After entering the fifth variation, the rapid notes interlaced, revealing a new picture.

It's like an urgent question and a rough answer, as if a man and a woman are arguing over the trivial matters of life.

The continuous fluttering bow and chords made a sonorous sound in Xin Xiangyang's amazing playing technique.

The high and low melody shows an extremely strong sense of contradiction.

Coupled with the short sound that is sometimes high-pitched and sometimes low-pitched, it is like a staggered of gold and stone.

The audience at the scene seemed to be a little numb, and there were too many ways to play that they had not seen today.

But even so, there is still a great deal of curiosity about these novel expressions.

This sonorous performance maintains an extremely stable beat at extremely high speeds.

One of the most memorable is the accent of a special melody.

Each beat of the treble is followed by a heavy bass, which is almost within the space of human imagination, and the speed of timbre change is expressed as quickly as possible.

What's more, in the midst of such a complex melody, the melody of the whole piece still maintains a very high level of artistry.

Each variation is extremely complex, and if you listen to this piece once, you can imagine how terrifying the person who made it is.

Such people are either geniuses or madmen!

Even if the audience did not understand classical music at all, it was obvious that this piece was different.

Although the teachers of the school are obliged to maintain order, they still can't stop the urge to clap their hands.

In their hearts, the wonderful place should be given applause!

After a low note, the piece moves on to the sixth variation.

Smooth harmonic minor thirds and tenths of the two-note scale, progressively played in an extremely bold way.

In this variation, Xin Xiangyang vividly expresses the heroism of Paganini's music.

Like Joan of Arc standing on a boulder and holding high the flag!

The sacred and the glorious pervade this variation.

This piece is usually played for about 5 to 8 minutes.

With eleven variations in such a small space, Paganini is a god!

Although each variation is extremely short, it still leaves an unforgettable memory for the audience.

The heroic sixth variation flashes at great speed, turning into the seventh and eighth variations.

Variation No. 7 is a rapidly descending triplet syncopated rhythmic pattern, played in rapid succession between the treble and the bass, and the free-spirited melody reverberates through the auditorium.

Variation No. 8 is a thick, bouncy, resonant chord with a full-bodied, coherent note that produces a roaring sound that is unusually pleasant.

The reason why these two variations are put together is not because they have any similarities in technique.

It is a sense of picture produced in the artistic conception.

Who says show off tracks don't have connotation?

In just a few sections, Xin Xiangyang showed the audience two completely different pictures.

The continuous rapid glide pattern of the seventh variation is like a fish swimming in water, agile, unrestrained, and unrestrained.

The eighth variation resembles a tall man walking with a firm and powerful stride.

Two different images, but woven with an extremely complex technique, an alternative expression that no one but Paganini can do!

The beautiful fantasy made the audience sink into it, but the dream was suddenly torn apart.

The ninth variation is like a meteorite falling from the sky, bursting with light.

The unique playing technique makes the sound of the violin unimaginably wonderful!

The ninth variation is a melody that is done with a large number of left-handed plucks and a jumping bow, and is so difficult that it is beyond the limits of what can be described in breathtaking.

Plucking the strings with the left hand is a special violin technique created by Paganini.

In fact, finger plucking is not completely invisible in orchestral music, but it is basically in interlude, and the orchestra uses its right hand to pluck a few individual notes, creating a special accompaniment effect.

Paganini, on the other hand, pressed the strings, plucked the strings with his left hand, and jumped the bow with his right hand at a very fast speed.

Such a piece of music can only be described as a ghostly workmanship.

After such a special arrangement, the violin can play several different notes at the same time, and the timbre of playing and playing is completely different, showing a strange performance like a symphony, which greatly expands the violin's expressive power.

It is well known that the violin relies on the left hand to press the strings to stabilize the intonation, and the right hand holds the bow to rub the strings to produce the tone.

So even if you don't know anything about classical music, you can try to think about what it's like.

The three fingers of the left hand hold down three notes on different strings at the same time, and the little finger jumps between the strings while the bow of the right hand continues to play different notes with the jumping bow.

What's more, the three fingers that press the strings have to constantly adjust their positions to show the richest notes, and the hands have to do the action of changing positions.

These two paragraphs are laborious just to read, and my brain cramps just thinking about them.

But the specific operation is exactly like this, and it can be said that it is the most difficult technique that can be completed within the limits of imagination.

The conservative academics were so frightened that they sat on the ground.

Classical music has always been known for its profundity.

But it's not that hard, is it?

If it weren't for the fact that the person who played it was a student, they even felt that there was no one to play this piece except Shen Wuhuan at all.

More importantly, why was this student, who was so young, able to master such an amazing technique?

Shen Wuhuan has only been in the company for a few months, how did she do it in such a short time?

Could it be that Shen Wuhuan has discovered another genius?

This question is destined to have no answer, and Xin Xiangyang is obviously not a genius, otherwise where would it be Shen Wuhuan's turn to find out?

This is mainly due to the magical effect of "Twenty-Four Caprice".

Its status is like the "Twelve Equal Laws" in the violin, and its development function is very terrifying.

Of course, without Shen Wuhuan's guidance, all this is rootless duckweed, otherwise even if you practice for decades, you will still take detours most of the time!

As for the rest of the audience, they really felt that the trip was worth the trip when they saw this.

Tickets were not sold for this recital, and the audience was sitting on the steps of the corridor to hear the piece.

But they all felt an incomparably powerful momentum coming out of the sound of the piano at this time.

What is the momentum and what is the domineering leakage?

At this time, Shen Wuhuan is about to open a new era, just as she narrated!