The music continued, whether it was Qin Fangge or Fu Tianxia, it didn't stop. [Ran^Text^Library] []. [774] [buy]. [com]

Deng Hongmei is very clear about the structure of this concerto, and she also listened to it most carefully.

The second movement is a lyrical interlude between the two movements, and its music is pleasant to the ear with a gentle, rustic flavor. The basic theme of the movement is a beautiful melody with the temperament of a folk song, which reflects man's contemplation and introspection of the image of nature, and reflects the eternal affection between man and nature.

This theme is repeated six times throughout the movement** - in the first section of the movement, the original arrangement is played four times in rotation with the solo flute, piano, and two solo cellos and solo oboe, and when it comes to Qin Fang's singers, he uses different parts of the piano and different timbres to reflect this change.

This is also a considerable incentive for Fu Tianxia, who feels like he is working with the symphony orchestra.

Moreover, this symphony orchestra is controlled by Qin Fangge alone, and he does whatever he wants, like an arm.

In the last section, the theme is repeated, and it is repeated twice by Fu Tianxia's piano and Qin Fangge's alternative oboe.

The repetition of this theme is almost unchanged five times, only the timbre of the instrument changes, among them, Qin Fangge's piano accompaniment is the most outstanding, and it is really difficult for him to play so many timbres. Thankfully, he had learned a lot of orchestral instruments before, otherwise he would never have been able to do this.

His piano accompaniment changes every time: sometimes it is a melodic counterpoint, sometimes it uses soft syncopated chords, sometimes the piano's lilting silver bell-like chords act as an active background, and the theme changes its melody only at the last statement.

The form of this movement is similar to that of a three-part structure, but in the four repetitions of the basic theme of the first section, interspersed with two other themes, it has some of the characteristics of a rondo.

In the middle of the movement is a fast-paced waltz based on an old Russian folk song, with a very simple, almost primitive melody. That is, it is constituted by the same type of motivation over and over again.

At this time, Qin Fangge's piano replaced the stringed instrument group to play the melody, and Fu Tianxia used some light-hearted tones on it as a gorgeous and playful accompaniment; here, the rhythm and mood of the music changed, in contrast to the tranquil and comfortable music of the previous paragraph, which had the characteristics of fantasy and ethereal. It's like a flash of vivid memories of the past.

The two worked together quite happily, after the end of this movement. also got a little bit of leisure, which made the two look at each other and smile.

As for Xiao Yuran and Wu Hongqin, they didn't notice these at all, and were only immersed in the world of music.

Such a piano concerto is still too difficult for them. It is precisely because of this that they want to do their best, to appreciate, to understand. This majestic and majestic music.

The final movement is like an ode to a special joy, full of vitality and vitality.

Some of the images that appear in the movement all move in the same bright and optimistic atmosphere.

The movement is written in the form of a rondo sonata, and the basic theme of the piece is played by Fu Tianxia's solo piano after a short introduction by Qin Fangge's "piano orchestra", a theme from a Russian folk spring song. The repetition of the same pattern three times is a common feature of many Russian songs.

Like the Russian theme of the first movement, Ostrovsky gave the theme a completely new character: he emphasised the movement's playful dance-like character and perseverance with a dry sound of staccato articulation, chord-like textures, and a lad-like stride. Echoes this theme, or rather. As a complement to this theme, another new theme with the same rhythm appears in the orchestra's entirety, but moved to G major, and its effect is as if the chorus echoes the loud echo following the singing of certain voices, and the musical progression is vibrant and energetic. Lifelike.

Then, after a short connecting phrase, the second theme of the movement is played by violin and piano. The theme is steady and serene, and its power is still suppressed at the beginning of the progression, and it is only later that all the joy it contains is expressed.

These two themes of the movement, one rapid and powerful, full of endless expressiveness, and the other, although calmer, gradually transform into a triumphant pace and develop into an ecstatic hymn to life. These two themes contrast and complement each other, and together express the bright and optimistic basic idea of this finale.

Finally, the music at the end is even more represented, its majestic momentum, its exuberant mood, and its brilliant effect are all unprecedented.

The Piano Concerto in B flat minor is a profound embodiment of Ostrovsky's genuine cheerfulness and optimism, and it can be called one of the pinnacles of Russian piano music in the 19th century and one of the most talented compositions in European musical art in the last century.

After the cooperation between the two ended, Deng Hongmei was the first to applaud, "The cooperation between your brothers and sisters is really very tacit, and it is the best and best two-piano version I have ever heard." It really plays the characteristics of Ostrovsky's works, like symphonic poems, majestic and magnificent. Qin Fangge's piano accompaniment is unprecedented, playing the effect of a symphony orchestra, giving people the incomparable shock and impact in the deepest part of their souls. ”

Driven by Deng Hongmei, Xiao Yuran and Wu Hongqin also boasted, and the two protagonists were quite modest.

