The graceful melody presents a natural beauty under the breakdown chords like retro wind chimes.

The atmosphere of the concert was also full of romance due to this coherent and calm melody.

"The shepherd boy took refuge in a safe cave because of the coming storm, and the wind and rain in the distance were raging, and the shepherd boy took out his disciples as if nothing had happened, and blew out an elegant melody. ”

It is rare for Chopin to personally explain the scenes depicted in his own works.

As one of several themes of the Romantic period, this pastoral work is one of the few pastoral works written by Chopin that expresses his emotional feelings for the tranquility of nature.

Not like the turbulence of the torrent or the fierceness of the winter wind, the shepherd boy piccolo is more like a warm art song full of freedom.

This work has a special meaning for Qin Jian, and it should be the first work he wants to perform at the Chopin Competition.

At first, he understood this work as about the emotions between men and women, and he thought that the soft melody in the work was full of ambiguity.

Today, he still feels that this work is still a subjective expression of human emotions, but he does not limit this 'emotion' to people.

Man and nature, man and all things,

Here he has to thank the elder Assad.

Before each class, the two of them would talk about Chopin, just like a normal chat.

In the process, Qin Jian heard different interpretations of Chopin's work, one from an Arab composer.

"When we talk about romanticism, emotions are always the first part to be expressed, and for humanistic and social emotions, the expression of romanticism is true and credible, because humanistic emotions are directly involved by people, and the object of emotional action is 'people' or 'some people participate'. ’”

This is a similar introduction to the argument made by the elder Assad.

In contrast, natural emotions are more special, and the specific things that we define as emotional objects here are inanimate, such as wheat fields, mountains, and oceans, in other words, the emotions between people and nature are one-sided between people and things. “

After taking this view a step further, the elder Assad connected the music of the Romantic period with this emotion.

Therefore, the music of the Romantic period often carried a strong subjective feeling, using self-imagination as a bridge to build the emotional relationship between man and nature. “

The influence of these views on Qin Jian is also based on the premise that Qin Jian wants to change a performance idea, and he happened to encounter such a view when he tried to reinterpret this composition.

The elder Assad pointed out for Qin Jian: "Fundamentally speaking, the relationship between 'music and nature' belongs to the category of aesthetics, and a large number of art and music works depicting nature appeared in the classical period, which directly affected the music of the nineteenth century, and the enrichment and development of romantic naturalism. ”

Not only that, but on the issue of the counterpoint details of the work, the elder Assad clearly delineated the range of performance that can be extended from the perspective of a composer.

"The work composed of a single line is rigorous and highly harmonious. ”

Similar to this summary of the work, Shen Qingci also said, but Shen Qingci explained this work more from the performance skills.

It is the first time for Qin Jian to analyze the process of human emotions to natural emotions like the old Assad, as well as the way of analyzing the counterpoint explanation of the work through the perspective of a composer.

Of course, Lao Assad also talked a lot about the relevant content, but he has too many shortcomings in his knowledge that surpasses Qin Jian, and Qin Jian has no intention of composing music, so in general, Qin Jian only took the part he needed to think about and absorb it. 7 Q

Through the process of practice, inquiry, adjustment, and practice, he finally found a Chopin-style way of playing an A-flat major etude on the little brown—

'1. All bars and passages should be kept level with the wrist, in order to achieve the unity of timbre throughout, which Qin Jian believes is better controlled on a modern piano. ’

2. Each finger used must be independent and fast, and every touch must be completed at the shortest height and speed, and every note must be kept clean and clean. ’

In this way, the timbre will add a lot of freedom to the wide melody in nature, and the stability of the wrist and the independence of the fingers make the freedom of the sound unfettered, symbolizing the warm and free breath of the idyllic scenery.

It should be pointed out here that Qin Jian's performance is not only combined with the old Arthur's narration, but also refers to the essence of Chopin's piano performance.

It can be said that this A-flat major etude is the most direct embodiment of Qin Jian's learning achievements in a stage, with thinking, common sense, reflection, and more importantly, there is a spirit of inquiry belonging to Qin Jian.

After thoroughly understanding the harmonic structure of the counterpoint, Qin Jian does not try to break the rules, but expresses his pioneering romantic naturalistic sensibilities in an imaginary Chopin music.

Returning to the work itself, Chopin has already given the ultimate interpretation – 'This piece is dedicated to nature.' ’

Qin Jian has always respected the composer's own intentions.

However, no matter what kind of venue it is, the beautiful melodies of Romanticism are completely detached from their connotations and impress others with their melody alone.

When Qin Jian finished playing the last note, Ido applauded excitedly, he seemed to like Qin Jian's performance very much.

He muttered Chopin's name on his lips, and the elder Assad corrected him: "He is your friend, Qin Jian." ”

"Qin Jian," Ido repeated, his gaze sometimes condensed, sometimes distracted, "Qin Jian, Qin Jian, my friend." ”

"Yes, one of our few friends. Old Assad sighed, and at the same time, he was also very satisfied with Qin Jian's 'homework' just now.

Soon the wave of applause drowned out the conversation between the teacher and student.

Qin Jian got up again, this time he didn't bow, just smiled and nodded at everyone before temporarily leaving the stage and walking to the prayer room, which was his temporary resting place.

The performance of the two pieces did not make him feel any fatigue, on the contrary, through the excellent performance of the shepherd boy piccolo, he felt that he had found the best condition.

The short break passed quickly, applause rang out outside the door, and Qin Jian got up and returned to the church hall.

When he came back this time, he found that there were more empty seats in the audience, and he thought that there were many more people leaving when he was resting just now.

But at the end of the first track, the boy who came in halfway was still there.

At this moment, the little boy was still looking at Qin Jian with curious eyes, Qin Jian noticed this and stopped and bowed lightly to the little boy with a special etiquette.

The little boy was a little shy, covering his face in the eyes and laughter.

Obviously, Qin Jian's gentlemanly gesture moved everyone, and they gave even more applause to the stage.

The recital continues.

Nocturne, a nocturne in the afternoon.