"Just finished the hunt, and another hunt? Or is it the piano version? ”

The audience could no longer predict what would happen next, and they were all in a state of confusion.

The scene just now of using the violin to imitate the flute and the French horn was already unacceptable to them, and then the piano piece of the same name was immediately followed?

Why do you have the same name?

With such doubts, the audience's eyes followed Shen Wuhuan's fingers to the piano keys.

As the sound of the piano came into their ears, they understood it all at once.

The elastic two-tone staccato mimics the sound of the flute.

The two-note staccato of the third, fifth, and sixth degrees of the left and right hands from time to time shows a brilliant and playful feeling.

The touches make people tremble, and the notes played are clean and refreshing.

The additional pedals also give a special life to the whole staccato as well.

Shen Wuhuan is like a precise playing machine, stepping on each pedal where it should be.

Then the sound of the French horn suddenly entered.

The elastic continuous staccato effect makes people feel as if they are in a dense forest, and you can smell the fresh and pleasant air everywhere.

The alternation of horn and flute in the following piece shows that the hunters are attracted by everything around them as soon as they step into the forest.

In fact, these hunters are not the only ones who are intrigued.

All the audience was also captivated.

This is a completely different reproduction of the violin piece just now.

In fact, simply comparing these two pieces is not as simple as copying.

Although it sounds like the melody is repetitive, Liszt put a lot of effort into the arrangement of the notes.

In order to imitate the timbre of Paganini's jumping bow, Liszt played the three- and sixth-degree two-note staccato to perfectly reproduce the effect he wanted.

The whole piece moves on to the second thematic section.

Here, the strength of Shen Wuhuan's touch began to change significantly.

The p is used for the flute, and the f is used for the French horn.

The timbre of the flute is cleaner and smaller, while the timbre of the French horn is deeper, rougher, and stronger!

The same third-degree and sixth-degree progression methods have completely different effects.

Everyone present was stunned.

After all, the piano has two parts, and although Xin Xiangyang's performance shows characteristics in imitation, it is definitely not as skilled as Shen Wuhuan.

This kind of two-tone progressive expression is absolutely absent in this world, as long as you hear it in your ears, you can feel the sharpness and variety hidden behind the melody.

The touching theme that is full of life and like a heroic triumphant song is refreshing.

Next, the whole piece goes to the Theme Development Department.

In this section, the key remains the same as that of the violin, in E major.

Here, however, Liszt cleverly moves the first phrase of the theme up an octave and plays it with only his right hand.

The bass part of the left hand is accompanied by a breakdown of the main chord in E major.

In the accompaniment of the second voice of the left hand, the whole theme is quite light and well-behaved.

The timbre of the entire development department became more and more crystal clear in Shen Wuhuan's performance.

It's like a dirty crystal, small and exquisite, like the echo of the theme, which makes people feel a long aftertaste.

Then the whole piece enters the climax of the writing.

First of all, there is a strong contrast in tonality.

The piece abruptly shifts from E major to brilliant C major.

The melody of this section is very distinctive.

I believe that everyone who has heard it will be impressed.

It begins with an octave double jump, followed by a sixth-degree parallel scraping of both hands.

This kind of scratching is also a musical expression that is not found in this world.

In the same way that Paganini invented so many playing techniques, this scratching itself was created by Liszt.

This is a gift from a master named Liszt, who gave it to the piano.

This is followed by the alternation of the right hand across three octaves of thirty-second notes, a large span that contrasts with the theme melody.

It creates a strong sense of conflict.

The melody, which is high and low, not only reflects the tense atmosphere, but also breaks the serious atmosphere, showing a different feeling of classical music.

Even all the people in the audience were people involved in classical music.

But not every single one of them will have a genuine love for classical music.

But when they heard this melody, they realized that classical music could be interpreted like this?

Can the melody on the beatmap be so free-spirited?

It's not like what is taught in books!

The classical music of this world can be summed up in terms of period, which means that it is still in the period of classical music.

Shen Wuhuan's music before was dominated by Chopin, a representative of the Romantic period.

In fact, since that time, some people have noticed the differences in Shen Wuhuan's music.

However, most of Chopin's music is mainly motivated by the humanistic spirit, and there is nothing deliberately showy in it.

But Liszt and Paganini are different, their music is as dazzling as their people, and they deliberately attract everyone's attention in an instant.

Not to mention that Shen Wuhuan came up with an etude that was already unpopular in this world.

As I said before, it is precisely because she made "Twelve Equal Laws" that Shen Wuhuan was able to gain the support of musicians of the old school.

There are even academic topics dedicated to the study of the law of twelve equals.

But Shen Wuhuan didn't think there would be any conflict between the Classical and Romantic periods.

Perhaps in the original world, masters such as Paganini and Liszt were tired of the immutable classical music that created this era.

But in modern times, music from all periods can be called classical music, and there is no difference in essence.

Then research can be done at the same time, right?

Next, what Shen Wuhuan wants to show you is the beginning of this change.

At the same time, it is also the most obvious beginning!

Finally, the whole piece, in a series of broken chord connections, returns to the main melody.

It's just that this time the melody is more appealing than the previous one, and it produces a bell-like tone.

As an outlogue, the song reinforces the theme very well and shows the fulfillment of the end of the hunt.

Shen Wuhuan felt the same at this time.

Together with this song, she went on a hunt for all the spectators present.

It is not their lives that are lost to the audience, but their sight.

At this time, no one could ignore Shen Wuhuan standing on the stage.

Her music began to exude a vigorous vitality.

“brava!”

The cheers and thunder testify to the fruits of the hunt.

The hunt that Xin Xiangyang and Shen Wuhuan completed together today is just the beginning.

Expressive romantic music will start to pop in CN.

And really began to produce the name of the system.

Shen Wuhuan is going to do these things next.