In the third movement, the music returns to a cheerful atmosphere.

The unison rondo theme for the two pianos shows the expression of the entire third movement.

The entire third movement is written in the typical rondo style.

However, as mentioned above, the form of this movement is a special rondo sonata, which has its own special meaning.

The passages in the rondo form are divided into ABACA, while the rondo sonata form is ABA-C-ABA.

The main reason is that the whole movement does not show more variation in the melody arrangement, but makes a complex arrangement on top of the change in tonality.

This is the distinguishing feature of the sonata style.

However, it is quite far-fetched to attribute it to the rondo sonata form, so it is called a special rondo sonata form here.

This arrangement can almost be said to have started with Mozart, which is a sign of his desire for freedom.

The melody of the two pianos is quite subtle.

Compared to the pure joyful chase of the first movement, and the lingering infatuation of the second movement, the third movement is more about showing an extremely full sound color.

Li Yunxi's columnar chords are combined with Shen Wuhuan's decomposition chords, showing an extremely strong spirit.

Shen Wuhuan's hands possessed the power of fingers that were beyond ordinary people.

It's not just that the fingers are so powerful.

It's like a tentacle, sensitive like stroking the feathers of a white rabbit in the weak touch.

However, in the touch key full of strength, it can be like a forged steel sledgehammer, striking an extremely strong force.

This strong aura radiated in an instant, intimidating everyone present.

No one knows where this invisible force comes from.

One could only feel a noticeable lack of breathing, as if a huge extractor was constantly pumping oxygen out of the room.

Throughout the third movement, Mozart demonstrated his unparalleled compositional skills.

Whether it is the continuous jumping and conjugation of the theme, or the scale rotation of the rapid "flowery" thing, or the element of integrating national colors into the early classical music, it proves the advanced nature of his music.

In the original world, the year 1800 was used as a node, and musicalism was divided in the history of music.

Before 1800 it belonged to classicism, while after 1800 it belonged to romanticism.

And Mozart was at the center of this time.

If it weren't for his untimely death, he could even be called a pioneer of Romanticism.

From Miss 42 onwards, Mozart introduced here the melodies of the Baroque style of dance music, which are extremely dynamic.

The two pianos complement each other and play in a purely instrumental form at a very fast speed.

In measure 61, the melody frequently switches between A minor and E minor, and the dynamic beat seems to show a kind of dance party in a Viennese palace, which is memorable.

At the climax of the ball, the church bells drifted past the window, disrupting the misunderstanding.

And the harmony of the two pianos came to an abrupt end here, and the scenes scene by scene seemed to be truly restored, which was simply amazing!

But in the blink of an eye, Shen Wuhuan once again played the overture of the dance party in the form of rapid pitch progression.

The overture in A major is like "hide and seek", playing a game of head to end.

This is typical Mozarte-esque humor.

With the advent of the "two-tone" motive that hints at the end in measure 120, the ball reaches its climax.

Everyone was cheering and singing.

In this extremely lively and melodious melody, the harmony of the subordinate to the main is still constantly accumulating strength over and over again, as if expressing some kind of emotional catharsis.

This savings also seem to be influencing the audience's perception, and they are beginning to look forward to the upcoming performances.

In fact, this was deliberately done by Mozart.

This is followed by a cadenza that resembles a violin concerto.

In fact, classical piano music rarely includes such cadenzas.

But Mozart did.

The cadenza used to show off his skills in this way is naturally inseparable from Shen Wuhuan's performance.

Li Yunxi's rapid double notes and melodies unfold in a columnar form on the basis of D major.

And Shen Wuhuan was concentrating on the cadenza section.

She was also in a very high mood at this time, and at the end of this piece, she was going to perform an incomparable performance.

The extremely fast note walking could no longer satisfy Shen Wuhuan's desire to perform at this time.

She was going to play a big jump of more than fifteen degrees.

The performance of the big jump is also in Shen Wuhuan's previous songs, but there is definitely no performance with such a large leap in amplitude.

The left hand is accompanied by a series of bar-like notes, and the right hand moves between the black keys and the white Jian with a very fast forearm jump.

This technique is never found in classical music.

Even if they showed off their skills, the performers of the time would never have imagined such a method of performance and composition.

Because this is exactly the playing technique invented by Liszt!

This cadenza is not long, only 5 bars.

But the effect is absolutely astounding.

The expressions of some people who know a little about piano performance can be called dumbfounded at this time.

They couldn't imagine that the piano could still be played like this?

What's more, the fact that distant notes, which at first glance seem unrelated, can complement each other in the melody is an extreme challenge to the worldview.

However, Shen Wuhuan played like this.

She is not limited by any playing technique, any constraint of the times, she belongs to the era where you can enjoy the beautiful music of composers without restraint!

The rondo theme introduces new thematic material after the cadenza, and the rhythm in the form of a chant with a four-note accompaniment texture takes people from the Viennese court to the countryside with a rustic atmosphere.

Li Yunxi's performance at this moment is perfect, and at the same time he plays the most beautiful passage of the whole piece.

This is like the most beautiful gift to praise Shen Wuhuan.

The whole piece enters the reproduction part in the outbreak of conflict and duet in the development department.

Eventually, the maneuver theme came to the time when it was last seen.

The melody of the whole ending is extremely high-pitched, the duet contains surging passion, and the two pianos show the courage like a symphony orchestra.

And in the final paragraph, the two pianos like thousands of galloping horses cater at the same time, giving the whole piece a brilliant ending!

This piece is played for about 30 minutes or so.

But Shen Wuhuan is always a little longer than the average person, and the two of them show off in a more soothing beat in the second movement.

The progress of the whole piece also seems to be longer.

But none of the guests present hated this increase in time, and they couldn't even wait to hear Shen Wuhuan's next song!