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Ostrovsky was a famous Russian musician, composer, pianist, and conductor of the 19th century. Dagger, Qi, China, Wen, Net, Shou, Fa

His "Piano Concerto in B-flat minor" is a work after his musical style matures, and it is generally believed that this piano concerto, while being brilliant and gorgeous, also reflects the stoic and melancholy of the Russian nation.

In the nineteenth and twentieth centuries, when musicians from other countries in Europe and the United States gradually died down, the Russians, who had been in turmoil, bravely stood up, and a large number of excellent musicians, composers, and pianists emerged.

Ostrovsky, Vitaly, Vikentievich, Ilyich and many more. The turmoil in Russia, on the contrary, honed these particularly talented and hard-working Slavs, who achieved the most brilliant results in art, and later formed the Russian academic school.

Deng Hongmei's generation, when they practiced piano, was deeply influenced by the Russian academy, and later went to the conservatory there to study.

Even Zhou Xiuying from the Department of Vocal Music and Opera first went to Russia to perform on stage abroad, and she was also greatly affected. Of course, this is related to the world pattern at that time, as well as national conditions and politics, but the great influence of Russian music can also be seen from this.

The fate of this piano concerto in B-flat minor is still quite tortuous. After Ostrovsky wrote the first draft, the author attracted the opinions of many musicians and made two revisions before finalizing it. The encounter with this piano concerto has many similarities with his "Violin Concerto in F major", which was not recognized by the public at the beginning.

After giving the work to the famous Russian musician conductor Onegin, but he refused to perform, he took it to the United States to perform, but due to the lack of pianist level selected, the corresponding effect was not achieved, and Hou Mi returned to Russia and found another pianist to perform, after several twists and turns, it was slowly recognized by the world.

Deng Hongmei got the two-piano version, and Qin Fangge's piano accompaniment went first, but he didn't follow the piano score. Rather, as a reference, this piano accompaniment is already a particularly condensed version, and the symphony orchestra simply can't do it.

Qin Fangge is now following his own memories, using the piano to simulate a symphony orchestra.

It's not easy to do that.

Even for Qin Fangge, who is known as a genius, it takes special spirit and energy. His head was also running fast, and he had to keep up with his fingers.

The basis for all this is that he has a particularly deep understanding of this whole musical work.

At this time, the benefits of Qin Fangge's frequent listening to these classical music works were highlighted. He never forgets his old sights, and it also greatly enriches his music library.

Ostrovsky is one of the most famous musicians in Russia, and his concertos are among the best piano concertos in the world.

When Qin Fangge was studying the piano concerto, he listened carefully and studied it carefully.

It's actually a very popular concerto, but in terms of the grandeur of its conception and the scale of its work, it can be called "a symphony for piano and orchestra!"

This is the highest praise that the famous music critic Clayderman has given to Ostrovsky's work.

After several twists and turns, this work has finally been recognized by everyone, and it has a sense of being a late bloomer, and the achievements are particularly brilliant. He also appeared frequently in various concerts, and Ostrovsky was very popular during his lifetime, and he himself was often a conductor.

Even more than 100 years later, there are still countless pianists and classical music lovers who are obsessed with it.

It's just that there are very few people who can play this work well, and there is no one who makes people feel perfect.

It's no wonder that the pianist is too difficult for this piece.

Even for Qin Fangge, it is a challenge.

Now, he's pushing his limits to see what heights he can achieve.

If you want to challenge, you must have enough knowledge and understanding of this work, and he has done a lot of homework, but there is no special problem.

As far as is generally recognized, this work reflects the author's love of life and his desire for light and joy, and its basic image is deeply national, and the author quotes here some real Slavic tunes, but also particularly clearly shows some of the characteristics of the author's concerto, that is, the combination of great power, grandiose scale and sincere and straightforward lyricism. The richness of the ideological content and artistic image of this work, the variety and opposition of its themes, and the intrinsic strength of the intensely developing music are all part of its exciting charm.

Ostrovsky inherited and developed the symphonic process of the concerto derived from Christopher, and he made the orchestra play a very huge role in the concerto, and the development of images closely related to the perception of life or nature was mostly entrusted to it, while the lyrical element of the individual was mainly expressed by the solo instrument, and the two forces coordinated and acted in synergy, never weakening either side.

Qin Fangge is responsible for the piano accompaniment, and the task is quite heavy.

Although this is just a regular practice, since he promised them to do their best, he will do his best.

The Piano Concerto is not just the pianist's decisive role.

Symphony orchestras, conductors, are crucial, and there are countless piano concertos that have been ruined by orchestras and conductors.

