Not a sonata, not a mazurka.

Qin Jian chose to use the prelude as the opening of this round, and the meaning is clear at a glance.

Prelude.

His choice seemed a bit crazy to many judges.

Op.28 Prelude has a total of 24 musical fragments, and Qin Jian has selected the first 15 fragments as the filling repertoire for this round.

This meant that in the beginning, he had to put a lot of effort into working on these fifteen fragments.

Everyone knows that each of Chopin's prelude fragments is not as brief as it seems.

It can be said that each fragment is an independent work and an exclusive story.

Let's tell fifteen stories first, which is a test for Qin Jian.

If there is a story that is not told well, then his opening will end in failure.

This is undoubtedly a blow to those who are expecting him.

So Qin Jian's repertoire arrangement looks like a gamble.

But his opening was perfect enough.

Unlike every player who played op.28-1 before, the first piece was played in an extremely positive way, sounding like a bright C major.

But anyone who has read the score knows that Chopin clearly marked the piece 'agltato'.

Qin Jian used a textbook performance to show everyone how to show excitement in C major.

His flamboyant ten fingers are smart and ingenious, and he seems to have a strong self-expression.

The calm stage left by the Irish guy was quickly rekindled by Qin Jian's passion.

In the following OP28-2, OP28-3, OP28-4... In the continuous development, every time he enters a new story, he brings a new experience to the audience.

Until op.28-15, D flat major – raindrops.

This is one of Chopin's most famous preludes, almost hard to say.

Audiences who were expecting sweet raindrops were doomed to disappointment, and the Chinese youth in front of the piano did not seem to have any intention of playing D-flat major as a beautiful love encounter in the first place.

His expression, his falling arms, were filled with a strong sense of outpouring.

The heavy sound of the piano is like a vicissitudes of male voice, and every sentence is telling.

As he shifts to C sharp minor in the middle of the performance, he seems to have brought each pair of ears into a narrow valley, and then raises his hand to summon the dark clouds in the sky.

The roaring chords are gloomy

The entire 15-piece prelude unfolds at this moment, and the audience seems to understand at once why Qin Jian's opening OP28-1 is unsettling.

Qin Jian ended the performance in a note that seemed to be clear but not clear.

"Wow. ”

It's like the first drop of rain falling, but the song has ended, leaving only the artistic conception.

Stop.

"Whew-"

It's an incredible overage performance and design.

Qin Jian once again shocked everyone in the new round, including Shen Qingci in the audience and Branhano in the judges' seat.

Both men had played the repertoire on stage in the third round.

The game continues.

...

Wiping the sweat from his palms, Qin Jian gathered his thoughts and began to play the next track.

Drop the arm!

"Wow!——"

The breathtaking, heavy chords rush from the piano to the audience like a soul blow!

The atmosphere of the stage changed suddenly.

Nervousness begins.

'Op. 35, Piano Sonata in B flat minor' – a poem of death from the funeral march.

The solemn first movement, the Adagio, begins with an agitated B-flat minor key that gives vent to an anxious mood.

After the four-bar prelude, a vigorous octave opens the whole work.

The music pushes the first climax to a gorgeous barbed chord.

Enter the second movement.

The second movement is a witty form, and Qin Jian's majestic expression foreshadows how he will play this movement.

The resolute and powerful melody is interspersed with a bit of playfulness, and the continuous chromatic scale of the sixth chord is rigorously ordered.

The first two movements are completed in one go.

In the third movement, the most important part of the whole work, 'Funeral March'. ’

At the beginning, the left hand part of the Qin key hovers evenly between the main chord and the subordinate chord in a column chord, creating a sense of heavy pace.

The monophonic embellishment of the middle voice in the right hand resembles the soft ringing of a funeral bell.

The undulating melody presents a sad but solemn musical picture with the cooperation of the left and right hands.

The solemn theme is straight to the heart.

On the outline of the music picture, this is Qin Jian's strength.

It wasn't until the whole sonata was finished that he breathed a sigh of relief.

Even if he had just finished performing the Chopin Competition, he could not say how he felt about it.

He spent a great deal of effort on this piece during the preparation for the battle, but so far it can only be so.

Smiling, he wiped the sweat from his palms again, and there was a misnote in the fourth movement of the Heart Path.

Harmless.

Putting the handkerchief back aside, he began to play the last piece.

'No. 41 Mazurka. ’

The melody dances at the beginning.

The young people on the stage brought out the melody of dancing with a beautiful body rhythm.

This is the first time in all the games, all the games, all the games that Qin Jian has added obvious body movements at the beginning of the music.

His slender stature and arms are his physical strengths, as well as his angular side face.

He seems to be trying to attract the attention of the audience with his 'beauty'.

...

Inside the rest room.

Duan Ran clenched his two small fists and stared intently at Qin Jian's every move on the screen.

I could see that she was really nervous.

Duan Ran's nervousness is traceable.

First of all, Qin Jian has something to say about the mazurka dance music.

Every pianist at a certain stage will have a clear preference in the mind for the style of the repertoire, which will almost determine the future style of the musician or the mark he will be marked with a special meaning.

Titles such as 'Mozart player', 'Bach interpreter' or 'Chopin expert'.

Qin Jian confessed that he liked Chopin's preludes, Chopin's etudes, Chopin's concertos, and even the sonatas that had troubled him for a long time had reasons for his liking.

But only the mazurka.

Mazurka music made it hard for him to like it from the bottom of his heart.

Whether it is Fu Hua, a former Mazurka Award winner, who told him about the 'beauty of the mazurka blank', or Igraz, a Polish pianist who has won the Mazurka Award in recent years, he talked about 'the relationship between Mazurka and the Polish nation. ’

None of this really touched him.

He would listen to the parts that were good for him to play from these suggestions, and then work on them further.

Fortunately, he didn't intend to be a 'Chopin expert' from the beginning, otherwise it would have been really against his will.

Yesterday in the piano room, he complained to Duan Ran about Mazuka's tediousness and tiredness, and Duan Ran was very surprised at that time.

She never thought that Qin Jian was playing mazurka with such an emotion, on the contrary, she liked mazurka dance music very much.

Qin Jian's frank admission made Duan Ran feel a little uneasy, of course she didn't care about Qin Jian's attitude towards mazurka dance music, but she knew that Qin Jian had to play mazurka in front of all the Poles and all the judges.

In the days when she was by Qin Jian's side, she had long sensed that the other party was about to stretch out her hand to the trophy.

She couldn't wait to see that.

What she was looking forward to, how nervous she was at the moment.

"Come on, husband!"

It's understandably nervous.