Please, come home and practice the piano

Amidst the applause, Ang Lee led his children to help three staff members arrange the four pianos on the stage in pairs and in the center.

At this time, looking from the audience, four pianos formed a huge square array.

After the four pianos were placed, Ang Lee thanked the staff in a low voice and asked one of them to wait until their performance was over before the staff would come up to help move the piano.

At the same time, the children had already sat down one after another in accordance with the teacher's instructions - "You don't need to bow when you go on stage, just find your own place to sit."

In Part 1, Senior Sister Ji Yang sat alone on the first piano on the left hand side near the auditorium.

Liu Fengrui from the third group and Wang Xiaohu from the sixth group sat on the first piano on the right hand side near the auditorium.

The five-part Marco and the seventh-part Che Lin sat on the second piano on the right hand side near the back of the stage.

Sibu Xiaobei sat on the second piano from the left near the back of the stage.

After the staff left the stage, Ang Lee walked to the front of the stage alone and bowed gently.

"Wow————————"

Another wave of applause hit the stage, and before the music even started, the audience was ignited again.

Children who have never seen Teacher Chen in a formal dress have also never seen Teacher Li in a formal dress.

At this time, in the eyes of the children in the audience, Teacher Li was dressed in a neat black dress, standing under the spotlight on the stage, like the incarnation of classical music, noble and elegant.

Even the teachers who had been getting along day and night for the past few days couldn't help but stare at Li An. They had to say that Li An's cost on the stage was really too much. It can be said that he is both talented and beautiful. It's pleasing to the eye.

Tang Qianfeng has been eyeing Li An since he appeared on the scene. Li An is much younger than he expected.

However, although he is young, his movements give him a very natural feeling.

Tang Qianfeng, who has read countless people, can tell at a glance who is fake on the stage and who is real on the stage.

Some performers appear to be in full condition when they come on stage, but the frequency of their steps and the expressions on their faces are very controlled, as if every step and every expression is to maintain that full state.

Tang Qianfeng cannot say that this kind of performer's approach is wrong, but this kind of performer can never get out of the confines of the stage, cannot approach the audience, and the scope of activities throughout his life can only be limited to the small space on the stage.

Tang Qianfeng said that performers who care so much about their superficial appearance are keeping themselves in check.

In the decades that Tang Qianfeng has been in the industry, most of the performers he has come into contact with are of this type.

So he had a very good impression of Ang Lee's first stage, because from the moment Ang Lee took the stage, he didn't feel like Ang Lee was on stage.

How can any performer who appears to be greeted with applause not even care about the audience when he comes on stage, and directly walks and trots to help the logistics staff move the piano.

Is this what you're supposed to do as a player?

Usually, before a performer goes on stage, he only cares about one thing, which is the process after he gets on stage. No matter what the performance is, I, the performer, only take charge of the performance when I go on stage, and other things have nothing to do with me.

But how did Ang Lee do it? It seemed like he didn’t regard the stage as a stage at all.

In other words, in Tang Qianfeng's view, Ang Lee had regarded the entire scene and the entire church hall as his stage.

Just look at how calm he is and how he can control the rhythm of the performance and communicate with the support staff on the stage.

This kind of player can break the barrier between the stage and the audience as soon as he appears, making people feel that he is still walking towards you with every step he takes.

Yes, even though he is not very old, his control over the stage is already like everyone else's.

So Tang Qianfeng was somewhat looking forward to this show.

Regardless of the particularity of the repertoire, this expectation was simply brought to him by Ang Lee.

In Tang Qianfeng's concept, anyone who can control the stage can't control the music.

What kind of students can such a teacher bring out?

What kind of septet will these seven teachers and students play? Tang Qianfeng picked up the track list again and took a look at it.

This time his eyes fell on the word 'debut'.

"Wow—"

As the applause gradually died down, Li An walked to the piano where Xiaobei was sitting, looked at each child again, smiled and sat in the empty seat next to Xiaobei.

The location is opposite the piano car opposite.

At this time, all seven teachers and students were seated, and the scene became quiet.

Ji Yang took a breath, raised her head and looked around. After confirming her gaze with each child, she finally looked at each other one meter away from the teacher.

The teacher and student nodded to each other, and Ji Yang raised his hand.

At the same time, six other teachers and students also raised their hands.

"when!"

