Old-time musicians

Prokofiev's piano concerto, which was evaluated as "strenuous and pleasing" in the previous life, will reward the pianist and the audience with jaw-dropping sound effects for every difficulty and every skill.

In the finale, the airtight octaves of both hands roared like a stormy wave, and the amazing power of "Li" almost broke the strings. The colorful and stimulating sound effects vibrated violently in the space of the entire symphony hall.

The audience, who had been in a state of hypoxia for a long time, breathed a sigh of relief at this time. The veins on their foreheads and the muscles in their calves were still trembling, and the sweat stains on their palms and backs began to feel cool.

This is undoubtedly a "large-scale" performance.

But the timing and foreshadowing created by Fanning made all conditions mature.

Open-minded progressive people are enjoying the impact of the senses, and a small number of composers or critics who are usually keen on finding faults in eggs can hardly question Fanning's creative level.

[At this point, I hope readers will remember our domain name Taiwan Novel Network →𝕥𝕨𝕜𝕒𝕟.𝕔𝕠𝕞]

Say that he doesn't know how to follow the "right path", so he chooses an eye-catching and unorthodox way?

Are you kidding! Go listen to the medieval polyphonic music, classical music and romantic music he wrote before?

Even the most conservative music critics couldn't help but think at this time: There must be a reason for this arrangement of repertoire, and there must be something I don't understand about this piano concerto?

Moreover, Fanning's selection ideas and progressive order of the three piano concertos are——

Tchaikovsky-Rachmaninov-Prokofiev.

Their vocabulary gradually becomes fierce, but the core of the music, the selection of materials, and the spirit displayed still have the same Slavic national characteristics!

The supporters of the legacy of classical art, the romanticists of the academic school, the realists and nationalists, the naturalists and impressionists, whether they are pursuing the stimulation of the senses and light and shadow, or looking forward to the teaching of rationality and balance

Everyone can find a place that satisfies themselves in the works of these ten performances!

In the warm-up state of the audience, which was either shocked, expected, or thoughtful, the last orchestral suite "The Sea", which was called "supporting impressionism" by the great composer, finally arrived as scheduled.

Fanning walked onto the podium again.

On the stage wall behind the symphony orchestra, a wide canvas oil painting began to rise slowly under the traction of the rope.

"Seascape Gradient" by Impressionist painter Claude Weyd

In the ten seconds when the coughing in the hall gradually disappeared, the audience looked down at the track list, which had Fanning's title instructions for the first piece of the "Sea" suite:

"At Sea, From Dawn to Noon"

So they first turned their attention to the far left of the horizontal painting, where the ocean was dark blue and deep, the sky was gradually changing from gray to purple and then to cyan, the night was about to be slowly unveiled, and a few but dazzling lights jumped on the sea level

At the beginning of the music, Fanning gave the string group a weak but clear instruction.

"Om——"

The string music went from low to high, from weak to strong, and merged with the rolling sound of the sea waves struck by the timpani, forming a weak prelude sound.

"Ding Dong~" "Ding Dong~" "Ding Dong~"

The two harps gradually blended with it with a crisp and tranquil accompaniment.

The string group played uneasy tremolos, and the woodwind group played hazy and dissonant chords, thus outlining the blurred texture of the sea-sky boundary, and the sea water before dawn began to gently lap the shore.

The night slowly opened, and the light shone on the sea.

The dawn broke through the darkness, the mist gradually faded, and the sky changed from purple to blue, gradually stained with the glorious foreground color.

"Boundless, deep and vast, salty and cold wind... It's the sea, I see the sea!"

"I'm sure I'm not in the symphony hall!"

In a few dozen seconds, a considerable number of listeners with high inspiration have withdrawn from the matter of "listening to the performance"!

The oboe and English horn alternately played extremely weak main melody, symbolizing that the sea began to wake up.

At the same time, the violin descended in counterpoint with an augmented second interval, metaphorically suggesting that the mist on the sea surface was completely driven away by the golden sunlight.

The sea sparkled under the sunshine, which means that it is still peaceful, but contains infinite changes and deep energy.

When the woodwind group changed the theme again with a gentle and pleasant tone, the string group's accompaniment was soft and ethereal, as if sending a cool breeze with the singing, making people feel relaxed and happy.