But Fu Tianxia still praised Qin for playing the song well, "With him, I feel more tacit than with the symphony orchestra!"

Deng Hongmei smiled, "He is both a conductor and an orchestra, and he is definitely better than a symphony orchestra led by a conductor. It is difficult to achieve good results without repeated practice. ”

Ning Xiupei praised Fu Tianxia's piano playing well, with depth and strength, and when he became passionate, he was also remarkable, although he himself was not particularly good at show-off works.

But in such an epic piano concerto, there will definitely be many difficult phrases and movements. The requirements for pianists are particularly high.

Then, Fu Tianxia also said that there are still many places to learn from Qin Fangge.

Take the processing of timbre as an example, Qin Fangge's strength in this piano accompaniment is enough to convince Fu Tianxia. It was also something he had anticipated early on.

Before this, he solemnly discussed with Deng Hongmei, Deng Hongmei's evaluation of Qin Fangge was "unfathomable", and before starting to cooperate with him, he also let go of his hands and feet and go all out.

At that time, Fu Tianxia may still have some doubts in his heart. But after listening to him play, I was left with only deep admiration. It's really that feeling of being in the mountains.

Fu Tianxia has seen a lot of pianists, and he has heard countless record Cs. But he really hadn't seen or heard of anyone who could play the piano to such a wonderful, even terrifying level, like Qin Fangge.

The average pianist is quite good if he can play his part well.

Take this piano concerto, for example. The tempo should be kept up, the tempo should be bright, the timbre should be the most important, and the parts should be clear and distinct. Sometimes, playing several parts at the same time is a very big test for the pianist's hand speed.

As Deng Hongmei said, Qin Fangge is a wonder. You can't guess by common sense.

As Deng Hongmei commented, today's Fu Tianxia, under the influence of Qin Fangge, also played at a super level.

After a few people discussed for a while, Fu Tianxia asked Qin Fangge to play the piano part of this piano concerto again, that is, the movements he had just played.

But who will be in charge of the accompaniment. Another conundrum.

With Qin Fangge's performance just now, Zhuyu was in front, Fu Tianxia admitted to himself, "There is no way to achieve the level of one-tenth of Qin Fangge's performance just now." ”

Ning Xiupei also said that he was too modest, but Fu Tianxia was firm, and then Deng Hongmei also said, "Judging from the situation of the symphony orchestra and conductor he replaced." Fu Tianxia's statement is indeed reasonable. ”

Wu Hongqin didn't want to make up for it, so Xiao Yuran didn't need to mention it, let alone Sister Song Zixuan. Even if Deng Hongmei plays in person, she will definitely not be able to reach the height of Qin Fangge.

So, everyone's unanimous opinion is not to replace the band with piano accompaniment to cooperate with him, Fu Tianxia also smiled and said, "If we want to go, it will definitely only drag Qin back from singing." ”

Everyone thought so, so it was Qin Fangge who came to play solo.

This is not impossible, it is also a test for Qin Fangge.

Moreover, this group of people still didn't let Qin Fangge be humble, but still let Qin Fangge go all out.

Fu Tianxia really said to him sincerely, "You should do me a favor! I have heard many piano masters play abroad, but none of them can play the piano to the level you just had." ”

Deng Hongmei also said that Fu Tianxia now needs to improve more than Wu Hongqin and Xiao Yuran. He is not young now, in his forties, and if he goes further, he will be able to reach the level of a true piano master, and if he keeps stopping, his lifelong achievements may stop there.

Qin Fangge felt that if he didn't agree to come down, heaven would not allow it.

Whether there is accompaniment or not, for Qin Fangge, it is not a big problem.

Composers always have a peculiar ability to organize various notes perfectly in their minds, just like a symphony orchestra in reality. When they are composing, they are trying to create the most perfect and harmonious music.

But in this way, it is also easy to make people mentally exhausted, and even go crazy and become neurotic.

Qin Fangge has gone through too many mental impacts, and in those lonely and boundless years, relying on his favorite music and playing all kinds of games that he never tires of, he will not have nerve problems. It also exercised his strong nerves, and incomparable music reproduction, only in the spiritual world, everything can only rely on his own imagination.

When he played this piano concerto, there were many differences between it and Fu Tianxia's performance just now.

The control of timbre and the handling of the voice have always been Qin Fangge's strengths.

His hands are also very flexible, but no one says that he plays like a robot, because his playing is extremely emotional.

On the contrary, Yu Lan, a young pianist who is very popular in the world, has also been known as a piano prodigy since she was a child, and she has been playing all kinds of dazzling works, and she is also out of style and level, and her physical fitness is also world-class. But many people commented that Yu Lan is like a robot, fast and fast. But it always feels like there's something missing emotional.

