This time I got in bed, and I was busy for several days.

...

Ruggiero made it clear in his schedule that after the concert there would be several thematic discussion phases.

Qin Jian was fortunate to be invited to participate in this conference, although most of the time he could only wait for a translator, but he also gained a lot in a few days.

For example, the team of teachers and students from the Planck Conservatory of Music raised the question of whether the strength mark at the end of Rahe's third prelude should be uniformly corrected, because the three versions in circulation are different, which is a certain obstacle to the teacher's teaching.

Some of them are the proposals put forward by the organizers, such as the question of the string orchestration of the main theme of the first movement of Rachmani's Piano Concerto No. 2, which is also currently circulating in several versions in the industry, and the discussion and solution of this problem requires conductors from all walks of life.

The final task is to select some of the more controversial or worthy works from all the concerts for discussion.

Among them are the concerto parts of the two pianos in the opening concert on the first day of Perlman and his disciples, as well as He Jing's Paganini, and La Mor's direct arrangement of the prelude in G minor.

This category belongs to the category of secondary creation, and it is also the focus of this seminar.

At the beginning of the meeting, Ruggiero raised a question in the conference room about the development and inheritance of the Russian piano.

He believes that the development and inheritance of the Russian piano not only requires pianists rooted in the soil to bring Russian piano sound to the world, but also needs musicians from all over the world to focus on it.

"As long as it's creative, we'll include it. ”

These are the exact words of Ruggiero, and he also affirms Professor Dulange's structural revamp of Paganini's rhapsody.

"He's a great pianist and a great musician. ”

In addition, some works worth discussing are also mentioned in the later topics, such as Qin Jian's Lasan solo.

In the afternoon when the fourth agenda for the revision of the score was discussed, Ruggiero came up with a proposal for Qin Jiansolo.

Of course, Qin Jian, as a party concerned, also participated in this meeting, but he still participated in this discussion as a bystander.

In this motion, Ruggiero argues that the part worth studying is not the second movement, but the cadenza of the first movement.

He was the first to put forward his own opinion: "In the cadenza section, the main theme and the secondary theme appear at once, and the subsequent reproduction section has almost no reproduction of the secondary theme, only a few very short epilogues, which almost sound like hide and seek." ”

His words were undoubtedly saying that Qin Jian's treatment was somewhat abnormal, and in Shen Qingci's later translation, Qin Jian knew that Lu Jiro was expressing this meaning.

In fact, Qin Jian did it on purpose, he not only wanted to portray the 'sound' clearly in the cadenza movement, but also wanted to express his own understanding of the cadenza at the same time, so in the actual performance, he used seven points of strength to highlight the main theme from the melody, and he played the secondary theme almost only with two percent of his fingertips, and played it completely as a passing note.

As a result, the audience sounds like a performer developing a cadenza into a special passage.

After Ruggiero jokingly gave the question, he went on to give the question.

"Because of this treatment of the cadenza, the asynchronous nature of the tonal structure and the material structure at this time makes the passage seem to acquire the meaning of the double curve structure, what do you think?"

This question is far beyond Qin Jian's knowledge field, it is not his fault, almost all of the people present who can participate in the discussion of this issue are the bigwigs of various top universities.

Even though the controversy stemmed from his performance, he didn't think of it himself.

After the subsequent rounds of speeches by the big guys, the scene became fierce for a while.

Fierce because there is a contradiction.

The contradiction arises because both points of view can stand.

Viewpoint 1:

Gustav, a piano expert of the Russian school at the Hannover Conservatory, believes that 'although the main theme of the music has been completely reproduced in the main key in the cadenza section, the whole cadenza still belongs to the opening stage, and the real reproduction part is very short, omitting the secondary part of the reproduction, that is, the line and the end.' ’

The reason for this school of thought is that the secondary theme in the cadenza section is not reproduced in the main key, but in the secondary flat E major of the main key, and this tonal layout of the subordinate direction also reflects the characteristics of the opening section, and the 'genus preparation' of the main key can be found in the final stage of the cadenza section—"On the contrary, there is no such process before the main theme in the cadenza section is reproduced." ”

With this last sentence, Gustav reaffirmed his point and threw the question at the other side.

And point two:

The representative of the Russian piano Gordon Weeser branch, the head of the piano department of the Luxembourg Conservatory, Yesayev, believes that "the reproduction of the main theme in this cadenza should be regarded as the beginning of the repertoire, because in the cadenza the solo of the piano has completed the dynamic reproduction of the main theme and the minor theme, and according to the player's tempo, this reproduction is about two-thirds of the way through the whole movement."

In the end, Jesayev also responded to the other party's words, "As for the minor theme, it is not repeated in the main key, which is a common phenomenon since the Romantic school. ”

And adds, "And the fragment of the material of the minor theme in the epilogue appears in the main key, which gives the necessary supplement to the situation that the minor theme does not return to the main key." ”

...

A heated debate ended with applause, and the meeting was considered to be the most exciting discussion of the seminar

Later, Qin Jian also read the translated conference report and realized that the details were far more complicated than he imagined.

And the academic debate of the bigwigs on his colorful part undoubtedly gave him some new understanding of his own handling

The truth is argued.

Although there is no absolute left or right in music, a clear mind will make it easier for him to see his own thoughts.

Compared with the harvest of honor, this kind of harvest is even more rare.

Of course, in addition, as the "initiator" of this meeting, Qin Jian's harvest is far more than that, after which the official specially made the first movement of this version of La San played by him into an official score and recorded it in the minutes of this meeting.

It was an honor, and he was the youngest of those to receive it.

...

With the end of the follow-up agenda of the conference, before I knew it, the time had reached the middle of January.

...

January 16th.

Clear.