Nobuyuki Tokai, supported by his assistant, went on stage to the applause of the audience.

Yoshino took the initiative to take the arm of Nobuyuki Toi from the casual assistant of Nobuyuki Toi, and personally helped him to the center of the stage.

Toi Nobuyuki bowed to the audience, and then Takuma Yoshino sent Tokai Nobuyuki to sit in front of the piano, and gradually the applause from the audience fell.

Except for a few Yamah artists in the audience, no one has listened to the mystery of this piano, and under the introduction of Takushin Yoshino, there is no one who is not interested in this piano at this moment, and if there is, it is only a very few.

"Mr. Toi, I'll leave the rest to you. ”

Takujin Yoshino leaned over Toi's ear and delivered his last words on stage, and then stepped off the stage.

One person, one piano, there is nothing else on the stage at this moment, and the background light screen has also become black, becoming the Beijing decoration of the stage.

The whole press conference was quiet for less than 10 seconds.

In everyone's eyes, Shijing Shen moved, raised his hand and dropped his fingers, and his movements in one go were undoubtedly normal people.

"Drop. ”

A soft bass wafted out from the cf7's high-pitched matte black castanets.

Qin Jian felt that what he was hearing was a drip, and it was hard to imagine that a bass could make a crisp sound of 'dripping'.

Qin Jian still clearly remembers that when he played the upgraded version of the Steinway D274 for the first time in Warsaw, the bass of almost the same range, the richness of the Steinway and Sons, and the bass that sounded in his ears just now was too clear.

Then, as the soothing and warm melodic flow slowly filled the hall, even most amateur piano lovers could tell which piece it was.

Bedofen Piano Sonata No. 12 in A-flat major.

The length of the four movements may seem a bit too long for such a press conference, but no one in the audience cares about this problem, and as the theme of the first movement, 'Andante of Generation Variations', slowly unfolds, the first variation has opened a door to everyone's ears with a soft decorative motive.

The whole conference was transformed into a small and exquisite concert hall.

In the concert hall, some people are listening to Bedo's sonatas, and some people are listening to CF7.

In Qin Jian's opinion, there is no difference, the Bedo sonata at this moment is CF7, and CF7 is the Bedo sonata.

Similarly, Nobuyuki Tokai played Bedo points, and he also played CF7, so there was no difference.

No matter how miraculous a piano is, it must have a good pianist to show its excellence.

People, works, and pianos are a whole, interdependent and mutually reinforcing.

Unintentionally, Nobuyuki Tokai is an absolute pianist, and this is the first time Qin Jian has listened to Nobuyuki Shikai.

The other party just used a note and a chord, and in the breath of a small melody, Qin Jian felt the difference of this piano, and also let Qin Jian hear the state and feeling of Asian people playing this work.

Listening to one variation after another in his ears, Qin Jian's left index finger tapped lightly, and he imagined what kind of sound would appear if he played on this piano at this time and handled it in his own way.

Just when the third variation jumped to the fourth variation through the last forte embellishment, Qin Jian was stunned, and then the moment when the fourth variation changed to a gentle three-beat dance music, the piano timbre in Qin Jian's ears changed significantly. Bashan loves

From a crisp sound without a trace to a soft sound, many people present have noticed this, which is enough to show that this change has nothing to do with the sharpness of the ear.

Immediately after that, Nobuyuki Tokai on the stage did not linger too long on this tone, and his left arm was raised and dropped lightly to launch a bright third and selection, and the music entered the fifth variation in a small motive.

After the music reaches the fifth variation, the timbre changes again.

This time, listening to the bass that went straight to the depths of people's souls, like the ringing bass of a church bell, Qin Jian seemed to hear the bass of old Steinway.

This scene simply subverted his initial perception of the piano's bass, and his ears seemed to recall the sound of 'drip' played by Nobuyuki Tokai at the beginning. ’

The smile on the corner of Qin Jian's mouth gradually retracted, it seems that his estimate of this piano is still a little biased.

But there was one thing, he couldn't figure it out, he planned to go down and ask Shen Qingci.

With the arrival of the epilogue, the variation of the theme composition dissolves into an aftersound in the brief silence, drifting lightly towards the silence.

At the end of the first movement, no one applauded.

In the cheerful and witty second movement, the theme highlights the jumping adjustments, and listening to Toi Nobuyuki's flexible and energetic ten-fingered Qin keys is like feeling the feeling of playing Chopin's black keys on this piano.

When it reappears after the dynamics shift, Nobuyuki Tokai once again magically transforms the piano's timbre into a sharp and bright feeling in the passage of the fast delivery fingers.

The timbre of the two is alternated in the high and low registers, and the overall tone is more colorful.

As if he was accustomed to this feeling of timbre change, like Shen Qingci at the beginning, Qin Jian's attention gradually shifted from the sound of the piano to the performer at this time.

Qin Jian is no longer the same as before, as a pianist, objectively speaking, he has performed on many big stages.

From Tokyo to Vienna, from Hamburg to Moscow, he had seen a quarter of the world's pianists after a recent Chopin primary.

If he counts what he has heard, he dares to say that at least a third of the pianists are familiar to him.

The farther you go, the position is different, you see more, your vision is different, you hear more, and the angle of listening is different.

Subjectively speaking, after listening to the two movements of Shijing Shinyuki in its entirety, Qin Jian listened very comfortably.

Very comfortable is a seemingly ordinary but profound evaluation.

After studying the Russian piano literature for nearly half a year, it can be said that Qin Jian now only uses simple listening, and between a few melodic lines, he can give the player whether to use the traditional Russian piano performance techniques, if the other party can play a complete paragraph, he can basically judge which first-class performer the other party is.

Although Shen Qingci did not mention it, Qin Jian could almost already give a judgment that Shijing Nobuyuki should have inherited some of the performance techniques of the Nirvana School, and he has an exposed appeal in the work, and the lower finger is extremely delicate.

It may just be that the inconvenience caused by his eyesight makes his body movements and the whole person's temperament look relatively internal.

Speaking of which, Qin Jian has to say that Shijing Nobuyuki has ingenious thinking and chose such an excellent track on an occasion like today.

"Brilliant artist. ”

Qin Jian used the word artist.