The reason why Qin Jian was able to comment so bluntly on a player who won the Yangegro Award, giving the comment "I recognize your skills"——
It stems from his own attitude towards public scrutiny as a Chopin Grand Prix winner.
He accepts reviews from all parties, officials, judges, music critics, pianists, and other experts in the music field.
Whether it's kind or derogatory.
That is all his music. He may not accept it, but he will never stop others from evaluating it.
The absolute subjectivity of music determines that any award has a certain element of luck, including his own trophy.
This is also the fundamental core of his inability to accept Langton's view that fame = strength.
In the world of music, listening is what he believes.
If he personally thinks that Herz's piece just now is just an ordinary academic performance, then even if everyone says that this piece is like the sound of nature, then he can only think that tonight it is better to take Xiaopang Duan to browse it
Milan’s night scene.
However, in fact, at this moment, he had already let go of Duan Ran's hand on his thigh, and devoted himself wholeheartedly to the performance of the second song on the stage——
【Sonata for d piano No 5 in D major Op. 102 No.2】
‘Sonata No. 5 in D major for cello and piano, Op. 102, No. 2’
It is still the dividing line between Uncle Bei’s works——
The performance of the first movement on the stage was already halfway through. After the opening piece, Herz added more body movements to the playing of this piece.
Swaying to the music and looking particularly engaged.
Qin Jian was very familiar with such a scene, and Hertz had completely entered the playing state.
The extremely delicate vibrato makes the sound produced by the friction between the strings and the bow more substantial in front of the audience.
Herz's stylistic practice of Beethoven's late works lies here.
In his later years, Uncle Bei's deafness became more and more serious, which greatly limited his ability to listen to his own works, but it undoubtedly made his inner hearing and imagination more developed.
As a composer returns more to his heart, the profundity of his music will certainly increase.
This is why it is difficult to use simple words to explain the style of Beethoven's late music.
Qin Jian had a deeper understanding of this after arriving in Vienna
The references to Beethoven's late works in various courses, as well as the music he has listened to recently, all make this clear.
However, in terms of music performance techniques, there are still several common characteristics.
Hertz's performance at this time was searching for and trying to interpret Beethoven's late works. To Qin Jian's ears -
The first is the treatment of musical motives.
The motive writing of Beethoven's early works requires logical development and processing, and finally the answer is revealed at the end after a series of musical evolutions.
In the later works, some motives are often presented in a quite naked and straightforward way. When the audience expects the music to go somewhere according to their listening habits, the music suddenly interrupts this expectation and finds another way.
Therefore, in this process, it is particularly tested how the performer can express this kind of transcendent motivational intention in the instrument in his hand.
Herz used playing at different volumes to deal with the frequently repeated motive passages in the music.
The method seems simple, but the operation process is extremely complicated.
Simply Herz's final result is excellent.
Next, in the last movement, the whole song reached a new level.
It is worth mentioning here that Beethoven created a history in this movement.
In the last movement, Beethoven used a double fugue as a composition technique, which was the first time in the entire history of duet sonatas.
As we all know, works from the classical period often exclude the strict and brilliant polyphonic creation techniques of late Baroque music, and create them with relatively simple keynote techniques.
In his later years, Beethoven was fascinated by the polyphonic techniques of the Renaissance and Baroque periods, which can be best witnessed from the "Missa Solemnis" he composed with him.
In this movement, Herz once again demonstrated his tacit cooperation with the piano.
The theme begins with an ascending scale, during which the cello and piano implicitly play their respective fragments.
The music progresses steadily.
Until two-thirds of the way, the cello suddenly flashed an extremely gentle musical thought, which formed a strong contrast with the previous fugue.
But it was fleeting and was soon replaced by fugue.
Hertz's handling of this section simply made Qin Jian reach an intracranial climax in an instant.
It is unforgettable for a long time.
The song ends and everyone is quiet.
“Wow————————————”
The roaring applause threatened to overturn the stage.
Herz on the stage left the stage after playing two Beethoven works.
After the intermission, Herz once again played two sets of Brahms' cello sonatas with superb skills.
Won a lot of applause.
The new winner of the Iannigro Competition shines for the first time in this historic concert hall.
After today, he will surely create a boom in cello music in the European classical music scene.
With the end of the second half, the concert came to the regular part - the performers returned for an encore performance.
Everyone in the audience was guessing what piece Herz would play.
Various answers.
...
"bach."
When Herz returned to the scene with the piano and played the first long note, Qin Jian knew it.
"A Chant on the G String."
What a beautiful melody, Qin Jian looked at the stage and shouted in his heart. His trembling hand was gently held by the side at this moment.
There is always some music in the world that never goes out of style, and no matter how many times you listen to it, you never get bored.
Like the fragrance of roses, the stove in winter, Bach's aria on the G string.
There are too many stories about this piece.
In 1830, when Mendelssohn played this piece to Goethe on the piano, Goethe said: "The beginning is so solemn and gorgeous that one can imagine a large group of dignitaries filing in along the long staircase.
"
Perhaps Goethe knew best.
The chant on the G string is like the eternal harmony dialogue with itself, just like the flow of thoughts in the heart before God created the world.
"It's like I don't have ears, I don't have eyes, I don't have other senses, and I don't need to use them."
"Because there is a rhythm in my heart that is flowing out."
This rhythm sprouted from Qin Jian's heart again.
It is a devout desire for music.
Pure to the point of blankness.
It's like a newborn baby experiencing the world outside its mother's womb for the first time.
Maybe it’s been too long since I had a good heart-to-heart talk with music.
Qin Jian sighed softly, and the corner of his eye was suddenly brushed by a big warm hand.
His vision is no longer blurry.
With standing applause from around him, he stood up and took Duan Ran's other hand.
"Let's go home, I want to play the piano."
"OK."
——
On the plane back to Vienna overnight.
Langton: "How about starting with Schubert?"
Qin Jian: "I've been listening to it a lot lately."
Langton: "Are you ready?"
Qin Jian smiled: "Of course."
As he spoke, he covered the little fat guy next to him with a blanket, who was already sleeping soundly.