pianist from the sea

Chapter 298 Competition
Completing a new work in half an hour may sound a little difficult.

In fact, it is not particularly difficult for everyone now.

Because almost everyone here is the best pianist in the world.

For Mozart's works, they can directly sight-read.

That is to say, just pop it off completely and make it as complete as possible without any major problems.

For example, problems such as not paying attention to the p (weak) mark, not paying attention to the f (strong) mark, not paying attention to the lines, etc., do not exist here at all.

Therefore, for them, the most important thing now is who can perform the works they have in their hands absolutely strongly.

The musicality is strong enough and the musical expression is strong enough.

It’s not about basic skills, but your thoughts and understanding of music.

So everyone looked at each other tacitly, and then went to the piano room and sat down according to their own keys.

Then, his expression became extremely solemn.

Competition has loopholes.

This kind of competition sounds extremely fair, but in fact it is not, and it is unfair to say it is fair.

Because there is a possibility that there is no way to avoid it.

That is, a certain pianist has prepared such a work in advance.

If the pianist chooses a work that he has already played, then he does not need much time to improve its integrity to a level that ordinary people cannot achieve.

This is not impossible.

Because there are only so many works by Mozart.

This is even more true for the piano part.

Compared to Mozart's other works, there are actually not many piano works, and there are only a few pieces that can be played.

For example, piano concertos, piano pieces, rondos, and simple sonatas.

Not to mention all of these works, 90.00% of the pianists here will have been exposed to several of them.

Whether they have been practicing since childhood or just practicing now, they must have experienced such a collection of works.

And among them, there will definitely be some who have specially prepared one or two Mozart works of their own to use as an encore after the concert.

For example, Lang Liangyue often performs encore performances with a piece of Mozart's Turkish March.

I play it very fast every time and make various arrangements.

What would happen if Lang Liangyue drew the Turkish March during practice?
No one knows.

I just know that compared with Lang Liangyue, who won the Turkish March, unless my work is much deeper than Lang Liangyue's, there is no hope.

Therefore, when they perform the work, their mood is not completely relaxed, but with incomparable urgency.

Because they have no idea whether their opponents will draw exactly what they are good at and have practiced complete works.

It is impossible for them to directly hint in their hearts that all the pianists draw works that they have never played.

This is simply not possible.

So they can only tell themselves in their hearts.

He is now in crisis. All the works drawn by the other pianists around him have been practiced by them. Only he has not practiced the works drawn by himself.

And myself...

Better than everyone else!

I am invincible!

Otherwise, I would not have been officially invited by the Salzburg Music Festival to perform at this place.

I can become one of the strongest among the world's top pianists. Why can't I have the confidence to say that I am worse than others when Pollini replaces me?

Therefore, even if you have just practiced your works, you will definitely be able to surpass those who are already prepared.

As well as expectations, for people like Lang Liangyue, he will not draw the Turkish March, which he is best at.

Fu Tiao was sitting in his piano room, looking at the music score in front of him. Although he was not as nervous as others, he still felt a little uneasy in his heart.

This can be regarded as the first time he has participated in such a confrontation with a gathering of experts.

The most serious competition he participated in before was probably the Chopin International Piano Competition. Apart from that, there was no other competition.

The confrontation at the Ruhr Piano Festival was just to see if he had a chance to win the best award this year.

If he can't get it, there's actually no problem. Everyone doesn't expect that much from him.

When Fu Tiao was performing at a superb level, he never thought that he was going to win the annual award at the Ruhr Piano Festival.

He just wanted to let Lang Liangyue know what the real Chopin was.

As a result, he accidentally won the best newcomer of the year at the Ruhr Piano Festival.

The point is not about confrontation, but about showing strength.

It's different now.

The core focus now has come to confrontation, rather than simply playing the game to see who has the strongest level, and then selecting the one with the strongest level.

Everyone came to compete for Pollini's position.

No one wants to give up.

Being able to replace Pollini means something.

According to the official side of the Salzburg Music Festival, your piano level and achievements can actually be used as Pollini's replacement, or lower replacement.

And not just an unknown ordinary pianist.

What is the concept of being able to replace Pollini?

Nowadays, there is probably only one person who can take his place as the world's top pianist.

Wang Jia.

Everyone admits that Wang Jia is the female version of Lang Liangyue, and her level can replace Lang Liangyue.

