"As soon as I woke up, I grabbed my violin and tried to hold on to my memory—at least a small part of the impression that the piece from my dream had on me. Completely in vain! I wrote this piece of music that was the best I had ever written, but I still wanted to name it "The Devil's Trill", even though it was so far from the one that moved me so much that I would rather smash my instrument and say goodbye to music forever if I could have survived without it. ”

Jérôme de la Rande was also a well-known scholar of his time and a friend of Tatini's, and this statement is highly credible in the style of learning at the time.

So is it because Tatini once had the experience of composing music in his dreams, and there is a force that has not appeared in history that prevents him from becoming famous?

There is a bit of a conspiracy theory to say this, but I have to say that it is a scary thing to think about.

Of course, it is more likely that later generations of Paganini shared the same legend as him.

It is because of the superb performance skills on the stage that they are regarded as the devil, and later generations did not have such developed information transmission channels as they do today, and it is difficult for people to distinguish who is who from one "devil" to another.

Of course, Paganini's position has always been irreplaceable, and he has not been able to achieve the status he has today because of his good luck.

In any case, the Tatini piece that Shen Wuhuan played at this time was just like the complex legend on it, with an extremely shocking magic.

The Devil's Trill, also known as the Sonata in G minor (Op. 6-2), is Tatini's masterpiece.

As a sonata, it has a total of three movements.

The first movement is an affectionate and extremely slow movement, unlike the later Paganini style, which is sharp and full of strong individualism, and Tatini, like the masters before him, is quite varied and has a strong baroque color.

The full melody sets off the great sadness, not like the kind of sharp pain that tears the lungs, but it is full of slight, lingering, making people's hearts surging but complaining like a song, crying like a complaint, making people have a feeling of being unstoppable.

Shen Wuhuan's performance was full and abnormal, even a 600-euro violin could play tens of millions of sound effects, and Huang Mengmeng, who was sitting on the side, was stunned.

The trills of this movement only appear sporadically at the end of the paragraph, and Shen Wuhuan's trills unfold like a song, but with a hint of heartache and intestines, just this short section establishes the theme of the whole piece.

The expression with tears in his eyes and his eagerness are clearly expressed in just four stanzas, which is really amazing.

However, this first movement is not written entirely with a pure motive as material, it has a complete melodic phrase, and it is an extremely beautiful piece of music on its own.

Similarly, the rhythm of the first movement is quite interesting, and the 12/8 time has both the stability and uniformity of four beats, and the melodiousness and elasticity of three beats.

This is a kind of continuity, as a two-part sonata, and in measure 10, a two-tone accent pushes this slowly moving very slow plate towards the small wide plate, making it so sentimental and urgent.

In the second section of the two-part form, the melody is directly varied into C minor.

First of all, the first three notes of the piece are split as motives, extended and developed, and the second half of the music is led back to the main key and two-tone accent melody through the Sicilian dance rhythm motive, and the changes reproduce the second half of the first section, ending in the main chord in G minor, which undoubtedly reveals the characteristics of the sonata, which makes people amazed.

After that, the piece moves to the typical Baroque Allegro section, a melodious allegro that seems to push the mood to a climax!

Shen Wuhuan didn't pause much, but the people present were all clear-eyed people, and they immediately heard that the first movement was over.

The second movement is an Allegro, in G minor, in the same two-part structure.

It opens with a bold motive leap that brings the piece to a climax with a sixteenth-note movement.

The sudden change makes it feel like these two movements are not different movements of the same piece.

Combined with the well-known story of this piece, some scholars refer to the first movement as a dream, and although this movement is as passionate as a song, it is called a nightmare.

The first part of the two-part series begins with an introduction played with a fortistro: the character is as strong as a "horn".

If you compare the couplets, questions and answers, and molded stretches written in the middle of the large sixteenth notes to a splendid baroque palace.

Then this introductory tone, played by a fortiss, is like two tall and straight stone pillars supporting this magnificent temple, which is the cornerstone of the entire second movement!

The magnificent sound of the horn seems to sound the death knell of hell, welcoming people into the unknown but chaotic hell.

The melodic tone of the Allegro is very fluent and light. The music flows with passion and is fascinating, as if the author is unthinking, and the whole piece is in a state like a child receiving a gift, eager to open the gift box.

Adorned with "trills" in the fast-flowing sixteenth notes, the devil's trills have not yet arrived, but they have already seen a shadow, much more than in the first movement.

Even a superhuman player such as Itzak Perlman (1945-) would only choose to perform two trills to ensure the completeness of the piece, but Shen Wuhuan, with his younger body and mastery, chose the completion of three vibratos, which was not only a test of control, but also a test of physical fitness.

The emotions expressed in this same technique are as bright and dazzling as sparks, which greatly adds to the charm of the melody.

But the second movement is not just a song all the way.

Sometimes passionate, sometimes melodious and tactful, like everything in a dream, can bring happiness and sorrow.

The second part also follows the standards of the sonata, moving to B-flat major, starting with the horn-like motive, but basically maintaining the way the first part is played, with a slight expansion, and the second half turns back to g minor, which counts as a finale.

The whole piece enters the third movement.

At this point, Shen Wuhuan's forehead has begun to bubble with shallow white sweat, and the physical energy and concentration consumed by the vibrato cannot be regarded as a simple "decorative sound"!

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