The so-called Sicilian dance section is actually a form of composition based on 68 or 128 beats, with dotted notes as the main and mostly using broken chords.

It's just that this kind of work sounds more like a pastoral song, rather than a traditional minuet or anything like that, and is more tranquil and soft.

The softness of Fu Tune's interpretation is as good as what he has shown in the qualifiers for the Chopin International Piano Competition.

With just a few random keystrokes, he easily grabbed everyone's emotions in his hands and rubbed them wantonly, so that everyone had no way to escape from his hands.

No, it's not just that there's no escape, it's ......

Everyone was willing to surrender their emotions to Fu Tune.

They are willing to immerse themselves in the music of Fu Tune, they are not willing to escape from all this, they just want to enjoy the music and let the music touch their whole body.

And the mutual question and answer between the left and right hands in the music, just like the whispers between sympathizers, made their hearts tremble, and they felt like an electric shock piercing their hearts, crispy and numb, and even their hands and feet had a sour feeling of blood regurgitation.

It's like the feeling you feel in your hands and feet when you watch some blood gushing films.

Fu Tune's work is really too soft, so beautiful that many people have a trace of unbelievable.

Hiromi Ishihara was also sitting under the stage, and she couldn't help but have a trace of suspicion when she looked at Fu Diao's gaze.

She felt that the person who was sitting on the stage now was not Fu Tiao, but someone else.

Because Fu Tune now gives her the feeling that it is not at all like the Fu Tune she knew before, but a brand new pianist.

Many musicians distinguish people by the way they are musical.

In a small bar in Paris, Ishihara Hiromi and Fu Tune played several extremely interesting jazz pieces together, and listening to Fu Tune's music at that time, Ishihara Hiromi felt that she might be very familiar with Fu Tune.

After all, being able to have a negative distance contact with Fu Tune's music at close range, the music of the two is almost completely integrated, you have me, I have you, water and milk blend, Ishihara Hiromi even feels that she may be one of the people who knows Fu Tune best.

To put it mildly, she even felt that she might know more about Fu than Fu Diao and his parents.

In her opinion, Fu Tune's music should be the kind of music that is wild, proud, with its own characteristics, extremely persistent in beauty, and can even be regarded as the most perfect jazz performance pursuer.

Especially the feeling of being wild and uninhibited and breaking through the shackles in his heart made her even more obsessed.

She especially liked the feeling of being as wide as the sea when Fu Tune was playing jazz, and she had never heard that feeling in other people.

So when she came to listen to Fu Tune's classical works, she thought that Fu Tune was playing something that was not much different from what she had heard in that bar before.

But why didn't she expect that the gap between Fu Tune's classical and jazz styles was so big?

Fu tune's classical play so well?

She herself came from a classical background, and later moved to this jazz-like place to start playing, and began to be known as a jazz pianist.

Therefore, she is still very sensitive to classicism, especially compared with other jazz players, she can more clearly feel the strength of Fu tune in classical.

"This level of strength ......"

She couldn't help muttering to herself as she looked at Fu Tiao, and her arms couldn't help but tense, not at all as indulgent and self-indulgent as when she was in the bar before.

On the basis of borrowing Chopin's shell, he perfectly expresses his thoughts on music.

This level of strength is no longer something that can be described by ordinary people, but you can't think of what words you should use to describe the performance of Fu Tune.

Hiromi Ishihara suddenly felt that she might be a little short of words.

The beauty of Chopin's Third Piano Ballade even gave her a little bit of the comfort of her soul ascending to heaven, and she even wanted to shout it directly in the concert hall.

She couldn't help but cinch her arm tightly to calm her emotions a little.

Otherwise, she really felt that she might not be able to control herself.

Fu tune playing......

It's really amazing!

……

Chopin's Ballade for Piano No. 3 soon came to an end, and Fu Tune quickly loosened his grip on the music, slowly raising his hand as the final chord ended.

Everyone under the stage couldn't help but breathe a sigh of relief when they saw Fu Tuo like this.

Wheezing, slight moaning, and coughing suddenly sounded under the stage, and everyone adjusted their state without hesitation, so that they could meet Fu Tune's last ballade with a better attitude.

Chopin's Ballade for Piano No. 4.

The same is true for Fu Tiao's sitting on the stage.

Chopin's Fourth Piano Ballade has never been played before, that is, he has practiced it a few times in private in the piano room, and has not played it much in public.

However, when practicing, Fu Tune felt that he should have reached the level where he could play, so he included it in his performance.

Chopin's Ballade No.4 in f minor, op. 52, Chopin's last piano ballade, composed in 1842.

As for what exactly this work is about, there is no material to prove it, because in essence, this work is interpreted completely differently from Chopin's other three ballades.

