pianist from the sea

Chapter 211 Fu Tiao's Etude
The works performed in the second half of Fu Tiao are Chopin’s 12 piano etudes. The number of works is 25. The first piece was completed in 1834, the second, third, and twelfth were completed in 1836, and the rest were completed between 1832 and 1834. Presented to Countess Darzol.

Fu Tiao's hand dropped the first note very gently, and did not move directly, but lifted it slowly, allowing the damper to slowly approach the trembling strings, and after constructing a trace of signs that were about to dissipate, his The hands fell down again.

A series of incomparably continuous arpeggios flowed out from Fu Diao's hands.

It is not as explosive as other arpeggio etudes, but it seems a little soft, just like slowly flowing water drifting in front of everyone.

According to Chopin’s thoughts when he created this work, this work is called “The Piccolo of the Shepherd Boy”. This is how Chopin explained this work to his students.

"Because the storm was coming, the shepherd boy took refuge in a safe cave. The wind and rain were blowing in the distance, but the shepherd boy took out his flute as if nothing had happened, and played an elegant melody."

On Chopin's original score, he marked the first note of each group of sixteenth notes on the right hand. Schumann also thought that this piece of work is compared with Chopin's Shepherd Piccolo Etudes, this one The piece is actually more like an etude for the harp.

Fu Tiao consulted a lot of materials before practicing this work. On the train from Brussels to Paris, he kept looking at the music score in his hand, thinking about the content, so he was very interested in all the images Chopin wanted to express. There is already a relatively accurate expression.

Just as Chopin thought, Fu Tiao's right hand added a little weight to the first note of each group of sixteen notes, and the lines of the music came out instantly.

It is obviously a work performed with both hands, but under Fu Tiao's fingers, it becomes like a monophonic melody, extremely melodious and peaceful.

The other notes are just as a side dish of the music around the main theme, just like the harp etudes, the ripples that flow slowly as the music steps here.

And all of what he has done makes the musicality of the main theme of the music the most important part, and whether the expression of the main theme is pleasant or not is even more critical.

But the question is... Will Fu Tiao's musicality be weak?
From the performance in the first half, everyone could hear that Fu Tiao's musicality is almost unmatched by anyone. It is just to discuss the beauty of the music, not to discuss whether it is in line with the composer's own level. In the shell, Fu Tiao can directly crush many people.

For example, in the preliminaries of the Chopin International Piano Competition, you could hardly hear any Chopin in the works played by Fu Tiao, and it didn't even feel like Chopin.

But why was Fu Tiao able to pass the selection in the preliminary competition and successfully entered the main competition of the Chopin International Piano Competition?

It is because of all that Fu Tiao has done on the beauty of music itself, he makes the beauty of music more deadly and more attractive to everyone.

Even if the feeling of Chopin in the music is not strong, you can still feel everything that Fu Tiao wants to express from the aesthetic feeling in Fu Tiao's music, and appreciate the beauty in his music world.

This is the main reason why Fu Tiao was able to win the Xiao Sai qualifiers at that time.

If it wasn't for this beauty, as well as his technique, even if he was only slightly inferior, he might not have entered the main competition stage.

Now, Fu Tiao has made good use of his interpretation of the aesthetics of music, and has interpreted for everyone a Chopin etude Op25-1 with extremely soft music ups and downs, and a shepherd boy piccolo etude.

Before everyone under the stage heard enough of everything expressed in the melody, Fu Tiao had already started to change the music.

When the last note fell, Fu Tiao's fingers only stayed for a moment, and the second work of Chopin's No. 25 etude emerged from it.

Op25-2, in F minor, 2/2 time, presto, etudes for flexibility of fingers and arms.

Chopin did not give this piece an exact name, but this piece is played by more people than the first piece, and it has more etude flavor in it.

Therefore, many people call it the bee or top etude.

Before everyone could get out of the softness of the first piece, Fu Tiao's hand had already dropped.

Just after staying on the first note for a while, a series of third notes burst out from Fu Tiao's hands.

It keeps spinning, up and down, endless like a Mobius ring.

The extremely even triplet runs through it without any flaws.

Amidst the swirling music, Fu Tiao's arm didn't even move much, but lay extremely softly on the piano, allowing his fingers to drive his arm to run.

A dreamlike feeling came out of his fingers, dreamy, confused, and people's brains could not help hallucinating, and even didn't know the progress.

Obviously the speed is so fast, there is no gap to stay, but for some reason, under Fu Tiao's interpretation, you can even feel a little bit of tranquility.

Like the song in a child's dream.

This extremely chaotic feeling flowed through everyone's ears. They didn't even know what they should say now, but they felt extremely shocked.

These are just two works, and this is just the beginning of Fu Tiao's just started, the beginning of Chopin's etudes.

