Please, come home and practice the piano

Chapter 251 246. What You See, That's What It Is

During the intermission, Jia Mingyu approached Li An to ask about the audience's seating before the second half.

At the end of the first half, she received a message from Zheng Haitao that there were still people in the lobby of the Red Building who wanted to attend the concert.

After she told Ang Lee about the situation, Ang Lee told her to let the audience in.

Judging from the overall atmosphere in the first half, there is no problem with more people in the back row in the second half, as long as more people are arranged to maintain order.

The audience who can wait in the outfield for an hour really want to listen to this concert.

As the protagonist tonight, Ang Lee has no reason not to be flexible on the premise that the situation is stable.

He thought that there would only be a handful of people, and a dozen or so were too many in his expectation.

But how did he expect that in the aisle of the last row of audience seats, a row of people densely connected to form a black human wall, looking at him from a distance.

The applause fell.

He bowed slightly and sat down in front of the piano again.

The moment his butt came into contact with the piano bench, the pressure from his body piled up downwards, and there was another fine tingling sensation in his waist.

hiss.

Frowning slightly, Li An began to readjust the height of the piano bench.

The piano bench corrected by the staff is slightly high, and he has to lower the height a little.

Stretch your hand to the left adjustment wheel and start turning it.

Fortunately, there is no discomfort in exerting force with the fingers in this position.

Everything on the stage was going on in an orderly manner under the eyes of the audience. When they saw Ang Lee shrugging his shoulders and raising his hands in front of him again, they couldn't help but press the pause button for breathing movements.

The scene entered a state of silence.

Although there was a rustle of plastic paper or a muffled cough from time to time, most people had the same feeling. The pathetic third movement in the first half seemed to end just in the last second.

According to the prompt in the guide, the next work is called Moonlight.

'Try closing your eyes before the music starts. '

Take Ang Lee's students, parents, colleagues, and friends as examples.

Those who have the spirit of experience have already done so unconsciously.

Group representatives, Liu Fengrui and Chen Xuan.

People who want to experience but care about the eyes around them are still watching.

The group representatives, Lin Pengfei and Ma Ke's father, had to add Wang Xiaohu.

Those who expect to witness the moonlight descending on the stage with their own eyes.

Group representatives, Lin Youyou and Che Lin.

The three groups represent the audience who have followed the guide here, and the audience who have already thrown the guide into their pockets and the audience on the seat side are not included.

After all, not everyone who comes to this concert needs a document note.

Group representative: The young man whom Chen Xuan is familiar with
There are many more conditions under this category.

I didn't have any idea about the piano concert, so I just got a ticket, and I happened to have nothing to do tonight, so I stopped by to have a look on the way home. ——Ms. A, single, 30 years old, from the finance department of a certain unit

In grief all day long, I was forcibly dragged out by my friends and said to go out to let the wind out, but I came to the scene inexplicably. ——Mr. B, a freelancer who is in lovelorn, 26 years old

Etc., etc.

Some of these people only read a small part of the beginning of the guide and put it at hand, such as Miss A.

Some people have never opened the guide from the beginning, Mr. B.

However, the moment when the silver brilliance of the moonlight in C-sharp minor really descends on the stage.

Just like Li An said to Fu Tianming late at night the day before yesterday.

"Some music doesn't need any notes."

Miss A instinctively closed her eyes following the piano in her ears.

And Mr. B seemed to be gently brushed across his heart by a pair of gentle hands.

Groups of deep triplets were played by the steady hands on the keyboard, pulling them into soft bass lines one after another. Not long after, the entire concert hall was enveloped by a large net woven by musical lines.

Meditation, sadness, nostalgia, longing.
All the emotions are mixed in it, which makes people feel flawless.

What you hear is what it is.

Not empty talk, because Beethoven himself really did add a title to this work.

'Sonata like a fantasy'

Not moonlight.

In front of the piano, Ang Lee stared vigilantly at the ten fingers in front of him, trying his best to keep an instinctive performance to present Beethoven's No.14 piano sonata in his mind.

He has no intention of deliberately reminding the audience that this moonlight song has nothing to do with moonlight itself.

The title of Moonlight, unlike Farewell and Pathos, was not intended by Beethoven himself.

Beethoven himself simply gave the work a subtitle, 'Sonata resembling fantasy'

In fact, it was a music critic who heard the work and said that the first movement reminded him of the moonlight on the rippling waters of Lake Lucerne in Switzerland, so the publisher added the title "Moonlight" by the way.

