It was a small dessert and an appetizer before the concert began.

However, it was such a simple hors d'oeuvre, but it could shock everyone present.

I don't know how many people have played this piece, and not only ordinary pianists will play such a piece, but even many amateur players will choose this piece to play.

After all, this piece is very simple, and no matter who it is, this piece is not too difficult.

And it is precisely because of the relatively low difficulty of the performance that the details in the music and the expression of emotions in the music have become the most important part of this work, and it is also the key point to distinguish the level and strength of the pianist.

It's obviously the same sound.,Why is the feeling I pressing it completely different from the feeling of being pressed by other people's bosses?

The reason is actually quite simple.

The dimension of piano music is not only the correctness of the tone, but also the length of the note, the connection of the tone, the speed of pressing, and a series of factors.

For example, the piece they are hearing now, Chopin's Nocturne Op9, No2, takes the first note at the beginning as an example.

How do many people press it?

It's as simple as putting your hand on the piano, waiting for the tempo to arrive, then pressing your fingers down and starting his playing.

This is not the case with Fu Tune.

His fingers were brushed.

The hand was slightly raised, and it floated softly over the keyboard he was about to play, and the music in his hand flowed out without any movement.

When a normal person plays the main theme of the music behind, it is likely to be a very simple action, such as pressing each note with a high finger.

Fu Tune, on the other hand, pressed his wrist down, and the changes in the middle notes of his fingers were more viscous, so as not to let the music flow too quickly from his hands.

At the same time, his downward button was not as fast as many people imagined, but seemed slightly hesitant and slow.

This also makes the flow of music not seem too fast, but much more soothing.

The fine control and the control of the beauty in the music, and the study of the details make the layers of music in his hands even more terrifying.

It's hard for you to learn anything from him, you can only feel one thing, and that is that the level of Fu Tune's performance is really strong, but also really terrifying.

How old is Fu Diao now, and he already has the strength he has now, so what level can he reach in the future? Who can say this clearly.

However, one thing that everyone knows is that Fu Tiao is now one of the top people in the world above Chopin.

It's still the same sentence.

Fu Diao is far from those top people, and there may be a god-level performance.

Whether it is a god-level recording or a god-level live, just such a simple god-level performance, Fu Tune can basically become one of the strongest Chopin players in the world.

And when it comes to that level, there is no one who is higher and who is lower, there are only differences in style between each other.

Everyone listened to the nocturne played by Fu Tune, full of enjoyment.

With the suddenness of the last section of the nocturne, the extremely fast chord drops, and the piece finally comes to an end.

Wow!

Different from the previous concerts, after the performance of one of Fu's works, the applause of the crowd rang out instantly.

Fu Tiao smiled and nodded at everyone, but did not get up and bow.

Listening to a concert is not just about prohibiting clapping between movements.

In fact, even if it is a connection between works, applause is prohibited.

Normally, the most correct time to applaud is to start after halftime.

But......

Fu Tune actually didn't reject the applause of the crowd, it just made his mood a little interrupted, but the audience's love was real.

At least people don't applaud you halfway, which is already very face-saving.

Jiang Ruijia, who was sitting on the stage, heard the discussion between the mother and son behind her, and the mother kept asking her child to learn the playing of Fu tunes in that place.

The kid was a little reluctant, but he kept nodding his head in agreement.

"If you can learn to play Fu tunes by listening to Fu tunes, then there will be no ordinary people like me who are not even a pianist......

Listening to the discussion of the mother and son behind her, Jiang Ruijia couldn't help muttering in her heart.

The applause of the crowd lasted for a short time compared to the beginning, and it was over in about ten seconds.

After the applause of the crowd stopped, Fu Tuo turned his head to look at the piano in front of him and let out a long breath.

The hors d'oeuvres are over, so it's time to come out with a little bit of real skill.

Chopin, Piano Sonata No. 3.

This is the track he is going to use as a trump card.

Chopin's Piano Sonata No. 3, in B minor, Op. 58, composed in the summer of 1844.

