pianist from the sea

Chapter 209 Fu Tiao's Ultimate Interpretation of Beauty
The so-called Sicilian dance section is actually a form of work based on [-] or [-] beats, with dotted notes as the main part, and mostly broken chords.

It's just that this kind of works sound more like pastoral songs, rather than traditional minuets, which are more peaceful and soft.

Compared with the content shown in the preliminaries of the Chopin International Piano Competition, the softness interpreted by Fu Tiao is even worse.

Just a few random presses of the key, he easily grasped everyone's emotions in his hands and rubbed them wantonly, making it impossible for everyone to escape from his hands.

No, it's not just impossible to escape, but...

Everyone is willing to submit their emotions to Fu Tiao.

They are willing to immerse themselves in Fu Tiao's music, and they are unwilling to escape from all this. They just want to enjoy the music and let the music touch their bodies.

And the question and answer between the left and right hands in the music, just like the whispers between sympathizers, made their hearts tremble, feeling like an electric shock pierced their hearts, numb, and even their hands and feet had a kind of acidity of blood flowing back Refreshing.

It's the same feeling as the hands and feet feel when watching some blood spraying films.

The performance of Fu Tiao's works is really too soft and beautiful, so beautiful that many people have a little bit of disbelief.

Ishihara Hiromi was also sitting under the stage, and she couldn't help but have a trace of suspicion when she looked at Fu Tiao.

She felt that the person sitting on the stage was not Fu Diao, but someone else.

Because Fu Tiao gave her the feeling now, not at all like the Fu Tiao she knew before, but a brand new pianist.

Many musicians distinguish people through their music.

In that small bar in Paris before, Ishihara Hiromi and Fu Tiao played several extremely interesting jazz works together. Listening to Fu Tiao's music at that time, Ishihara Hiromi felt that he might already be very good at Fu Tiao. The familiar one.

After all, being able to have a negative distance contact with Fu Tiao’s music at close range, the music of the two is almost completely integrated, you are in me and I am in you, and they blend together. Hiromi Ishihara even feels that he may be the person who knows Fu Tiao best. one.

To put it bluntly, she even felt that she probably knew Fu Tiao better than Fu Tiao and his parents.

In her opinion, Fu Tiao's music should be the kind of wild, proud, unique music with its own characteristics, extremely persistent in aesthetics, and can even be regarded as the most perfect pursuer of jazz performance.

In particular, the unrestrained and unrestrained feeling deep in his heart and the feeling of breaking through the shackles made her even more obsessed.

She especially liked the feeling of being as wide as the sea when Fu Diao played jazz, and she had never heard that feeling from other people.

So when she came to listen to Fu Tiao's classical works, she thought that what Fu Tiao played should be not much different from what she heard in that bar before.

But she never thought that the gap between Fu Tiao's classical and jazz styles would be so big?

Fu Tiao's classical music can be played so well?
She herself is also of classical background, and later switched to this kind of jazz-like place to start playing, and began to be called a jazz pianist by everyone.

Therefore, her sensitivity to classical music is quite sufficient, especially compared with other jazz players, she can more clearly feel Fu Tiao's strength in classical music.

"This level of strength..."

She looked at Fu Tiao and couldn't help mumbling to herself, her arms tensed up, not as indulgent and self-indulgent as before in the bar.

On the basis of borrowing the shell of Chopin, it perfectly expresses its own thoughts on music.

This level of strength can no longer be described as powerful, but you can't think of what words you should use to describe Fu Tiao's performance.

Hiromi Ishihara suddenly felt that he might be a little short of words.

The beauty in Chopin's Third Piano Ballade even made her a little bit refreshed, and she even wanted to shout it directly in the concert hall.

She couldn't help but squeezed her arm tightly to calm down her emotions.

Otherwise, she really felt that she might not be able to control herself.

Playing Fu Tiao...

It's really great!
……

The performance of Chopin's Third Piano Ballade soon came to an end, and Fu Diao quickly let go of his control over the music. With the end of the final chord, he slowly raised his hand.

Seeing Fu Tiao like this, everyone off the stage couldn't help but breathe a sigh of relief.

Panting, slight groans, and coughing sounded from the stage, and everyone adjusted their state without any hesitation, so that they could welcome Fu Tiao's last ballad with a better posture.

Chopin Piano Ballade No. [-].

The same is true for Fu Diao sitting on the stage.

He has never played Chopin's Fourth Piano Ballade, that is, he has practiced it several times in private in the piano room, and has not played it in public.

However, during practice, Fu Tiao felt that he should have reached the level where he could play, so he included it in his performance works.

Chopin's fourth piano ballade, Ballade No.4 in f minor, op52, the last piano ballade composed by Chopin, created in 1842.

As for what this work is about, there is no material to prove it, because in essence, the interpretation of this work is completely different from Chopin's other three ballads.

