Liu Yufan stared intently at the white figure on the stage

Kissin, an equally talented pianist, is also the object that Liu Yufan has always wanted to catch up. I thought that the first meeting between myself and him should be on the stage of an international competition. But now Liu Yufan has found that the arrangement of fate really cannot be guessed by common sense. Just before he knew it, he and Kissin had already met in such a way.

Kissin's hands climbed the keys with ease, and with a burst of movement, Beethoven's "Turkish March" sounded.

His hands seemed to be integrated with the keys, either his fingers or his arms, as if playing the most natural game with the keys, or the keys had become an extension of his hands, a part of his body.

This is a very wonderful feeling, only those who also learn the piano and reach a certain level will have such a feeling, just like Liu Yufan at this moment.

Liu Yufan has also played this song, and he has played it a long time ago.

When it comes to the Turkish March, many people think of Mozart's Turkish March in A major, which is only grade 8 in the amateur piano exam, but it has become a favorite work for many piano lovers and is widely circulated. In contrast, Beethoven's "Turkish March" has not been heard or played much, and those who come into contact with it are generally professional piano practitioners.

But Liu Yufan knows that although this "Turkish March" is not as big as Mozart's, the difficulty of playing is several levels higher, especially the feeling of vividness and "elasticity", which is even more difficult for the former to achieve.

Liu Yufan's eyes were firmly fixed on Kissin's hands, admiring, thinking, and gradually, he became fascinated.

That's right, obsessed. Kissin's hands, as if magical, deeply attracted Liu Yufan. He found that Kissin's playing philosophy has many things in common with himself, which is to advocate naturalness, cleanliness, and rhythm, and in these things, there is no doubt that Kisin is doing better now. Looking at the touch button that was flawless in his eyes, Liu Yufan kept asking himself in his heart, "If you change yourself, will you do so well?" ”

The answer made him a little frustrated, although he is now at the level of passing the skill level and making every effort to improve his musical performance, but compared to Kissin's performance, he still lacks something, what is missing, Liu Yufan can't say, but he just knows. (Because he could feel it, there was something and some flavor in this piece that Kissin played, and he couldn't play it!

Kissin's hands, which rise and fall like raindrops on the keys with agility, occasionally have strong chords, and there is no big movement of the arms, but a very comfortable "play", and there will be extremely elastic, crisp, and decisive accented chords, with great strength and rich sound, but not how harsh. In the eyes of an insider, this is an accurate grasp of strength.

But in Liu Yufan's eyes, he can see another layer of things. That's the pinnacle of weight. Liu Yufan watched his wrist throw up from the keys and then fall, and he could empathize with the feeling that was so comfortable in his bones. That's a wonderful application of the repulsion of the keys.

The repulsion of the keys. Few piano teachers have talked about this power, even those professional piano teachers have taught students about this thing, but in the end, there are only one in a hundred students who can really use this power well. If nothing else, just because this power is too difficult to "feel". The piano is a very delicate machine, just a small key, there are more than 100 parts together to form its transmission system. When the keys fall and play, they need to go through a series of complex mechanical transmissions, and the power transmitted by the tiny springs to the fingertips through these mechanisms can be said to be very small, and it is definitely not a simple matter to use this power well. ..., Mo Yan also talked to Liu Yufan about this problem, and also made a demonstration, but Liu Yufan still doesn't know the essentials, sometimes, he can feel that power, but more often, this "rebound force" is like Duan Yu's six-vein divine sword, sometimes ineffective.

But watching Kissin's performance, Liu Yufan can feel that he has completely mastered this advanced technique, otherwise, his performance would not look so relaxed and so "elastic".

A good pianist will reasonably distribute every strength, or "weight". He will not waste a little, and the power that can be borrowed will be fully used, and even the negligible small help of "rebound force". Undoubtedly, Kissin is one of them.

After playing the song, the audience applauded like thunder.

Kissin looked as usual, standing in front of the piano, holding the rim of the piano with his hand, and bowing gracefully to the audience.

