"Wow————"

"W-"

"Wow——————"

"Wow————"

The young man moved.

As with the opening of each pull-two, eight bell-like chord hums from weak to strong kick off the first movement.

The young lead skillfully controls the volume of the opening octave chords, and the inner part of the chords is handled quite well from the effect of the scene.

The position of the Qin key can clearly be heard in the sound of the piano filled with infinite tension, which comes from the strength and angle of the falling fingers.

It's just that his playing posture is more peculiar.

Generally speaking, players who have reached a certain stage will pay special attention to their sitting posture and the state of upper drive, and raising their heads can more effectively mobilize their waist strength, especially when playing a large piece of music for more than half an hour.

And now the young man, his piano bench was far from the piano, his whole back was arched high, and his elbows were almost raised to shoulder level.

The two arms raised high are like jumping beams connecting the body and the keyboard.

From a distance, the whole person looks like a suspended puppet.

"It's kind of interesting. ”

Qin Jian said secretly.

With such a unique posture, he can still play such a powerful sound, and he doesn't need to think about it to guess that his fingertip power is very strong, at least not inferior to Duan Ran.

But then, how does he pedal?

Qin Jian tried to imitate this posture and pretend that he was pedaling, but he found that when he stretched his legs, he would pull on the Achilles tendon, which was extremely uncomfortable.

At this moment, the young man on stage gave a standard answer, and with the lyrical passage of the first theme, his left leg stretched out like a spring, and the moment he stepped on the pedal, the singing performance revealed a misty beauty.

Deep melancholy.

Looking at his expression again, the same lyrical passage, his expression is much richer than that of his teacher Perlman, and his mouth opens and closes as his left and right hands fall together, as if reading a musical score.

Extraordinarily dedicated.

When the music is officially in focus, the piano part as the lead player should focus on listening to the melody and harmonic changes of the orchestra, and then follow it well and understand the music as it progresses.

But since it was a two-piano version, the concerto task of the entire symphony orchestra was placed on Perlman.

The old man paved the music with rich harmonic variations, providing the best soil for the young man to play the lead.

Qin Jian has also seen this scene in Xia Shu and Shen Qingci, and the difference between the two scenes is that the former is driven by the young man to go to the music, and the latter is driven by Shen Qingci's concerto to drive Xia Shu to go.

Each has its own characteristics.

The music soon arrives at measure 63, and the piano moves towards the upper register with a slight slowing sensation.

The young man's smooth and nimble finger movements bring out a sound flow, and the whole musical mood is a little less melancholy and more bright than the first theme.

But the reassuring mood lasted only a little more than ten measures, and the music grew to measure 75, and Perlman's concerto part once again continued with the strong discontent that had been there before.

"Oooo————————oo

The concerto suddenly popped out of the vocal part with two unbelievable bass chords, like two bells falling from the sky.

Buzzing.

Shen Qingci sat up.

Dulange sat up.

Savier sat up.

The leading professors of the major conservatories sat up almost at the same time.

Their eyes all fell on Perlman, as if he were now imitating the melody played by the viola in the orchestra as the main theme of the music.

The discontent that lasted less than five seconds in the music was swept away, and the melody entered the sub-theme with a gentle and soothing expression.

This terrifying entry point also exploded in the hearts of various bigwigs like a bombshell.

Including Ruggiero backstage, his old buddy didn't tell him in advance that there would be such a scene.

This distinctly transformative concerto was heard not only by them, but also by most of the young people present.

But depending on the position, the perspective of the problem will be different.

Young people hear novelty, they hear creativity.

The elders heard about the secondary creation.

Second creation and adaptation are two completely different concepts.

Probably anyone who is (really) well versed in the ins of classical composition can try to take a fragment of Rachmaninoff's work and adapt it to the style of Liszt's bell, Saty-luo, Field's nocturne, or even traditional jazz or blues according to its main theme.

Basically, it can be classified as skinning and having fun.

But.

The second creation is not just about changing the skin and having fun, the first thing that must be maintained is the tone style and will of the original work, which must have both authenticity and creativity.

...

However, Rach, who can be called a monumental work, took three years from conception to completion, and it is also a work that determines his status and influence.

Especially in the period of confusion and despair of the Russian intellectuals at that time, this work is full of his inner sorrow and grief, and the majestic climax in the music expresses his full indignation.

In other words, it is also the times that have created this great work and given it a special historical meaning.

It contains Rachmaninoff's synthesis of his strong piano playing style, as well as the broad chanting and simple emotional expression of traditional Russian music since Glinka, as well as the dissatisfaction of an intellectual in the face of reality and his search for personal spiritual sustenance.

Even if today's musicians and historians look at this work from a historical, macroscopic perspective, it is impossible to fully grasp it.

So, let's ask such an epoch-making work - who can create a second work on it?

Perlman has the answer.

Perhaps as the last disciple of Rach's best friend Horowitz, and the successor to the head of the Four Schools, he has this qualification.

Everyone present also believed that he might probably have this ability.

However, at the end of the song, he only gave half of the answer, and half of the answer can only be left to time to judge whether it is right or wrong.

...

In the next two movements, there are only five re-creation fragments of Perlman, which involves about 14 bars.

His compositions are mainly composed in concertos, multi-part statements, syntax, and counterpoint harmony.

Although the musical mood in some places is more or less exaggerated or reduced, the tone of the original work is maintained throughout the work.

This makes some people regretful, and others are happy.

At the end of the song, the private comments were mixed.

However, judging from the atmosphere of the whole scene, the premiere of 'Rachmaninoff's Piano Concerto No. 2 for Double Piano in Double Composition', which Perlman and his disciples brought to him, was a success.

With Perlman's departure, Ruggiero first expressed his emotions deeply when he came to the stage.

"Perlman did something admirable. ”

Then he humorously said to everyone: "It seems that we have a new topic for the next seminar." ”

Truly.

Secondary creation is no less important for the inheritance of a genre than any other link, especially in today's increasingly scarce classical repertoire.