This is not a dramatic epic, but closer to indifferent lyricism, which is softer than the previous third ballad, and there is no burst of explosion until the end.

But if you understand this work in this way, it is completely wrong.

This work is actually a self-expression of Chopin's mood in his later years, expressing Chopin's own thoughts, so there is no title.

The structure of this work is not the pure ballad structure of Chopin's first piano ballad, but a combination of sonata and variation, which makes the melancholy and fantasy expression in the music more distinctive. Emotional color, but also more moving.

The reason why this piece of work is called sonata style is because the structure of the whole set of works is the same as that of the sonata, which are all expressions of exposition, development, reappearance and coda.

And this piece of work is called a variation because Chopin performed four consecutive variations on the first theme of this piece of work.

That is to say, with the sonata as the bone and the variations as the skin, this work together, which is known as the pinnacle of Chopin's ballad art, has been constructed, Chopin's Fourth Piano Ballade.

Fu Tiao had a lot of information about this work in his mind, and he couldn't help being silent for a long time, then he raised his hand and placed it on the piano keyboard.

Although it is said that this piece of work is a combination of sonatas and variations, if you use sonatas or variations to understand and interpret this set of works, it is also wrong.

The feeling in this work is more difficult to grasp, and there are probably only a few people who can play it well.

E.g……

zimmerman.

His mastery, Chopin's full set of ballades, makes one's scalp tingle.

So what will be the situation of Fu Tiao's Chopin Ballade No. [-]?

As the panting of the crowd dissipated, Fu Tiao's fingers also dropped at this moment.

The moment the finger fell, the sound was not loud, but it was like thunder on the ground, shattering everyone's thoughts.

Almost everyone felt that their brains were about to explode.

Obviously, both hands fell at the same time, but as the melody of the left hand gradually decreased, the melody of the right hand also gradually increased, breaking through everyone's thinking, and appearing in front of everyone like a miracle.

It's just the simplest melody at the beginning, but it has already demonstrated Fu Tiao's strength to the fullest.

No one had any ability to think in their minds anymore, they just looked at Fu Tiao in front of them blankly, and listened to Fu Tiao's interpretation seriously.

Fu Tiao's fingers are pressing on the piano keyboard calmly and steadily. You can't detect everything you hear from his performance from his finger movements.

His hands formed a perfect parallel line with the piano, fluttering on the piano, interpreting a performance from weak to strong.

Just like boat songs and fantasy polonaises, a melancholy and fantasy mood flows from Fu Tiao's fingers.

Really, really beautiful...

It's so beautiful.

Mei's scalp is numb.

It's so beautiful that people can't say anything.

The previous third piano ballad may be like the tenderness between lovers, that kind of beauty is still only dependent on the small and selfish beauty between men and women, but when it comes to the fourth piano ballad, it has been completely abandoned All of these have become adjectives of beauty.

You can only hear that kind of beauty from Fu Tiao's performance, and you can't hear any other impurities.

It's not because Fu Tiao's performance is not good, and the soul of Chopin's works is missing.

But because...

Fu Tiao constantly magnifies, magnifies, and magnifies the beauty in music.

Magnified to the extreme.

Zoom in to the point where you can only observe one detail even if you observe it.

Let beauty be everything in sight.

At the same time, under the beauty, Fu Tiao still made a lot of efforts, so that the connotation of the music itself will not be lost.

"Very pretty……"

Hiromi Ishihara didn't have any other thoughts at this time, she stared obsessively at Fu Tiao on the stage, swallowed a mouthful of saliva, and there was a trace of foggy confusion in her eyes.

"The Chopin he played is really beautiful. This Chopin Ballade No. [-] is really, really, really beautiful..."

She no longer knew what words she should use to describe what she had heard.

There is only the concept of beauty in her mind now.

She has heard Chopin Ballade No. [-] by countless people, but no one can achieve such a strong beauty.

It is even so beautiful that people lose the ability to speak, so they can only murmur how beautiful it is in that place.

Ishihara Hiromi listened to Fu Tiao's interpretation on the stage, and her past seemed to appear in front of her.

When I was a child, I was with my parents, running on the beach carefree, with laughter and joy.

And her first cruise.

And her first time paddling a boat...

Although she didn't know why the revolving lanterns in front of her seemed to be related to water, but she somehow remembered these most perfect scenes in her life.

Listening to Fu Tiao's performance, her body couldn't help but feel soft. She couldn't move while lying on the chair. She just smiled and looked at everything in front of her. Thinking about the beauty of the past, the corners of her mouth couldn't help but tears flowed down her eyes. Slowly flow down.

All of this is really beautiful.

She simply loves Fu Tiao's playing.

Not just her, but everyone else around her, too.

No matter what people think about Fu Tiao at the beginning, when they heard this Chopin Ballade No. [-] by Fu Tiao, they have almost completely lost the ability to think. that is……

This piece is really beautiful.

