The second movement is written in variations.

The whole is in F major, 2/4 time.

There is a total of one theme and four variations.

Speaking of which, there must be a lot of people who will be curious.

Isn't this "Kreice" a sonata? Why should the second movement be written in variations?

Is this piece a sonata or a variation?

To explain this, we have to start with the structure of the sonata.

Bach established the structure of the modern solo sonata (classical sonata), consisting of four movements: the first movement, Allegro, sonata form; the second movement, Adagio, trilogy; the third movement, adagio, minuet or witticism; Fourth movement, Allegro Rondo or Rondo Sonata.

Later, after the development of Haydn and Mozart, it entered a mature period in the hands of Beethoven.

Beethoven is known as the king of symphonies, and not only because of his achievements in symphonies.

In fact, you can see the first hint from this episode of "Kreice".

Beethoven brought the sonata closer to the symphony structure on a scale of development.

It also shows that the sonata itself is sufficient as long as the first movement is in sonata form, and the subsequent movements do not affect its overall form.

It's like a sonata written in F major, but it has been inverted dozens of times, and the theme is still used in the naming.

This is perfectly illustrated in the new name of the sonata at the beginning of the twentieth century.

"Sonata suite," that's what people call it.

The theme of the entire second movement is a single trilogy, melodic and singable, like the singing of angels.

It is divided into three sections.

Both instruments are played alternately.

The means is that the piano quadruple harmonic fabric comes out, and after repeated loops of loops, the violin enters.

It's as easy as handing over a plate.

Shen Wuhuan and Li Yunxi's practice during this time has paid off.

Although the overall harmony is simple, the way of playing the alternation of the main and subordinate is full of novelty, and it is impossible to know who has gained control of the field at this moment.

The middle section is developed from the first material.

The pitch is changed to C major, and although the texture is boundless, the melody is filled with delicate ornamental notes, which makes people linger.

The simple but not simple melody enters the reproduction section in the timbre of the violin and the textured chords of the piano.

As the name suggests, the rendition segment is precisely the original reproduction of the first paragraph.

Maintaining the beautiful alternation of the first section, the whole movement enters the first variation.

First variation.

The rhythm is brisk, but it contrasts with the singing mood of the theme.

If the thematic part is just cheerful, here it is ecstasy!

The melody is made with a large number of variations.

The whole emotion suddenly exploded as if it was out of control.

In the middle of this walk, the two played again

The piano accompaniment texture is a chord breakdown of sixteenth note triplets.

The violin, on the other hand, is decorated with florescence in triplet form.

It creates a wild atmosphere.

Second variation.

There is no change in tonality.

The rhythmic breakdown is more detailed, and the theme continues to develop on the basis of the first variation.

The violin part is composed of a thirty-second note jumping bow and a continuous middle bow, similar to "Infinite Motion".

At this moment, people once again appreciated the power of Shen Wuhuan's violin.

This time it's not as simple as being on the playground.

In the best place, the closest distance felt Shen Wuhuan's exquisite control, and the perception of music beyond common sense!

What kind of concept is a thirty-second note?

Suppose, a beat is a second.

A whole note has four beats, which is four seconds.

Then a thirty-second note is an eighth of a second.

How long is an eighthth of a second for a human?

Can you feel it clearly?

Few people can feel it so clearly.

But Shen Wuhuan felt that every thirty-second note of her would never have any rush shots.

That's where she's so powerful.

The high degree of unity of the brain and ears creates a god-like player.

She doesn't take pride in being a composer, she's always been a performer.

Performers should be responsible for the tickets sold, and every time they perform, people will see the strongest version of themselves.

That's enough!

Li Yunxi's piano accompaniment completely became a foil at this moment.

Although the melody is not deliberately designed this way, Shen Wuhuan is really outstanding.

No matter what kind of music she plays, no matter who she plays with, she will always be the most dazzling one!

Li Yunxi would not be angry with Shen Wuhuan because of such a thing.

The stronger Shen Wuhuan is, the wider the vision shown to her.

It is often said that standing on the shoulders of giants is the foundation of success.

But this is far from growing up with giants by the side of giants!

Li Yunxi is proud of everything Shen Wuhuan!

The third variation that follows is quite different.

This is a marked change in the melody of the theme.

The variations begin with a change in pitch to F minor, then to C minor, and finally to F minor, during which the piano and violin add a large number of sixteenth notes and semitones.

The whole variation can be seen as a small sonata.

The song is quiet and serene, and sometimes there is a delicate passage to the sound.

Here Shen Wuhuan did not continue the previous madness, and Li Yunxi took over the main theme.

The variations of the piano in this performance can be said to be rich and gratifying.

This explains the doubts in the audience's minds.

As a soloist, why did Li Yunxi do accompaniment for Shen Wuhuan?

Because of this piece, the two instruments are not prioritized at all.

With the advent of the Fourth Variation, the key shifts from F minor back to F major.

The harmonic decomposition of the thirty-second notes became the main accompaniment.

The overall melody is more detailed on the basis of the previous variations.

The feeling of the music continues with the soothing third variation.

From the beginning of the interruption, the piano and violin echo each other soothingly, as if lovers are pouring out their hearts, giving people a sense of tranquility.

In such an atmosphere, the whole movement slowly came to an end.

The coda begins with a beautiful piano trill, a soothing G minor, and gradually transitions to F major.

It seems to make a summary of the previous variations!

Under such an elegant melody, everyone is fascinated by the melody.

In the middle of this coda, the beautiful ensemble gradually returns to the main theme.

The theme's singing melody is once again on display.

The divine power of the cannon has once again been openly displayed!

Steinway's timbre is by no means inferior.

The crisp sounds overlap perfectly at this moment.

The number of notes in this movement is very small, almost half that of the first movement.

But the feeling it brings to the audience is no worse than the previous one!

Even, even more shocking!

And then, Shen Wuhuan didn't even pause, and immediately began to play the third movement.

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Doesn't she even need to adjust her emotions?