Old-time musicians

Chapter 631 The turning point of the movement

"Haha. Really?"

Fanning smiled inexplicably when he heard this.

His figure was swallowed by the iron door of the steam elevator.

He returned along the original route without being stopped or looked at, as if he was a non-existent sticker.

After walking out of the gray-black twin buildings, stepping out of the tightly guarded gate, and walking to the crowded intersection of Pasbier Street, Fanning realized that a layer of fine and dense cold sweat had already appeared on his back.

At the same time, he realized that the pressure imposed on him by the authorities just now was unprecedented and very few people could experience it personally.

"I will be back that night."

He simply reported safety to Xilan to dispel her worries.

Soon after, he found his parked car at the intersection.

Walter had been waiting with the driver at the agreed place according to the previous messenger.

"Mr. Fanning, you came out much earlier than I thought." Walter, who was in the passenger seat, rolled down the window and checked his own pocket watch.

Only an hour and a half had passed, including the driving time.

"The efficiency of the Special Patrol Office is always very fast. Either they come out immediately, or they don't come out for months or years." Fanning opened the back door.

"The situation is not bad, right? Are those people mainly intimidating or bribing tonight?" Walter has been the music director here for two years, and he obviously has a very intuitive understanding of the authorities' usual "routines".

"Ha, both." Some key words flashed through Fanning's mind, and he smiled inexplicably again.

Actions constitute answers? .

The right to evaluate art? .

It is difficult to evaluate whether this conversation with the Special Patrol Office was successful or not, but Fanning believes that at least this aspect of self-presentation has met expectations - since then, the authorities are no longer an unknown thing at the upper level that "does not have the qualifications to communicate", and he has learned more specifically what the other party is controlling and coveting. Moreover, during the conversation, the style and attitude he conveyed remained consistent throughout the whole process.

Admittedly, this conversation was completed under great threat, but if these people try to fundamentally rewrite his style in future confrontations, the cost must be calculated to be even greater.

In contrast to this dangerous tit-for-tat thinking, Fanning also realized that a huge torrent of "urgency" and "excitement" was sweeping over, and would become the mainstream of his emotions for a short period of time.

His status has never been as high as it is today, and his influence on all walks of life has never been as extensive as it is today. He only needs to exchange some ideas with a few key figures in the same part - supporters who have established good relations before - and reach some consensus on the interests between forces, and then he can go up to the high platform and raise his arms, directly from the top logic, inject new ideas and influences into the art career map, and everyone will stand up for it. All this is as direct and reasonable as making a move in chess.

On the other hand, there is a more urgent demand for artistic creation. He must complete his "Fifth Symphony in C-sharp Minor" before the arrival of late autumn as a blow to win the Harvest Art Festival.

Fanning often unconsciously compares his artistic career with another "torch bearer", Beethoven.

The fifth of the latter is "fate", and its significance needs no further explanation.

It is just that in the late romantic era of Fanning, when musicians are vying to use poetry, literature, dance, and painting as media, and are eager to declare their creative ideas to their audiences, it is an extremely dangerous choice to resolutely turn to "untitled" pure instrumental creation, and even Fanning's most proud choral style is temporarily shelved.

The level of opponents he will encounter next and the expectations of music fans he will face will no longer be as simple as when he created the "First Symphony".

But he still has no doubts about the transformation path he has chosen.

The proposition of life and death is originally abstract. If you don't use vocal factors and don't give the work a title, you won't write it. Why is it called "New Moon"?

Beethoven's Symphony of Fate is pure instrumental music. Who dares to say that it is not deep enough in exploring the proposition of life and death?

Fanning hopes that the next few symphonies of his own, whether in terms of tone and conception, or the connection between the various movements, can rely more on the logical development of the music itself, and even so, the romantic joys and sorrows and poetry are not diminished at all.

"Fifth, Fifth, whether it is Beethoven or myself, if we count according to the creative career of nine symphonies, this is right in the middle"

"And I, because I have used two movements to describe death, lamentation and hoarse struggle, the functions of the next scherzo, adagio and finale have not been realized, and there are still three movements left. Then, this work may need five movements to complete, and the progress of the third movement now conceived is also right in the middle."

"It's very interesting that the work number is also in the middle, and the movement number is also in the middle."

"A very important Turning point, just like the return ten days ago, the promotion last night, the awarding of honors tonight, the interview and the mood change, etc., which constitute an important turning point. "

"If my creative progress is ideal enough, maybe I can show Miss Roy in San Perto a month or several months in advance, and see how she will praise and evaluate my first few movements. In itself, I need to arrive in the holy city several months in advance."

Fanning couldn't help but whistle a lively and lively scherzo-style music idea, forming a horn sound like a "turning signal".

The D major key that the funeral march had been struggling to find in the first movement became the main melody of this movement.

"Boom--"

At the same time, the noise of the engine ignition was intertwined with the roar of the airship in the sky.

As the tires of the vehicle rolled, the air mixed with perfume, food and coal smoke also poured in from the gaps in the car windows.

"The night view of Saint Taran Castle never disappoints." Fanning looked out the window at the night falling.

The huge steel buildings and the copper signs of the shops on the street were intertwined far and near, forming a certain artistic structure with stable logic in the movement. The cold white electric lights and bright yellow gas lamps passed through the haze in groups at different speeds, like wandering stars and chasing fire.

"Is Master Fanning also familiar with the imperial capital?" Walter asked.

"More than familiar." Fanning smiled and shook his head, then recalled, "Haha, you may not know that I frequently traveled between these two cities for a long time in the past. Moreover, I walked the streets of Santaramburg and met many friends, exchanging all kinds of precious views. Some of them were high-ranking politicians and academic bigwigs, some had already made their mark in the art world, but more of them were still unknown in a corner of the city."

"This time, it should be their turn to come and see us one after another."