As for other top pianists, there is basically no unified understanding that this person can definitely replace a certain piano master.

There are such replacement opportunities every year, but those top masters rarely disappear suddenly like Pollini did today.

Everyone present knew what this opportunity represented, so everyone present was particularly excited.

They were all filled with endless excitement when they touched the piano in front of them.

Looking forward to playing in place of Pollini.

Then, like Lang Liangyue, he won the global share of the pianist he replaced.

Become one of the top and most famous pianists.

Fu Tiao couldn't help but feel hot in his heart when he thought of this place.

He quickly ran a few scales and arpeggios on the keyboard in front of him to get his fingers moving, and then opened the assigned piano sheet music in front of him.

Mozart's Rondo.

Rondo.

Work number K485
For works in the classical period, or works in the early and middle classical period, or even earlier times, it is normal for everyone to write the work number without any name.

Until the late classical period and the early romantic period.

In order to better sell the work, everyone began to write a title for their work at this time, telling everyone what kind of concept and status this work tells.

Therefore, when playing those later works, you can completely think and understand what this work wants to express through the name of the work itself.

When facing these early works, you cannot do this at all. Instead, you need to simply read the entire content of the work.

Let your own emotions be integrated into the work, and think about what the composer himself wanted to express when he played this piece of music.

Then, following the sound of the music and my own sensitivity to music, I completely completed the piece.

Looking at the work in front of him, Fu Diao did not use any other method to perform it, but silently composed a few words for himself.

First, this piece is a rondo.

The most distinctive part of works such as rondo is the continuous repetition of the main melody, which is the A section.

Every time it is repeated, the mood of this work will change slightly.

Even if the content is the same every time you play, your keystrokes need to be different.

Let every repetition show a different charm.

Every change of music also needs to show its own conception of music.

This idea cannot just be made up, but needs to be performed logically.

This was his first reaction to Mozart's Rondo.

The second is Mozart’s feeling. This is actually easy to deal with. Just bring in the feeling of Mozart’s previous quartets.

As for the rest of the content…

Fu Tiao touched his chin and did not continue thinking about anything.

Because almost five or six minutes have passed now, and there is not enough time.

Even if the other pianists restore their finger condition and warm up, it should be over by this time.In this case, then I should play it first according to the content shown above.

Allegro
This speed is considered an allegro, and the speed is about 110 and up.

That being the case.

Fu Diao moved his fingers a little, and without any hesitation pressed the first lady at the beginning at a speed of 110.

Da-da-da.

The left hand is a very simple broken chord without many changes.

Mozart's works are basically like this. There are not many changes in the left hand part, mainly broken chords.

The main purpose of this type of broken chord is to match the main melody, there is nothing to say.

The key point lies in the main melody on the right hand at the beginning.

Buzz, click, click, click... Didi!
The main melody on the right hand was played by Fu Tiao in an extremely brilliant manner.

But...are you sure you should play it at this speed?

The first second Fu Tiao played it, he felt something was wrong.

This speed doesn't seem to be that slow.

The tempo of this Allegro is 110 quarter notes per minute.

And now in his hands is a very slow speed, which is the decomposition of eighth notes.

That’s 1 eighth notes per minute.

This speed may be considered relatively fast compared to other works, but in Mozart's works, or in such sunny works at the beginning, this speed is obviously not played in this way.

So how should I play it?
Fu Diao walked through his mind for a moment and pulled up his original speed a little.

It's not played at Allegro speed.

Instead, play it at a faster speed, almost 130.

At this moment, the feeling of the music he played finally barely matched the feeling of the opening main melody displayed in his hands.

The main melody has a musical feel.

When hearing this main melody, everyone has their own perception of what the speed of this main melody should be.

The more sensitive people are to music, the more they care about the speed of music.

The same goes for Fu Tiao.

After quickly adjusting his speed, he nodded slightly and started running without any hesitation.

It's still the same main theme as before.

But this time, due to the increased speed, the overall dynamic has become more lively and flexible, and the feeling of the music has become sunnier.

It is very consistent with Fu Diao's thoughts on this piece.

He zipped through the first pirouette without any hesitation, and instead of going into a riff, he went straight into the next pirouette.

He was thinking about what kind of state these convolutions should express in his music.

