Translucent, grainy tones are by no means uncommon on the piano stage.

There were Pleyel and Dreyschock in the front, and Paul and Cody in the back, all of whom were professional pianists who played this kind of sound

In practice, this tone is played by emphasizing the wrists, arms, shoulders, and relaxed elbows while harmonizing the fingers.

Dynamic and sensual, with extraordinary temperament.

In theory, but also in practice, this tone is ideal for playing works of the salon genre such as Chopin's Nocturne Boat Song.

But it is not allowed to perform polonaise ballades and sonatas on large stages.

Even less suitable for a concerto.

Because the steps required to trigger this sound are so cumbersome and delicate that it is impossible to play too loudly.

There is no volume that can compete with the orchestra, and no matter how good the timbre is, it will not come out, this is the consensus rule.

Whether it's the 17 official judges who are in charge of grading or the 'private judges' who are scattered around, everyone understands this.

But at this moment, on the stage of the concert hall, Qin Jian broke everyone's consensus on the timbre with an unreasonable volume.

The piano is full of marching and power in the melodic interweaving of the first and second themes.

The orchestra progresses around the piano melody.

The format of the classical sonata is gradually being unveiled.

When the first movement reaches the development section, Qin Jian once again plays a thrilling musical motive by pushing the chords of the key root.

A style of brutal drama and sharp emotions suddenly emerges on stage.

Immediately after that, without giving the audience any respite, the music progressed to the reproduction in various transpositions, and the sound of the piano completely dominated the stage.

Finally, in G major, the piano and orchestra merge perfectly.

When the classical sonata form plays heroic Chopin quotations in the present symphony with the rough free spirit of romanticism.

Such a combination is destined to produce a chemical reaction and produce an unforgettable scene.

This is not only the idea of genius, but also the attempt of the brave.

The music is no longer just a fragment of a competition, but something for modern piano scholars to reflect on.

Perhaps those who work in the field of classical music should have realized that 'if you treat music as a regular language, you can't know everything behind it'.

What really deserves attention is what the purpose of art is that the standardized approach is expected to accomplish.

All the modalities of the 'Sonata' have been developed by the composer over the centuries and are now fully extensive.

Either a single theme, or a double theme, or a complete development section, or no part, or a complete reproduction section, and so on.

The key question is how to choose a way to interpret all of these forms when all these forms are in front of today's performers.

At the end of the day, to discuss this intrinsically important issue, we have to go back to the subject matter itself.

Chopin clearly marked the form of the first movement of Xiao I, 'the classical sonata form. ’

So Qin Jian played this movement with a timbre and bold design beyond the audience's imagination.

Perhaps only Mozart, who was reborn into the 21st century, and saw the modern symphony and the music of Chopin in his later generation, would have the heart to put it all together in this way.

But this seemingly unconventional combination is actually a very orthodox sonata performance.

Heavy decoration, emphasis on structure, clear indication of the relationship between harmonic thematic materials.

None of the 17 judges could dismiss Qin Jian from the performance design.

Even at the end of the tragic movement, Qin Jian's grainy timbre seems to lack a trace of emotion.

But the music is still full of empathy and moves everyone.

When the first movement really fell, the entire concert hall, on and off the stage, entered a brief confrontation.

There should be such a vivid and interesting sentence inserted in this vacancy, Blundell-

'The piano is just a musical instrument, not an artifact, only the control of the Jedi can play absolute music'

...

As Marek waved his baton again, the singing strings whispered.

Qin Jian raised his hand, and his hands on the keyboard for the entire movement were no longer arched.

His wrists pressed below the level of the keyboard, and his fingers were no longer bent at ninety degrees.

The timbre of the piano changes again in the air with a degree of clarity visible to the naked eye.

Like a gentle breeze and drizzle blowing across the stage.

