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As we entered the second half, it felt like the pace of the whole masterclass was getting faster. (Read the latest chapters щщщ.ё)

The reason why I felt that the rhythm was slow before was actually because of Xiao Yuran's half-hour piano concerto performance, which slowed down the rhythm.

In the second half, all the students did not play for more than ten minutes, and the longest was only seven or eight minutes. After enjoying the performances of these outstanding students, it is also a beautiful thing that everyone can listen to the teachings of the masters.

Wu Hongqin was arranged by Deng Hongmei to appear last, and it is okay to say that she is here for the finale.

And Wu Hongqin's fame, status and influence in the Conservatory of Music are not comparable to Xiao Yuran at all, and almost all students in the piano department know her. And at the beginning, her incident also caused a stir, and she was admitted to the Curtis Institute of Music, the world's top music conservatory, but did not go, and was willing to stay at the Huaxia Conservatory of Music to continue her studies.

Many students would like to go to the Curtis Institute of Music instead of her, but unfortunately it is not realistic.

Wu Hongqin rarely plays in public now, but she can often be seen, after all, in such a small circle as the Conservatory, no matter how much she has to go in and out of the piano room at the school gate.

And she basically appeared with Deng Hongmei, Xiao Yuran, and others.

Everyone is looking forward to her current performance level, especially the students of the same piano department, who want to see if it is worth it for her to give up the great opportunity to study at the Curtis Institute of Music and retreat here for nearly a semester.

Moreover, it is said that Wu Hongqin and Xiao Yuran both studied with Qin Fangge, and some people heard her call Qin Fangge "Teacher Qin". In such a narrow circle as the Conservatory of Music, gossip spreads very quickly, and basically the teachers and students of the whole school will know about it the next day.

Judging from Xiao Yuran's performance just now, her progress can only be described as speedy, and it is also something that others can't achieve at all. But everyone can understand that Xiao Yuran's previous level was average, and in comparison, the progress was very great.

Wu Hongqin is different, she has won numerous awards, and she is also qualified to enter the Curtis Institute of Music, her talent alone is much more than ordinary students, and she is so diligent, except for burying herself in practice, I haven't seen her have any other activities.

Everyone is also looking forward to the repertoire she will play.

However, those who understand know that it must be Qin Fangge's musical work again.

Like other students who played on stage, Wu Hongqin did not announce the name of the repertoire she wanted to play, but nodded to Fu Tianxia on stage, bowed to the audience, and then sat down and began to play.

As for who she is, she no longer needs to introduce herself, Yan Huanwan has helped before, and called her one of the best students in the piano department of Huaxia Conservatory of Music.

At the prelude, almost all the students gasped and understood what she was playing.

The prelude and fugue that have made countless people hate and curse are also required when they were admitted to the conservatory. It is precisely because of the experience that everyone has a very deep understanding of the fugue form.

Fugue is arguably the most complex and rigorous form of polyphonic music. The basic feature is the use of imitation counterpoint, in which a simple and characteristic theme appears once in rotation in each part of the piece (the presentation section), then enters an interlude developed from a part of the motive in the theme, and then the theme and the interlude appear again and again in different new keys (the opening part), until the final theme returns to the original key (the repetition part), often ending in an epilogue.

Not to mention anything else, just accurately judging how many themes and parts there are is is a lot of difficulty, and it takes a lot of energy and time to analyze.

Not to mention, you have to sort out the relationship between them, and only after you have done these basic homework can you start practicing. Without a few months of hard work, it is basically impossible to practice a fugue well.

It can be said that all of them were tortured to death by the fugue.

However, on the way forward in music, this is an insurmountable hurdle, and if you want to improve yourself and become a world-class pianist, no matter how difficult it is, you must overcome it.

According to Wu Hongqin's personality, it must be a set of performances. Although the time is not long, the test of piano performance foundation and skills is definitely the top.

The prelude and fugue she chose is in C sharp minor, and it is also the fourth prelude and fugue composed by Qin Fangge.

When the record was first released, it was highly praised by everyone.

Some people say that the prelude hears the sacred and sublime flavor of musical culture, and the imitation and transformation of each part of it are like telling the great soul.

In the fugue, it's even more terrifying, with five voices.

Both voices are enough to torture many students to death, and the difficulty of the five-part fugue is unimaginable.

