When Huang Xiaojia appeared again, the lively concert hall suddenly quieted down, she came to the stage, reviewed Qin Fangge's wonderful performance just now, but did not dwell on it, and immediately briefly introduced the variation he was about to play.

For the first time in public, Huang Xiaojia told the origin of this song. It wasn't to ask Qin Fangge about it, but the exact news he got from his friends and a gift to his teacher, Fang Xiping, who suffered from insomnia. She also talked about Qin Fangge, who often went to Zhou Xiuying's house to study opera, and played the piano to the two couples who were over 80 years old and still in love. One of them is a leader in the vocal opera industry, a well-known professor of Chinese studies, and the emotional experience of the old couple also makes Qin Fangge very emotional, and she also wrote the song "The Most Romantic Thing" for this purpose, she still remembers the lyrics, "The most romantic thing I can think of is to grow old with you slowly......"

"And today, Mr. Zhou and Professor Fang also came to the concert site to cheer for Qin Fangge, carrying such hopes and expectations, I believe that his second half performance will be more exciting, let us applaud and welcome Qin Fangge's appearance, and bring you the long-awaited Divine Comedy, "Aria with Many Variations". After Huang Xiaojia finished speaking, she took the lead in applauding, welcoming Qin Fangge to the stage, and then she retreated backstage by herself.

In this era where stories are told everywhere, filial piety and love make many people unfazed, and it is also because they are too touched and overflowing. But in today's concert, even if Qin Fangge doesn't rely on such a story, he can make everyone have nothing to say. Huang Xiaojia dug up such a story again, which can only show that he is a good person, respects teachers, respects the old and loves the young.

However, many people have not heard the song "The Most Romantic Thing", and among those present, there will be no more than thirty who are lucky enough to hear it. But judging from the situation revealed by Huang Xiaojia, no matter how bad this song is, it will not be much worse, but it is very likely to become a classic, and these two lyrics alone are enough. Not to mention Qin Fangge, a melodic genius. The music has always been known for its beautiful sound.

Song Zixuan and Lin Baoqing Chen Yushan naturally know this song, Chen Yushan can also sing, and she was indeed moved by the love story of Zhou Xiuying and his wife, the real hand of the son, growing old with the son, the most romantic thing.

In addition to the girls who know these things, everyone else also gives Huang Xiaojia face. With warm applause, Qin Fangge was welcomed to appear again, opening a new chapter in the second half.

This variation is not new. But it is called the Divine Comedy, but it is well deserved. Many people have seen the score, but Qin Fangge did not mark the performance speed on the original score, which also provides countless possibilities for the song. Many pianists, even the world's top pianists like Sergei, have tried to play, but in a short time, they can only sigh. Lilia and Eugena are young pianists who are a level behind. They all wanted to challenge, but the result was naturally fruitless.

Through careful analysis of the score, combined with Qin Fangge's performance, they all believe that there are too many things contained in this piece, except for the breathtaking composition technique. There are many deeper, ideas, connotations, and philosophical and metaphysical reflections.

Within the Huaxia Conservatory of Music, the analysis of Qin Fangge's works is naturally at the forefront of the world, and they do not want Qin Fangge, a musical work "created" by Chinese, to fall behind foreigners.

And this variation is the top priority of research.

Just the scale and structure of the whole piece is magnificent. It's enough to live up to the word great.

The original version of Bach was made for the harpsichord, but after Qin Fange came here, it was naturally adapted into a piano work, and there was a harpsichord here in the Grand Theater, but that one was definitely not as convenient as the piano. In another time and place, Gould is best known for playing this Gothenburg variation. Zhu Xiaomei and others all played on the piano and performed Bach as they understood it. Moreover, at different times of their lives, they deduced Bach differently.

Qin Fangge's current musical literacy and physical fitness have long surpassed them, and his understanding of this work is also particularly profound. But he is not a completely single understanding, originally this work, there are countless understandings and possibilities.

There have been too many things to say about the greatness and wonderfulness of this work, and everyone has studied a lot, mainly because they want to listen to Qin Fangge's performance live.

Qin Fang's song was also crisp and neat, but also to save time, after sitting down in front of the piano, the applause stopped, and the concert hall fell into an amazing calm.

The sound of his piano also sounded slowly in this calm. The piece was so long that even if Gould played it so fast, it took forty-five minutes to finish.

The first section, which is also the main part of the variation, is a Sarabande dance, a gentle piece. But why Qin Fangge chose such a dance song as the theme is also something that makes many music peers speculate. He didn't give any explanation, could it be that he didn't know himself, so he had to ask Bach. Whether it was done for his second wife Anna or not, from this point of view, Qin Fangge and Bach still have some common language, at least in terms of being popular with women, the degree is comparable.

This Sarabande dance music, full of delicate and self-controlled emotions, has a French style, deeply beautifies the theme, and even the ornamentation has become an important part of the melodic line here.

So much so that sensitive pianists like Eugena and others think that although this piece is a gift to Fang Xiping, the source of this theme should be Qin Fangge's own emotional experience, his emotional entanglement with his current girlfriend or other girls, romantic and beautiful is certain, but there are also different bleak and obscure hints, and the bass part and harmony explain this problem very well. This also forms the basis of the next thirty variations, consisting of four eight-bar sentences with exactly the same harmonic structure. She builds on the G major major, then moves on to the genitive chords, and after the first repetition, she moves from the subordinates to the relational key, back to before the major, and then to more variations later......

The subtlety of the 30 variations in this variation fascinated the musical peers, but the previous dance piece is a rare masterpiece, and it has laid the most solid foundation for the gorgeous and magnificent edifice behind it. This is also very similar to Qin Fangge's consistent style. (To be continued.) )

This book is from /b/hl/21/21968/