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Unlike Zhou Xiuying, Fang Xiping has retired from the position of professor in the Chinese department, and he has always taken care of Zhou Xiuying behind his back, and she really needs someone to take care of her every day when she is busy and does not stop.

When Zhou Xiuying taught Qin Fangge to learn opera, Fang Xiping went to buy vegetables and came back to cook, and after their morning class, they left Qin Fangge to eat at home.

Qin Fangge was originally embarrassed to eat here, but the two old men were quite enthusiastic and refused to let him go, so Qin Fangge had to be cheeky and stay for lunch.

This morning, Qin Fangge studied very hard, and Zhou Xiuying was also not easy, because his learning ability was too strong, and she had to work hard to deal with it. Fang Xiping made a lot of delicious food to treat the two of them, his cooking skills had already been exercised, and Qin Fangge was full of praise for eating.

This time, Fang Xiping was even happier, and asked him to eat more. Although their family has entertained countless students of Zhou Xiuying, and his cooking skills have received countless praises, good words are really loved by everyone.

After lunch, Qin Fangge also helped clean up the dishes and chopsticks, Fang Xiping didn't let him do such a thing, and asked him to play the piano, saying that this was the best reward for him, and said that he really liked Qin Fangge's piano performance.

Zhou Xiuying also felt that Qin Fangge's piano performance was quite his personal style, and he could basically know that it was something that others could not imitate.

Qin Fangge also sat back in front of the piano and played a few of Kant's cheerful, lively, melodic tunes.

When Fang Xiping cleaned up and came to listen to him play the piano, he stopped first and asked Zhou Xiuying and Fang Xiping if they should take a lunch break.

Zhou Xiuying said that she was not in a hurry after eating, and listened to him play the piano first. As for Fang Xiping, he has insomnia, he has no habit of taking a nap, which is actually quite difficult for him, he has also seen many doctors and tried many methods, but unfortunately no results have been seen.

Qin Fangge himself had a time when he couldn't sleep, and at that time he listened to Bach's music, "Twelve Equal Temperament Piano Pieces", "The Art of Fugue", "The Devotion of Music", and "Goldberg Variations", which felt quite hypnotic.

But when he played the first prelude and fugue of the 12 equal temperament piano pieces before, Fang Xiping did not have any special reaction. Qin Fangge was still a little unbelieving, at that time, in the morning, unless he went back to sleep, it was still very difficult to have the desire to sleep. After a busy morning, I am a little tired, maybe I can get some results.

Qin Fangge played the tune in the "Twelve Equal Temperament Piano Pieces" again, wanting to see the effect again before making plans.

He plays the Prelude and Fugue in C sharp minor, which is also evaluated by Lyman as the most sacred and sublime piece of music presented by musical culture. The imitation and transformation of each voice is like telling the vision of a great soul. In the fugue, it has developed into five voices, a triple fugue structure, like a huge sacred church structure.

After listening carefully to him playing, Zhou Xiuying also sighed that he was talented on the piano. She knows very well in her heart that if she wants to create such music, she really has to be a genius. It can be heard that writing such a tune requires a lot of rationality, and it is no wonder that Qin Fangge is also so mature in his life.

"This is really a great work, and now the person who still writes preludes and fugues, I guess you are the only one in the world!" Fang Xiping said with emotion, he also understood, Qin Fangge said that he really loves music, not casually, but put it into practice.

He was worried, composers don't have a high status now, and in the era when the Internet has become so advanced, it is really not easy to support composers by relying on record royalties alone. Many well-known composers do not make a living from composing, so they cannot devote themselves to composing, and no matter how talented and talented they are, they can only be wasted.

Fang Xiping cared about him and asked him if he had any plans to publish it.

Qin Fangge replied that he was not in a hurry, he didn't have many songs now, and he would talk about it when he accumulated more in the future. Moreover, even if he wanted to publish it, no publisher would ask for his nobody's works, even if all he produced were classics. Classical music is inherently niche, and there are so many great musicians in the world, and it is not easy for modern people to interpret and interpret those great works that modern people want to interpret well. Those pianists who travel to the international stage are also becoming more and more commercialized.

To put it more bluntly, if Qin Fangge wants to promote his music, he still needs continuous accumulation, and the right opportunity will be in the future.

Qin Fangge himself can see through it and endure loneliness, Fang Xiping and Zhou Xiuying are also quite pleased with this. Zhou Xiuying also said that in fact, whether it is playing the piano or singing opera, you need to have a heart that can endure loneliness and stand the test. If your heart is impetuous, it is easy to see and hear the songs you create and sing. Moreover, compared to the piano, opera is more niche, but those who study vocal opera must slowly accumulate their skills step by step.

