"A minor. ”

After a short silence, Qin Jian stretched out a finger, and then casually pressed and lifted it in succession.

"Oooo———————————oo

The bright, thick monotone maintains a consistent volume and unfolds forward with a definite rhythm, pulling the lead.

The bold velocity expression of the F here completely subverts the P mark on the original score.

In other words, if you look at the first half of Qin Jian's introduction according to the rigid academic standards, he will most likely be warned by a yellow card.

"You fouled. "Normally the referee will say that.

However, this is Chopin's arena, and freedom is the premise of everything.

What's more, on this stage, everyone under the stage clearly and unambiguously knows that Qin Jian is by no means the first guy to do this in history.

The same work, the same passage, in 1960, a young man from Italy was so willful.

When the two notes take over the latter part of the introduction with the same rhythm, the volume of the piano changes from F to a thin silence like pp, and if it weren't for Kawai's ultra-sensitive hammer, perhaps no one would have heard the performance on stage continue.

Spanning the strength and weakness of nearly five volume ladders, Qin Jian not only showed his extremely precise control of finger power, but also a group of Chopin experts in the audience probably guessed the answer to this part of the game.

The mid-bass part outlined at the end of the introduction gradually fades in the trembling march, and the moment the air around the castanets suddenly becomes quiet, there is an extremely uneasy emotional rhythm on the stage.

At this moment, Qin Jian's eyes froze, and the moment his left wrist was pressed down, a heavy single note like a whistling voice was played ferociously, and at the same time, his right hand broke away with all his strength and quickly contracted his arm to move above the rightmost treble area of the keyboard.

Slam it down!

It's smashing!

Qin Jian smashed into the piano key, with a momentum like a bamboo.

When a large hand that can cross the keyboard 12 degrees shrinks into a claw and smashes into the most vulnerable point of the piano, the audio and video picture can be imagined.

The Kawa piano screamed hard to open the theme of the winter wind, and a whirlwind sound with a real chill rushed down from top to bottom, rushing in all directions.

Cold, cold sobriety, every note appears where it should be, proving to the listener that it exists, that it is essential.

I have to say that the judges were still shocked by such a scene, so much so that they had forgotten for a while that the Italian who used to be was so strong.

Because not every player who can play the winter wind to such an effect has a big hand like this.

Maybe you don't need such a big hand to play Chopin, but so what?

Qin Jian's gaze gradually faded again, and he knew that the next thing was to finish this work.

Regarding the winter wind, so far Qin Jian only likes the version of two people.

Before Duan Ran's winter wind, which he didn't hear, he only liked Pollini's.

As the gold medalist of the 6th Chopin Competition, Pollini's playing style is characterized by a strong sense of imagery.

This is true of each of his Chopins. 398

Like a painter, Pollini adjusts the angle and strength of his brush according to his own artistic ideas, and expresses the rhythm of the musical picture through the change of the weight and thickness of the lines.

Therefore, the rhythm he uses to frame the music naturally becomes the main feature that highlights the character of the work.

In the process of constantly magnifying it, Qin Jian discovered more clearly this sense of rhythm that shapes different rhythms and emotions with purpose.

"It's an extremely romanticized self. ”

"Can you reproduce it?"

"You can give it a try. ”

Finger technique is a prerequisite for the development of all possibilities, and the technical elements of a piano work are essentially its components.

If you want to talk about the restoration of a work, you must take into account a category, which - long or short, more or less strong or weak - precisely defines the duration of each rhythmic unit, the decibel of volume, and the angle of the touch.

Every detail is reduced to the limit with technology, and then these limbs are pieced together one by one in proportion and precision.

When all of this is finally presented again in a highly integrated way, who can say that this is a fake without a sense of art?

The winter wind in front of me is such a work of art.

At the end of the piece, Micuri, a judge from the Chopin Academy in Poland, wrote a 'yes' after No. 21 of the scoring chart.

There is no score in the preliminary round, only yes or no, and the top 80 runners with the most yes among all the runners will enter the main race list, if there is a tie in the number of yes at the end of the ranking but can only advance to one, all judges will re-evaluate the video of the contestants with the same number of votes.

At the end of the third work, Qin Jian has already obtained a yes of his own, which is not unusual, because due to the influence of regional experience differences, each judge's judging criteria and examination angles are different.

Micuri likes Qin's sense of control of the piano, and he feels that any player who can switch between the three playing styles at will should make it to the next round, and he is looking forward to his future performances.

Qin Jian had already made an extremely deep impression on the secret curry.

With the fourth work, Mazurk No.23inDMajorOp.33No2 "Mazurka in D major" ends with a joyful dance.

Deng Taishan, the gold medalist of the 10th Chopin Competition, sent Qin Jian a second 'yes', perhaps because the other party's performance reminded him of the mazurka he once played in this arena, or maybe the other party also belonged to the silent personal world with him.

In short, the Vietnamese artist was impressed by Qin Jian, but he hoped to hear something different in the next round, after all, it was a competition that he believed would change the fate of his life.

The ideas of Secret Curry and Deng Taishan also represent the thoughts of most of the judges, and in their opinion, the process of a contestant to advance from a 160-man roster to an 80-man roster is not complicated.

They only need to screen out the players with basic basic technical literacy.

Of course, each of them has their own different standards for this basic technical literacy, but there are few examples in history where the judges of Xiao Sai have looked away.

Therefore, the list they screened out is also the most authoritative existence in the entire piano industry.

One 'yes' after another appeared in the frame of Player 21.

But Argerich remained silent.

On the stage, after the performance of the fourth mazurka, Qin Jian wiped the sweat from his forehead, and the moment the white cotton towel covered the corners of his eyes, his brows were tightly locked, and he looked like he was extremely unwell.

However, no one saw this scene.