The piece, still composed by Chopin with George Sand in Noan, is dedicated to the Count of Boulder.

The overall tone is bright, the development is bright, optimistic, and life-affirming, which does not particularly fit with the melancholy feeling of Chopin himself as a piano-poet.

However, this work is the most genius of Chopin's works, and it is also the largest.

This piece is known by many as a treasure trove of Lesyes.

Not for any other reason, but because of one simple thing, it is......

There are really too many materials for the development of this work.

So much so that most composers have been able to draw nourishment from it and write countless works in different chapters.

F, strong.

A simple descending line with a six-note main chord appeared in front of everyone with great ease and joy, with a hint of magic and confusion.

The strength is not big, at least not as big as everyone imagined.

It's obviously written f, but I don't know why Fu tune doesn't feel like f at all, but like a very simple expression?

Is it a mistake?

Obviously, no, it is absolutely impossible for Fu to make such a simple mistake.

Soon, everyone knew why Fu Tiao chose to interpret F with such strength.

Because of his upward conjugation of the chords in the first, second, third, and even fourth measures.

From F, to Ordinary, and then to FF, stronger.

The chords are like a melody under Fu Tune's hands, flowing without any pause or hesitation.

Strong interpretation, and stronger interpretation, presented in the hands of Fu Tune, are extremely harmonious.

It turns out that this is strong, and this is the feeling that Chopin's Third Piano Sonata should present?

Everyone listened to the performance of Fu Tune, and they couldn't help but think of it in their hearts.

Airplanes......

An extra B was added.

Another descending major chord with six notes.

The feeling in the music seems to have changed slightly.

The fog in front of everyone seemed to be a little thicker.

The chords of the music are extremely decisive.

It is completely inconsistent with the nature of this fog in music.

It's like ......

Airplanes!

Sword!

Fu Tune's fingers were extremely smooth, but he pressed the chord in his hand extremely strongly, and the sound of the chord sounded in everyone's ears, and everyone couldn't help but be stunned, and their heads instantly remembered this word.

That's right, it's a sharp sword, a sharp sword that pierces everything.

The power of the Fu tune is blessed on the piano, unfurling the fog of the six notes of the main chord.

Chopin's extremely resolute and decisive image appeared in front of everyone.

No, it's not just Chopin's image.

The crowd even felt that they were not just hearing Chopin, they were also hearing a feeling of the sea.

The sea is filled with mist, and huge cruise ships move forward in the mist, splitting everything.

And Fu tune is at the bow of the boat, singing in a low voice.

This feeling was completely different from the previous feeling, and everyone was stunned.

Someone was just thinking about the little concert dessert that Fu Tunes brought them at the beginning, the simple, very relaxed Chopin Nocturne Op9, No2.

Unexpectedly, after such a simple and easy work, the second piece brought by Fu Tune in the first half of the concert was the most difficult of all Chopin's works.

More difficult than Chopin's Piano Concerto No. 1, Chopin's Sonata No. 2, Chopin's Ballade No. 4, Chopin's Grand Polonaise, Chopin's Don Juan Variations, and a series of other works.

This is true not only in terms of technical difficulty, but also in the interpretation of music.

The head of the piano department under the stage was directly stunned, and then trembled all over.

This music, this feeling, this Chopin Piano Sonata No. 3?

He is the head of the piano department of Haicheng Conservatory of Music, and he knows better than anyone what kind of music is good and what kind of music is bad.

This is not because he monopolized the right to interpret music, but because of the aesthetic values cultivated by his ears and eyes under the piano music performance system.

It is precisely because of his understanding of the beauty of music that he can clearly feel how beautiful Fu Tune's performance is.

The difficulty of this Chopin Piano Sonata No. 3 is the most difficult of all Chopin's works.

Take this chord from the beginning as an example.

Everyone can hear how terrifying and perverted the chord interpretation of this piece is.

Not at all a joke outrageous.

The conjugation of the chords and the musicality of the transformations are well encapsulated by the Fu key.

You can hear where the root of each change is, and change towards that place.

It's hard, it's not ordinary.

