Nocturne in E major, not Nocturne in E flat major.

This nocturne can be said to be a work in which Qin Jian uses his own ability to bring the performance of Little Brown to the extreme.

Qin Jian didn't even spend much time practicing this piece on the claviano, probably before he had only walked through this piece twice in its entirety on the small brown upper eye.

It was like a great realization after experiencing a period of painful self-torture on the piano, when Qin Jian found the sound of the piano, his own voice, and Chopin's voice, he naturally used an instinctive reaction to play such a Nocturne in E major.

It's the ultimate aesthetic that comes to itself.

Throughout the nocturne, there was a lightness in the church, which did not conflict with the painting of the Virgin on the wall.

The sound waves are like angular and delicate bells, tinkling back and forth in Vipassana, constantly spreading from the inside out, and the light echo penetrates the surrounding vibrating sounds.

The tone of the rhyme and ink is like the arms of the gentlest lover, enveloping everyone on the scene.

The women like it.

A small part of them did not hesitate to look at their admiration at this time, trying to scan the performance in front of the piano more clearly.

At the end of this nocturne, they gave enthusiastic applause.

Of course, their enthusiasm sent away some of the audience.

When all three tracks in the first half were over, and Qin Jian stood up and bowed, there were about 35 people in the audience at this time.

But during the intermission in the prayer room, several more young people came into the church.

One of the young men with a punk head on it looked out of place for the vibe.

When Qin Jian returned to the hall after resting, he also found this eye-catching new entrant.

Applause rang out again.

Then the second half of the concert begins.

There is only one track in the second half, Sonata No. 2 in B flat minor, but it is much longer than the first half.

Presumably, the complicated sonatas are more suitable for a serious concert hall than here, and Qin Jian only finished playing the first movement before several people left again.

Unlike the three shorter forms of the first half, the sonata is more dramatic and more developmental.

The performer needs to do a performance design in a cycle, and the concert will slowly heat up within the design framework, continue to advance, and finally ignite the climax of the whole area at a certain point.

But when Qin Jian ignited the theme of the funeral march of the third movement, and when the heavy harmony reached its climax in a "solemn but incoherent" slow march, there were no more than five people in the whole hall who were excited about it.

Of course, this does not include Qin Jian, who is immersed in his focused performance at the moment.

In such a church, sitting under such a cross of the Cross, such a movement is played.

"Nice experience. ”

Although the experience is good, Qin Jian will not forget the ultimate purpose of today's concert.

The end of the fourth movement also marks the end of the official repertoire of the concert.

Qin Jian bowed his thanks in the church, where there were only less than 20 people left, and the applause continued, and Ido, the old bartender, Assad, Liao Linjun, who had already sat down, the old Harlem couple, and the workers in the piano room, A, B, and C. were still there, and the boys were also clapping their immature hands.

The punk youth even stood up, his hands above his head and shouted in a rugged voice: "Bravo!"

There are also a few townspeople who hear from beginning to end.

Qin Jian withdrew, and the applause still did not fall.

Everything is like the flow of a regular concert.

didn't make everyone wait too long, and in the last step of the concert, Qin Jian needed to return for an encore as a reward for everyone's enthusiasm.

He was going to continue playing Chopin, but as soon as he returned to the piano, a voice rang out from the audience: "Grieg!"

Then, "Grieg!" was shouted again, this time by another person.

Qin Jian also stopped between his fingers, which is rare in ordinary concerts.

It's rare for an audience to ask a performer to perform a repertoire, but at this point, the audience has already made their wish clear.

As the father of Norwegian music, Grieg has never practiced his piano work, Qin Key, and even listened to it relatively little.

After hesitating, Qin Jian blinked, sighed slightly, and then turned his head to give the audience a bright smile.

At the same time, the hands are raised.

With a snap of his finger, Chopin, who had been prepared, turned into Grieg.

With a faint impression, he played the song of Solweg from Grieg's Pergynt Suite.

The melody full of Norwegian folk customs and the arrangement of Qin Jian, played in Chopin's way on an imitation of the 18th century piano, make the combination that everyone could not have predicted at the beginning to present a different kind of beauty at this moment.

As the impromptu unfolded, Qin Jian recalled in his mind the bits and pieces of coming to Bergen, the smiling faces of the workers working in the piano workshop in the morning, the deliciousness of the seafood soup at noon, the golden beach at dusk, the laughter in the lounge in the evening, the evening breeze at midnight, the waves at dawn, and the ray of morning light.

One by one, the pictures formed the melody under Qin Jian's fingers, and before he knew it, a few strange people stopped outside the church door, they seemed to be attracted by the content of the piano, and gradually more and more people gathered around the door.

Qin Jian didn't know about this, he continued to immerse himself in the music, for this melody that he had never seen a sheet music before, he had a familiar feeling at this time, as if music should be like this.

The story of Solveig is too long to go into here, but it is important to mention that as Norway's second national anthem, every Norwegian has a special affection for this melody.

Sorrowful melodies fill every corner of the church.

The boy clenched his small fists excitedly, and his mouth seemed to be muttering.

The punk-headed youth listened, and now he looked like a devout cultist.

Even the old bartender, who had always had a hippie smile, put away his smile rarely, and his eyes were a little more solemn, he didn't expect this concert to end in such a way.

When Qin Jian dropped the last note, he got up only to find that the gate of the original empty church was already full of people.

"Uh.."

Faced with this sight, he paused, and then a smile crept into his eyes.

Take a bow.

Applause, applause inside and outside the church.

It can be seen that everyone likes this piece very much.

Looking at this scene, Qin Jian's gaze changed color one after another.

“bravo！！”

Just under the cheers of Punk's head again, the sound of Weng in Qin Jian's mind was instantly clear.

He felt like he understood.

For the meaning of national music, he finally grasped something.

Stage 4 – 'What kind of voices did the listeners hear?'

Qin Jian will have to ask everyone this question for a while, but before that, he has made some new discoveries, and he seems to understand a truth - 'Different audiences need different voices.' ’

Voice, on the other hand, should never be limited to a certain type of voice on a fixed occasion.

Just like Chopin can be a scale in a piano room or a grieg in a church.

Under applause.

Qin Jian's gaze became brighter and brighter.