This title can be described as a double-edged sword. On the one hand, it promoted the wide spread of this work.

But on the other hand, the overly concrete title of this work also greatly limits the possibility of interpretation of this piece of music from other aspects.

For 200 years, this track has taken "Moonlight" with it wherever it goes.

Perhaps the hazy moonlit night always gives people a romantic and poetic reverie.

In our elementary school textbooks, it even turns out that Beethoven was moved by a blind girl one night to create this work.

This story is false.

Perhaps people are also willing to believe the phantom of the blind girl under the moonlit night that emerges before their eyes when they hear this work.

But Li An didn't intend to correct anything.

Because this work is indeed a chapter of love.

During the creation of Moonlight III, Beethoven was in a relationship.

The object of love is a girl named Julietta, his female student.

It is rumored that this was Beethoven's longest love affair, and it finally fell through due to family problems, leaving this work.

The hazy beauty of the moonlight and the faint sadness in it do overlap somewhat with the mood of love.

Flickering.

The first movement directed by Ang Lee is in such a constant contrast of light and dark colors, and finally ends with a kind of ethereal performance.

The music comes to the second movement.

Li An spat lightly, and the fingers that were rising and falling on the keys jumped up and down visible to the naked eye.

Sandwiched between two famous movements, the short second movement seems unremarkable.

However, from Ang Lee's analysis of the whole work, this playful intermezzo is so appropriate.

In view of the slowness of the first movement, the second movement is replaced here with a set of beautifully rhythmic allegro.

The speed of the three movements is Adagio-Allegro-Presto.

What is particularly ingenious is that the main key of this movement, D-flat major, is also in an isonic relationship with the C-sharp minor of the two movements before and after, but the colors have a mysterious change.

Liszt described this movement as a small flower blooming between the deep valleys on both sides.

Liszt saw a small flower blooming between the deep valleys on both sides.

What do you see, dense clouds, the outline of distant mountains, treetops swaying in the breeze, or something else, what you see is what it is.

The music faded away on the stage, and the scene entered a brief silence again.

Except for those who have fallen asleep, the audience who closed their eyes in the first movement has already refocused on the stage.

An exciting moment is finally coming, at least for Ji Yang.

It can be said that the concert has come to this point, and the third movement of each work is what she is looking forward to.

And the following movement has a special meaning to her.

Moonlight third movement.

It records every bit of her and the teacher in the past six months.

Every sentence of the teacher's instruction is like a piece of a jigsaw puzzle, and today I can finally see the true face of Yueguang San thoroughly.

And Ma Peng, who had actually seen the true face of the movement pointed out by Li An, was already excited.

Quiet.

Very quiet.

The audience could hardly feel the breath of the figure in front of the piano.

Gradually, the atmosphere at the scene became depressing again, and the stage lights seemed to be crushed in the next second.

At this moment, Li An moved.

He didn't raise his arms fast, and his hands didn't move much.

But in this understatement, the moment his fingers touched the veneer of the keys.

The deadly stage was suddenly covered with dark clouds, rolling thunder was muffled, and the air was trembling.

The thunder became louder and louder, and the ten fingers on the keyboard turned into afterimages as they rolled.

"Dangdang!"

It was like two thunderbolts in a strong wind.

The impulsive sound pattern suddenly erupted, and with the momentum of a turbulent tide, it gathered into a row of overwhelming sound waves and smashed towards the auditorium.

The eyes of worship, eyes of awe, and all kinds of eyes converge on the figure in front of the piano that is constantly rising and falling with the waves of music.

The fighting spirit is high, and it seems to be angry.

After getting rid of the sadness and love of the first two movements, at this moment, Ang Lee is like a god descending from the earth.

At this time, he is the center of the storm, the incarnation of the violent wind and rain, and the sole master of black and white.

However, behind the stage scenery, who knows how much sweat he left for it.

Regarding the precautions for playing the third movement of Moonlight, he gave Ji Yang at least [-] lines of precautions that should not be repeated.

Maybe I don't remember Ang Lee's audition for the Open Youth Competition.

He chose Moonlight as the door-knocking turn for the Xinghai Cup National Competition.

If the storm is the sword he hides in his sleeve, then the moonlight is the banner he carries on his shoulders.

