After a slow etude, Perlman went straight to La Three.

There weren't any track transitions.

The soft intro to the strings and bass seems to foreshadow Perlman's upcoming performance.

Most people think they expected it, but most people think wrong.

There was no peaceful beginning as everyone imagined, and Perlman's piano sound was filled with a stirring emotion.

Domineering swept aside all the instruments, and powerful octaves hummed.

Qin Jian squinted vigorously at the piano keyboard on the stage, but it was too far away from the stage, and no matter how hard he tried, he couldn't see the other party's touch keys.

He blindly guessed that the opponent's right hand was falling at a vertical angle, but the part that touched the key was the belly, so the sound that came out was both strong and crisp.

Qin Jian was still thinking about the other party's opening performance technique, and the music had already entered the development department.

At this moment, many people can't help but compare Horowitz's late performance version with the current version, and most of them conclude that the style is very different.

Horowitz's Rasan is brilliant and chic, giving people the ease of climbing dangerous peaks and walking on a flat river, and the music tends to be more profound and perfect.

Perlman's icy notes give a sense of frustration, but the flow of the music doesn't affect it in the slightest.

Qin Jian's auditory experience told him that this should not be the performance of the master and apprentice.

But the facts are right in front of you.

But when the entire first movement was over, Qin Jian had an indescribable feeling.

There are at least ten or more versions of Lasan he has heard, and they are basically everyone's works.

But it was the first time he had heard such meticulousness, without any show-off skills and ostentatious timbre, the first movement of La San.

In the second movement, the other party still adheres to this meticulous performance, and ends the movement with the cold and unsparse notes of the piano in the silent voice of the orchestra's reproduction of sadness and tactfulness.

Leading the orchestra Howe straight into the third movement without interruption.

As soon as the music enters the third movement, the colors change instantly.

The fiery first theme grows faster and faster in repetition, and the volume of the orchestra grows louder and louder under his metaphorical hints.

The atmosphere of the scene is also getting higher and higher under the extremely fast syncopation rhythm.

Seeing that he was also boiling, Qin Jian took a few deep breaths

He needed to forcibly break himself out of this intense listening state and analyze the problem calmly.

After a few deep breaths, Qin Jian's brain was running again.

As one of the descendants of the Nirgauz school, Horowitz's performance itself naturally has the characteristics of this school.

There is no way to appreciate Huo Lao's scene anymore, and in his era when his recording technology has not reached one-third of the current level, how can people experience a little bit of Huo Lao's essence from the noisy recording?

Even if Rachmaninov himself admitted that none of the Rassans played could match Horowitz.

But that was only a few decades ago.

So put aside Huo Lao's version and let's not talk about it.

As a close disciple of Huo Lao, Perlman is a top pianist, and in his later years, he naturally has his own understanding of his works.

Perhaps Perlman's performance of the first movement of La 3 twenty years ago was also full of virtuosity and enthusiasm, and it was not at all as cold as it is now.

Therefore, Qin Jianjue couldn't judge too much of the content behind it from the scene in front of him alone.

After calming down and thinking about it, he thought that at least from the performance point of view, this scene of pulling three was a success.

And it is not difficult to analyze the characteristics of its performance.

First, Perlman doesn't want to pour musical emotions and showmanship into the music like many performers, his body is calm, even in the most intense part, his moves and styles are not exaggerated, from body language to facial expressions.

It gives people a kind of "performance state" that is both internal and external. ”

Second, Perlman's technique goes without saying, but it doesn't even feel like it's too much in his playing, he doesn't put a little more effort into the technical stuff, and more is on shaping the tone.

Thinking of this, Qin Jian suddenly took out a small notebook from his bag.

Everyone was listening intently, and he started to write.

After jotting down what he had just written, he added to the second point————

'Using timbre as a means of shaping music'

Third, the continuity in the tone of the music. ’

After a pause, he added again, 'This is a question to be asked, and then he will go down to find Horowitz's version for a closer comparison.' ’

At the brisk pace of the third movement, he sensitively captures the interconnectedness between Perlman's musical tones and between stanzas.

This subtle feeling he felt in Horowitz's 1968 performance of Carmen Fantasia, and Qin Jian knew that the problem was no longer at the level of ordinary phrasing.

With the sonorous octave of the piano, the orchestra enters its final climax with a full flood of percussion.

With a wave of his hand, the orchestra almost covered the piano.

After the peak, the whole music ends strongly.

Ruggiero's raised hands and Perlman's left arm dangling in mid-air became the final frame on stage.

The moment the reverberation in the concert hall dissipated, the violent applause and 'bravo' took over the rest of the scene.

The whole hall seemed to be silent in great music, and it has to be said that Perlman's La San was the official opening of the seminar.

Qin Jian closed the notebook with a sigh.

"A master deserves to be a master. ”

He applauded, but there was a hint of regret in his heart for the final ending.

I couldn't help but sigh, "There are times when the master is old, and there are times when the physical strength can't keep up." ”

Thinking back to the last few chords of the piano that were a little weak.

"If it weren't for the percussion cover, I'm afraid..."

Of course, he also knew that even if there was no percussion to cover it, no one would deny that this was a wonderful scene of Rasan.

Understandably, after all, Rach himself jokingly called it an 'elephant work' after its premiere in 1909. ’

It is not difficult to see the physical demands of this work on the player, and looking at all the piano works, there is no one that can match it

As an elderly person, being able to play to this point can already score a full score.

Having said that, Qin Jian was worried about the old man's performance next, and the concert was not over yet.

"As soon as the pull three is over, it's time to pull up the two. ”

Looking at the program list in Xia Shu's hand, Qin Jian muttered in his heart.

Although there are no works on the program list after the end of La Er, according to the urine nature of the general concert, the old man will definitely continue to return.

Normally, it takes a lot of effort to play a single piece, not to mention that two pieces are connected together, plus the encore piece, and the upright and prime-aged performers may not be able to bear it.

Qin Jian was worried, but the orchestra members on the stage returned to the stage one by one.

"What is this?"

Then the door on the other side of the stage was pushed open, and three staff members pushed a grand piano onto the stage.

"Pull two is the two-piano version. Qin Jian understood.

One lead, one accompaniment, it seems that this should be the case.

Just who will play the accompaniment?

Qin Jian's gaze just fell on the young man beside Perlman, only to see Perlman get up and sit on the accompaniment piano.

The young man placed the sheet music in his hand on the music stand of the lead piano and sat down.

This scene did not cause any strong reaction from the audience, but the noise disappeared in an instant.

"Interesting. ”

Qin Jian's fingers tapped on the shell of the notebook, making a clear 'da-da' sound.

The rhythm is crisp.