Of course, there are also particularly rich feelings, such as Zhou Jia, who is also well-known in the international piano world, he is too emotional, and it is all manifested in body language and expressions. demeanor, eyebrows fluttering. Shaking his head, some people even took screenshots to make them dynamic, and with his music, it is also a must.

When Qin Fangge himself was playing, although his piano voice was very expressive, colorful, emotional, and infectious, his own expression. But it's quite chic and calm.

It's the same right now.

If you play the piano solo, it is also easier to hear clearly, and his beautiful, vivid timbre in the high register, is truly breathtaking.

In addition to the beautiful timbre, Qin Fangge's performance. It is also full of strength, and even the movements are extremely beautiful, vividly showing the charm of the music, and it is also the embodiment of his own charm.

Song Zixuan and Song Zimo were both a little stunned when they looked and listened. This kind of deep and complex music is still quite difficult for them to understand. But it doesn't matter, just watching Qin Fangge play there and see how handsome he is, it's completely enough.

Fu Tianxia was also listening carefully. Watch attentively and compare it with his own performance.

He also has a lot of problems, especially when playing the high register. He tends to be powerful, but the timbre can be sharper.

When the timbre was bright and full, it lacked the majestic momentum and tragic atmosphere of fighting against fate expressed by Qin Fangge.

In this regard, Qin Fangge has done a very perfect job, he has just been able to perfectly control the symphony orchestra's tunes, and it is naturally not difficult to play "magnificent as a symphony", and because of this, the unique charm and profound thoughts of the whole piece are vividly displayed.

Although there is no accompaniment, in terms of rhythm, Qin Fangge's grasp is much more accurate than Fu Tianxia just now, unhurried, and calm.

There are also many pianists who play very fast, and there are extraordinary pianists like Grich, when they play, they are absolutely passionate, playing the so-called "life force", but they do not show the deeper, the stoic and melancholy of the Russian nation.

Fu Tianxia has always disagreed with any kind of performance that is too fast, but it is easier said than done, and he himself is quite problematic in grasping the rhythm.

Qin Fangge has undoubtedly made a very good demonstration here, and he has reached the peak of his rhythm control. Especially on those famous "octaves", Qin Fangge played very coherently, but at the same time it was not too rushed, and it was firm and powerful.

When needed, Qin Fangge never hesitated to show the strength of his body, the kind of male power that came from his bones.

Fu Tianxia and they all talked like that, and Qin Fangge didn't need to keep his hands and perform the piano concerto he understood to his heart's content.

I have to say that even different people have different understandings of the same song.

Going without accompaniment, his piano sound doesn't seem to have been affected in any way.

In Deng Hongmei's mind, when Qin Fangge plays now, it is like having a top symphony orchestra playing for him next to him.

Without the sound of other concertos, everyone can also focus on the piano itself, especially Fu Tianxia, who has an urgent desire for it.

The piano sound played by Qin Fangge is clear, and when he switches between various voices, it is like flowing water, harmonious and natural.

In the first movement, the fierce excitement and high-spirited momentum were vividly interpreted by him. Ostrovsky's melodic creation is also superb. The two sisters, Song Zixuan and Song Zimo, can't understand something too deep, and they don't have other accompaniment, but the beautiful melody played by Qin Fangge can firmly attract them and make them obsessed.

After the turbulent sea in the first movement, Qin Fangge led them into the cheerful and smooth stream in the forest, as if from time to time, there would be cute elk, squirrels and other small animals, running happily past them.

The excitement gradually calmed down, replaced by joy and freshness.

The beautiful and flowing melody is like a warm sun shining into the bottom of the heart, and it is like a fresh and bright air, which makes people feel refreshed.

By the time of the last chapter, Song Zixuan and the others felt joy and pleasure.

Ostrovsky's melodic talent is also vividly reflected in this piano concerto.

Elegant, joyful, and rousing melodies, even if they are taken out alone, they can be composed into a popular song.

At the end, Qin Fang sang in B flat major, making the final brilliant and dazzling ending.

After Qin Fangge finished playing, the two sisters were still immersed in the kind of youthful and lively, irrepressible, and joyful melody.

Fu Tianxia and Deng Hongmei felt more things, and they couldn't say it clearly for a while.

But Fu Tianxia's time is relatively tight, and he doesn't have much time to stay in China, so he plans to seize the time to communicate with Qin Fangge. Now the benefits of advanced science and technology are also reflected, Wu Hongqin and her sisters will definitely not forget the video at such an important moment, and these valuable video materials are also a model for them to learn in the future. (To be continued.) If you like this work, you are welcome to vote for recommendation and monthly passes, and your support is my biggest motivation. )