More and more people were occupied by the strong sense of being in the scene.

"What's the situation? What kind of voice division is this? No, no, I can't hear it. It's too complicated. What kind of structure is this? I really can't tell it without looking at the score..."

"Why can two voices with different rhythms be played at the same time? Can the rhythm be counterpointed like the notes? How did he write this?"

Music fans were immersed in the music and couldn't extricate themselves, while the experts saw the doorway. Those professionals who "found something wrong", especially composers and conductors, gradually became dumbfounded.

The 16 cellos on the stage were actually playing in four different voices! And Miss Roy, who was in the principal position, conveyed Fanning's instructions very well!

Is this polyphony? This should be polyphony, right? But how can there be such a "micro" polyphony? One voice part can be split into four? The resulting sound color is unprecedented and strange, like a lingering veil wrapped in a mysterious substance!

What the hell is this?

“Maybe, maybe this is the new thinking of the polyphonic master…” Editor-in-chief Don Yetus felt that his cognition was being reconstructed again and again.

What surprised several famous composers even more was that under Fanning’s baton, there was a section where the woodwind and brass groups played in 6/4, while the percussion and string groups played in 4/4!

Two beats, playing together at the same time!

The bars corresponded completely!!

If it wasn’t amazing enough, they heard later that in a certain 6/8 beat, a measure of 9/8 beat was suddenly inserted, and then it returned to the original state, completely breaking the stable rhythm of the music.

In another place, the beat was 12/8 at first, then the French horn and flute played the theme in 4/4, and the whole orchestra immediately changed to 6/8. Finally, the brass, percussion and alto oboe went back to 4/4, but the strings became 12/8 again…

The audience only thought that the rhythm of the sea sounded so wonderful, but these music professionals had "what happened?" written all over their faces.

What the hell is this?

Even the two or three masters who came to watch the performance opened their mouths wide.

"The sea seems so unpredictable. If it is a real sea, it is impossible to have the same regular rhythm as in classical oil paintings... But what is going on with this rhythm? What does its score look like? Did I hear it wrong?... How should I conduct the orchestra to perform this?"

"In the final analysis, am I not very knowledgeable?"

Adonis, the chief conductor of the Royal Academy of Music Symphony Orchestra, is doubting his life at this moment. He thinks he might be a country bumpkin, even though it sounds like nonsense...

In fact, Fanning, who had analyzed "The Sea" in his previous life, knew that the former's polyrhythmic counterpoint was achieved with the help of the "Hermioara Principle" in modern conducting methods.

Its embryonic form has been explored in the dance works of Bach's period. As long as the common divisor of the beat prompts is found, combined with special scientific techniques and a sufficiently professional band, it can be achieved.

The latter rhythm conversion conducting method is also achieved through the transition prompts of the time value and the proportional relationship, which can be regarded as the common chord in the modulation technique. Otherwise, it would be a bit difficult to coordinate the demonstration by inspiration alone.

Fanning knew very well that the musical language and structure of impressionism were more vague and abstract, and the rhythm was more lingering, but it should not be ambiguous when performing.

Because this effect was carefully designed by the musicians! One wrong beat would be the end.

As the saying goes, "The audience can be dazed by the rhythm, but you can't."

When he was taking piano lessons on Debussy's works, the professor emphasized very seriously, "Debussy's rhythmic thinking is more rigorous than classicism. If you play all the rhythms indicated on the score accurately, the rhythm of impressionism will come out." The song "Moonlight" that he thought he played "elegantly" was criticized by the old professor and he had to start all over again.

Especially now that he is a conductor, lingering movements are irresponsible to the musicians, and the purpose should be clear and the meaning should be clear.

Of course, time is tight, and he admitted that it was a bit of a rush, but it was the result of using Qiming Church to give special training to the core members.

Accompanied by the crystal clear harp, the oboe and strings mixed to play the second theme, and the gentle face of the sea occasionally revealed a hideous foreshadowing.

A very calm melody appeared in the development section, and the playing of the alto oboe (English horn) showed a sad and hesitant mood.

