pianist from the sea

Chapter 317 Dialogue with Death in the Language of Death
"Dance of the Chicks"

This is a very simple ballet.

It is difficult to use a specific word to describe what is depicted in this ballet picture.

Because it's just a concept diagram.

Concept illustration of a ballet dancer's costume.

A ballet dancer wearing a chick headgear stands inside an eggshell, without any movement, just showing the effect that his costume wants to express.

Very simple.

But music is not simple.

How to use music to describe what such a chick dance wants to express?
Then the answer is...

Take advantage of the confrontation of dissonant intervals between chords and the emphasis on high notes.

Fu Diao's fingers slightly clenched the high-pitched part, and then pressed it down in an extremely relaxed state.

Ding, ding, ding, ding!
Just like the crow of a chicken, it is crisp and gentle.

But this is not all of Fu Diao.

Dance of the chicks.

Since it is a dance, there must be elements of dance in it.

This is a ballet.

A ballet of chicks.

Then there must be a dance form of ballet beneath the chick in the music.

Fu Tiao's fingers were still running on the piano, but under the crowing of the chicks, the danceability of the music was fully demonstrated by Fu Tiao.

It's like eating mushrooms and you can see real dancers performing on the stage.

interesting.

This is many people's first impression of Fu Diao's work.

Fun is really fun.

Just like this piece, "Dance of the Chicks" is essentially a scherzo.

Fu Tiao imprinted all his previous understanding of Chopin's scherzo on this song "Dance of the Chicks".

Add a little bit of Chopin or Fu Tiao's own unique flavor to the music.

It feels like ordinary people may not be able to tell the subtle difference.

But those musicians, or those music lovers who listened to "Pictures at the Exhibition" more than once, quickly distinguished the subtle changes in the music that Fu Diao made.

A smile couldn't help but appear on their faces.

Whether a pianist's version is good or bad depends on whether there are errors in his performance. There is another very important point.

That is whether his music can show his own characteristics.

If you play well, at the same time your music will not be so cookie-cutter, but will have its own characteristics.

Then your work will easily stand out from other people's music and become the focus of everyone's appreciation and analysis.

If your performance version can reach a god-level level, which is what everyone often calls god-level live performance and god-level recording, then your version may even become a textbook for many people to play.

Now, although Fu Diao's performance has not reached the level of a god, the personal characteristics in his version are enough to make everyone smile.

Sure enough, music with personal characteristics is the most interesting music.

Fu Tiao didn't know what the people under the stage were thinking.

But one thing he knew was that the Dance of the Chicks he was playing now was drawing to a close.

What follows is more serious and difficult to control than the Dance of the Chicks.

Because the name of the next work is...

"Jews"

This piece is not a whole piece purely depicting a single Jew.

Instead, it is divided into two different scrolls.

"The Rich" and "The Poor"

Fu Tiao's body leaned forward slightly, with all his weight pressing on his fingertips.

He struck the melody of the music very heavily.

Bang, bang bang, bang bang...

The sound of the piano rose from the dark corner and emerged in front of everyone.

Arrogant, rude.

Majestic!

and……

arrogant!

Even though it was just such a short beginning, when such violent music sounded, everyone could not help but hold their breath.

What does it feel like?
Although there was no one in front of them, it seemed as if there was a Jewish man standing in front of them who expressed unparalleled arrogance and arrogance.

He was so paunchy that every time he walked he felt like he was stuck in the ground.

It seems that they want to grab the last piece of hard-earned money in this land.

Terrifying and powerful.

The rich Jewish mode plays easily in Fu Tiao's hands.

His proficiency in Jewish modalities might even lead one to believe that he is also a Jew.

But obviously, he is not.

There is a hint of isolation in his music.

Just like a bystander, standing on the roadside watching this wealthy Jew, watching him walk down the street.

Intermittent rhythms, unexpected accents, weird and slow melodies.

Everything proves the control of this rich Jew over this land.

He is like a local emperor, controlling everything under his feet.

Under this heaviness, Fu Diao raised his right hand slightly and placed it on the piano. He couldn't help but chuckle, and moved his fingers quickly.

Single tone wheel finger.

A technique that sounds very simple, but is extremely complex.

But Fu Tiao was particularly relaxed when using this technique.

His fingers ran quickly on that single note like a wheel.

Under such gorgeous running, his voice did not make the music uncontrollable because of the different lengths of his fingers. On the contrary...

The sound was like a clear bell, swaying slightly.

Just like a frightened poor man, looking at the rich man who controls almost the entire city's wealth, the fear and fear in his heart cannot be suppressed.