When the applause had subsided, he sat back down at the piano, and after a pause, he continued to say to the audience: "Next piece, Liszt, Paganini Etude, Bell"

The calm tone was like saying something that was most ordinary. However, this sentence was like a pebble thrown into the lake, which immediately caused an uproar.

The warm applause lasted for more than a minute before it gradually subsided.

This piece is one of the top 10 most difficult piano pieces in the world, and it is also Kissin's best piece. So far, no one in the international music scene has dared to say that when playing this piece, it can reach the level of Kissin.

Kissin's performance of this piece can be said to have two "absolutes": one is fast, when he is the fastest, he can complete the performance in less than four minutes, which is a record that no one has ever been able to break; The second must be rhythm, and the most outstanding feature of any piano piece played by Kissin is its strong sense of rhythm, and this piece is no exception. For such a difficult piano piece, each bar, at most, can be stuffed with nearly 300 notes, and in many notations, there are three or more parts, and it is not easy to find the musical theme in such a complex melody and express it accurately. When many pianists play this piece, they will have some rhythmic ambiguity, or some free parts are overly "free", losing their unique rhythmic beauty. But in Kissin's playing, no such problem arises. His understanding and performance of this piece has reached a very high level, so that when others enjoy this piece, they often fall into the kind of rhythmic melody and deliberately ignore the difficulty of the piece itself.

Kissin, on stage, began his performance.

The arms bounce lightly on the keys, bringing up strings of crystal-clean and transparent sounds. The sound is clearly very weak, it feels like the ticking of water droplets, no, it should be the ticking of a clock, but the sound of the piano is very real, without a trace of virtual sound, it is so grainy. If nothing else, this control of strength alone is breathtaking.

"Awesome, Teacher Ling Yuan once said that the more powerful the pianist, the richer the timbre under his hands, although the known dynamics marks are only F (strong), P (weak), and there are some FF, PP, MF, MP and so on more than a dozen, but with the addition of expression terms, there are more. And a good pianist can even play nearly 100 rich timbre variations on a single key, which is really unimaginable. And a pianist, the richer the sound layers under his hands, the fuller and more perfect the musical image he can express. Just like Kissin at this moment, when playing this "Bell", he used this extremely weak but extremely solid and grainy timbre to imitate the sound of the clock very vividly. To put it bluntly, playing any musical instrument requires consideration of a musical performance problem, and it is very difficult to rely on abstract music to express a concrete image. …,

Kissin's playing speed is consistent, neither slow nor fast, but that tight sense of rhythm is like a big hand, firmly grasping the hearts of everyone, so that they are always intoxicated by the rhythm of the music!

The polyphonic part is added, like small white water droplets, and like beads jumping on the ground, those small notes, interwoven into a melody that makes people intoxicated, is so complicated, no language can describe the beauty of the broken flowers. And Kissin's ten fingers have already danced on the keys, and there is no trace of the fingers, only a pair of hands like magic, flying and jumping on the keys......

More than 6,000 spectators, silent, listening to the sound of the piano and appreciating the magical finger magic, everyone's face showed an obsessive look, this is really a wonderful performance!

When the last melody with dance music style sounded, Kissin's whole energy seemed to burst out all at once, his arms waved vigorously, undulating, and a large amount of sound flowed out with the powerful waving of his arms, which seemed to be a total explosion, pushing the atmosphere of the music to a **!

The whole piece came to an abrupt end with Kissin's arm thrown high, and at the moment when the music stopped, thunderous applause, like a frenzy, swept the entire concert hall!

Kissin stood up gracefully and bowed to the audience in thanks. The indulgence that had just been played to the ** was gone, and he regained his polite appearance.

"Thank you, thank you all for your kindness. Next, I'm going to invite a live audience member to come on stage and play with me, and if anyone wants to come on stage? Kissin smiled and said to the audience.

The invitation came so suddenly that the audience was unprepared.

However, just when others were still stunned, one person had already stood up and strode towards the stage.

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