The most important thing for a symphony orchestra is rhythm control!

If a conductor's rhythm is not well controlled, then no matter how magical the pianist is, it will be chaotic, let alone grasp the rhythm.

Here, Qin Fangge replaces an orchestra by himself, but it is very easy to say that the rhythm is completely controlled by himself, and it will not be like a conductor, who has to control the rhythm of the symphony orchestra through gestures, movements, eyes, and other body language.

Another is the loudness control of the orchestra, many conductors and their symphony orchestras are either too loud and overshadowed the piano, or they are too weak and let the piano steal the part that should belong to the orchestra.

The perfect balance is the key to a good piano concerto.

If you want to talk about recording, you can adjust it later through the work of the recording engineer, but what about the scene! The importance of conducting is self-evident.

Qin Fangge is now both a father and a mother, and he himself is both a conductor and a symphony orchestra, working hard.

Also, the evaluation of the quality of a symphony orchestra and conductor is how layered their concertos are.

However, any symphony orchestra is basically based on the string part, violin, viola, cello, double bass, these violin groups, build a huge string family. Among them, the violin group is the leader, and the principal violinist has also become the first person to succeed the conductor.

But the wind part is also very important.

Especially in this particular piano concerto, the trombone, French horn, and timpani must be explained very clearly.

Qin Fangge believes that this will enrich the layering of the entire concerto part, and can also convey the rich emotions of the work to the greatest extent.

In the case of Qin Fangge's full firepower, it perfectly simulated the grand occasion of the symphony orchestra.

In this piano concerto, Ostrovsky adopts the three-movement structure of a classical concerto.

Let the most symphonic first movement play the leading role and use it to determine the character of the whole work, while the second movement is an organic combination of the lyrical adagio movement of the two movements of the symphony and the witticism movement, and the final movement makes a logical conclusion for the whole work that is compatible with the previous two movements.

The first movement is written in sonata form, and it has been commented that "its music is brilliant and magnificent, with a variety of colours, and a rich imagination that has been brought into full play!" All these characteristics are also difficult to compare with many other concertos, and Qin Fangge's own piano concerto about love is a little more bourgeois.

The movement begins with a long introduction, where Qin Fangge uses the piano to perfectly replace the orchestra's four-bar fortiss, among which, the sound of the French horn is particularly highlighted, which is played by Qin Fangge, and the alto voice of the piano is replaced, which also highlights the key points.

Then, it was originally supposed to be played by the symphony orchestra's first violin and cello, and the warmth and solemnity of this introduction were still simulated by Qin Fangge with different parts of the piano.

He also tried his best to use the piano to express the charm of a symphony orchestra.

Just the introduction at the beginning is enough to make Fu Tianxia, Deng Hongmei, Wu Hongqin, Xiao Yuran, and Song Zixuan and Song Zimo feel particularly shocked!

The feeling of a tsunami blowing in the mountains and a tsunami is like standing in front of the rough sea, feeling the infinite charm of nature.

The different layers, the different parts of the music, are exactly like the different instruments in a symphony orchestra.

Compared with what Wu Hongqin played before, the simple piano accompaniment is so big that it is impossible to mention.

Fortunately, Fu Tianxia has been on the battlefield for a long time, although he is very emotional and shocked, his professionalism is still there, and he is not intimidated by Qin Fangge. On the contrary, it motivates him more and more, and he plays at his own high level.

Here, Fu Tianxia used the piano to play a large number of loud, wide chords accompanied by Qin Fangge to replace the piano accompaniment of the symphony orchestra.

The theme is expansive, grandiose and powerful, and full of a dazzling and colorful brilliance.

Even Song Zixuan and Song Zimo can hear that this is a characteristic that is very rich in the melody of Russian folk songs, like a solemn and magnificent, beautiful ode to life.

Fu Tianxia's hard work on this piano concerto will also be fully reflected.

His fingertips flutter across the entire range of the piano, and its stern and powerful sound and vigorous pace create an emotionally charged and harmonious backdrop.

Qin Fangge's piano is still in the leading role, majestic and indomitable.

Although Fu Tianxia's piano is only in the position of a foil theme here, it gives full play to its leading role as a solo instrument, and even in the whole orchestra simulated by Qin Fangge, its sound is still very clear, loud and powerful.

Neither of them had time to look at each other and laugh, nor did they look at each other, but their ears were attentive to all the sounds played by each other.

If you want to achieve tacit understanding, you must practice the kung fu of this ear until you are perfect.

Song Zixuan and Song Zimo also deeply realized the importance and necessity of Ning Xiupei forcing them to practice sight-singing and ear training. It's just that at this time, they didn't have time to express their gratitude to Ning Xiupei, so they were attracted by the next theme.