Putting these aside for the time being, for Qin Fangge, his attempt to hypnotize Fang Xiping with preludes and fugues was shamefully declared a failure.

He was ruthless and planned to release the big killer "Gothenburg Variations", but if he didn't work again, he would have no tricks. It is estimated that "The Art of Fugue" and "The Devotion of Music" will have the same effect.

And Bach's "Goldberg Variations" was also made by him for the Russian count who suffered from insomnia, whether it can cure insomnia for the time being, it can make insomnia people listen better, it is quite a good result. Qin Fangge never doubted Bach's greatness, because there was no doubt about it, and the degree of classicism of this "Goldberg Variations" is incomparable.

Fang Xiping and Zhou Xiuying were very curious when they saw his fingers fall on the keys again, and looked forward to what kind of music he could play.

Qin Fangge didn't tell them in advance, saying what format this piece was, what was the name, etc., he only played the piano.

Bach originally composed this piece for the double keyboard harpsichord, and Bach himself titled it "Keyboard Etude for the Harpsichord, consisting of an aria and a series of variations".

The aria on the theme is from Bach's notebook to his beloved wife Anna Magdelina, and the aria on the keyboard in G major is a French Sarabande dance music full of ornamentation. Since the ornamentation is the main part of the melodic line, the melodic line of the theme of the whole variation is not so obvious. In fact, it is true that the variations do not follow the melodic line of the aria, i.e., the variations are not composed with the usual melodic variations, but use digital bass variations and harmonic variations.

Zhou Xiuying and Fang Xiping, one is a titan in the Chinese vocal opera industry, and the other is not low in musical talent and has appreciated classical music for sixty or seventy years, not to mention anything else, it is more than enough to be a music critic. In fact, Fang Xiping has really published a lot of music reviews.

At this time, the two people sitting on the sofa also quietly listened to Qin Fangge and played the piano seriously. Whether he plays his own works or not, he deserves their respect.

And from the two of them with quite rich experience, they had never heard the piece played by Qin Fangge before, and it should be a piece composed by himself.

Fang Xiping and Zhou Xiuying judged the form of his performance of this piece through his slow performance, which is an aria with a bit of French dance music.

Zhou Xiuying was thinking that if Qin Fangge could create such a flavorful tune, then there would definitely be no shortage of music that he had usually heard and memorized and understood. Without extensive experience, it is really difficult to create such a song.

The aria played by Qin Fangge is still quite beautiful and moving, which also makes Zhou Xiuying and Fang Xiping hold hands and exchange glances with each other, which means that it is self-evident.

But then, the time came when they were surprised, even shocked, because they could hear that Qin Fangge was making various variations on this aria.

Moreover, there seems to be a considerable pattern to follow.

They didn't get the score, and they could only judge by ear.

Fortunately, both of them are veterans of a hundred battles, they have listened to classical music for sixty or seventy years, their spirits are still very strong, their memory is okay, and they can barely keep up with the rhythm of Qin Fangge.

In addition, the speed of Qin Fangge's performance was not fast, he did not choose to be like Gould's debut, which was done in a hurry in more than 30 minutes, which caused quite a lot of controversy, but also made Gould famous from then on. By the time Gould had spent decades recording the Goldberg Variations, the whole time had become fifty minutes. This is the difference between being young and vigorous and having rich experience, Qin Fangge didn't finish playing this song in a hurry like rushing for the exam.

Qin Fangge is based on his own experience, coupled with his own unique understanding, and combined with this genius body, to do his best to interpret this song.

In terms of touch keys, skills and strength control, Qin Fangge has always had his own characteristics. In previous preludes and fugues, as well as in multi-part works, he was able to play his own colorful timbre for each voice and every emotion. In each part, not only the music lines are clear, but also interconnected and complementary, so that world-class piano connoisseurs like Deng Hongmei are fascinated by it.

At this moment, when playing this "Goldburg Variations", Qin Fangge even raised the spirit of twelve points, took it seriously, and strived to bring Zhou Xiuying and Fang Xiping the most perfect enjoyment.

But Zhou Xiuying and Fang Xiping, the more they listened, the more incredible they felt.

This piece is like an incomparably huge treasure, and the things in it are so rich that people will be haunted by them.

Gradually, they also discovered some patterns.

For example, when Qin Fangge made variations on the original aria, it seemed to be in groups of three. The variations of 3 integer multiples are the canon, i.e., the 3rd, 6th, 9th, etc., and such canon variations are arranged in a layered manner.

In other words, his third variation is the same degree of canon, in the sixth variation it is the second degree of canon, and in the ninth variation it is the third degree of canon.

Speaking of this canon situation, Zhou Xiuying and Fang Xiping are no strangers, and Qin Fangge is even more so, the first song he played before was his own composition of "Canon Variations", in terms of the variations of the canon form, Qin Fangge's level is already perfect.

