The second half of Fu's performances are Chopin's 12 piano etudes, numbered 25, the first completed in 1834, the second, third and twelfth completed in 1836, and the rest in 1832-1834 for the Countess da Zol.

Fu Tiao's hand dropped the first note very gently, and did not move directly, but slowly lifted it, allowing the silencer to slowly approach the trembling strings, and after building a hint of imminent dissipation, his hands fell again.

A series of incomparably continuous arpeggios flowed out of Fu Tune's hand.

It wasn't as explosive as the other arpeggiated etudes, but it seemed soft, drifting in front of everyone like a slow stream.

According to Chopin's idea when he wrote this piece, which is called "The Piccolo of the Shepherd Boy", this is how Chopin and his students explained the piece.

"The shepherd boy took refuge in a safe cave because of the approaching storm. In the distance, the wind and rain were raging, but the shepherd boy took out the flute as if nothing had happened, and blew an elegant melody. ”

On top of Chopin's original score, he highlighted the first note of each sixteenth note in his right hand, and Schumann also thought that this work was actually more like a harp etude than Chopin's Piccolo Etude.

Fu had consulted a lot of information before practicing this piece, and on the train from Brussels to Paris, he had been looking at the score in his hand and thinking about its contents, so he had a relatively accurate expression of all the images that Chopin wanted to express.

Just as Chopin had thought, Fu Tune's right hand added a little weight to the first note of each group of sixteen notes, and the lines of the music came out in an instant.

It is obviously a work played with both hands, but under the fingers of Fu Tune, it becomes like a single melody, incomparably melodious and peaceful.

The other notes simply surround the main theme as a side dish to the music, like a harp etude, rippling slowly as the music steps into the place.

And all this he has done has made the musicality of the main theme of the music the most important part, and whether the expression of the main theme is good or not is even more crucial.

But the question is...... Will Fu tune his musicality be weak?

From the performance of the first half, everyone heard that the level of musicality of Fu Tune is almost unmatched, but simply discussing the beauty of the music, without discussing whether it conforms to the composer's own shell, Fu Tune can directly crush many people.

For example, in the qualifiers for the Chopin International Piano Competition, you can barely hear anything about Chopin in the works played by Fu Tune, and you don't even feel like Chopin.

But why was Fu Diao able to pass the selection of the qualifiers and successfully enter the main competition of the Chopin International Piano Competition?

It is because of what Fu Tiao has done in the beauty of music itself that he has made the beauty of music more fatal and more attractive to everyone.

Even if the feeling of Chopin in the music is not strong, you can feel everything that Fu wants to express from the beauty of Fu tune's music, and appreciate the beauty in his musical world.

This is also the main reason why Fu Tiao was able to win the Xiao Qualifiers at that time.

If it weren't for this beauty, as well as his skills, even if he was just a little bit worse, he might not have made it to the main event.

Now, Fu Tune has made good use of his interpretation of musical beauty, interpreting a very soft Chopin Etude Op25-1, the Shepherd Boy Piccolo Etude.

Before the crowd on the stage had heard enough of everything expressed in the melody, Fu Tune had already begun to change the music.

When the last note fell, Fu's fingers only lingered for a moment, and the second piece of Chopin's Etude No. 25 emerged from it.

Op25-2, F minor, 2/2 time, rapids, etudes for finger and arm flexibility.

Chopin did not give this piece an exact name, but this one was played by more people than the first one, and it has more of an etude.

For this reason, many people call it a bee or a gyroscopic etude.

Before everyone could get out of the softness of the first piece, Fu Tiao's hand had already fallen.

After just a few moments of pause on the first note, a series of thirds of notes burst out of Fu Tune's hand.

It spins endlessly, up and down, like a Möbius ring.

Extremely average triplets run through it, without any flaws.

In the midst of this swirling music, Fu Tune's arms didn't even move much, but rested on the piano very softly, allowing his fingers to drive his arms to run.

A dreamlike feeling came out of his fingers, dreaming, confused, and making people's brains even hallucinate, and even not knowing the progress.

Obviously, the speed is so fast, there is no room to stay, but I don't know why, under the interpretation of Fu Tune, you can even feel a trace of silence.

It's like a child's dream song.

This feeling of extreme confusion flowed through the ears of everyone, and everyone didn't even know what they should say now, but they felt extremely shocked.

These are just two works, and this is just the beginning of Fu Tune, the beginning of Chopin's etudes.

Before they even entered the state, Fu Tiao had already bombarded their emotions with an extremely strong roar, driving their emotions forward.

Compared to the Op25-1, which no one has played specifically, the Op25-2 can be accepted by more onlookers, after all, it is more well-known.

Under this etude, Fu Tune not only shows musicality, but also his finger technique is also vividly displayed.