In a letter to a friend, Chopin wrote: 'The second movement of the New Concerto is in E major, and I do not particularly ask for a strong force, but I hope that it will be played in a romantic, calm, slightly melancholy mood, not as if one were looking at a beautiful memories, such as a beautiful spring or a bright moon. ’

This is the second movement, the Romantic, in E major, in the style of a nocturne.

...

Qin Jian has always paid attention to the transition between movements, the change of the meaning of the sound and the movement of the stillness.

When the grainy notes are replaced by the cold and elegant rain and dew of early spring, the nocturne naturally and easily overlays the classical sonata.

The beauty of harmony under Qin Jian's fingers is fully revealed.

As the tension of the third dimension of music, harmony is the fundamental reason for the change of color in music.

But at the point, Qin Jian did not continue to fabricate sentimentality under the harmony.

If he could, he hoped that his performance would correct some of the audience's preconceived notions about the movement.

It is not a midnight song written by Chopin dipped in the moonlight for an amorous girl. ’

End.

He stroked the arpeggiated triplet fluently, and the whole movement dissipated in the mist.

This movement sounded to some listeners, and Qin Jian handled the ending a little hastily.

But Qin Jian didn't care about this, he made it clear that today's occasion was not the afternoon of love with Duan Ran in the small town's piano room.

At this moment, this piece is not being played to anyone but the jury.

This includes himself.

Marek has once again played a new movement.

The tight strings open the dialogue with the woodwinds with lightning speed.

Third movement, rondo, Allegro, E major.

Qin Jian raised his head and dropped his arm.

The crisp sound of the piano wittily induces the first theme.

With a flick of his arms, his gorgeous hands that had been silent for another movement re-nimbled on the keyboard for a dazzling moment after moment.

Often on those fleeting musical outlets, Qin Key's expressive piano sound, the whole symphony shows the brightness and abundance of refreshing hearts.

In most of the perspectives of the audience, it seems that the high-spirited Chinese youth in the first three rounds is back.

Needless to say, the amazing playing skills are more impressive, but what makes people feel more is his powerful aura of kingly demeanor.

This characteristic is not only reflected in him personally, the whole orchestra has entered into a scene of dialogue with the melody under his fingers.

The piano lead took over from the conductor for the first time in this final.

Marek did not attempt to 'take back' control of the orchestra, which was a secret agreement during rehearsals.

Qin Jian does not overemphasize the importance of 'self' in the following passages, his bass and woodwinds frame a cold tone, and the treble melody echoes the string section.

With a general pattern of detachment from the performers and contestants, he infiltrates the symphonic cultural symbols and individual musical vocabulary into the overall stage charm.

At the very end of the finale, the piano and orchestra returned to its translucent grain.

The contrast between strength and weakness instantly opened up the musical tension again, and the crystal clear melody became vivid and vivid in an instant.

The answer to the puzzle is as if it were all revealed at the last moment.

The ten fingers on the keyboard stood again, and the last run began like a flash.

The rich and colorful strong performance effect seems to form an all-encompassing kaleidoscope under the bright lights of the stage.

Dazzling and gorgeous.

At the last moment, every listener may have seen a different Chopin playing from a certain place in the music.

"Whoa—"

Qin Jian casually dropped the last note in the horizontal branch of the sound flow.

Stop.

His eyes flickered.

Moment.

Revolution... Nocturne... Witty... Waltz... Polonaise... Ballade... Mazurka... Sonata....

All the pieces he had played at this competition were in unison in the final brilliant orchestra symphony.

Suddenly, he seemed to have an epiphany.

The brass wood orchestra makes a final shout, and Marek waves his hand.

The whole piece ends with the rolling of the timpani, leaving only the reverberating stage aftermath.

The end of the song.

The audience was silent.

Qin Jian looked stunned for a moment, and then the corners of his mouth pulled slightly.

A drop of sweat slid down his chin.

"It's over. ”

...

...

“bravo！！！！”

"Whoa——————————————————————