"Here we go again, that two-handed skill that is beyond the limits of human beings. Zhu Lang couldn't help but smile, he remembered that when he recorded "Zhong", he used his two-handed skills to bully people, but last time he bullied Jin En and Wen Liujiao.

The first waltz mainly describes the scene of people dancing on the banks of the Danube, intoxicated by nature, Lu Shichen's eyes are slightly closed, not only to narrate the intoxication, but also to intoxicate himself.

Theme A's lyrical and bright melody, relaxed and lively rhythm, and the pause that responds to the main theme, Lu Shichen's beating fingers are rapidly tapping, making it full of cheerful emotions, making people feel that the breath of spring has come to the Danube.

Immediately followed by Theme B, which is relaxed and bright, is a celebration of the Danube in spring, and the two sections of AB are perfectly intertwined, but on the way, the five stereos change from one track to two, and the laid-back atmosphere of the blue Danube is almost destroyed in an instant.

Now it's getting noisy.

Lu Shichen did not slow down his performance like Mozart, nor did he become flustered like Paganini, but played more casually and gorgeously.

Quickly passing the first waltz, there is no aftermath to finish, Lu Shichen runs the keys with his left hand, and cuts into the second waltz cleanly.

"Whoa!"

The sound of the blue Danube plucking the strings, the energetic first part of the melody is presented in D major, azure beauty.

Jumps, ups and downs, and advance layer by layer!

Lu Shichen let the hearty emotions convey to the hearts of everyone present, and once again overwhelmed the noisy Divine Comedy. The style of music is lively, and when the activity is playing with water waves in the blue Danube, Lu Shichen's ten fingers change. Suddenly shift the piece to B-flat major.

Liveliness becomes graceful, jumping becomes euphemism. The contrast between the two parts is almost instantaneous.

"Precise technique can be said to be a textbook of piano performance, and it can also be said to be a textbook of gorgeous technique. He Zhixiang was impressed. With such a principal here, in the field of piano, there is nothing to say at all.

What he personally tested just now, it is difficult to perform normally in this environment, but looking at Lu Shichen, it is completely easy to behave.

Should the gap between people be so big?

At the same time, there are also Yoshikawa Akiho and Paganini who have similar thoughts.

Cold, completely iceberg-like male god-like Yoshikawa Mingbu, for Lu Shichen, he just said coldly: "Lu Shichen." He's a bug. ”

At the beginning, I said that compared to the piano, Mozart's attainments in violin are higher, and compared with the violin, Mozart is more authoritative in arrangement.

Not only did he make it more difficult to adapt the original blue Danube, but he also cleverly and variously described the little girls on the banks of the Danube with a second waltz. It was more fitting than the original song, and I seemed to see the little girls in goose down dresses dancing happily in the shallow stream. Mozart said: "Rich in changing colors and layers, I don't know if this adaptation is LU already has a draft in advance, or if it is an idea on the spot." If it's really a live adaptation, it's really terrifying. ”

Transition to the third waltz, the king of waltzes. The original arrangement is a singing melody, and Theme A is beautiful, elegant, dignified and steady. Theme B has a liquidity characteristic, and the two are combined.

Johann Strauss Jr. had only one purpose in this arrangement. Enhance the dance of the blue Danube and embody the carnival dance scene.

Lu Shichen, this guy is first of all a guy who can't be idle, so it is difficult to let him play step by step, let alone at this time.

What if the Blue Danube is the masterpiece of the king of waltzes? Lu Shichen also made a drastic change, leaving only the syncopated rhythm of this section, because this way can give people an intimate and new feeling.

In other content, Lu Shichen played independently, frequently using ultra-long-distance jumping, creating a scene of beautiful girls playing in the water with their bare feet.

From the current point of view, under the influence of the two divine comedy music, Lu Shichen is as comfortable as he usually plays, and this alone surpasses Paganini and Mozart.

In addition, Mozart said before that Lu Shichen would be too terrifying if he arranged it on the spot, but in fact, the terrifying thing really began.

In the middle of the high tide, the five half-human-high 3D stereo surrounds go from two voices to five.

Right!

Not at all, not at all, five different divine comedies sounded from the five speakers.

"Little Apple", "Jiangnan Style", "Worried", "Fahai, You Don't Know Love", "The Most Dazzling National Style".

There are five songs, multiplied by more than twice the noise, and the scene is even more noisy and difficult to control than the wedding ceremony, when the bride and the groomsmen tear apart, the groom and the bridesmaids tear apart, and then the bride and bridesmaids tear up with the groom and groomsmen.

To use a more direct analogy, the previous noisy forbearance can be passed, but now it is not only a matter of forbearance, they are all covering their ears and trying to escape from their current position.

"Shhh

Yoshikawa Akiho, Paganini, Mozart, Zhu Lang, He Zhixiang and all the other teachers couldn't help but gasp.

Zhu Lang and I.M. Pei knew that Lu Shichen would definitely show it further, but they all thought that there were at most three voices, but Nima was now directly tuned to five.

It's like jumping directly from the Rookie level difficulty to the Hell level difficulty.

"Teacher Lu Shichen is crazy!"

Pan Jun's words made all the bear children nod their heads in agreement.

No matter how surprised others were, Lu Shichen's performance continued in an orderly manner......

Theme A of the fourth waltz is beautiful and moving, still full of singing, and can even be said to be a superposition of the previous waltz, Lu Shichen eliminated other superfluous consonants, and the rest was connected with the rapid pause of the left hand and the sliding of the right hand in the low part.

Simple and rhythmic, after the beginning of freedom, it is more beautiful to support the melody of the rising arpeggio, as if it is full of spring and refreshing.

It is no exaggeration to say that this is a fine arrangement, because here Johann Strauss himself is very proud.

The background sound of the five voices intertwined really brought a little trouble to Lu Shichen, but he still used strong piano skills and strong adaptability to successfully play, and the last waltz was a continuation and development of the musical mood of the fourth waltz, but it was transferred to A major.

Lu Shichen did not change much in this regard, the melody of Theme A reverberates and reverberates, soft and warm, and Theme B is a fiery and jubilant music, forming the climax of the whole piece.

The undulating, wave-like melody is reminiscent of a carefree boat ride on the Danube! )