As the variations progressed, Qin Fangge also expressed his inner emotions more and more, and the three-part canon in the third paragraph, many people who understood it would smile heartily.

They have basically studied this super-long variation, and know that there are more canon variations in the future, such as the second canon in the sixth variation, the third canon in the ninth variation, and the fourth canon in the twelfth section.

Kanako's father, Li Junhao, knew a lot of colleagues in the Japanese classical music circle, and he also helped recommend several classical pianists.

After they received the recommendation, they agreed as soon as possible, and he understood that this was also because of Qin Fangge's variations, which were particularly popular in the Japanese music circle.

This concert also specifically specifies that this extra-long variation, which is known as the Divine Comedy, will be performed.

Li Junhao, who has lived in Japan for many years, has a deep understanding of the virtues of the Japanese, so he doesn't understand why they like such variations.

The contradictions and antagonisms of the Japanese national character are rare in other parts of the world, they love beauty but are militaristic, courteous but aggressive, new but stubborn, obedient but also unruly, just as they love chrysanthemums and swords.

From the Tang Dynasty to the Song Dynasty, from the Chinese to the Chinese culture, to the decline of the Central Plains, there were all kinds of messes, and the Ming Dynasty's Japanese Invaders and Qing Dynasty and then they invaded blatantly.

After they were bombarded with guns by Western countries, they showed their admiration for the powerful and actively studied various cultures, including Western classical music.

By World War I, World War II and after the war, Japan's national character was even more vividly reflected, and its ambition was rampant, but it was ruthlessly slapped in the face again and again.

In terms of classical music, their love and enthusiasm even far exceed that of many Western audiences, and in such an environment, there are also many classical pianists and conductors.

Among the younger generation, there are also many famous pianists. Yoko Nishimura, who was also invited this time, is one of the most famous pianists in Japan, and she is still a woman, which is even more valuable.

Yoko Nishimura is fifty-five years old, but she has not lived in Japan and has lived in Europe for a long time. But that doesn't stop her from thinking about Japan in her bones.

Yoko Nishimura listened most seriously tonight, and she once doubted Qin Fangge. In her opinion, if there are great people such as musicians in Asian countries, it should be the Japanese.

In recent generations, they have indeed produced a lot of highly talented younger generations. But as far as she knows, if she wants to write these works that Qin Fangge has taken out, none of the Japanese composers she knows have the ability, in fact, not only in Japan, but also in the world, there are few composers who can create such excellent serious music.

But she still had doubts in her heart after all. Listening to recordings or something is definitely not as good as listening to a live performance.

Qin Fangge's performance also threw her doubts out of the clouds, these tunes he played, Yoko Nishimura basically never heard them, she has a deep understanding of the existing classical music, and she has also communicated with her peers, all of whom say that they have not seen it before.

Even if a musician has lost a manuscript. Nor can there be so many. And what shocked her even more was that Qin Fangge's performance was simply impeccable, and she put herself in her shoes, if she was on stage, she would not be able to perform as well as him.

This tone, the touch of the key. And the colorful colors he plays, none of which she can do.

At this moment, Yoko Nishimura regretted that she wasted a lot of time on conducting and other things, and on the piano, she put in a lot less effort and time than when she was younger.

Of course, there are bottlenecks that are difficult to break through. There are also some invincible and lonely meanings. Although there is a big gap between her and those great pianists and composers two or three hundred years ago, such as Goethe and Strong, looking at the world, her piano performance level is also the top.

Qin Fangge's performance made her see another way. She didn't know how much effort he had spent on piano practice, but he was only at such a young age, even if he had been practicing piano since birth, he could not have practiced more than her.

But the reality is that he not only plays the piano well, but also has no one before or after him in terms of composition, which makes people sigh and sigh.

Take this variation as an example, in Nishimura's understanding, its connotation is so rich, containing countless possibilities, including aesthetic romance and lyricism, but also cold cruelty and gloomy despair, just like the laws of the world, constructing the laws of music, strict counterpoint, full of order and religious sense, but behind all this, there is a particularly rich and sincere, sensibility and rationality coexist.

Some people commented that this variation depicts the experience of a person's life, and Yoko Nishimura feels that this understanding is simply too superficial, and there are quiet and peaceful emotions in it and have been running through the beginning and end of the variation, but the things contained in it are more than these, behind the calm and comfortable, there is also a volcano-like hot and hot, implicit emotion, once it erupts, it is even more enthusiastic.

Yoko Nishimura also sensitively felt that Qin Fangge's performance speed in this concert had accelerated a lot, which was also quite obvious.

The performance speed of the recorded version is too slow, and the performance of an hour and a half is a very big challenge to the audience's patience and bladder, and it also pops out a note for half a day, and it is reasonable for many people to be drowsy after listening to it.

Qin Fangge's performance this time is also very much in line with Yoko Nishimura's appetite, and she also feels that her guess is correct, this variation does have infinite possibilities.

A slight change in the speed of the performance can be understood in a completely different way. And she also noticed that Qin Fangge was not marked at all on the score given, the performance speed or anything.

It can be as fast as a storm or as slow as a babbling stream. Different audiences may have different feelings, but Yoko Nishimura only thinks that Qin Fangge's performance is the most appetizing to her, and his performance this time takes a total of one hour and ten minutes, which is considered decent.

Although she still felt that with Qin Fangge's piano performance level, no matter how fast it was, it would not be a problem to compress it into an hour or even less.

In any case, it does not prevent Yoko Nishimura from loving this variation, she feels that this music is made specifically for their nation, but she is not as cheeky as Koreans, so she just thinks about it in her heart.

To be continued. This book is from the product & book#net: bookht2121968indexht...