Neither Zhou Xiuying nor Fang Xiping doubted whether he could create such a canon variation.

But in addition to Canon, the variations immediately after Canon have become more and more diverse, which simply makes the well-informed Zhou Xiuying and his wife breathtaking.

As far as they can hear, there are Baroque dances, French overtures, and ornamental arias and fugues (this is also the form in which Qin Fangge plays quite well, he has played several preludes and fugues beforehand, and they are all quite wonderful).

These varied, varied, and colorful variations also made Zhou Xiuying and Fang Xiping's thinking speed not at all as fast as Qin Fangge's performance, although his playing speed has never been fast.

But it is precisely like this that makes Zhou Xiuying and Fang Xiping unbearable. It's okay if they don't understand music, they can't understand it anyway, it doesn't matter how fast Qin plays songs or slow. But both of them have profound attainments in classical music, and they can't help but analyze and figure out while appreciating.

It's also a time of great accomplishment.

For example, Zhou Xiuying discovered the rule that Qin Fangge performed canon variations every two variations, which made her full of achievements when she heard the next canon variation.

At the same time, Zhou Xiuying also wanted to hear it, she could get some surprises from Qin Fangge's variations, she even guessed in her heart what the next variation of Qin Fangge would look like, if she guessed correctly, it would be a surprise, and if she didn't guess correctly, it could actually be regarded as a surprise, because no matter what form of variation Qin Fangge used, it could bring her an incomparable spiritual shock.

If you want to listen to it once and understand the song completely, they will definitely not be able to do it, but they still want to try it as much as possible.

Especially when Qin Fangge played so slowly, he felt like he was deliberately trying to seduce them to guess and think.

Zhou Xiuying even wanted to see how many times Qin Fangge, a genius, could change this aria.

The same is true for Fang Xiping, but their thinking and speculation like this is quite exhausting.

The two of them looked at each other and smiled, and then simply closed their eyes, blocking out all their senses except hearing, and using their hearts to feel and appreciate the charm of the music.

But Qin Fangge, this guy turned over the tricks, kept changing the aria, and it seemed that it was his purpose to never be the same, and he did it.

With the basis of arias, it is as if he is building a magnificent and splendid edifice, and those novelties that are constantly emerging are extremely enchanting. Even if there is a regular canon variation, it is the most singable variation, beautiful, romantic, timeless, and addictive to it. It is easy to make the listener of this variation forget to think about its delicate, regular, yet ever-changing structure.

In the end, the joy and excitement that such endless changes bring to the audience is also indescribable.

Zhou Xiuying persisted until the twelfth variation, and after listening to the romantic and warm fourth-degree canon, she fell asleep contentedly.

Although Fang Xiping also felt this excellent variation with his eyes closed, he persevered longer than Zhou Xiuying.

But the wonderful, beautiful, and infinitely nostalgic music in this variation made him intoxicated.

He could feel it, after twelve variations, the inverted canon. In the thirteen variations, the lyrical, delicate and restrained melody is like the slow movement of a concerto, and Qin Fangge plays it too slowly, as if the mood of the whole work has changed at once, using a few chromatic scales in the left hand.

It's hard for Fang Xiping to count clearly, what he is listening to now is the first few variations. Seventeen's variation is a full-bodied toccata that makes people feel comfortable and happy when they sound it. The sixth-degree canon of the eighteenth variation continues this beautiful and happy feeling, the canon variation has a song-like melody, and the low voice is even more joyful to jump under the canon.

The expected Canon variation made him like a treasure, and Fang Xiping's tired spirit was also consumed to the limit, with this beautiful and pure feeling, Fang Xiping was also like Zhou Xiuying, pillow on the sofa, and fell asleep sweetly.

Qin Fangge, who played on the piano to his heart's content, did not notice this, and he himself fell into the magnificent and spectacular, brilliant and immortal music hall that Bach had woven through this "Goldberg Variations".

Really, it is hard to imagine that so many different and incredible variations can be made from an aria, which is something that can be created by human beings.

Qin Fangge himself, when he played this variation, constantly experienced and understood, and also realized more deeply that the music world is broad and profound. It is said that Bach has divinity, and in his opinion, it is true, this kind of rationality embodied in music, as if it is something that perceives everything, not what divinity is.

When Qin Fang played the song, he forgot the time, even everything around him, and only had music in his heart.

After he had played the "Goldberg Variations" in its entirety, he had time to care about the reactions of the two old men.

Looking back, both of them fell asleep on the sofa, Qin Fangge couldn't cry or laugh himself.

This is really a great piece of music, even the hypnotic effect is so good, insomnia patients like Fang Xiping can be hypnotized.