The next second, a powerful sound sounded from the center of the stage!

One stone stirred up a thousand waves, and the seven teachers and students on the stage performed the key-setting movements as if they were one person, and the fourteen hands were as uniform as one hand. A deep roar from the bottom of the keys kicked off Vivaldi's performance.

As soon as the music started playing, the majestic and dangerous first theme unfolded smoothly.

When the audience in the audience couldn't help but sigh at the sound effects created by the multi-person piano ensemble, the music suddenly changed.

Among the originally concentrated piano sounds, a "sharp" melody stood out, as sharp as a violin and full of momentum.

I saw that the other five children and Li An were still playing in the same state as when they started, but Sister Ji Yang had slightly tilted her body towards the keyboard. Her arms exposed in the air showed an extraordinarily nervous feeling, and her ten fingers were on the keys. The jumping speed is consistent with the rhythm heard by the audience.

But when the audience just focused on this melody, two musical rhythms with completely different levels appeared immediately afterwards.

Ang Lee and the car moved at the same time, one person was responsible for filling in the melody gap of one part, and the other was fully developing the bass.

Coupled with Ji Yang's lead part, the three rhythms merged under the harmonious rhythms woven by the other four children.

However, it was not over yet. When the audience in the audience felt that two streams of music were racing against each other in their ears, at this moment, Liu Fengrui and Bu Xiaobei, who was sitting next to Ang Lee, suddenly changed their hands into single movements. Hand playing.

The two children changed their fingertips from touching the keys to finger-touching in an instant, and the transient playing method described the entire line of the music with a high degree of clarity.

The music now proceeds in three harmonic directions, and in a series of rapid jumps, it flies towards the subtitle enthusiastically.

Sometimes the three merge into one, and sometimes they run separately, during which the exquisite timbre and strong rhythm express the music vividly.

Only the eyes in the audience still don’t know where to look. The kaleidoscope-like Vivaldi, after passing through the four seasons, finally blooms with harmonious brilliance.

No one knew at this moment that just before the third melody came together, Ang Lee was sweating in his heart.

It can be said that whether the first two movements can be completed smoothly, the most critical point is the moment when Liu Fengrui and Xiaobei change keys with one hand. As long as the two people make no mistakes and the music can clearly present the third part, then the first two movements can be clearly presented. Two movements and there won’t be any more problems. If there were no problems with the first two movements, he believed that the children would give a perfect answer for the third movement.

Now he was completely relieved.

As he raised his hand and dropped his fingers, Ang Lee pushed a set of major chords, stepping on the thick bass of the car to push the music upward.

After taking over a solo, Ang Lee took over the music at the same time before the subtitle started.

As the deputy soloist of the second part and the septet, he needs to assume the responsibilities of the second part according to the composer's will during the music progression.

Under his leadership, the music moved towards further harmony, the children gradually moved closer to him, and the music gradually occupied the spiritual high ground of the church.

Graceful yet solemn, like a magnificent palace exuding prosperity under the golden sunshine.

Looking at the stage and listening to the piano recital in his ears, which sounded like a symphony but not a symphony, Tang Qianfeng showed admiration again.

First of all, before listening to this piece, listeners need to understand two things.

First, when talking about Vivaldi’s works, you have to mention the Four Seasons, and when you talk about the Four Seasons, you have to mention Vivaldi’s famous harmonies and creative experiments.

Perhaps not everyone is familiar with Harmony and Creativity, a collection of Vivaldi's works numbered eight.

The famous Four Seasons are the first four songs of Vivald's No. 8 Harmony and Creativity.

Many people who think they know something about Vivaldi often classify the work rv522 into the collection of Harmony and Creativity.

In fact, this work of Harmony and Creativity was completed by Vivaldi in 1723.

As early as twelve years ago, Vivaldi had completed another unique work, Inspiration of Harmony, work number three.

rv522 is included in this collection, and its harmony and creativity with Collection No. are known by later generations as Vivaldi's twin masterpieces.

Second, in the collection of works "Inspiration of Harmony", the original title of the eighth piece, numbered rv522, is - Concerto for Two Violins in A Minor.

In other words, this work should be completed by two main voices working together to be complete. Even if it is an adapted version, this point should not be ignored.

Throughout the entire first half of the first movement, Tang Qianfeng clearly heard the true nature of the original work.

