With the orchestra's secrecy and grandiose opening, the recording of Piano Concerto K466 in D minor officially began.

In fact, the main thread of the development of the classical piano concerto was laid down by K271 in 1776, but it was not until the completion of the six great concertos in 1784 that Mozart had already passed the technical confines of this compositional form.

The emotional weight that the subject matter can bear to be tried.

Until now, Mozart had not written a piano concerto in a minor key, nor had he written a comprehensive symphonic grandiose.

Since then, his focus has shifted to opera overtures full of splendor and virtuosity.

After a few years of precipitation, in the following 1785, the magnitude and depth of Mozart's achievements were radically expanded by the birth of K.466.

During Figaro's creative period, he spent a month writing K466.

This is a shocking work, just like Qin Jian is confused, what kind of emotions should we have to listen to such a masterpiece.

The fact that K466 has left history as a particular form of concerto is not to say that his concertos before him are more remarkable, and the level achieved by his earlier concertos makes any such deviation seem arbitrary, even if K466 is a more historically influential work.

But no one can look at it as just a concerto, K466 belongs not only to the history of concertos, but also to the history of symphonies, and even to the history of opera.

Just as in the Wedding of Figaro, we enter a world where opera meets chamber music.

It may not be his most frequently played concerto. ”

Qin Jian's hands jumped quickly on the black and white grid on the Steinway, and the heroic secondary melody seemed to be shallow and deep sadness, but it was bright and elegant.

Just as Mozart was in the bleak days of his lack of prestige, when the gray sky of Vienna almost obscured his strength and talent, the work was still highly praised.

Raising his finger and dropping another stiff chord, the violently vibrating string slammed into the orchestra.

The sounds of countless instruments mingle and push the mood of the music to its first climax.

Then, in less than three measures, the piano's voice weakened again.

It's a flash in the pan.

Admittedly, for many musicians of later generations, K466 was not the most beloved and popular Mozart concerto.

Indeed, looking at the record history released by DG, compared to the appearance rate of K491 and K271, K466 is pitiful like an outcast.

Qin Jian knows this very well, just like no one would regard Leonardo's "Mona Lisa" as their favorite.

In his mind, the K466 can be said to have surpassed its own excellence.

However, it is a pity that while looking up, it also caused him some inevitable troubles.

It's not so much about how you listen to it, it's about how you play.

The best way to approach a piece is to go back to the composer's background and read between the lines of the score.

In the former, Qin Jian already has an innate advantage.

So in the latter, he chose a roundabout path.

"K466 does not address the progress of the concerto's normal technique. ”

After playing the second movement, Qin Jian already felt the exhaustion brought by his body.

Astor made an OK gesture again, and his eyes signaled whether he needed to rest, after all, it was a recording, and the recording could be divided into movements, and the later splicing could be done.

But Astor is just a sound recordist, he's not a musician.

Both men, including Sayaway, expressed varying degrees of satisfaction with the first two movements.

Especially Sayavi, the whole person stood on the podium, exuding indescribable excitement all over his body.

Qin Jian couldn't say anything about this, he was just doing his best, and more importantly, he didn't want to interrupt this performance.

It all happened within three seconds of light.

Qin Jian shook his head at Astor, then looked at Sayeti again and nodded.

Third movement.

Three-movement sonata rondo structure with interludes.

This time, the piano comes first.

Everyone's eyes locked on Qin Jian's position.

Qin Jian took a deep breath and sighed his hand.

Finger down piano sounds.

A flurry of flowing ascending arpeggios perfectly continues the exciting and unsettling theme that came to that movement.

Then the corners of his eyebrows twitched slightly, and his whole facial expression changed dramatically, and the piano turned sharply downward, and the increasing speed indicated that the mood of the music was about to change again.

The band entered lightly.

Together with the piano, it completes the color transformation in music.

"Wow————"

Two-handed accented chords and short bands bring contrast and drama to the extreme.

Even if it is a concerto with normal technique, K466 represents an important step forward in a purely musical technique, 'the art of maintaining acceleration in rhythmic movement, i.e., the creation of exuberance'.

This can be seen everywhere in K466.

In the classical music style, this can only be done through separate steps, and the relationship between the various 'steps' is closely linked together – that is, to maintain and strengthen a high tide.

It's a technique and an art, and the process is incredibly complex.

Now let's take a look at how Qin Jian, who has put a lot of time and energy into this, has designed and changed in the process.

From measure 99 onwards, the harmony, which had been changing every measure, is now changed three times every two measures, so that all the sixteenth notes of the piano begin to have a melodic meaning, not just a harmonic ornament.

This acceleration in frequency directly affects the 100th measure, where the upper melody of the piano moves by a quarter note instead of a quarter note at the frequency of the previous half note movement.

As we all know, a half note is made up of two quarter notes.

This also means that by measure 104, the frequency of the harmony changing twice in one measure is replaced by the current four changes.

As a result, at measure 106, our violinists had to move their bows twice as fast.

This new vision, which continues to accelerate, may be the so-called 'romantic' excitement aroused by this concerto.

But Qin Jian wasn't playing the so-called rhythm juggling magic.

This is another bold idea of his.

The operation of the theatrical line is carried out on the separate and clear forms.

The impression of continuity is obtained by changing the layers of astonishing seconds.

"In this drive towards the climax, all the separate steps should work together to raise the overall form of the music to a higher level. ”

Perhaps it was at that level that he could find his confusion.

Even though he was nearing the end of the music, he only vaguely saw that level.

But compared to the previous confusion, this is enough for a hard-working performer for the time being.

However, most listeners or marketers don't care about what kind of performance you have played, let alone the ideas of dead people hundreds of years ago.

They just want to see you differently in the moment simply or utilitarianly.

Even the capitalists will label you in all sorts of ways.

...

A luxurious office of 100 square meters.

As Sayavi's hands retracted to his chest on the big screen, the young Chinese man in front of the piano gently played his hands.

There is a sense of tranquility in the picture.

Five seconds later.

Astor let out an exaggerated "OK" in the hall.

The crowd rejoiced.

Seeing this, the figure in front of the screen took one last look at the young Chinese man in front of the piano, and turned around to the floor-to-ceiling window.

Half of a thriving burger is like a model, all in front of you.

...

"Cleeland, you arrange, I want to meet this young man. ”