This is not a dramatic epic, but more indifferent lyricism, softer than the previous third ballade, and there is no hint of an explosion until the end.

But if you understand this work in this way, it is completely wrong.

This piece is actually a self-expression of Chopin's mood in his later years, expressing Chopin's own thoughts, which does not have any title.

In terms of the structure of this work, it is not a pure narrative structure like Chopin's First Piano Ballade, but a combination of sonata and variations, which makes the melancholy and fantasy in the music more emotional and moving.

The reason why this work is called sonata form is because the structure of the whole work is the same as that of the sonata, which is the expression of the presentation, the opening, the reproduction, and the epilogue.

The reason for calling this work a variation is that Chopin performed four consecutive variations on the first theme of this work.

That is to say, the sonata is the bone and the variation is the skin, which together constructs the current work, which is known as the pinnacle of Chopin's ballade art, Chopin's fourth piano ballade.

Fu Tiao's mind passed through a lot of information about this work, and he couldn't help but be silent for a long time, and then he raised his hand and put it on the piano keyboard.

Although it is said that this work is a combination of sonata and variations, it would be also wrong to interpret this set of works in the way of sonatas or variations.

The feeling in this piece is even more difficult to grasp, and there are probably only a few people who can play well.

For example......

Zimmerman.

His divine specialty, Chopin's complete set of ballades, makes people's scalps tingle when they listen to it.

So what will happen to Chopin's Fourth Piano Ballade in Fu tune?

As everyone's gasps dissipated, Fu Diao's fingers also fell at this moment.

The moment the finger fell, the sound was not loud, but it was like thunder on the ground, shattering everyone's thoughts.

Almost everyone felt like their brains were going to explode.

Obviously, both hands fell at the same time, but as the melody of the left hand gradually decreased, the melody of the right hand gradually increased, breaking through everyone's thinking and appearing in front of everyone like a miracle.

is just the simplest melody at the beginning, but it has already shown the strength of Fu Tune to the fullest.

There is no longer any ability to think in anyone's mind, they just look blankly at the Fu tune in front of them, and listen carefully to the interpretation of the Fu tune.

Fu Tune's fingers press calmly and smoothly on the piano keyboard, and you can't tell from his finger movements what you hear from his playing.

His hand forms a perfect parallel line with the piano, fluttering on the piano, interpreting a passage from weak to strong.

Like boat songs and fantasy polanthems, a melancholy and fantastical mood flowed from Fu Tune's fingers.

Really, really beautiful......

It's so beautiful.

The scalp of beauty is numb.

It's so beautiful that it's impossible to say anything.

The previous third piano ballade may have been like the tenderness between lovers, and that kind of beauty is still only a small and selfish beauty that depends on the relationship between men and women, but by the fourth piano ballade, it has completely abandoned all this and become an adjective of beauty.

You can only hear the beauty in the performance of Fu Tune, and you can't hear any other impurities.

It is not because Fu is not playing well that the soul of Chopin's work is missing.

It's because ......

Fu tune amplifies the beauty of the music continuously, magnifying, and amplifying.

Zoom in to the extreme.

Zoom in to the point where you can only observe one detail even if you look at it.

Let beauty be all in sight.

At the same time, under the beauty, Fu Tune still made many, many efforts to make the connotation of the music itself not missing.

"It's really beautiful......"

Hiromi Ishihara didn't have any other thoughts at this time, she looked at Fu Tuo on the stage obsessively, swallowed a mouthful of saliva, and there was a trace of fog-like confusion in her eyes.

"The Chopin he played, it's really beautiful, this Chopin Fourth Piano Ballade, really, really, so beautiful......"

She no longer knew what words she should use to describe what she had heard.

The only thing in her mind is beauty.

She had heard Chopin's Fourth Piano Ballade from an unknown number of people, but no one could make it so beautiful.

It's so beautiful that people lose the ability to speak, and they can only murmur and shout about beauty in that place.

Hiromi Ishihara listened to Fu's interpretation on the stage, and her past seemed to appear in front of her.

As a child, I was with my parents, running around the beach carefree, with laughter and joy.

And her first time on a cruise.

And her first time rowing a boat......

Although she didn't know why the marquee in front of her seemed to be related to water, she just remembered these most perfect scenes in her life somehow.

Listening to Fu's performance, her body couldn't help but feel soft, lying on the chair and unable to move, just smiling and looking at everything in front of her, thinking about the beauty of the past, the corners of her mouth couldn't help but rise, and tears slowly flowed down her eyes.

All of this is really beautiful.

She simply loves to play Fu tunes.

It's not just her, it's everyone else around her, it's all of them.

Regardless of what they thought of Fu Tune at the beginning, when they heard this Chopin Fourth Piano Ballade by Fu Tune, they had almost completely lost the ability to think, and they could only think about one thing, and that was to ......

