musicians of old

Chapter 631: Turning Point

"Haha. Really?"

Fan Ning smiled inexplicably when he heard this.

His figure was swallowed up by the iron door of the steam elevator.

I returned along the same path without being stopped or looked at, as if it were a non-existent sticker.

It was not until he walked out of the gray-black twin buildings, stepped out of the heavily guarded gate, and reached the crowded intersection of Pasbier Street that Fanning realized that a thin layer of cold sweat had already appeared on his back.

At the same time, he realized that the pressure just exerted on him by the authorities was unprecedented and very few people could experience it personally.

"I will be back that night."

I just told Xilan that she was safe and relieved her worries.

Soon afterwards, he found his car parked at the intersection.

According to the previous messenger's instructions, Walter and the driver were waiting at the agreed location.

"Mr. Fanning, you came out much earlier than I thought." Walter, who was sitting in the passenger seat, rolled down the window and checked his pocket watch.

Only an hour and a half had passed, including the driving time.

"The Special Patrol Office is always very efficient. Either they come out right away, or they take months or even years to come out." Fan Ning opened the back door of the car.

"The situation is not bad, right? Are those guys mainly using intimidation or bribery tonight?" Walter has been working as the music director here for two years, and obviously has a very intuitive understanding of the authorities' usual "routines".

"Ha, all of them." Some key words flashed through Fan Ning's mind, and he smiled inexplicably again.

  Actions constitute answers? .

The right to evaluate art? .

It is difficult to evaluate whether this conversation with the Special Patrol Office was successful or not, but Fanning believes that at least this aspect of self-presentation has met expectations - from then on, the authorities are no longer an unknown upper-level entity that "is not qualified to communicate", and he has learned more specifically what the other party is controlling and coveting. Moreover, during the conversation, the style and attitude he conveyed remained consistent throughout the entire process.

True, this conversation was conducted under great threat, but if these people try to fundamentally rewrite his style in future confrontations, the cost must be calculated to be greater.

Corresponding to this dangerous and tit-for-tat thinking, Fanning also realized that a huge torrent of "urgency" and "excitement" was sweeping over him, and would become the mainstream of his emotions for a short period of time.

His status has never been as high as it is today, and his influence on all walks of life has never been as extensive as it is today. He only needs to exchange some ideas with a few key figures in the same part - supporters with whom he has established good relations before, and reach some consensus on interests between forces, and then he can go up to the high platform and raise his arms, directly from the top logic, inject new ideas and influences into the art industry, and everyone will stand up for him. All this is as direct and reasonable as making a move in chess.

On the other hand, there is a more urgent demand for artistic creation. He must complete his "Fifth Symphony in C-sharp Minor" before late autumn as a decisive blow to win the Harvest Art Festival.

Fanning often unconsciously compares his own artistic career to that of another "torchbearer", Beethoven.

The fifth of the latter is "fate", which is of great significance. However, in the late romantic era of Fanning, when musicians are eager to use poetry, literature, dance and painting as media to announce their creative ideas to their audiences, it is an extremely dangerous choice to resolutely turn to "untitled" pure instrumental creation, and even Fanning's most proud chorus style has been temporarily shelved.

The level of opponents he will face and the expectations of music fans he will face will no longer be as simple as when he composed the "First Symphony".

But he still has faith in the path of transformation he has chosen.

  The proposition of life and death is inherently abstract. If you don’t use vocal elements and don’t give the work a title, you won’t be writing. Why is it called “New Moon”?

Beethoven's Symphony No. 5 is a purely instrumental piece of music. Who dares to say that it does not explore the topics of life and death deeply enough?

Fanning hopes that his next few symphonies, whether in tone and conception or the connection between the various movements, can rely more on the logical development of the music itself, and even so, the joys and sorrows and poetry of romanticism will not be diminished in the slightest.

"Fifth, Fifth. Whether it's Beethoven or myself, if we count the nine symphonies in our creative career, this one is right in the middle."

"As I have already used two movements to depict death, lamentation, and the struggle of exhaustion, the functions of the scherzo, adagio, and finale have not been realized, and there are still three movements left. Therefore, this work may require five movements to complete, and the third movement I am conceiving now is right in the middle."

"It's very interesting that the work number is also in the middle, and the movement number is also in the middle."

"It's a very important turning point, just like the return ten days ago, the promotion last night, the awarding of honors tonight, the interview, the mood change and other important turning points."

"If my creative progress is ideal, I may be able to show Miss Roy in San Pereto a month or several months in advance the ideas of my first few movements and see how she will praise and evaluate them. In fact, I need to arrive in the holy city several months in advance."

Fanning couldn't help but whistle a brisk, scherzo-style melody, forming a horn-like sound of a "turning signal".

The D major key, which the funeral march had been struggling to establish in the first movement, became the main tonality of this movement.

"boom--"

At the same time, the noise of the engine ignition blended with the roar of the airship in the sky.

As the vehicle's tires rolled, air mixed with the smell of perfume, food, and coal smoke poured in through the gaps in the car windows.

"The night view of Santara Castle never disappoints." Fanning looked out the window as the night fell.

The huge steel buildings and the copper signs of the shops on the street are interlaced, forming a kind of artistic structure with stable logic in the movement. The cold white electric lights and bright yellow gas lamps pass through the haze in groups at different speeds, like wandering stars and chasing fire.

"Master Fanning, are you also familiar with the imperial capital?" Walter asked.

"More than familiar." Fanning smiled and shook his head, then recalled, "Haha, you may not know that I frequently traveled between these two cities for a long time in the past. Moreover, I walked the streets of Santaramburg and met many friends, exchanging all kinds of precious views with them. Some of them were high-ranking politicians and academic bigwigs, some had already made their mark in the art world, but most of them were still unknown in a corner of the city at that time."

"This time, it should be their turn to come and see us one after another."