There is no rule that good music must first like the notes on the sheet music from the heart, and then turn them into beautiful notes and press them out of the piano.

Like Mozart's timeless collection, a considerable part of it was written out of necessity.

One cannot deny the subtlety of those beautiful notes because of his motivation for writing.

When a thin girl sits in front of a huge piano and plays a polonaise with a childish tone, who's to say that she doesn't have the slightest heroism in her heart?

Musical expression is both subjective and objective.

They can be divided into two camps, each with its own school of thought, as well as the most prestigious musicians of the time.

The former can ignore the relationship between various notes and chords on the score, or the difference between strength and weakness, and only rely on personal feelings to guide the direction of music development, which is more likely to arouse the enthusiasm in the hearts of the audience in the exciting places.

The latter is based on the basic premise of rigorous and orderly performance, and the music is more calm in their hands, and the precise poles form their overall musical thoughts, which makes people unconsciously reminisce about the mystery after listening to it.

But both are abstract, and the music itself is abstract.

Qin Jian defines his personal performance as the objectivist in the subjective.

He has a natural penchant for emotions in music as the most distinctive motivation in the development of music, and this is often the case for emotional people.

Therefore, in his performances, you can often hear music full of passion, passion and power.

But behind this passion and power is not the result of pure hard hitting the keyboard or frantically stepping on the sustain pedal, everything expressed in the music is traced, and it is all on the score.

Qin Jian has always been true to the composer's intentions, as can be seen in all the works he plays, from Mozart to Montball.

When he gets a new piece, the first thing he does is always study the beatmap first.

The composer wrote all the details between the lines of the staff.

On the afternoon of getting the collection of Mazuka's works, Qin Jian first read it roughly three times.

After some selection, he selected two sets, OP41 and OP56.

This is the mazurka he decided to use for the Chopin competition.

The next day, he carefully studied the two sets of mazurkas from beginning to end, not letting go of a single section.

Over the course of the day, he made sure he had mastered the beatmaps of both sets.

But that doesn't mean he already had any love for the two sets of works when he started practicing on the third day.

In fact, when he skillfully played these two sets of works to Shen Qingci, these two sets of products were still in the state that they had never entered his heart.

But Shen Qingci nodded and said, 'OK.' ’

Later, he summed it up and came to the conclusion that liking a piece does not mean that it can be played well, and vice versa.

If you don't like the work, you don't necessarily can't move people, Qin Jian is a pianist, and he will be with the stage for the rest of his life.

He can't guarantee that he will be able to perform his favorite music in every concert in the future.

A mature professional pianist will adapt to the market.

A good contestant will adapt to every aspect of each round.

...

Chubby Duan was worried that Qin Jian had a problem because she knew something that others didn't know, and at this moment, the audience was intoxicated by the No. 41 Mazurka music.

They watched the performance in front of the piano, listened to the rhythm of the graceful free speed in their ears, and sighed in their hearts.

In the previous rounds of the competition, Qin Jian's performance had already left a deep impression on the audience.

This creates a sense of anticipation for this round of the competition, which cannot be visualized in terms of how he will handle a single detail of the music in order for the audience to be satisfied.

All he had to do was play the music as he wanted it to be heard by the audience.

As for how the judges looked at his mazurka, his design was such that 'he didn't give much thought to every note.' ’

He thinks more about how to make the whole set of mazurkas smooth and logical.

The benefit of 'not being distracted' is evident here, as he completely disregards his personal habits and follows everything he needs in the score.

On top of this absolutely calm handling, coupled with his unique ability to change timbre, the first three pieces of OP41 are completed at his fingertips in one go.

Op 41-1, a complex trilogy in C sharp minor, is embodied in an exotic mood under his calm fingers.

He would raise his hand to pick up the sound at each beat, as if to let the audience see the rhythm beating on the stage.

And the sad atmosphere of the main color seems to be constantly purifying this beating rhythm.

His performance seems to say that beating is not for joy, but also for sad waltzes.

'Balanced handling' is his display in No.1.

After the music moves smoothly into E minor OP42-2, the lyrical Andante slowly stops the beating.

When Chopin's emotions could not allow the notes to continue to dance in a dance, Qin Jian slowed down the tempo appropriately.

The singing timbre is on the scene, and his performance is like a monologue of a piano poet, sad to the point of tears.

'Timbre control' was his demonstration in No.2.

The bright rhythm wipes away tears, and the robustness of op 41-3 in B major does not look like a mazurka, and some music historians have commented that this mazurka is the least Chopin-like.

But Qin Jian doesn't think so, isn't the most distinctive itself a feature?

In the face of complex key changes, he gave this mazurka a sparkling color with a structured playing.

'Perfect Fingers' was his demonstration in No.3.

At this point, only the last OP41-4 performance was left before Qin Jian's third round of performance.

Finger drop again.

A flat major dramatically kicked off his final performance.

Light finger drops, dots of Chinese sound float from the strings.

Qin Jian was no longer controlling the timbre, and he also put away the power of his fingertips.

At the end, the music flowed over the concert hall as if on its own.

Beautiful.

Losing its decorative appearance, the mazurka dances with a sense of freedom at the last moment.

...

When the music disappears into the hall completely, the feeling of freedom still exists in everyone's heart.

"Papapapa"

The first round of applause came from someone in the podium.

"Whoop————————————

The applause of the Liancheng Line erupted in the next second.

“bravo——”

“bravo————”

A loud cheer evoked Qin Jian from the piano.

I saw the tall young man standing up with one hand holding the piano, turning around and bowing.

There was a relieved sense of satisfaction on his face.

Take a bow.

"Thank you. ”

He said and bowed again.

Then step down.

In the judges' seat, the judges communicated with each other.

Talibek made a brief assessment first.

“allin。 ”

He watched as Akritsch wrote a 25 on a piece of paper.

...

Knowing how to 'put away' is the only way for a virtuoso to become a virtuoso.

Talibek felt that Qin Jian's last set of mazurkas showed the demeanor of a master.

Especially with the final OP41-4, he couldn't think of a better way to finish.

"He's a young man with a lot of energy. ”

On the other side of him, the Russian jury commented, "He is one of the few Asian players who can maintain the quality of his sound even after 55 minutes of performance." ”