When Qin Fangge first released the record, it can be said that it shocked countless people, so much so that many people wondered if he created and played it himself.

No matter how much a student doesn't know whether he is alive or dead, he will not easily challenge such a repertoire.

Now, Wu Hongqin is trying to do this.

And judging by how well she plays, she did quite well.

The multi-voice part is handled very cleanly, and the control of timbre is also quite good, although there is still a certain gap compared with Qin Fangge's performance, but compared with others, it has been more than one grade higher.

You know, you can handle more than one voice with one hand.

To do this, first of all, when touching the keys with your fingers, you must be clean and neat, and you must have a very good-sounding, metallic sound, and sonorous and powerful is a must.

In addition, the requirements for legato are also very high, if you can't play each phrase evenly and clearly, it will be easy to mix, and if you make a mistake, you will lose everything.

Also, when playing such a multi-part work, singing is very important. It's not easy to get the phrases sung.

Fu Tianxia, who was closest to her, could even hear Wu Hongqin not only singing from the bottom of her heart, but also humming quietly in her mouth, she was really in full swing.

And then the most important performance effect is that every voice must be clearly and famously reflected, which is also the most difficult part.

This requires you to have good coordination between your two hands, you can't be Mr. Footskier, you can't just notice your left hand or your right hand. Each part should be given enough attention and preparation when entering the piece. In this way, each voice is staggered together without clashing with each other.

IT'S EASY TO SAY, BUT IT'S QUITE DIFFICULT TO DO! IT'S ACTUALLY EASY TO SAY FOR TWO-PART WORKS, BUT WHAT IF IT'S THREE-VOICE, WHAT ABOUT FOUR-VOICES? SOMETIMES THERE'S EVEN A FIVE-PART FUGUE.

Everyone has only two hands, and they play a single instrument, so it's so hard to hear every part clearly.

This is also the reason why Qin Fangge was applauded and recognized by everyone when he used the piano instead of the symphony orchestra to play before, and many people were crazy about it.

In such multi-part works, double tones or chords are indispensable, but under normal circumstances, every note in a double tone or chord must have the same timbre and volume, and each note is an independent part, and it must be reflected in the voice and give people a three-dimensional feeling!

Therefore, the teacher will generally advise you to practice the prelude and fugue well. Start by practising the relevant etudes or directly for individual polyphonic pieces. Among them, the ears must be good and able to hear, and they must have extremely keen sound discrimination ability, and reduce the speed to the point where they can play well.

The most common advice is to practice some boring chord practice, so that each note in the chord has a different volume from the other.

If you want to become a great pianist, these are all obstacles that must be overcome.

However, the problem is not limited to this.

Especially in the case of this fugue, it is even more prominent.

When Deng Hongmei was evaluating Qin Fangge's work, she said that it was particularly magnificent, like a huge church. The individual voices are an important part of the building. When you play, it feels like you're building a house or a tall building. Every sentence is a brick, the theme appears, it has not yet gone, and the topic appears again. In this way, one sentence on top of the other, it can always give people a sense of architectural beauty. There are not only horizontal things, but also vertical things.

When it sounds, the audience can see not only a slowly flowing stream, but also the magnificent buildings on both sides of the stream, which is also the artistic charm of polyphonic music.

If you analyze it more closely, you will find that the first theme, which is like a moan of pain, appears in the bass, and this theme slowly rises to the top, unfolding a breathtaking closeness and coping technique, which is the most important and the finale of the piece. This is followed by the end on the sustained bass of the genitive. The combination of the three themes of this song makes the most of all the counterpoint techniques.

Only Deng Hongmei, Fu Tianxia, and Qin Fangge can hear it.

When Wu Hongqin plays, she also pays special attention to the use of voices, emphasizing the independence of each voice and having a strong sense of layering. Generally speaking, one of the fugues with more than three voices must be acting as a bass note in a concerto, while other students may be more focused on the melodic orientation when practicing. However, Wu Hongqin's own performance is more like emphasizing the "balanced" relationship between the voices all the time. She seems to have an innate sensitivity to multi-part music, and can often be heard playing several parts in her hands while singing another in her mouth. And the parts, they are equal, as if she is constantly reminding them of their existence, even if it is a bass part that mimics the continuum. Each voice has the opportunity to be the protagonist, and each voice can dominate the others.