Liszt's Paganini Etude No.5 "The Hunt" is an adaptation of Paganini's repertoire.

In 1831, the Parisian music scene was conquered by a violinist from Italy.

And this man is none other than Paganini.

Liszt became a die-hard fan of Paganini when he heard Paganini at a concert, and the two became friends after talking.

After seeing Paganini's innovations on the violin, Liszt aspired to become like Paganini.

With such a motive, began his legendary life.

Liszt decided to use piano sound to recreate Paganini's magical performance on the violin.

And that's exactly what he did.

Liszt began his innovation and expansion in the field of piano, and tried to transplant Paganini's wonderful sound to the piano, exploring the expressive power of the piano and making it have richer possibilities.

Eventually, he did.

The result is a book entitled "A Brilliant Etude Based on the Theme of Paganini's Twenty-Four Caprice" dedicated to Mrs. Schumann, Madame Clara.

It is now known as the Paganini Etude.

There are six etudes in this collection, five of which are based on the theme of Paganini's 24 Caprice.

The other is based on the third movement of Paganini's Violin Concerto No. 2 in B minor.

It is the most famous song "The Bells". (This is also when listening to Liszt's bell and Paganini's clock, and not listening to the strong sense of identity when listening to the two hunting, because the existing Paganini clock is an adaptation of Chrysler!) ）

At the same time, there are nineteen "Hungarian Rhapsodies" that make people tremble! (Kurumi has appeared among cats and mice)

Putting aside the topic of being influenced by Paganini, let's simply talk about Liszt himself, who is also a rare genius in the world.

In 1826, a collection of etudes entitled "Forty-eight Etudes by Young Liszt for Minor and Minor Ones" was published.

Liszt was only sixteen years old at the time.

The hype for this collection is a bit too fake, in fact it only has 12 pieces, but it has to be said that this also proves Liszt's grand goals.

It is precisely because of the name of this collection that it has been deduced that Liszt once had the grand wish of making forty-eight etudes according to the major and minor keys.

This is to be compared with Bach!

Later, this collection evolved in two versions, and finally became Liszt's "Superb Etudes" for the world's admiration.

When it comes to supertechnical etudes, we have to say "Ghost Fire", which is one of the supertechnical etudes.

The difficulty of "Ghost Fire" is comparable to that of "Ghost Fire", and there is also a song called "Majepa", which is also so difficult that it makes people tremble.

Of course, since the topic we are talking about now is "Hunting", it is natural that we can't forget "Hunting" in the superskill etude.

In fact, Liszt has two "The Hunt".

One is "Hunting", the fifth song in "Pa Lian", commonly known as "Little Hunting".

One is the eighth song "Hunting" in "Super Training", commonly known as "Big Hunt or Super Hunt".

Although both songs are titled Hunting, in fact, Super Hunt has little to do with Paganini, which is an original supertechnical etude by Liszt.

Liszt's status in China is very high, and almost all Chinese pianists can play Liszt's famous songs, and violinists also compete to imitate them.

Although this kind of thing is criticized, I have to say that this is a special national music atmosphere, and I don't think there is anything bad about it.

Chinese piano lovers even affectionately call Liszt "Grandpa Li", which is enough to prove everything.

At this time, Shen Wuhuan on the stage said: "Today's topic is actually related to acoustics, in these two pieces, we can clearly hear the sound of the flute and the French horn, but the instruments used are different, and the expressiveness is also quite different. ”

"In the violin, the loud and brilliant temperament is expressed more flamboyant and full of heroic atmosphere, while in the piano, it is more about the symphony of the piano, and I also give a conclusion on the topic of the expressiveness of the music."

"The violin is singing enough for any magical performance, and the piano is expressive enough to express the effect of an orchestra."

The audience didn't seem to have recovered from the previous shock, and they were immediately slapped by Shen Wuhuan again!

Thinking about it this way, Shen Wuhuan's conclusion is not groundless.

The expressiveness of violin and piano is fully expressed in this piece.

If you can imitate the flute and the French horn today, you may be able to imitate something tomorrow.

More importantly, why didn't anyone think of this before?

Isn't that weird?

"Professor Shen, although I agree with your statement, please apologize for the time being, I can only wait and see your academic conclusions." At this time, a member of the public stood up and said to Shen Wuhuan.

Shen Wuhuan handed over the microphone, and the conversation between the two officially began.

"I would like to ask you, did you deliberately do this in the process of composing the music, or did you discover this phenomenon by chance?"

Shen Wuhuan said with a smile: "In fact, no one can think of so many things when composing music, as we have always seen, serious composers do not give too much emotion to the repertoire when composing, and the more deeply the feelings given by the performers, the more long-lasting they can be, which is the core charm of classical music." ”

"But here I want to say that I didn't notice it, it must be impossible, the effect of the performance is deliberate, I am afraid that everyone here, including the gentleman who asked the question, must also see it."

Shen Wuhuan paused for a moment and said: "First of all, I am a performer, and then I am a composer, in the process of creation, I am not using the composer's way of thinking to create, as a performer, I know what the audience wants to hear, so I will modify these, such an answer, I don't know if it can satisfy you." ”

The other party seemed to be very satisfied with the answer, nodded in thanks, and handed back the microphone.

Shen Wuhuan is not a composer, so what she says is naturally not credible.

But people need an answer.

Shen Wuhuan's particularity also determines the particularity of her answer.

Compose music in the way the performer thinks.

This statement coincides with the two Palees.

The strong personal style and playing skills of the two are reflected in these songs!

Shen Wuhuan used a different method to let Liszt and Paganini take root in this world.

Likewise, her musical journey has opened up a whole new path.