This piece is really beautiful.

It's not just the beauty of the opening place, and this piece doesn't just have the beginning.

After the end of the main theme at the beginning, Fu changed it slightly.

He raised his hand and pulled up the tension of the music, allowing the music to get a brief pause, and his hand slowly fell again as the emotions of the crowd were hoisted.

One of the most difficult parts of Chopin's Fourth Piano Ballade appears in front of everyone.

It's still the ultimate beauty, but this time, the beauty in the music isn't just that simple.

She has gradually changed from a simple beauty to a mixed beauty.

The three voices appeared, and they intertwined together, becoming the one that everyone was hearing in front of them.

"This three-voice?"

In the distance, everyone at the Conservatoire Supérieure de Musieur de Paris was stunned, and even a little bit of disbelief when they listened to the performance of Fu in front of them.

What is this?

This three-part interpretation is too strong, right?

Obviously, all three voices are intertwined, but why, the beauty of the three voices can be expressed so clearly.

It's like playing a polyphonic work by Bach.

However, it was obvious that everyone felt a little different.

In the middle of this polyphonic passage with multiple voices, the feeling of Fu is completely different from that of the others.

He is not the kind of polyphony that is so clear that there is no blending at all, but a slight hint of fusion, with the evolution of harmony, so that the voices bring more harmonic expansion when blending.

Give more color to the music.

It's a wonderful feeling.

If you feel like one more point, you will feel cloudy, and one point less, you will feel shriveled.

All of this made them feel very interesting, and even had a hint of the idea of taking the recording back to study it.

It's just a pity that Fu Diao's concert did not invite anyone to record.

Under the shock and intoxication of everyone, Fu Diao continued to play the work in his hand, his fingers quickly brushing on the piano keyboard, like the wind blowing away the melody, without any stop.

But the moment his fingers floated by, it brought countless brilliant notes.

No one knows how his hands are so easy, as simple as a child playing with the piano, but the music he plays is not simple at all.

Lift weights like light.

This is the only thought that arises in the front row when I look at Fu Diao's hands, and his performance.

Fu Tune's control of the music is really perfect, so perfect that they all feel that their breath may pollute the music.

It's obviously so difficult to play, but Fu tune is so easy to control.

How many beatings do you have to take to be called such a horn?

The people in the back row couldn't see Fu Tune's hands, and their attention to Fu Tune was only on Fu Tune's music.

They felt more deeply about Fu Diao's strength.

It's not just about lifting weights, they're hearing the power of Fu tunes.

The release and retraction of power is like playing with music.

Obviously, the force in front of you is very strong, and you even feel that if you play it yourself, it is very likely that your fingers will not be able to hold it directly, and you will smash it hard to disturb the music.

However, Fu Tune can easily gather back the power and bring a completely different interpretation.

The layering in the music is simply made to the extreme by Fu Tune.

It's not the layers between the voices, it's the layers that the music itself carries.

After the power becomes explosive, it can be easily withdrawn, so that the level of beauty can be taken to the next level.

This feeling is really beautiful, and the beauty makes people silent and cry.

This is the Fu tune, and this is Chopin's Ballade for Piano No. 4.

There are not so many haves and nos, what background stories, what love, it is purely to infect you with beauty and break your imagination of beauty.

Although it is still called a ballade, it is not just Chopin's own story, but ...... The Player's Story.

What kind of story the performer can express himself, then what kind of beauty the piece can present.

The more beautiful this piece is, the more shocking the performer's inner world will be.

No one knew what Fu Tiao was thinking at this moment, but everyone could hear that the beauty of this work had reached the point of being miserable.

Then the story of Fu Diao in my heart is probably like a prosperous paradise.

The melody is changing, the music is moving forward, and the already extremely heavy music has become more intense, and the richness is suffocating.

Every time I return to the main melody, the sense of line played by Fu Tune is also more profound and more intense.

And under all this, the power of Fu tune's fingers is also more intense.

The galloping scale of the lower voice changes the slightly delicate character of the work, making it gradually vigorous and full of power.

With the expansion of the vocal range and the gradual increase in intensity, the perseverance and grief in the music also emerge from the beauty of the music.

They are not gone, but have been hidden under the immense beauty.

As those emotions emerge naturally, the melody is instantly drowned in the roaring chords and arpeggios.

Like a stormy end, frantically tearing everything apart, but unable to do anything.

With the tragic and passionate image that is characteristic of Chopin's large-scale works, it all ended.

As the last note fell, and the trembling strings stopped vibrating, Fu Tune finally raised his hand.

Together with this, there is a thunderous roar of applause.

“Bravo！”

It's so difficult, it's so difficult, this kind of chapter was written several times in the previous chapters, and it's only 5k words, but I've been writing for almost 4 hours and 5 hours......

(End of chapter)