pianist from the sea

Chapter 232 Chopin Piano Sonata No. [-]

It's a small dessert, served as an hors d'oeuvre before a concert.

However, such a simple appetizer can shock everyone present.

I don’t know how many people have performed this piece of work, and not only ordinary pianists can play this piece of work, but even many amateur players will choose this piece of work to perform.

After all, this piece of work is very simple, no matter who it is, this piece of work is not difficult.

It is precisely because the difficulty of playing is relatively low that the details in the music and the expression of emotions in the music become the most important part of this work, and it is also the key point to distinguish the level of pianists.

It's obviously the same sound, why the feeling when I press it is completely different from the feeling when someone else presses it?
The reason is actually very simple.

The dimension of piano music is not only the correctness of the sound, but also the length of the sound, the connection of the sound, the speed of pressing, and a series of factors.

For example, the piece they are hearing now, Chopin's Nocturne Op9, No2, take the first note at the beginning as an example.

How did many people press it?
It is very simple to put his hands on the piano, wait for the beat to arrive, and then directly press down his fingers to start his performance.

This is not the case with Fu Tiao.

His fingers are brushed.

He raised his hand slightly, and gently floated over the keyboard he was going to play, as if without any movement, the music in his hand flowed out.

When a normal person plays the main melody of the following music, it is likely to be a very simple action, such as pressing each note by raising the finger.

On the other hand, Fu Tiao pressed his wrist down, and the changes in the middle and tones of his fingers were more viscous, so as not to let the music flow from his hands too fast.

At the same time, his keystrokes were not as fast as many people imagined, but rather hesitant and slow.

This also makes the flow of music not seem too fast, but a lot slower.

The fine control coupled with the mastery of the beauty in the music and the research on the details made the level of the music in his hands even more terrifying.

It is difficult for you to learn anything from his hands. You can only feel one thing, that is, the level and strength of Fu Tiao's performance is really strong, and it is also really terrifying.

How old is Fu Tiao now, and he already has the strength he has now, so what kind of level can he reach in the future?Who can say this clearly.

But what everyone knows is that Fu Tiao is now on top of Chopin, and he is already one of the top people in the world.

Still that sentence.

Fu Tiao is only one god-level performance away from those top-notch people.

Whether it's a god-level recording or a god-level live performance, Fu Tiao can basically become one of the strongest Chopin players in the world just short of such a simple god-level performance.

And when you reach that level, there is no one who is higher than the other, and there are only differences in style between each other.

Everyone enjoyed the nocturne played by Fu Tiao.

Accompanied by the sudden appearance of the last part of the nocturne and the extremely fast chords, this work finally came to an end.

Whoa!
Different from the previous concerts, after the performance of a work by Fu Tiao, everyone applauded instantly.

Fu Tiao smiled and nodded to the crowd, but did not stand up and bow.

Going to a concert isn't all about banning applause between movements.

In fact, applause is prohibited even for the connection between works.

Normally, the most correct time to applaud should start applauding after halftime.

but……

In fact, Fu Diao didn't reject the crowd's applause, it just interrupted his emotions a little bit, but the audience's love was real.

At the very least, if people don't applaud you halfway through playing, it's already very face-saving.

Jiang Ruijia, who was sitting off the stage, heard the discussion between the mother and son behind her. The mother kept asking her children to learn how to play Fu Tiao.

Although the child was a little reluctant, he kept nodding in agreement.

"If you can listen to Fu Tiao's performance and learn to play Fu Tiao, then there will be no ordinary people like me in the world who are not even considered pianists..."

Listening to the discussion between the mother and child behind her, Jiang Ruijia couldn't help but whispered something in her heart.

Compared with the opening time, the crowd's applause didn't last long, and it ended in about ten seconds.

After everyone's applause stopped, Fu Tiao turned his head to look at the piano in front of him, and let out a long breath.

The hors d'oeuvres are over, so next, it's time to show some real skills.

Chopin, Piano Sonata No. [-].

This was the track he was going to use as his trump card.

Chopin's Piano Sonata No. 58 in B minor, Op. 1844, written in the summer of [-].

This piece, still written by Chopin at Noan with George Sand, is dedicated to Count Bold.

The overall tone is clear, the development is lively, optimistic, and life-affirming, which is not particularly in line with Chopin's own feeling of melancholy piano poet.

However, this work is the most genius work among Chopin's works, and it is also the largest work.

This piece of work is called the treasure trove of Le Si by many people.

Not because of any other reasons, just because of a very simple point, that is...

There are really too many development materials for this piece of work.

So many composers can learn from it and write countless works with different chapters.