Merely......

Chopin's etudes are not difficult for many of them, they can even be regarded as simple, and few people choose to use Chopin's etudes as an etude to practice.

More people will play it as music.

In addition to paying more attention to the technique of Fu Tune, what everyone cares more about is the musicality of Fu Tune.

The beauty of Fu tune music is also vividly displayed in the works with a strong sense of technology.

Even after only a few minutes of listening, everyone was back in the first half.

Everyone was staring at Fu Tuo on the stage extremely seriously at this moment, with a serious expression.

They don't know why, but they feel like they can learn a lot from the Fu tune playing.

Fu Tiao didn't care about what everyone imagined him on the stage, he just quietly played the work in his hand.

Chopin's etudes are not very long, almost all of them are works that can be played in three or four minutes.

For example, even if the whole duration of this set of works played by Fu Tune is added together, it is only more than 30 minutes, plus the first half and the intermission, which just makes up a whole concert.

When the last note fell, everyone immediately gasped a few times, cleared their throats, and waited for the next piece to appear.

Chopin's op25-3, F major 3/4 time, Allegro, rhythm and tactile etudes are difficult to express three different rhythmic patterns at the same time, as well as to express stress and tonal changes in between.

After Fu Tiao's heart walked a little over what this piece wanted to express, he nodded slightly, raised his hands, and pressed the first note.

A completely different timbre from the previous one rushed out.

It used to be in F minor, but now it is in F major, and the light and bright timbre unique to major suddenly dispel the dreaminess and confusion brought by the previous minor, leaving more of a completely different sense of brightness.

Fu Tune's grasp of the rhythm of this work is simply terrifying.

Maybe it's because he used to play jazz a lot, or maybe it's something else, but he's so good at controlling the rhythm.

The difficulty of this piece is that three completely different rhythmic patterns are expressed at the same time, but Fu Tune seems to have no problem at all, and his fingers run directly through it, and everyone who listens to it is full of question marks.

Especially those who have played Chopin OP25-3 themselves.

They even wondered if they were listening to Chopin 25-3.

Why can Fu Tuo interpret this work so easily? And he played as if he was lame.

Even though they thought they were playing smoothly at the time, but now when they hear Fu Tune's playing, they have a trace of doubt for some reason.

Is that really smooth before?

Do you really do a good job of controlling these three rhythms?

In the middle of the Fu tune performance, there was a group of people who chased after him from Brussels, and they were even more excited to listen to the Fu tune performance.

They had heard all of Chopin's Etude Op10 played by Fu Tune, and now they heard all of Chopin's Etude Op25 played by Fu Tune, and now it could really be regarded as complete.

It was completely complete.

Although the others had not heard of Fu Tune's op10, when they heard this op25, their emotions couldn't help but be mobilized, and they couldn't help but glance at each other.

"Oh my God, the flow of that music just now is really amazing, and I love his interpretation so much."

"And his innate feeling of the sea, obviously Chopin, but he is not only interpreting Chopin, but Chopin with his own characteristics."

"It's so strong, it's so powerful, this performance is really beautiful."

"These are just the first three ......"

The reaction was different, but almost everyone was shocked and obsessed with the beauty of the music under the Fu tune.

The kind of characteristic charm that can only be interpreted by Fu Tune.

Compared to the emotions of these people, the people at the Conservatoire Supérieure de Musiques in Paris in the distance are different.

They listened to the performance of Fu tune, and they didn't bother to think about how strong Fu tune really was.

There's only one thing they're thinking about now......

That's how miserable Zhao Chengzhen is.

How many lifetimes did he have to work hard to meet someone like Fu Diao.

Fu Tune's current Chopin can really be regarded as a world-class pianist, and it is no longer a problem to take Chopin alone to go on a concert tour.

Some people may think that Fu Diao's current Chopin concert is an ordinary concert, just a simple appearance in front of the world, showing his identity as the champion of the Chopin International Piano Competition, and proving his strength to everyone.

But now, looking at Fu Tune's performance, they no longer have such thoughts at all, but have a trace of complaints.

As far as Fu Tune's performance is concerned, his current concert tour is really too small.

Fu Diao should go to a large venue of two or three thousand people, even if it can only fill half of it, that is enough.

Because only such a big occasion is suitable for Fu Tune's current concert.

If...... It would be nice if Fu Tiao's next tour would be a tour of the big concert hall.

Everyone at the Conservatoire Supérieure de Musique in Paris couldn't help but think of this when they looked at Fu Tune.

The tour of the Grand Concertgebouw, either at the Palace of Versailles or in the Louvre, should be worthy of the current interpretation of the Fu tune.

Otherwise, there are only a thousand of them, and there is no recorded performance, which is really regrettable.

