The sound of the piano sounded again, and the delicate timbre of the silk was full of dreams, like the murmur of the pillow before waking up from a dream.

It gives a refreshing sense of chic.

Especially for those who are still immersed in the first movement, the deliberately lengthened touch keys in the piano sound seem to open the picture of the music for their eyes.

so that they can see more clearly.

As if painting a real picture, Qin Jian clearly depicts the outline of the background with a bright and transparent timbre.

The majestic successive chords outline the majesty of the Ural Mountains and the vastness of the Kipchak steppe, the complex musical texture is like the ring of the birch forest, and the wave after wave of fast and delicate finger movements seem to herald the continuous stretch of the Volga River.

The composer, with his excellent compositional skills, developed the simple and moving Russian melodic motive into a huge and magnificent movement.

And the above is just Qin Jian's interpretation, the expressiveness of music will eventually fall to the relaxed rhythm and the arrangement of the performers.

At the beginning of the second movement, Qin Jian changed the first movement with a large stroke of ink, and changed to lengthen the sound capsule with his fingers, focusing the composer's perspective on every detail in the painting.

...

The second movement is Adagio, a complex trilogy.

A compagio that doesn't seem so soft to him, and a trilogy that isn't as complicated either.

Perhaps it was on that sunny afternoon when he met little Dalia that Qin Jian found some inspiration and played a second movement he imagined.

It felt like he couldn't be wrong until now.

That night, Qin Jian returned to his room and spent a short time making the structure of the second movement.

He divided the second movement of measure 217 into three parts, and for the time being, he replaced them with the three symbols A, B, and A'.

In good order, he treats each part as the three periods of a person's day.

Part A is represented from early morning to afternoon, Part B is from afternoon to early evening, and Part A' is represented from early evening to Lai.

Although each part has its own unique structure and meaning.

After planning the time line, Qin Jian began to compose from the perspective of a composer on an ordinary day in 1909.

...

As in every morning, Rach is awakened by a melody before waking up, which is the first phrase of the second movement, leading to the beautiful A section.

Dreams are always like this.

Qin Jian used hazy colors to show Rahe's dream.

The music continued.

Rahe, who opened his eyes, didn't look at the empty ceiling for too long, and got up and ran directly to the piano.

Composers need to seize every moment of inspiration.

The composer was probably wearing a beige pajamas, Qin Jian imagined, and supplemented the picture in his mind with a lazy melody of four bars.

The composer's piano was brown and covered with vine-like patterns, and on the lid was an open book of music and a pen with a hat off.

The bright sunlight through the window makes the music change to a warm D-flat major.

Qin Jian seemed to be playing with Rahe.

There was a hint of loneliness in the romantic sound of the piano, and at that moment Rah perhaps remembered his distant grandmother, who had not received a letter from home for a long time.

It was a silent old man.

The sound of the piano slowly and repeatedly complements the background color and lines of the picture in the reminiscence, until noon, the composer gets up from the piano and leaves the apartment with a gentleman's hat.

The music has since moved into the A2 section.

It's the weekend and Rach wants to go out for a walk.

As soon as he went out, he was greeted by a bustling street, flanked by the cries of small traders and vendors.

The streets are paved with stones that resemble Russian bread, and the crowd walks on them making a pimple sound.

Qin Jian made a wrist, and the melody of the falling finger used some force, as if he was imitating the footsteps of a hurried pedestrian

As he crossed the street, Rach stopped in front of a stall.

He bought a loaf of bread for two pennies.

And at this moment, the music has a trace of long lines of ups and downs through the link section.

Around the corner of the street, Rach gave bread to a female scavenger with a child in her arms.

After two years of famine and turmoil, in this most prosperous place, there are also the most people at the bottom.

The music continues to fill in the background of the picture, and the gray tones outline the headscarf of the female scavenger, and the color is no longer visible.

Rach continued to walk forward, and the fluctuating melody resounded again.

The inner and outer melodies of the left and right hands sounded at the same time, and Qin Jian focused on depicting the inner melody, he felt that this was the psychological activity of the composer, although he was not sure what kind of mood it was.

Suddenly, the sound of the piano rose violently with Rahe's advancing steps, full of excitement and magnificence.

The picture crosses the covered bridge over the Volga River from the bustling street market.

Variation 1 sounds.

Qin Jian once again released some of the power of his fingertips, and in the process of pushing the chords, he consciously leaned forward and pushed each chord to the top.

It was like a heavy trumpet from the mouth of a slender man on the bank of the river.

When the music shifts to E flat minor, it suddenly arrives at the Arc de Triomphe in Moscow.

The will to win is recorded here.

Rach's pace grew faster and faster, passing through the tower-lined Kremlin and past the buildings that represented victory.

Qin Jian waved his arms enthusiastically, and his mouth was still humming in a low voice with the accompaniment of various musical instruments, as if he was praising the great achievements of the heroes.

From the beginning of the first variation in measure 71 to the end of the third variation in measure 110.

Three undulating variations usher in the sunset.

Finally frozen on Red Square.

It's a rebuilt place, still fiery red, like the fire of 1812 in the sunset.

This concludes Part A.

"It's wonderful. ”

Some people in the audience whispered, and some people were silent.

The music didn't stop, and neither did Rahe's footsteps.

The F sharp minor key of the prelude to Part B zooms the picture out again.

There was a buzz of people, and Rahe came to a racetrack.

On the podium in the center of the stands, the nobles waved their politeness or silk scarves in their hands, shouted hysterically, and the horses in the horse pens under the stands were also neighing.

Rach seemed unwilling to linger even a step here.

At the moment when he was about to turn away.

A string of rapid chromatic glides bloomed on powerful chords, like a roaring cannon fire, instantly shattering this aristocratic.

The wild horses fled in all directions, and the panicked revelers scattered and ran into the endless darkness of the night.

The short end of Part B.

Night and sunrise were separated by a dawn, and the music continued.

Rach returned to the apartment, back to the piano.

He also puts his hand on the piano.

The sound of the piano at midnight seemed to be the voice of his heart.