The theme was reproduced in a low and soothing posture at the end. Not only the harp accompaniment, but also the powerful playing of the French horn and the ascending melody of the trumpet joined together. The dawn came, the brilliance was dazzling, and the blue sea set off the swaying golden light.

The second song, the title indicates "The Play of Waves".

The audience's emotions have been completely immersed in the play. With a hint of confident encouragement, Fanning instructed the band to play an introduction that seems peaceful but hides uneasy factors.

Soon, the band's radical ascending and descending chords were interlaced, and the alto oboe played the hazy first theme, which was the image of the waves starting to play.

With the accompaniment of the harp, the French horn played parallel augmented triads with hazy timbre, and the strings and woodwinds played descending tones alternately, forming a strong contrast and comparison, and the distance and reality, stillness and movement of the sea were all in sight.

"Boldly use woodwind and harp to play independent parts, rather than using them as foils..."

"Use trumpets and trombones with caution, as they can easily pierce the mystery of colors..."

"All brass instruments can be played with mutes or blocked notes when necessary..."

"The bass range of the flute is a good thing to express pain and melancholy..."

"The bassoon and alto oboe, these two instruments, have a miraculous effect in blending colors with strings or French horns..."

The instrumentation of impressionist music is the same soul element as the color of impressionist paintings. Miss Lausanne brought a small notebook with her. At this moment, she bit her lip tightly, carefully and quickly recording her listening experience.

Mr. Fanning, who is loved and respected, really understands impressionism!

Under Fanning's guidance, a variety of instrumentation forms were displayed one after another: the flute and violin played in coordination, the oboe played the second theme trill, the woodwind group played the A-flat ensemble to emphasize the augmented second interval, and then the oboe and English horn played the hollow chords in parallel...

One voice after another is intertwined and intertwined like waves. The musical moment is almost completely impossible to capture, and only a rolled-up superimposed form can be grasped. It continues through constant turns, seemingly disintegrating and disappearing, only to reappear again and again.

The last song, "Dialogue between the Wind and the Sea".

The restless timpani roll and the confluence of the low string section start a dialogue between the sea and the strong wind.

The audience was drawn into a small boat in the stormy sea, with lightning, huge waves, whimpers, and waves of turmoil. The trumpet was shouting, the evenly matched opponents were roaring, the intricate theme development, and the magnificent and strange pictures brought the audience to the stage. The music gradually builds to a climax.

Finally, the gentle and clear main chord of D flat major arrives, and the golden sunshine shines through the dark clouds. At this moment, the sea is neither as oppressive and calm as in the first movement, nor is it dangerous or hysterical.

The strange and majestic last scene of the seascape is forever frozen with the short and powerful accent of the band.

"Bravo!" The moment the musicians made a chic ending gesture, there was thunderous applause.

The last thing everyone saw seemed to be the sea after a storm.

It is strong, powerful, and broad, making people want to open their arms, embrace the sea breeze, and sing loudly.

It may seem like you are back to the starting point, but you are in a new state of mind, feeling relaxed and gaining something.

It's like going through a baptism!

Although everyone had some expectations of the closing ceremony's repertoire, they never expected it to have such a huge impact!

It does not preach about balance and moderation, does not pay attention to heavy historical narratives, does not impose humanistic shackles on the viewer, and simply brings the audience the ultimate experience and enjoyment of beauty.

Senses, emotions, aesthetics, as well as musical cognition and thinking, everything has been reshaped.

Fan Ning took his final bow amidst airtight applause.

Originally, according to the normal rhythm and normal response, he would definitely not be able to get off the stage for a while today. Fortunately, the interactive session was arranged in advance.

Catching a moment when the applause slowed down, the staff quickly entered the venue to set up the scene.

Next, about half an hour will be left for reporters from the partner media to ask questions. Of course, some VIPs and lucky fans will also be selected to speak and communicate.

It is equivalent to holding a mini press conference while the heat is still there.

The time is short, but the number of people is extremely large, and the influence will spread quickly.

After all, there are many important follow-up developments that need to be announced, and Fan Ning has only communicated through music for ten concerts and has never spoken on stage. Everyone is looking forward to it.