From the beginning of the arpeggio running in the first eight bars, his fingers have never been in an absolutely clear granular state. Without exception, he clearly played out all the details that should be explained in each section with a natural instinct.

The axis of the little finger sticks to the key, the thumb is always on standby, and the perfect alignment of the pedal and the left-hand monophonic.

All the details of the performance can be found in the playback after careful consideration.

This is Ang Lee's Moonlight III, the comprehensive technical control centered on fingers, no matter on any stage, as long as there is a piano, you can believe that he will turn into a shooting star, even if it is only for 0.1 seconds.

Throughout the three movements of Moonlight, return to Beethoven's personal title for the piece - a sonata similar to fantasy.

As Ang Lee said, what you see in this work is what it is.

Music is a kind of flight, he leads the fragments of time and the fragments of spirit, like a dandelion keeps climbing up until it disappears in the deepest part of the busy sky, and then lands in a boundless place and becomes a part of it .

'Listening to Beethoven is a life practice. '

"Fu Tianming: This seems to have no logical relationship with Moonlight"

'Ann Lee: So you need to listen to Beethoven more'

It is true that until today, 200 years later, people still bind moonlight with moonlight for no reason, and the scene of heated discussions has reached astonishing.

As an unknown pianist, what Ang Lee can do is to perform well what he plays.

It's worth mentioning though that he admits that Moonlight is a chapter about love.

But, this is Beethoven!

How could Beethoven use three movements to describe a love story!
Beethoven's public speeches were always solemn that he did not need to know married life.

"If I spend my time living like this, where do I have the energy to work on worthwhile, noble causes?"

Perhaps artists do not need marriage, but both art and life need love to ignite.

Then it makes sense.

The first half of Moonlight is a loss and hesitation outlined by musical notes by a love loser with great talent for composition.

And in the third movement, the emotional direction is also enriched, and his direction may no longer be a specific woman.

This feeling of love but can't get back to him in the end, back to the self, back to the passion of the body's instinct.

Or maybe, maybe there is a word hidden here——

Life is short and must be lived hard.

Ang Lee did not record this sentence in the guide, but perhaps hid this sentence under his ten fingers, and presented it on the stage with a stormy interpretation.

However, the music came to an end, and the soul strike that sounded like the bell of fate in sorrow did not appear on the stage that most audiences expected.

In the last few sets of chords, Ang Lee returned to a cautious state, just like the opening of the first movement.

It is played carefully and cautiously, so cautiously that it even gives people the impression that the movement is not over yet, but the music has come to an abrupt end.

Moonlight is Beethoven's moonlight, a master piece similar to fantasy.

The moonlight is also Ang Lee's moonlight, and his moonlight is almost here for the time being.

"when."

Close hand.

The air on the stage was reflowed by his raised hands.

The coda in the air hovered over the stage in a circle until it became a part of the entire concert hall.

As for this song Moonlight III, the last thing left is probably only the last line of notes under the Moonlight III directory in the guide.

'.'

Auditorium No. 11, row 08, Chen Xuan was familiar with that face but couldn't remember where he had seen it before, and at some point he opened the guidebook at hand.

The last time he felt this way was in the finals of the Xinghai Cup Open Youth Group.

He still remembers Yunxiang's memory of a song full of music and imagination.

It was because of the interpretation of that work that he flew from Yanjing to Rongcheng not far away and bought a ticket for 300 yuan.

"Wow——"

Just when most people didn't know whether to applaud, Zheng Haitao was on the east side and Ma Yu was on the west side. The two applauded at the same time as if they had a tacit understanding.

Then the whole hall applauded.

Especially the ears of the people in front were sore from the applause from the last row of the auditorium against the wall.

In terms of etiquette, there is still the last piece of music in the second half of the concert. The applause at this time is a kind of behavior that seems to pay tribute to the performers on the stage but is not appropriate.

Even if the Moonlight Sonata just now was so touching.

The helpless applause almost overturned the stage, and it seemed that a concert was over.

So Ang Lee had to stand up from the piano, smiled to the audience, and then retreated backstage.

As soon as he stepped into the backstage entrance, Fu Tianming leaned over and whispered to him.

Li An sighed, then nodded.

He didn't expect that he would also become a part of Fu Tianming's script, but he had to say that Fu Tianming's thoughts were very rhythmic.

(End of this chapter)