He even couldn't help but put his feet back, looked at the rich man, and showed a flattering smile.

Although they are both Jewish, they have completely different treatment.

Just like the Jews who were locked up and ready to take a bath, and the Jews who had already bathed in the other side of the world.

The same nation, but in completely different classes.

The poor are begging, trembling, and afraid.

He looked at the rich man who could control the fate of the whole city and tentatively stretched out his hand.

when!
Fu Tiao's hands pressed the sound at the same time.

The right hand poor man's melody trembles there.

The left hand is a rich melody, wild and rough.

Just like a conversation between two people.

One up and down, one rich and one poor, one proud and one humble.

Completely opposite identities, completely opposite statuses, completely opposite attitudes.

The only thing they have in common is that they are both Jewish.

Let the tension in the music be maximized.

Fu Tiao seems to know this kind of dialogue like the back of his hand, controlling the emotional fluctuations of the music.

Making the conversation between the two more poignant.

The poor are crying and looking for help from the rich.

Trying to use his own pain to impress the rich man and let him help him escape from this sea of ​​suffering.

But every time the poor speak, all they get is a particularly rude response from the rich.

humble.

arrogant.

plead.

interrupt.

The opposition between such emotions in music is becoming more and more serious.

The poor trembled and begged the rich.

The rich just interrupt and reject the poor again and again.

The two themes are almost completely intertwined.

The two identities also seem to be beginning to merge.

They are all Jewish.

But why is there such a big gap in status between them?
The tension in music is maximized in such discussions.

finally.

boom!
A huge chord sounded.

After the poor man's last plea was violently interrupted by the rich man, the whole poem ended with the intensity of the octave.

Definitely.

Ruthless.

There isn't any warmth in it.

The status between the two people was vividly displayed.

It is hard to believe that these two people are both Jewish.

Under such din, a large number of fast thirds and second intervals were struck.

The music goes directly to the next painting.

"Lemon Market"

This painting does not have as much tension as before.

There is just endless hustle and bustle.

Just as the picture scroll describes, this is a market full of people, noisy, and messy discussions and bargaining between parents and families.

Very simple.

Fu Diao also does not give complex emotions to such uncomplicated music.

Since it's just a simple depiction of the scene, then just simply depict the scene.

Sometimes music doesn’t just require addition, subtraction is also essential when needed.

The music moved quickly, and Fu Diao's fingers didn't pause at all.

It even gave Fu Tiao a sense of etude.

But soon, this fast run came to an end.

Accompanied by a crashing half note.

Music comes to the next chapter.

And here...

The music got a change.

"grave"

This is the name of this chapter, a strange name with a hint of terror.

Normally, the promenade movement that should exist in music disappeared for the first time.

There have been two entire movements without wandering.

In the third movement, there is still no stroll.

Fu Diao vividly describes this strange feeling in music.

FF, stronger.

p, weak.

Cresc, crescendo. sF, sudden strength!
p, weak...

Strength and weakness are constantly intertwined.

The music is strong now and weak now.

Like a strange candlelight, it illuminates the people strolling in the picture exhibition hall.

This is the strangest song in the entire exhibition.

It is also the most difficult one to understand.

Full of abrupt harmonies and blank spaces.

From the market, come to the tomb.

There isn't even a trace of gap in it.

It was like suddenly arriving at the tomb.

But as long as you have a little understanding of music, or... some understanding of picture exhibitions.

Then they must know.

What this part depicts is Mossorgsky’s deceased friend, Hartmann.

All the pictures in this picture exhibition are all his works.

At this moment, it no longer feels like walking in a picture exhibition.

Instead, it is gradually moving towards a deep, empty underground tomb.

The harmonies in the music became increasingly weird.

con mortuis in lingua mortus
It's a Latin word meaning...

Conversation with death in the language of death.

This is the narration and annotation Mossorgsky left on his work.

This is also what Mossorgsky wanted to express in this piece.

when, when, when...

In this weirdness, the main theme of strolling suddenly appeared.

It does not appear directly in a separate form.

But...

Integrated into music.

Integrated into this chapter of "Tomb".

Creepy!

It is obviously very familiar music. I have listened to it at least three or four times, and it is almost the same strolling movement.

They originally thought that the stroll in the music would have disappeared before, and the music had almost come to an end.

Who would have thought that Wandering would suddenly appear at this moment.

What does it mean?
Everyone's heart is cold.

Especially those people who had never heard of "Picture Exhibition" before. When they heard about this place, their minds almost went blank.

There is no need for anyone to explain or describe it.

They know it too.

This is walking into death.

This is the passage from the human world into death.

Why are there so many unexplained dialogues in the single movement of Promenade?