"Conductor Fanning, you once said that you are not an Impressionist, but you only expressed your importance to this trend of thought. However, due to the series of attainments you have demonstrated in these modern sound structures, you have actually made great contributions to these Impressionist painters and music. "You have the status of a leading figure in your mind, will you admit this fact?"

"Mr. Fanning, it's not a question, it's just a sentiment. Your "The Sea" has completely aroused my imagination of the unreal beauty and the world of doubt."

"What is the current progress of your music rescue plan? Is it for amateur learning and education, or is it a plan to perform on stage? If it is the latter, can they really meet the needs of professional performances?"

"Can you please disclose the financial status of the team that has been established for more than two months? Can the high market response meet the same high treatment standards?"

“What are your expectations for the orchestra’s fourth-quarter ranking evaluation?”

…

The interaction went on in an orderly manner. In the last five minutes, Don Yetus, the editor-in-chief of "Tioline Cultural Weekly" asked: "The old symphony orchestra under your leadership always has endless highlights. Can you tell us about the New Year's concert?" What should we focus on most?”

The audience for this question was obviously close to 100%, and for a while the entire symphony hall was holding its breath waiting for a reply.

"It will go on sale seamlessly from tomorrow, and the repertoire will follow the elegant tradition of the birthplace of serious music, presenting you with several exquisite Janus-style waltzes, polkas, marches, etc., but..."

The turning point is always a highlight. Fan Ning smiled slightly: "Everyone can have more expectations for the last single-movement work."

Don Yetus's eyes lit up and he asked: "Single movement? What kind of work is this? There are only more than ten days before the New Year. Can I think that its creation has been finalized and is in the rehearsal stage? ?”

"Since tomorrow's ticket opening will naturally be accompanied by the announcement of the track, I don't mind telling you the name tonight: "Choral Fantasia in C Minor." Fan Ning said.

It is Beethoven's first attempt at "Beijiu", a wonderful and great work known as "Little Beijiu" (80).

Media reporters took note of the key points.

"Obviously, it needs a choir." Yetus, who was standing in front of the distinguished guest seats in row 8, smiled. "Having a fantasy in the New Year is a very romantic thing."

"Of course, it's written for piano, orchestra, male trio, female trio and choir, and our choir makes its debut in the climax of the piece." Fanning said with a mysterious smile, "And its more specific music In terms of vocabulary, you can think of this as a small tribute to the master Gilles, and also a preliminary attempt on my part to write the next symphony.”

"'Choral Fantasia in C minor', with its wonderful form and orchestration, pays tribute to the master of authenticism on the occasion of the New Year. It is very exciting and exciting..." Yetus responded with a professional compliment, but immediately caught something amiss, "...Wait, orchestra, chorus, tribute to Gilles, a preview of the second symphony?"

Each of these elements is quite normal, but combined? …

Combined? ? ?

"Of course, C minor has a certain complex for me. After the experiment is over, the next symphony will also be in this key." Fan Ning held the music score in his hand and smiled frankly.

! ? ! ?

The air in the symphony hall became quiet for a moment.

Representatives of extraordinary organizations, famous artists and masters, reporters from mainstream media, aristocrats from high society, big factory owners and business owners present... Celebrities and music fans from all walks of life all looked at the people next to them to confirm.

The reporter from the "Hoffmann Gramophone" next to him forgot for a moment the etiquette of taking turns to ask questions.

He spoke with a trembling voice of excitement, taking this topic one step further, which was more explosive than all the trends so far and capable of stirring up major public opinion around the world. Furthermore, he emphasized the tone of the two numbers in his words:

"I... put it another way, can I think... you are preparing to join, phew... I'm sorry, I'm a little nervous... you are preparing to join in the final movement of the "Second Symphony", like Gilles' "Ninth Symphony" Join the chorus?"

I’ve written too much again, so I’ll just post it~

The set list has been changed and updated, and the order of the ten concertos has been rearranged according to the order of the concert in the plot.

Then, Debussy’s “La Mer” and Beethoven’s “Choral Fantasia” in C minor were newly added.

Everyone can listen to it, especially Beethoven’s song at the bottom of the playlist, “Little Beijiu” is really super nice, a quick version of Ode to Joy! !

Then again, it’s the end of the month, do you have any tickets? (Quietly)