Before they even entered the state, Fu Tiao had bombarded their emotions with extremely strong roar, driving their emotions forward.

Compared with Op25-1, which no one has specially played, Op25-2 can be accepted by more onlookers, after all, it is more familiar to everyone.

Under this etude, Fu Tiao not only showed his musicality, but also his finger skills to the fullest.

only……

For many of them, Chopin's etudes are not difficult, and can even be regarded as simple. Few people choose to use Chopin's etudes as etudes for practice.

More people will play it as a piece of music.

Compared with Fu Tiao's technique, everyone cares more about Fu Tiao's musicality.

The beauty in Fu Diao's music is also vividly displayed in works with a strong sense of technology.

Even after listening for a few minutes, everyone has already returned to the state of the first half.

Everyone was staring at Fu Tiao on the stage very seriously at this moment, with serious expressions.

They don't know why, but they feel that they can learn a lot from Fu Diao's performance.

Fu Diao didn't care what the people off the stage thought of him, he just quietly played the works in his hands.

The playing time of Chopin's etudes is not very long, and almost all of them are works that can be played in three to four minutes.

For example, the set of works performed by Fu Tiao, even if the entire duration is added up, it is only more than 30 minutes, plus the first half and the intermission, it just makes up a whole concert.

When the last sound fell, everyone immediately took a few breaths, cleared their throats, and waited for the next piece to appear.

Chopin op25-3, in 3/4 time in F major, allegro, rhythm and touch etude, the difficulty lies in the simultaneous expression of three different rhythm patterns, and the expression of stress and tonality changes in between.

Fu Tiao walked through the content of this piece of work in his mind, then nodded slightly, raised his hands, and pressed the first note.

A completely different tone from before rushed out instantly.

It was in F minor before, but now it is in F major, and the unique light and bright timbre of the major immediately dispels the dream and confusion brought by the previous minor, leaving more of a completely Different brightness.

Fu Tiao's grasp of the rhythm of this piece is simply terrifying to the extreme.

It may be the reason why he often played jazz before, or some other reason, but his control of the rhythm is so proficient to the extreme.

The difficulty of this piece lies in the simultaneous expression of three completely different rhythms, but Fu Diao seems to have no such problem at all. His fingers ran directly through it, and everyone who listened was full of question marks.

Especially those who have played Chopin op25-3 themselves.

They even wondered if what they were listening to was Chopin 25-3.

Why is it so easy for Fu Diao to interpret this work?But he played as if he had limped a leg.

Even though they thought they were playing very smoothly at the time, but now when they heard Fu Tiao's performance, they felt a little suspicious for some reason.

That is, was it really smooth before?
Is my control of these three rhythms really good?

During Fu Tiao's performance, there was a group of people chasing after him from Brussels, and they were even more excited when they heard Fu Tiao's performance.

They have heard all of Chopin's etude Op10 played by Fu Tiao before, and now they have heard all of Chopin's etude Op25 played by Fu Tiao, which can really be regarded as complete.

Completely complete.

Although the others had never heard of Fu Tiao's op10, they couldn't help being aroused when they heard this op25, and they couldn't help but look at each other.

"My God, the flow of the music just now is really amazing. I really like his method of interpretation."

"There is also the feeling of the sea that he was born with. He is obviously Chopin, but what he interprets is not just Chopin, but Chopin with his own characteristics."

"So strong, so powerful, this performance is really beautiful."

"This is just the first three songs..."

Everyone's reaction was different, but almost everyone was shocked and obsessed with the beauty of the music interpreted by Fu Tiao.

The unique charm that only Fu Diao can interpret.

Compared with the emotions of these people, the people at the Paris Conservatory of Music in the distance are different.

Listening to Fu Tiao's performance, they were too lazy to think about how strong Fu Tiao was.

All they think about now is...

That's how miserable Zhao Chengzhen was.

How many lifetimes of bad luck did he have to meet someone like Fu Diao.

Fu Tiao's current Chopin can really be regarded as a world-class pianist, and it is no problem to hold a concert tour with Chopin alone.

In the past, some people might think that Fu Tiao’s current Chopin concert is an ordinary concert, just to show his face in front of the whole world, to show his status as the champion of the Chopin International Piano Competition, and to prove his strength to everyone such as.

But now, watching Fu Tiao's performance, they no longer have such thoughts at all, and instead have the slightest complaint.

As far as Fu Tiao's performance is concerned, his current concert tour is really too small.

Fu Diao should go to a large venue with 3000 to [-] people, even if it can only be half full, that is enough.

Because only such a big occasion is suitable for Fu Tiao's current concert.

It would be great if... Fu Tiao's next tour can have a tour of a large concert hall.

Everyone at the Paris Conservatoire looked at Fu Tiao and couldn't help but think so.

