Qin Jian's second track of the first round, 1, is a A-flat major that contrasts strongly with the revolutionary tonality.

To say that Qin Jian's preferred song also has a willful energy of Duan Ran, Shen Qingci and him fought for a long time for this at that time.

Shen Qingci bluntly said that this work is not suitable for the stage of the competition, and it is too thin in terms of technical difficulty and musical expression.

Of course, Qin Jian understood these words, but personally, he wanted to bring this track to the arena.

Not for extra points, just for a careful wish of yourself.

He also told Shen Qingci frankly at that time: "Mr. Shen, this work is very special to me. ”

Perhaps it was this sentence that moved Shen Qingci, and finally Shen Qingci agreed.

As for why this work is special to Qin Jian, and where is the special point, this paragraph has been mentioned in a corner of the story.

At this moment, Qin Jian almost didn't have to look for the state of playing for a certain night, and almost naturally substituted himself into it.

The unpretentious playing already had a non-Chopinist playing, a tendency to break with the Romantic style.

The notes flowed like a heart, bathed in bright morning light, golden and silver.

Qin Jian's performance was calm, his arms were stretched, and his wrists were flexibly flipped over, like a gentle girl, exuding a warm atmosphere.

At this moment, his eyes were full of tenderness.

The melody kept turning under his fingertips, containing the brilliance of youth.

The sound layers are gradually enriched.

Before the end of the colode, the bass sustain returns to A-flat major, and a hazy weak note tells the final note.

The dreamy stage fell silent as he raised his hand.

At the end of the song, he fulfilled a wish.

This piece was an encounter he gave himself to Chopin's music.

The two etudes are over,

Qin Jian paused for a moment, then raised his hand again and dropped his fingers.

Then he presented his third piece, Nocturne in C sharp minor.

In this competition, the Nocturne in C sharp minor has been played many times, which shows its popularity.

As a unique genre of piano music, Chopin's nocturnes are full of Chopinian subjectivity, and the musical mood it creates is unique throughout the Romantic music period and even in the entire Western musical heritage.

Along with etudes and witticisms, nocturnes are a mandatory genre in the first round of the Public Competition.

It is a touchstone to test the contestants' artistic treatment of Chopin's music.

Therefore, most contestants will prepare for Nocturne as a killer feature in the first round.

It's just that Qin Jian didn't put too much thought into the nocturne, each contestant had his own repertoire design, and he put the highlight of the first round on the fourth wittic

With the atmosphere of the stage created by the shepherd boy piccolo, he ended the nocturne with ease.

Perhaps the first two etudes were played too unusually by Qin Jian, which caused the regular nocturne to seem too ordinary.

After listening to the Revolution and the Shepherd Boy Piccolo, some spectators and contestants couldn't help but expect Qin Jian to play some new tricks on the nocturne, just like the Nocturne in B major in the preliminary round.

But they were all disappointed.

However, there are still some viewers and contestants, who are more looking forward to Qin Jian's first humorous piece in B minor

This witty piece has been named 'the most tragic of all Chopin's witties.'

Claudio, the great Polish music historian, once said of this work: "The failure of the Warsaw Uprising made Chopin more haggard than the fall of Warsaw, and his inner loneliness, pain, and longing for his family and depression are all epitomized in this work through the creative sound form." ’

Witty songs, literally, are a genre of music with witty, humorous moods.

That's right, that's exactly what witticism was meant to be when it was born in the 17th century.

But it is such a genre of music form, but it is used by Chopin to express the deepest pain in his heart.

The emotional expression of this piece is no less difficult than that of the revolution, and even more complex than the revolution in complexity.

The three-stage structure of 'ABA' makes it subject to dramatic contrasts of 'fast, slow, fast'.

Every pianist who has reached a certain stage has his or her own understanding of 'fast' and 'slow'.

Qin Jian raised his hand for the last time in this round.

He set his hands on the keyboard and took a breath.

The next second.

I saw that the green tendons on the back of his right hand suddenly bulged, and then his hands suddenly soared about 10cm from the height of the keyboard, and he stopped, and his hands fell suddenly in the air in a grasping shape.

"Wow————————"

"Wow————————"

Two long-drive and extremely dissonant seventh chords are like two self-deprecating ridicules!

It was these two dissonant sevenths that shook the people of Chopin's time.

The ridicule sets a certain ominous musical tone.

The chord notes gradually fall.

Moment.

One stepped forward and raised his head, Qin Jian's eyes focused, frowned, and raised his arms and dropped his fingers again.

Then a group of running notes poured out with his swift fingers, and a dense stream of sound developed in a hard, mechanical rhythm.

Each note is like a metal arm striking the keys, ending at a three-note ascending motive.

The music then proceeds to the middle section, and the tension on the stage hill is relieved.

Instead, there is a beautiful melodious melody.

The second topic begins.

Here Chopin quotes a Christmas carol from Poland called 'jezuniu'.

This melody from the motherland is full of serenity in silence.

Qin Jian uses a full finger touch key, trying to make every note blur.

The piano melody is soft and soft, in stark contrast to the fury of the first theme erupting into a volcano.

The inner tension of the music is immediately apparent.

It's just that the beautiful scene is fleeting, and the sound of peace and tranquility is like a dreamlike harmony, as if to brew greater sorrow for hunger.

In an instant, Qin Jian's expression changed, and his resolute hands turned into claws and fell again.

The three-tone motive of grief and indignation struck again!

Pushed the music to the climax of the whole song!

At the end of the whole composition, the stage picture shows a hungry and excited look, and the figure in front of the piano sometimes leans back, sometimes leans over.

His arms were wide open and closed, and the broken hair on his forehead swayed with his skull.

The music once again enters the stormy turmoil in this scene, and the intensity and momentum of it seem to completely overturn the object.

"Phew!"

"Wow !!"

"Wow!!"

"Wow !!!!"

'Angry, a call for rebellion. ’

At the end of the group, a dissonant ninth chord is repeated eight times under Qin Jian's hands at the strongest volume, and the tension and tragedy of the music also reaches its peak at this moment, and this tension is finally released in a series of scale runs.

Tone falls.

Stop.

Qu Bi.

At this moment, perhaps everyone in the audience should ask themselves a question.

"Isn't it witty enough that it sounds so majestic and wears such a gloomy cloak?"

Perhaps no one would be thinking about this at this moment.

"——————————————————-- Uproar"

The monstrous applause brought Qin Jian back to his senses.