Many people used to think that the dialogue in that place should be for the sake of ceremony.

But when they heard this, and heard the stroll hidden in the main melody, everyone realized something.

That was the conversation before, all in preparation for this moment.

The previous conversation was with a friend.

Communicate with someone who doesn't exist.

He and his friend looked at his friend's paintings and admired their beauty.

One picture after another.

Walking is becoming less and less frequent.

Until now...

Stroll into the music.

With the help of this painting in the tomb, he finally successfully entered the scroll.

He saw his friend, who was smiling at him.

Everything seems so clear in the music.

The high-pitched melody represents a person who is still alive, while the low-pitched wandering becomes a wandering of the dead.

This is the language of death.

This is not just to say that Latin as a language is dead.

It also shows that under this low-pitched stroll, the conversation between the two people is already a conversation between death.

Shocked.

When they heard about this place, everyone was stunned.

Looking at everything in front of him in disbelief, he swallowed slowly.

This place where Fu Tiao plays is really...

so perfect!

Fu Tiao him pulled out all the hidden emotions and put them in front of everyone.

Without thinking too much, they can hear most of the metaphors in music.

Scalp tingling.

A dialogue between life and death.

Missing and reluctant to leave.

All emotions reached their peak at this moment.

Obviously the music does not have too many exciting melodies, but it wraps all the emotions in it.

You buried the bones in the mud, I sent the world to the world full of snow.

After saying amen several times, I was reluctant to give up.

state!state!
However, the next second, the music suddenly sounded!
The music roars!

"The Cabin on Chicken Feet" was released at this moment.

The octave was jerked out.

Fu Diao raised his arm and struck it down.

hum...

All the previous sadness was released at this moment.

His fingers raced across the piano.

He hit the keyboard of the piano hard.

This chapter is all about showing off your skills.

The purest show of skill!

Use all your strength to show off your skills.

The so-called hut on chicken feet is the residence of Baba Yaga, the witch in Slavic fairy tales.

Fu Tiao's arms waved across the piano keyboard, bringing countless chords.

No one knows how he played it.

His arms and fingers were playing too fast.

Even their eyes are already a bit blurry.

Horrible, so scary.

No matter how much they thought about it, they couldn't figure out what Fu Tiao did to make the music so gorgeous.

The emotions are piling up.

While superimposing, it is constantly releasing.

Almost everyone's emotions were completely captured by Fu Diao, and there was no way to escape.

"Pretty!"

The eyes of the artists in the distance widened.

So are they.

Even though many of them have heard of the reputation of this set of works, when they actually heard about this place, their emotions were still aroused by Fu Tiao.

This music control?

This emotional control?

This dazzling skill allocation?

They simply don't know how to describe Fu Diao's performance.

Fu Tiao is like a step-by-step storyteller, peeling off the entire work bit by bit and putting it in front of everyone.

The gorgeous octave chords are climbing crazily upward under the constant superposition.

Finally, it seamlessly transitions to the final chapter of music.

"Kyiv City Gate"

This is an architectural sketch created by Hartmann.

What is depicted in the draft is the most distinctive church of the Slavic people.

The typical round spire of the Russian Orthodox Church and the dense iron bells.

Brilliant and beautiful.

vigorous.

Fu Tiao's fingers pressed on the piano, heavy and steady.

Every note is like the sound of a bell.

The solemn chorus of the Orthodox Church mellows in his hands.

The great bell of the Orthodox Church vibrates loudly and vibrates under the octave.

shining!

Fu Tong played with all his strength, and the lights above his head even revealed a trace of sweat on his forehead.

Countless large-scale chords were pressed with all one's strength.

No slack at all.

After all, this is the last glory, the last triumphant song.

It symbolizes the end of the entire piece.

Each bell is more gorgeous than the last, symbolizing that the glory of this city will never stop.

Even the fate of this city is not perfect and it is often invaded by other cities.

Even though the city has been hit again and again.

But under this music, the glory from the Russian nation is vividly displayed.

Although... Fu Diao is not a representative figure of the Russian music school.

But his music seems to be far more splendid and full than the performers of the Russian school of music.

Countless octaves maximize the breadth of music.

It was as vigorous as the final triumphal song.

Along with the gradually upward melody, it is like stepping on a spiral staircase, and finally standing on the gate of Kiev.

Watching the rise and fall of this city from top to bottom, witnessing the glory of this city.

I miss the friend who drew the construction diagram of this city gate.

Until the final chord rings.

Music ends completely.

What followed was thunderous applause.

And the words shouted out by the audience who were shocked by Fu Tiao.

"Bravo!"

(End of this chapter)