Here he must praise the arranger's meticulous restoration, and he must also praise the second violinist in this septet work, Mr. Li An.

It can be said that the music was completely activated at the beginning of Ang Lee's second solo.

In the first movement, in A minor, 6 lead plays are inserted between 5 ensembles, and two themes appear in cycles. Each time Ang Lee enters, the music will be balanced.

From a conductor's perspective, when performing Vivaldi's simultaneously melodic works, each note played by each player must establish a connection with the intervals of each note in the modal framework to emphasize the entire work. Contrast harmony and disharmony in .

This is the inspiration of harmony. Without contrast, there would be no harmony or disharmony.

There is also a harmonious and disharmonious relationship between the parts used for accompaniment and the main tone of the melody. It is these harmony and disharmony that create the overall harmony of the musical work.

Ang Lee's role was to mediate, which made Tang Qianfeng feel a little bit miraculous.

He was not surprised when he first heard it, although the children played it pretty well.

Especially the little girl who plays the basso continuo. It can be said that one person is responsible for the harmonious advancement of the entire movement. It can be seen that this child's sensitivity to music and control of rhythm are very good. The performances of other children are also worthy of mention. Not to mention the uneven level, at least in this piece, the completion of each part has reached a considerable level.

But children are always on the edge of the word "he".

And when Ang Lee took over the lead role for the first time and assumed the leadership of the music, something unexpected happened to him. The sound of each child's piano involuntarily came to life and moved closer to Ang Lee's piano sound.

The music actually "joined" together at that moment. After that, each child's level seemed to have been qualitatively improved. When Ang Lee no longer assumed the role of lead player, the children were still able to continue the "joint" .

And the more he played, the more relaxed he became, and the music became more and more harmonious, which amazed him more and more.

It's hard for Tang Qianfeng to imagine where the show would have gone without Ang Lee.

Without Ang Lee, would these children still be able to perform such a "magic"?

The answer in Tang Qianfeng's mind was no.

As a conductor, he has never witnessed such "magic".

When a conductor can mobilize every musician, when everyone is twisted into a hemp rope, a third-rate troupe can also shine as a first-rate troupe in a certain section.

So what he found amazing was how such a group of children with varying levels of skills were brought together by Ang Lee and how they were trained like this.

At least after listening to the first movement, he could be sure that these teachers and students must have put in a lot of effort in the audience.

Not to mention anything else, Chen Yanqiu personally participated in rehearsing three times the trio of Bach suites that Chen Yanqiu filmed for the three children.

If compared horizontally, the same stage, the same piano, the same works from the Baroque period, all of which are allegro movements, he believes that the live performance of the three Xiaoyuns is not as good as the group of teachers and students led by Ang Lee at this moment.

He watched the video of the opening ceremony on his way home from the performance that night, and he thought it was pretty good.
-

The moving music reverberated throughout the church, and the dynamic melody seemed to awaken the inner enthusiasm of everyone in the church at this moment.

Listening to the music in their ears and looking at the dazzling friends on the stage, many children in the audience were both happy and envious.

The wooden door connecting the rest room to the church stage was still open at this moment, but no one noticed this door that had been open since the music started.

At this moment, Tang Xiaoxing stood quietly inside the door. She could only see Teacher Li's back and Che Lin's hair, but the music seemed to be right in front of her, with a kind of vitality and an inspiring feeling. Working hard, she pinched the hem of her skirt, her pupils dancing to the music.

Boss X, who was standing behind her, was smiling at the moment.

When he heard the music, he could only say that the most correct decision he made about this summer camp was to give the closing performance to Ang Lee and the septet of six children.

The most wrong idea he had was that he wanted Xiaoxing to participate in the performance in front of him.

He is also a piano teacher, but now he feels that he is far inferior to Ang Lee.
-

"when."

As the first movement naturally fell back to calm after the high-pitched mockery, the stage returned to tranquility.

Li An breathed softly, and the first movement ended successfully. He had done everything he could, and the children were in good condition.

The stage for the remaining two movements is left to the children.

Come on!

I said in my heart, the music came to the second movement.

"when--"

It was euphemistic and lyrical, with a somewhat lonely atmosphere slowly rising from the center of the stage, and then spreading to the entire church hall.

The car slowly moved the bass, covering up the bright light left by the first movement one by one.