Like the other Piano Concertos of Ostrovsky, this theme is repeated three times, forming a three-part form.

Not only Qin Fangge, Fu Tianxia also has a deep and unique understanding and research of this piano concerto.

This is also his consistent style, and Deng Hongmei asked him to do this when she was teaching him. Once you have made up your mind, you must do your best to study and ponder from all sides, and then you can make progress.

This gorgeous, brilliant theme is presented in the orchestra for the first time, and then played by Fu Tianxia's piano for the second time, and its development, due to the introduction of some new melodic material, has an improvisational meaning, reflecting a tragic drama, and finally the theme is repeated with a little more brilliance and tension accompanied by a magnificent chord with dotted rhythms of a short cadenza solo, and ends the development of the theme itself.

In this regard, Fu Tianxia performed very well, and he was worthy of his status as a famous pianist.

The transition from the introduction to the sonata itself begins with a small pause in the near-silence.

Later, Fu Tianxia used the piano to play some intermittent sound patterns, like whispering.

Suddenly, the first theme of the presentation department emerged.

This is what Ostrovsky once heard, a folk, very Russian-style tune, with a beautiful melody, but it seems rather mournful. He creatively incorporated this slow narrative tune into a surprisingly rhythmic pattern, the practice of inserting a rest in each triplet. The wonderful effect is to transform a predominantly lyrical image into a witty image that is so dynamic and energetic that it is almost impossible to recognize it as a direct transformation from a folk melody.

Fu Tianxia took on the identity of a composer, and at his fingertips, he flowed out of the style of the Slavs that no one else could replace, optimistic, and perhaps a little funny.

Qin Fangge's task is also very heavy, if he really wants to replace the symphony orchestra with a piano, it can be said that he can't relax at every moment. The sound of musical instruments one after another is also the best encouragement and cooperation for pianists.

Fortunately, although the two did not cooperate before, this will, but they cooperate quite tacitly. In addition, they both have a deep understanding of the work, and when they cooperate, they become more and more enjoyable.

The second theme of the first movement, which is the lyrical center of the first movement, is full of warm and sincere feelings, and it contains two complementary melodies, in contrast to the theme material that has appeared before: the first melody is a yearning for happiness, which is then repeated by the piano, and the second melody is equally gentle and lyrical, but very clear, without the slightest look of confusion, and its light and shaking pattern is clearly of the same origin as the first melody.

The development section of the movement mainly develops the second theme of the movement. Here, this gentle "song of comfort" sometimes turns into a heroic call.

Fu Tianxia's piano progression of double octaves like a rapids regains the title of the protagonist and reinforces the heroic element of the music, and sometimes its melancholy interrogative motive is constantly developed into the dramatic ******.

Qin Fangge's role in the band and the piano launched a fierce competition, at this time, the change of the theme has also reached the point of irrecognizability, in the fierce conflict, giving people infinite shock, into a new **.

Finally, in the reenactment section, some of the basic themes of the movement have changed greatly, and in a large cadenza near the end of the movement, Fu Tianxia showed the excellent skills that a pianist should have, especially Xiao Yuran and Wu Hongqin, who were studying piano, and at the same time summarized the musical development of the whole movement, focusing on the willpower and passion of this movement.

The lyrical contemplation is suddenly dispelled by an outburst of anger, and the tide of dramatic emotions develops dramatically, only to be replaced later by a new lyrical interlude. Finally, the music at the end is full of energy, and it ends the first movement of the "piano symphony" brilliantly with its rapid flow.

In this first movement, Qin Fangge's piano gave everyone an incomparable shock, but Fu Tianxia's performance was even better, showing his solid basic kung fu and keen musicality, and his emphasis in the bass area was particularly breathtaking.

While full of a sense of strength, Fu Tianxia handled these chords with vivid timbre with great personality, which immediately made people's eyes shine.

Since then, he has mostly treated it with thick lines, which is completely in line with this rough Slavic style, which is very atmospheric.

Deng Hongmei sighed in her heart that Fu Tianxia really thought and pondered with his heart, which was very in line with the original intention of Ostrovsky's creation. The national character of Russia is also vividly reflected in this place.

What is particularly commendable is that he shows thick lines without losing precision, and the handling of force changes is very appropriate, and the appeal is very powerful.

Its two octaves, like stormy waves, are even more amazing. When dealing with these two octaves, Fu Tianxia pays special attention to their coherence, and at the same time, they are full of infinite passion, which gives people a strong auditory and emotional impact.