F, strong.

A simple descending chord with a six-tone main chord appeared in front of everyone with ease and joy, with a hint of magic and confusion.

The strength is not great, at least not as great as everyone imagined.

It is obviously written as f, but I don’t know why it doesn’t feel like f at all when played in Fu Diao, but like a very simple expression?

Is it a mistake?

Obviously, no, it was absolutely impossible for Fu Diao to make such a simple mistake.

Soon, everyone knew why Fu Tiao chose to interpret f with such intensity.

Because his chords in the first bar, second bar, third bar, and even the fourth bar change upwards.

From f, to ordinary, then to ff, stronger.

Under Fu Tiao's hands, the chords flow like a melody without any pause or hesitation.

The strong interpretation, and the stronger interpretation, are extremely harmonious in the hands of Fu Tiao.

It turns out that this is strength, and this is the feeling that Chopin's Third Piano Sonata should present?
Listening to Fu Tiao's performance, everyone couldn't help but think so.

hum...

Added an extra b.

Another major descending chord with a sixth note.

There seems to be a slight change in the feeling in the music.

The fog in front of everyone seemed to be a little thicker.

The chords of the music are incomparably decisive.

It is completely inconsistent with the nature of this fog in music.

just like……

hum!
sword!

Fu Tiao's fingers were extremely smooth, but he pressed down the chord in his hand extremely forcefully, and the sound of the chord rang in everyone's ears.

That's right, it's a sharp sword, a sharp sword that can pierce everything.

The power of Fu Tiao is on the piano, unfolding the fog brought by the main chord and the sixth tone.

Chopin's extremely resolute and decisive image appeared in front of everyone.

No, not just the image of Chopin.

Everyone even felt that what they heard was not just Chopin, they also heard a feeling of the sea.

The sea is covered with fog, and the huge cruise ship moves forward in the fog, splitting everything.

And Fu Diao, on the bow of the boat, sang in a low voice.

This feeling was completely different from the previous feeling, and everyone was stunned.

Just now some people were thinking about the little dessert that Fu Tiao brought to them at the beginning of the concert, the simple and easy Chopin Nocturne Op9, No2.

But I never thought that after such a simple and easy work, the second work Fu Tiao presented in the first half of the concert was the most difficult one among all Chopin's works.

Works that are more difficult than Chopin's First Piano Concerto, Chopin's Second Sonata, Chopin's Fourth Ballad, Chopin's Grand Polonaise, Chopin's Don Juan Variations, etc.

Not only the technical difficulty, but also the interpretation of music.

The head of the piano department under the stage was stunned, and then trembled uncontrollably.

This music, this feeling, this Chopin Piano Sonata No. [-]?
He is the head of the Piano Department of Haicheng Conservatory of Music. He knows better than anyone else what kind of music is good and what kind of music is bad.

This is not because he monopolizes the right to interpret music, but because of the aesthetic values ​​cultivated under the piano music performance system.

It is precisely because of his understanding of the beauty of music that he can clearly feel how beautiful Fu Tiao's performance is.

The difficulty of this Chopin Piano Sonata No. [-] is the most difficult of all Chopin's works.

Take this chord at the beginning as an example.

Everyone can hear how terrifying and perverted the chord interpretation of this piece is.

Not a joke at all.

The change of chords and the musicality brought about by the transformation are well contained by Fu Tiao.

You can hear where the root of each change is, and change towards that place.

This is difficult, not ordinary.

As far as the inversion and progression of this chord is concerned, many people can't play it well.

As far as he has been the head of the piano department of Haicheng Conservatory of Music for so long, he heard that he can play well and can interpret this chord clearly.

I don't talk about playing the Fu Tiao like this, but I just say that I can play the feeling of chords clearly and reach the passing line.

Probably no more than five people.

In addition to his previous experience as a teacher in the High School Attached to Haicheng Conservatory of Music, and his experience as an ordinary teacher in Haicheng Conservatory of Music, there may be only about ten people with this level of strength.

Note that this is still the number of people who can reach the passing line, which is 60 points.

And the full score is Fu Tiao's current performance, which he has never heard alone.

At most, it has been heard several times in the hands of those top masters.

Ordinary student?
No one.

Even if many of the people in their conservatory are geniuses of that kind, and everyone is at the Lingling level, there are very few of them who can reach this level.

It's really hard.

And such a difficult interpretation is actually so simple in the hands of Fu Tiao.

This is Fu Tiao's level of strength?
The head of the department couldn't help but think so.

But soon, he shook his head and rejected the idea.

It wasn't because he discovered something extraordinary, but because of the performance of Fu Tiao's music later on, it clearly told him this point.