It's not just the beauty of Fu Tiao's playing at the beginning, and this piece of work is not just about the opening paragraph.

After the main melody at the beginning, Fu Diao slightly changed it.

He raised his hand to pull up the tension of the music, causing the music to pause briefly. When everyone's emotions were lifted, his hand slowly dropped again.

One of the most difficult parts of Chopin's Fourth Piano Ballade appeared in front of everyone.

It is still the ultimate beauty, but this time, the beauty in music is not just that simple.

She has gradually changed from a simple beauty to a mixed beauty.

The three voices appeared and intertwined together, becoming what everyone is hearing now.

"The three voices?"

The people at the Paris Conservatory of Music in the distance were stunned for a moment, listening to Fu Tiao's performance in front of them, even a little bit of disbelief.

What is this thing?
This three-part interpretation is too strong, right?

Obviously the three voices are all intertwined, but why, the beauty of the three voices can be expressed so clearly.

It's like playing Bach's polyphonic works.

However, everyone obviously felt a slight difference.

In the polyphonic section in the middle where multiple voices blend together, the feeling interpreted by Fu Tiao is completely different from that interpreted by others.

He is not the kind of polyphony that is so clear that there is no blending at all, but a little bit of blending, matching the evolution of harmony, allowing the voices to bring more harmonic expansion when blending.

Give music more color.

This feeling is very wonderful.

It feels like if there is more, it will feel cloudy, and if it is less, it will feel dry.

All this made them feel very interesting, and even had a little bit of thought in their minds to take the tape back and study it carefully.

It's just a pity that Fu Tiao didn't invite anyone to record this concert.

Under the shock and intoxication of everyone, Fu Tiao continued to play the work in his hands, his fingers quickly brushed across the piano keyboard, like the wind blowing away the melody, without any stop.

But at the moment when his fingers floated over, it brought countless gorgeous notes.

No one knows how his hands are so relaxed, it's as simple as a child playing with the piano, but the music he plays is not simple at all.

Lift weights lightly.

This was the only thought that came to mind about Fu Tiao's performance when he looked at Fu Tiao's hands in the front row.

Fu Tiao's control over the music is really perfect, so perfect that they all feel that their breath may pollute the music.

It is obviously so difficult to play, but Fu Tiao can control it so easily.

How many beatings does it take to be called such a character?

The people in the back row couldn't see Fu Tiao's hands, so their attention to Fu Tiao was only on Fu Tiao's music.

They had a deeper feeling for Fu Tiao's strength.

Not just lifting weights lightly, they heard the power of Fu Tiao.

The release and withdrawal of power is almost like playing music.

Obviously there is a particularly strong force in front of it, and you even feel that if you play by yourself, you may not be able to hold your fingers directly, and you will smash down hard to disrupt the music.

But Fu Tiao was able to easily gather his power back and bring a completely different interpretation.

The sense of layering in the music is simply achieved by Fu Tiao to the extreme.

Not the layers between the voices, but the layers carried by the music itself.

After the power becomes explosive, it can be easily withdrawn, raising the level of beauty to a higher level.

This feeling is so beautiful, it makes people silent and cry.

This is Fu Diao, and this is Chopin's Fourth Piano Ballade.

There are not so many, there are no background stories, no love novels, just to infect you with beauty and break your imagination of beauty.

Although it is still called a Ballade, it tells not only Chopin's own story, but... the story of the player.

What kind of story the performer can express, then what kind of beauty can this piece of work present.

The more beautiful this work is, the more shocking the world in the performer's heart will be.

No one knew what Fu Tiao was thinking at this moment, but everyone could hear that the beauty of this piece of work was so beautiful that it was horribly beautiful.

Then the story in Fu Tiao's heart is probably like a paradise in the prosperous age.

The melody is changing, the music is advancing, and the already extremely thick music has become more intense, so rich that it is suffocating.

Every time he returns to the main melody, the sense of lines played by Fu Diao becomes deeper and more colorful each time.

And with all this going on, the power played by Fu Tiao's fingers is also more intense.

The rushing scale of the bass part changed the slightly weak character of the work, making it gradually vigorous and full of power.

With the expansion of the sound range and the gradual increase in intensity, the perseverance and grief in the music also emerge from the beauty of the music.

They are not disappearing, but have been hidden under that great beauty.

Accompanied by the emergence of those emotions, the melody part was instantly submerged in the stormy waves of roaring chords and arpeggios.

The ending was like a violent storm, tearing everything apart frantically, yet powerless.

With the tragic and passionate image unique to Chopin's large-scale works, it ends everything.

As the last note fell and the trembling strings stopped vibrating, Fu Tiao finally raised his hand.

What came together with it was thunderous applause.

"Bravo!"

　It’s so difficult, it’s so difficult, the writing time for this kind of chapters is several times longer than those of the previous chapters, obviously only 5k words, but I wrote it for almost 4 hours and 5 hours...

　　
　
(End of this chapter)