes that more than half of the world's pianists can only be counted as piano apprentices.
Now he has a profound understanding that technology is nothing more than hard work and physical achievements between morning and evening.
Available to everyone.
In the final analysis, the origin of music still comes back to musical thought.
Now Qin Jian has revised his opinion in his mind - Koch may be a piano scholar, but Koch is an out-and-out musician.
A musician with independent musical ideas.
Secondly.
In the repeated "conflicts" between Shen Qingci and Liao Linjun, Qin Jian always habitually attributed the problems to their different educational philosophies and the same strong personalities.
But while listening to and watching the 15-minute two-piano performance on stage, all the bits and pieces that had been created and hidden in his mind for more than two years suddenly appeared and were connected.
He immediately realized that the essence of the conflict between the two people's views was still due to the differences in concepts they had learned.
Technical excellence is just Shen Qingci's cloak, and beneath the cloak is the essence of French piano.
Dating back to the 19th century, artists of all kinds flocked to Paris, an international metropolis at the time.
Gluck's opera was composed in Paris.
Maia Baier, a Jewish composer who traveled from Germany to Paris in search of a new world.
Needless to say, Chopin and Liszt, as well as Offenbach, all became famous overseas from Paris.
Although the mainstream music in Paris at that time was ballet and opera with a more romantic spirit, not piano
However, this trend played a vital role in the formation of the later French piano.
Among them, it is worth mentioning that the self-advocating Legalists have a romantic spirit of daring to explore forward, and they have had a deep-rooted prejudice against the conservative and serious German-Austrians from the beginning.
This can be seen from Shen Qingci's playing style.
Liao Linjun, who studied in Austria, was naturally influenced by German and Austrian music in his musical thoughts.
Therefore, it can be seen that the path of study plays a vital role in the formation of a person's academic outlook.
Qin Jian later realized that he had now embarked on the first half of this path.
at last.
It's about the doubts that naturally arise in his heart.
Qin Jian acknowledged and was grateful to his two seniors, Shen and Liao, who were both teachers and friends, for their cultivation in the past two years.
Without the careful guidance of these two people, Qin Jian's growth rate would not have been as fast as it was.
But at this moment he had to question Shen Qingci's evaluation of Koch.
Pause for a moment and let the camera follow Qin Jian's gaze back to the stage.
——
As the applause fell, Koch and his disciples bowed.
The second track that follows is still an adaptation, adapted from Liszt's Hunting for Piano Trio.
Judging from the placement of the piano, Koch is still the lead performer.
Three pianos made this originally very high-spirited piece of music even more romantic and colorful.
Qin Jian paid special attention to the fact that Koch did not give it to his two students to perform a highly dazzling cadenza.
One of the students, Qin Jian, is a new young pianist in Vienna who just won the first prize in the Austrian TV Piano Grand Prix last year.
Koch completed this cadenza independently.
Perhaps his already established playing style cannot make this cadenza shine brighter.
But in terms of the most basic note duration and performance clarity, Koch demonstrated his precise control of the works of the Romantic period.
This last track also received louder applause than the first one.
"Wow————————"
——
Here Qin Jian is applauding and thinking about what is the boundary of Shen Qingci's standards for technical evaluation?
Perhaps it was because Shen Qingci's finger skills were so outstanding that he was so confident that he hurriedly left the stage after playing only one movement in the finals of the Asian Piano Competition, or perhaps he was so good that he voluntarily withdrew from the competition because he was having difficulty finding an opponent in a certain Chopin Competition.
This is just Qin Jian's personal imagination, and he still doesn't know the truth.
But it is undeniable that if he were asked to rank the top three technical pianists in his mind, Shen Qingci would definitely be one of them.
Technology is technology, even if it is available to everyone, it still has three points: upper, middle and lower.
There is no doubt that Shen Qingci is a peerless master.
But this does not mean that the inferior technology in the eyes of the other party is really inferior technology.
Qin Jian didn't question this.
When the second half of the concert began, all members of the Gamma Piano Ensemble came on stage and performed non-serious music pieces from the video onto the stage.
From an academic point of view, Qin Jian had reservations about this kind of performance, but from an audience's point of view, he gained immense happiness.
A joy that even a serious pianist can feel.
For the first time, he saw seven or eight people gathered around a piano, four of them played by hand, and the rest plucked the strings or slapped the piano board under the soundboard.
A lively avant-garde piano "symphony" was staged.
It is still an adaptation of Koch's work that everyone is familiar with - Birthday Song.
At this time, Qin Jian once again reflected on whether the representative of the orthodox fourth-generation Hummeldeo piano school whom Liao Linjun considered to be a representative figure also had a "neuro-rebellious" side.