A tour of a large concert hall, or a concert in the Palace of Versailles, or a concert in the Louvre, should be worthy of Fu Tiao's current interpretation.

Otherwise, there are only a thousand of them, and there is no recorded performance, which is really a pity.

This kind of music should be listened to by people all over the world to see what a new generation of Chopin is.

Zhao Chengzhen seemed to sense the expressions of the people around her, and couldn't help but give a bitter smile.

Now Fu Tiao's Chopin has grown to an unimaginable level, and he is still accumulating his income from the Chopin International Piano Competition, while Fu Tiao has become a top pianist who can hold Chopin's world tour concert.

This gap in strength even made him stop imagining how he could beat Fu Tiao, and started to think seriously.

How to catch up with Fu Tiao's pace.

Fu Tiao's progress and growth are too fast, even if he just wants to catch up with Fu Tiao's pace, it is particularly difficult.

Especially in the current situation, under the sight of the surrounding colleagues and teachers.

He couldn't help but lower his head, let himself not care about the eyes of the people around him, let himself immerse himself in Fu Tiao's music, and seriously appreciate Fu Tiao's performance.

After all, Fu Tiao's performance is really beautiful.

Chopin's fourth etude, which is Op25-4, is a syncopated etude, which is a little restless.

It is necessary to properly match the regular beat with the retrograde accent. In terms of chords, it seems to be derived from chords. There is a melody with a weak start in the treble, and there is suspense everywhere. There is a feeling of uneasiness in fluency, so it can also be named 'uneasy'.

This is an etude in the style of a rhapsody.

And Fu Tiao's hand just stopped for a moment, and after everyone's emotions weakened a little, he ran directly to this restless etude.

The previous sense of sunshine was destroyed again, obviously extremely split, but under Fu Tiao's fingers, you can't feel this split feeling at all, but feel just right.

The connection between the two is so smooth that people don't even know whether it is the smooth performance of Fu Diao or the smooth writing of Chopin himself.

After this piece of work was over, Fu Tiao went straight to the next piece.

Chopin Op25-5, e minor, lively and playful.

On the title of this section, Chopin clearly stated the name of "Little Scherzo", which is a technical piece written by Chopin inspired by his devilish technique after hearing Paganini's performance. Very strong etude.

Without any thought, Fu Diao pressed it directly with his right hand, and an anxious and long melody flowed in his hand, while his left hand used dissonance and chords, like a mocking violin plucking lightly, a sense of contrast It rushed out in an instant.

“This place plays well!”

Sitting in the distance, He Shen's eyes couldn't help but brighten up. The contrast in this place feels particularly strong, especially the banter and devilish appeal. He Shen never thought that he could hear such clear music in the hands of Fu Diao image.

There are many people performing this work, but it is very rare that the musical image can be expressed so clearly.

Chopin Op25-6, etude in g-sharp minor, allegro, third-degree double-tone etude, an etude of extremely elegant touch keys with a hint of sadness.

The most important test of this work is the musician's control over the touch keys and how to interpret the beauty in the music.

Normally, this kind of works should belong to the more difficult group, but unfortunately, what Fu Tiao is best at is the softness of music.

Fu Tiao's finger fell, and everyone's goosebumps rose instantly.

The feeling of this two-tone is really amazing, louder and smaller for a while, like the sound of bells in the distance, coming one after another, bringing endless anxiety and sadness,
Just like a Polish exile who was exiled to a distant place along the endless ice and snow trail amidst the silver bells of the sleigh, with the fear of facing the position and the sadness of the destruction of his hometown.

And op25-7, with the sadness of fleeing from the work just now, started with confusion, and interpreted an extremely desperate tragedy.

It is obviously a piano, but under the hands of Fu Tiao, it played a dialogue between flute and cello duet.

The slower it was, the more exciting the beauty in the music was. The power of the music was directly squeezed in front of everyone, occupying almost all the space.

All the sadness finally stayed on the fluttering coda. Fu Tiao raised his hands to let the sound of the music disappear, and then ushered in the eighth of Chopin's No. 25 etudes.

This is known as a work that pianists must practice before the performance begins. It is a six-degree etude, which is used to activate slightly stiff fingers and make the music more perfect.

It seems that playing this six-degree etude on the stage completely opened up the fingers. For some reason, everyone always felt that Fu Tiao's music seemed to have become more proficient.

With this proficiency, everyone couldn't help showing anticipation when they thought of the next few works.

Chopin Op25-9, Butterfly.

Chopin Op25-10, Octave.

Chopin Op25-11, Dongfeng.

Chopin Op25-12, The Sea.

The last four pieces are the most famous four works among Chopin op25, and they are also the ones most likely to be found weak.

What kind of interpretation will Fu Diao give them?

With the end of Op25-8, Fu Diao took a deep breath and pressed the first note from Butterfly.

(End of this chapter)