What has just been revealed is nothing.

That was just the first bite of the meal.

Also the easiest bite.

Because of the following contrasting passages, the multiple comparisons in the music, and the division between layers, it is even more terrifying.

hum...

Fu Tiao's fingers ran quickly on the piano, and with the appearance of the chromatic scale, an emotion of lamentation and depression emerged on the piano.

This is the image of pain and confusion, but also the sadness and loss in his music.

It forms a strong contrast with the melody of the second theme.

After this theme appeared and compared it with the first theme melody played by Fu Tiao, the head of the department realized just how outrageously wrong he had just been.

"The expression of this contrasting passage?"

The most powerful thing in music is repetition, and the second is contrast.

The contrast in music can make the hidden power in music emerge.

The sadder the front, the softer the sweetness in the back.

The front is sweeter, and the sorrow behind is more painful.

All this is achieved by contrasting passages.

The comparison in many people's music is simply to play what Chopin wrote, and that's it.

Use Chopin's works to express contrasts.

But in fact, the comparison is not so simple.

Not just Chopin, but you should add many, many, your own thoughts and reflections on the contrast.

Fu Tiao's fingers touched the piano gently, beautiful and sublime, and the second theme, like a caress, was presented in front of everyone.

The nocturne-style arpeggio softly plays the role of accompaniment, arousing the beauty of the music more deeply.

This sincere and song-like melody instantly touched everyone, and no one could calm down.

They watched Fu Tiao's performance, restraining their inner excitement.

Fu Tiao's second theme orchestra directly broke through the depression and made the lament disappear.

It is in perfect contrast to the previous interpretation of pain and sorrow.

How painful it is to lament in front, how easy it is to dissipate in this place behind.

It's like the fragrance you smell when you wake up in the morning.

You may wonder where this fragrance comes from. It is very dark around you, and you are in an old hut, and you can't find any sunshine and beauty.

You can only go forward, continue to go forward, looking for the source of the fragrance.

Finally, when you push open the closed curtains and look out of the window, you will find out.

This beauty originally came from the vast garden outside the window.

The flowers bloom, releasing their own charm and fragrance wantonly, attracting the admiration of all things.

Snapped!
When he heard this place, the head of the piano department hammered his thigh hard, and couldn't help grinning.

This place plays really well, it's great!

If it wasn't for the concert, if he could hear Fu Tiao's performance in his own home, he would definitely jump up and shout bravo to everyone.

Without yelling a word of bravo, or a word of brilliance, such swear words as his mother's, your mother's, etc., there is no way to release the excitement in his heart.

Just compared with the turning point just now, Fu Tiao's interpretation is enough to enter the top five golden music passages he heard this year.

No, maybe even the top three, or even the first.

As long as he can't hear other god-level scenes in the future, this can definitely be regarded as the first few.

Just this performance, just this contrast, just this expression.

It's absolutely amazing.

How can there be such a person who can interpret such beautiful music?
This is too outrageous.

How did his head grow, and how did he come up with the idea of ​​interpreting it like this?
What are you kidding...

Really, it's awesome!

Not only him, but many other people around him felt the same way.

They looked at Fu Tiao in disbelief, both fists clenched.

This performance is really awesome, really strong.

However, Fu Tiao's strength is not limited to this, it is just the appearance of the first theme and the beauty caused by the contrast between the second theme.

What comes next is the key.

Both themes are developed in the development, which is very rare in Chopin's works.

So why did Chopin develop this work and not other works?
Many people don't think much about it, but as long as they think about it a little bit, they will find out.

The reason for everything lies in the performance of Fu Diao.

The purpose of unfolding is to make the image of the music more three-dimensional.

And this three-dimensionality makes the contrast between the music themes more obvious.

Opposite up and down, front and back.

You have me I have you.

Everything is intertwined and fused in Fu Tiao's hands, showing a completely different feeling.

Emotions are gradually colliding, making the expression of music more complicated.

However, this complexity does not make it difficult for people to perceive the beauty in the music, but makes the music context very clear.

This feeling is extremely confused.

It is obviously such a complicated work, and the emotional expression in the music is obviously so difficult, but why is it so simple and so easy in the hands of Fu Tiao.

It seems that as long as they follow Fu Tiao's understanding, they can also understand how this piece of work should be interpreted.

If you really think so, it's actually good.

But the problem is.

Their brains and bodies are resisting again.

All the cells in their bodies are telling him with their actions.

"No, you can't."

　The third day is [-] words, you vote for me to update, work hard every day, and do what you say!come on!
　　
　
(End of this chapter)