The finale, the last act of the drama

A sonata form with interpolations.

Anyone in the know knows that this piece of music is one of the most gorgeous and exciting pieces of music ever composed for piano and orchestra.

It is also the most magnificent chapter that takes piano skills to the extreme, dizzying and wonderful.

It presents the grandest spectacle of the Russian nation.

As soon as the music enters the third movement, the orchestral part creates a march theme with a decisive and powerful ensemble of major chords in D minor.

The theme image is distinct, and the stage atmosphere is jubilant.

Guided by a motive, the piano enters the music and plays a cheerful theme with horn tones.

It's like kicking off a carnival.

Qin Jian sat upright, his facial expression returned to indifference, his arms unconsciously swayed, and his ten fingers calmly walked out of the bright rhythm and grim force, depicting the scene of a Russian folk festival.

This scene was not the poet's imagination, Qin Jian was sure that this scene must have actually happened, and Rachmaninov was there at the time.

Qin Jian grasped the rhythmic rhythm of the march and abruptly erected each fingertip in measure 17.

Continue to drive the momentum of the music forward with the technique of keeping the beating, and continue to walk with the illusory figure of Rahe.

The music marched to measure 27, and the band's performance seemed to be a bright dance from afar.

Qin Jian relaxes his wrist and pops the rhythm point with a weak play, maintaining the edges and corners of the music while accompanying the dancer's steps.

presented a festive singing and dancing picture for the audience.

Extraordinarily expressive and vivid.

Interesting piano performances break down the barriers between the audience and the interpreter, and this is where the interesting nature of the piano player lies.

This is Qin Jian's life's work, but he did it well today.

It is not difficult to find that during this whole process, the expressions of many audience members in the audience have changed with the development of the music, and some audience members will gently shake their heads or slap the wooden handles between the seats when they hear the emotion.

All this shows that they are stuck in music at this time.

If a performance is connected to the audience's subjective world time, making the time richer and more diverse, then the performance is more than just a matter of 40 minutes.

Every listener comes to a performance with a memory of another concert, the history of the listener's love affair with the music, like the structure of a giant pull-three, both of which are an intricate web of relationships: the performer in front of them will give it a new life.

No two love stories coincide exactly, just as every pianist can express themselves in exactly the same way.

Qin Jian used a hilarious event to interpret the first half of the finale, which left a very good impression on many people.

It's just that the music is like a float in the procession, all the way forward, without stopping for a moment.

In the flow, the tone quickly progresses to measure 71.

Suddenly.

After a vertical and intricate triplet of sound, at the beginning of 72 bars, the moment the five fingers of Qin Jian's right hand were pulled apart suddenly fell.

The succession of "Bang-Bang-Bang-" smashed out a row of sturdy ascending chord connections, full of momentum.

This successive theme is arguably the heart of the finale, filled with breath-taking excitement.

The scene in the music has also become more grandiose because of Qin Key's deep and full performance.

At measure 103, the music is again transposed into the minor theme in G major.

In this passionate singing melody, the Helsinki Orchestra presents their depiction of a grand orchestral scene.

The expansiveness of the stage soon extended to the audience, and the different parts of the band seemed to be chasing and fighting, bringing the music into the tense chase.

The piano also took the opportunity to become a vaudeville performer in a procession.

It's smart, full of clown's witty mystery, and as moving as a music box.

Gentle, pure and transparent.

Blending with competing orchestras creates a musical color full of romantic fantasy.

The whole hall is like a sea of romance at this moment.

Continues.

Suddenly, Sabina's baton widened the theme again, and the atmosphere of the music was filled with a kind of melancholy complaint, and the various parts of the orchestra deepened the intensity and depth under the baton.

Seeing the color of the music change.

At this moment, Qin Jian's rapid finger technique unfolded, and the piano sound continued to maintain the color fantasy with a coherent melody.

At this moment, there is another confrontation.

However, under this confrontation, the piano part and the orchestra form a sharp contrast, which greatly enhances the dramatic tension of the music.

The procession was also moving forward, from early morning to mid-afternoon, from dusk to dusk.

The music shifts to E major, and the piano shifts from fantastical witty to song-like arias, bringing the piece back to a lyrical atmosphere, an emotion akin to memory and nostalgia.

This melody under Qin Jian's fingers is full of all the beauty of the sunset, like an old man in the twilight recalling the precious past.

The music screen is like a thin and melancholy old man walking out, his demeanor is reserved and unsmiling.

The old fans in the audience seemed to see the giant they had always admired appearing like this.

It's not just about a player meeting the listener's expectations.

On the contrary, it is a player who can trigger anticipation and meet the memories of the listener.

That memory can only be remembered in the present, in music, the figure of the wild romantic artist master.

Qin Jian is like a bridge expert at the moment, connecting the two worlds in some way.

On the one hand, there is the unreal world of the most refined and pure but unnatural on the piano stage, and on the other hand, the ordinary world of human daily life.

He uses superb musical techniques to directly and intelligently connect the external expression of music with the internal movement.

If you sit in the middle of the bridge and play, it shows the most intimate space of music.

The sweet arpeggios here are like harps, full of glorious sensations.

Rachmaninoff's unknown inner whispers were told little by little by the piano.

Every note, every phrase is natural and beautiful.

The music was already nearing the end at this point, and Qin Jian's face was covered with sweat again.

243 bars.

The main theme appeared for the last time, and after the theme melody was resounded, everyone in the audience felt an unusual feeling appear in the hall.

Piano melodies come from far and wide from the firm march rhythms and the ensemble of clearance instruments.

The warm atmosphere on the stage gradually thickened.