Kreice, Beethoven's No. 9 violin sonata, is labeled as a sonata, but it is composed in a manner similar to that of a concerto.

Of Beethoven's nine violin sonatas, only the No. 5 sonata "Spring" is a similar composition, and these two are also two of Beethoven's most famous violin sonatas.

At the same time, Kleitzer is also known as the most expressive violin sonata in the Romantic period.

Not one of them.

This piece is played by Shen Wuhuan and Li Yunxi, which is very suitable.

It will not let the violin stand out so much that people ignore the expressiveness of the piano, nor will Shen Wuhuan steal the limelight of Li Yunxi's concert.

This is also what Li Yunxi thought of when he saw the score at that time.

The piece is divided into three movements, with a performance duration of about 40 minutes, which can be called a standard large-scale concert piece.

In fact, before Paganini and Liszt, the violin and piano were mainly based on the expressiveness of music, which doomed the performer not to deliberately pursue the sublimation of technique, but to pay attention to his own cultivation.

No matter how extraordinary your "skills" are, whether you can get good feedback from the audience in the performance of the music depends entirely on the artistic background.

Of course, there was no problem for Shen Wuhuan.

Although Li Yunxi is a little worse, her delicate emotional handling seems to be born for classical music.

This also laid the foundation for her to play the piece.

Amid the applause of the audience, the premiere of "Kreice" officially began.

Shen Wuhuan put the "cannon" on his shoulder, held the bow in his right hand, and looked back to see Li Yunxi nodding at her, and the two looked at each other and smiled.

Then Shen Wuhuan played the strings.

Shen Wuhuan and Li Yunxi, at the beginning of the movement, take turns to present a beautiful melody in 3/4 time.

Then, the two began to play at a faster pace, and their emotions gradually became intense.

The timbre of the piano and violin are intertwined, and the staggered and unique notes are not mixed in the slightest, ensuring that each note can be accurately conveyed to the audience's ears.

The two of them are like a husband and wife who have lived together for decades and cook together.

When the emotion is sublimated to the very peak, Shen Wuhuan leads to the theme of the first movement.

At this point, the key changes to A minor, in 2/2 time.

The mood of the whole music continues the previous agitation, and the speed is very fast.

Shen Wuhuan's violin seemed to explode with the agitation of the music, and the brilliant treble seemed to penetrate the ceiling.

Li Yunxi's piano did not accompany each other, and he did not intend to let Shen Wuhuan steal all the limelight.

The violin then ends the first theme with an allegro staccato.

This is followed by the first movement and the connection.

The ensuing development is filled with an atmosphere of tranquility and serenity.

The timbre of the piano and violin are intertwined, like a shepherd boy bathed in the morning breeze, blowing the shepherd flute.

The tranquility of that moment was interrupted by a continuous rush of notes in the next.

The tension of Shen Wuhuan's performance completely exploded, the fast middle bow, and the fullness of the notes were jaw-dropping.

Even the countless admiring performers sitting below sweated on their foreheads.

Among them, of course, are the violin professors who are the first notes.

This is not at all on the same level as the "Infinite Motion" that was pulled out casually on the playground.

The transcendent timbre of "Cannon" and Shen Wuhuan's expressiveness of art made them tremble.

What kind of person can possess skills beyond mortals, but also possess such terrifying spiritual power?

At this time, Shen Wuhuan, who was standing on the stage, was like a huge black hole rising from his body, and he had to suck everyone's consciousness into the hole before he stopped.

And the musicians who have something to do with the piano listened to the piece in amazement.

They already knew what the hell was going on.

Shen Wuhuan's violin is certainly excellent, but Li Yunxi is obviously not a supporting role in this performance.

Her piano is also impossible to ignore.

The piano is also played in a completely standard musical form, and there is no feeling worse than that of the violin.

According to the previous vision, piano accompaniment is piano accompaniment, and it is very undesirable to let piano accompaniment and violin work together on stage.

If the piano is played on stage with the same expressive power as the violin, isn't that a fight?

But the scene in front of them subverted their three views.

The sounds of the piano and violin were intertwined, and there was no dissonance at all, and even while Shen Wuhuan was in full swing, Li Yunxi was playing with all his might.

They don't even need eye contact, as soon as the note rises, they know what kind of mood the other person wants to express.

"These two men"

They have no words to describe what this tacit understanding is.

As it is true, the tacit understanding required for this piece is by no means capable of being accompanied by an ordinary piano accompaniment.

The more tacit the understanding, the higher the bonus points for the music.

And the performance of the pair of Shen Wuhuan and Li Yunxi, as mentioned earlier, has a tacit understanding.

The violin has an unstoppable tone in the midst of the sound of the piano.

It's as if the two are fused together.

The two exchanged accompaniments from time to time, and it was already impossible to guess whether this was a violin piece or a piano-violin duet.

The connection section ends and moves on to the secondary section.

There is a striking contrast between the minor and the main part, and in the process of connecting the parts, the polyphony of the sonata unfolds in the form of a-C-e, which turns into E major in the second part of the minor section.

At the end, it is shifted to E minor and ends with a fast-tempo staccato in the second part of the main section.

The opening part is also based on the theme material of the square repetition section of the third part of the sub-section, and the whole tonality has been developed.

There are a total of 13 major and minor key changes in the entire opening section, and in just 150 measures, there are such complex tonal changes that it can be crowned with a sonata!

After more than two hundred bars of reproduction.

The first movement finally comes to an end.

The mood of the whole music calmed down for a moment.

The notes linger on the main chord, like a boat floating in a tranquil bay.

The boat was untied from the ropes tied to the pier and drifted freely on the surface of the sea with the tranquil sea breeze.

But before it could enjoy the serenity.

The storm is coming!

The violin and piano interplay the last sixteen bars at great speed.

The last sixteen bars are also the suffocating sixteen bars!

In the midst of the calm, the sudden outburst of strong emotions expresses the calm before the storm very thoroughly.

Almost in a fraction of a second, the performance ended, leaving the audience with a strong sense of suffocation, as if they were choked by the throat!