Think about how this kind of music should be expressed most perfectly.

His brain assumes a dual-tasking attitude.

He was sight-reading the first part, sight-reading the score in front of him.

When his hands had only reached the 60th bar, his eyes had already seen the 70th bar.

At the same time, he completely memorized the content of this 10-bar section and reflected it on his fingers.

Let it play normally and naturally.

Another part of his brain was thinking about the piece he was playing and whether this way of playing was correct or incorrect.

Does it need to be a little heavier, does it need to be a little lighter.

Is the gyration here deeper, or should it express a sense of escape from the main theme?A sense of indulgence?
Fu Tiao was thinking.

There is no stagnation in the fingers, and neither is the brain.

It wasn't until the end of this piece that Fu Diao took a breath and looked at the alarm clock beside him.

At this point, almost 15 minutes have passed.

That is to say, half of the time has passed, and I only have the last 15 minutes left to use.

In the 15 minutes before this, I moved my fingers to warm them up.

Then I read through the entire score and made a specific performance direction in my mind.

Played last.

The playing time is almost...

6 minutes?

Fu Tiao looked at the alarm clock and nodded silently.

This time is not bad, not much different from the time he imagined.

There are more than 160 measures, and the number of repeated measures can be almost two hundred.

These two hundred measures can be played in 6 minutes. As the organizing committee said, this is just a very short and small work.

Other people's works should be similar, and there won't be any particularly long ones.

For those who play sonatas, their works should be similar, choosing the shortest movement among the three-movement sonatas.

If I guess correctly, it should be the final Allegro movement.

So that means...

Maybe everyone is allegro?

Fu Tiao's head turned, and then he suddenly thought of the possibility mentioned before.

That is Lang Liangyue’s choice of works.

As the same person said at the beginning, the most cruel reality of this game is that Lang Liangyue chose the Turkish march that he is best at and practices every day.

This was a piece that he would practice on and then practice at the end of the concert.

Judging from the length of his works, this possibility... is not low.

Fu Diao narrowed his eyes slightly and shook his head slightly to throw away the thought.

He is not like everyone else.

Others may be a little worried about Lang Liangyue's invincible strength after getting this work.

But Fu Tiao is different.

He doesn't care.

He wants to compete for this opportunity, and he doesn't care how strong his opponent is.

He only knows that he just needs to be stronger than that group of people.

"It's a little over 15 minutes, which is enough time to play it twice. If it's played twice... it's just enough time to refine it a little more and deal with the details. As for what to play in the concert, I'll think about it later when I get to the concert hall."

Fu Tiao spoke to himself, focused his attention on the music score in front of him, and played for the second time.

Three 10 minutes may be a long time for ordinary people. After all, a class is only a short 45 minutes.

But for those of them who practice in the piano room, this is not the case.

It is obvious that his processing is not over yet.

He was shouted out just because he had reached an average level among top pianists, a perfect and excellent state among ordinary pianists.

With the knock on the door, Fu Tiao performed the final processing on the last coda of the music, which is the coda.

Before the second knock on the door rang, he directly picked up the sheet music and clothes in his hands, opened the piano room door, and looked at the staff at the door who was stretching out his hand to knock on the door and nodded slightly.

"I'm ready, let's go back."

"Ah, okay..."

The staff was stunned, not expecting Fu Tiao to be so punctual.

Seeing the others struggling and wanting to practice one more time, he always felt that the person in front of him was different from the others.

This feeling is very strange, you can't tell whether it's good or bad.

As an ordinary staff member, it was difficult for him to evaluate what kind of person Fu Diao was.

So he simply nodded to Fu Diao, and then led Fu Diao to the next room. After taking out the pianist who was still lingering in the next room, he found a few more people and returned to the previous room. In the concert hall.

Everyone sat down according to their previous seats, forming a surrounding posture.

And in this circle, there is a Steinway D274 grand concert piano.

After everyone was seated, the person in charge stood up and counted the number of people. After confirming that all the pianists had arrived and that no one stayed in the piano room and refused to come out, he nodded and spoke to everyone. ,
"Please be silent. The assessment begins now. Starting from the people in piano room No. [-], everyone here will go up to the stage in order!"

Under Fu Diao's gaze, a European man with blond hair stood up from his seat, greeted everyone, and came to the stage.

(End of this chapter)