This kind of music should be listened to all over the world to see what the new generation of Chopin is.

Zhao Chengzhen seemed to feel the expressions of the people around her, and couldn't help but smile helplessly.

Now that Chopin has grown to an unimaginable level, he is still precipitating the results of his Chopin International Piano Competition, and Fu has become a top pianist who can take Chopin on a world tour.

This gap in strength even made him no longer imagine how to compare with Fu Tuo, but began to think seriously.

How can I catch up with Fu Tuo's pace.

Fu Diao's progress and growth speed is too fast, even if he just wants to catch up with Fu Tiao's pace, it is particularly difficult.

Especially in this situation, under the sight of the surrounding colleagues and teachers.

He couldn't help but lower his head, so that he didn't care about the eyes of the people around him, immersed himself in the music of Fu Tune, and seriously appreciated the performance of Fu Tune.

After all, the performance of Fu tune is really beautiful.

Chopin's fourth etude, Op 25-4, a syncopated etude, is slightly restless.

The regular beat must be properly matched with the retrograde accent, and in terms of chords, as if derived from chords, there is a melody with a weak start in the high register, and there is suspense everywhere, and when it comes in, the melody just slows down, there is a slight sense of hesitation, and there is a sense of uneasiness in the fluency, so it can also be called 'uneasy'.

It is an etude in the style of a rhapsody.

And Fu Tuo's hand just stopped, and after everyone's mood weakened a little, he directly ran this uneasy etude.

The previous sense of sunlight was destroyed again, and it was obviously extremely separated, but under Fu Tuo's fingers, you couldn't feel this feeling of separation at all, but felt just right.

The connection between the two is extremely smooth, and one even feels that I don't know whether it is the smooth performance of Fu or the smooth writing of Chopin himself.

After this work is finished, Fu Diao directly connects to the next work.

Chopin Op 25-5, in e minor, lively scherzo.

Chopin's title of this section is clearly named "Little Scherzo for a Light Breath", a highly technical etude written by Chopin after hearing Paganini play and inspired by his devilish technique.

Without any thought, Fu Tune pressed directly with his right hand, and an anxious and long melody flowed in his hand, while the left hand used dissonant chords, like a mocking and lilting pizzicato of a violin, and a sense of contrast rushed out in an instant.

"This place plays well!"

He Shen's eyes couldn't help but light up, the contrast of this place was particularly rich, especially the kind of scherzo and devilish calling, He Shen never thought that he could hear such a clear musical image in Fu Tuo's hands.

There are many people who have performed this piece, but it is very rare that the musical image can be expressed so clearly.

Chopin Op25-6, Etude in G sharp minor, Allegro, two-tone etude in the third degree, an extremely elegant and slightly sad touch key etude.

The most important test of this piece is the musician's control of the touch keys and how to interpret the beauty in the music.

Normally, this kind of work should belong to the more difficult batch, but unfortunately, Fu Tune is best at the softness of music.

Fu Diao's fingers fell, and everyone's goosebumps instantly surged.

The feeling of this double tone is really amazing, one moment big and one time small, like the sound of a bell in the distance, one after another, bringing endless anxiety and sadness,

Just like the same Polish exile who was exiled to a distant land along the endless ice and snow trail to the sound of sled silver bells, with the fear of facing the location and the sadness of the destruction of his homeland.

OP25-7, on the other hand, carries the sadness of fleeing from the song just now, and begins with confusion, interpreting an extremely desperate tragedy.

It is obviously a piano, but under Fu Tune's hands, a dialogue between a flute and a cello duet is played.

The slower it is, the more wonderful the beauty of the music shows, and the musical power squeezes directly in front of everyone, occupying almost all the space.

All this sadness finally stopped at the fluttering finale, and after Fu's hands were raised, and after all the sounds of the music had dissipated, it was the eighth piece of Chopin's Etude No. 25.

It is said to be a work that pianists must practice before the performance begins, the sixth-degree etude, which is used to enliven the slightly stiff fingers and make the music more perfect.

It seems that it was the performance of this sixth-degree etude on the stage that completely opened the fingers, and for some reason, everyone always felt that Fu Tune's music seemed to have become more skillful.

And under this skill, everyone thought of the next few works, and couldn't help but look forward to it.

Chopin Op 25-9, Butterfly.

Chopin Op 25-10, octave.

Chopin Op 25-11, East Wind.

Chopin Op 25-12, The Sea.

The last four pieces, the four most famous of Chopin's Op25, are also the ones that are the most vulnerable to spotting.

What kind of interpretation will Fu Tiao give them?

As Op 25-8 ended, Fu took a deep breath and pressed the first note from the butterfly.

(End of chapter)