As for the conjugation and advancement of this chord, many people can't play it well.

As long as he has been the head of the piano department at the Haicheng Conservatory of Music, he has heard that he can play well and interpret this chord clearly.

I don't say that I can play the Fu tune like this, but I just say that I can play the feeling of the chord clearly and reach the passing line.

Probably no more than five people.

Coupled with his previous experience as a teacher in the High School Attached to Haicheng Conservatory of Music and as an ordinary teacher at Haicheng Conservatory of Music, there may be about ten people with this level of strength.

Note that this is still the number of people who can reach the passing mark, which is 60 points.

And the full score is Fu Tune's current performance, which he has not heard of by anyone so far.

At most, I've heard it a few times in the hands of those top people.

Ordinary students?

One doesn't.

Even if many of the people in their conservatory are that kind of genius, everyone is a lingling-level person, and there are very few of them who can reach this level.

It's really hard.

And such a difficult interpretation is so simple to interpret in the hands of Fu Tuo.

This is Fu Tune's level strength?

The head of the department couldn't help but think so.

Soon, however, he shook his head and dismissed the idea.

It's not because he found something amazing, but the later Fu tune music shows him this very clearly.

What has just been shown is nothing.

That's just the first bite of the main meal.

It is also the easiest bite.

Because of the contrasting passages in the back, the several contrasts in the music, and the division between the levels, are even more terrifying.

Airplanes......

Fu tune's fingers ran quickly on the piano, and with the advent of the chromatic scale, a sigh of sadness and anguish emerged on the piano.

It's an image of pain and flusteredness, as well as the sadness and confusion in his music.

It contrasts strongly with the melody of the second theme.

After this theme appeared and compared and analyzed with the first theme melody played by Fu Tune, the head of the department realized at this time how outrageous he had just made a mistake.

"The expression of this contrasting movement?"

The most powerful thing in music is repetition, followed by contrast.

Contrasts in music can reveal the hidden power of music.

The more sad the front, the softer the sweetness in the back.

The front is sweeter, and the sadness in the back is more painful.

All of this is achieved by contrasting passages.

A lot of contrasts in music are simply popping up what Chopin wrote, and that's it.

Chopin's work is used to express contrasts.

But in reality, the contrast is not that simple.

It's not just Chopin, you should add a lot of it, your own reflection and reflection on contrasts.

Fu tune's fingers pluck softly on the piano, and the second theme is beautiful and sublime, like a caressing.

Nocturne-like arpeggios play the role of accompaniment softly, bringing out the beauty of the music more profoundly.

This sincere melody touched everyone instantly, and no one could calm down.

They watched Fu tune play and restrained the excitement in their hearts.

Fu's second theme orchestra directly breaks through the depression and makes the lamentation disappear.

It is a perfect contrast to the previous interpretation of pain and sorrow.

How painful it is to lament in the front, how easy it is to dissipate in this place behind.

It's like the fragrance you smell when you wake up in the morning.

You may wonder where this fragrance comes from, you are surrounded by darkness, in an old hut, to find any sunlight and beauty.

You can only go forward, keep going, looking for the source of the fragrance.

Finally, when you open the closed curtain and look out the window, you will find out.

This beauty came from the vast garden outside the window.

Flowers bloom, wantonly releasing their charm and fragrance, attracting the admiration of all things.

Syllable!

When he heard this, the head of the piano department hammered his thigh hard, and he couldn't help but grin.

This place, the bullet is really good, it's amazing!

If it weren't for the concert, if he could hear Fu Tune playing like this in his own home, he would have jumped up and shouted a bravo to the crowd.

If you don't shout a bravo, or shout a, your mother, or your mother, there is no way to release the excitement in his heart.

Just the comparison of this turning point, this interpretation of Fu tune is enough to enter the top five of the golden passages he has heard this year.

No, maybe even the top three, or even the first.

As long as he can't hear the words of other god-level scenes in the future, this can definitely be regarded as the top few.

Just this performance, just this comparison, just this expression.

It's amazing.

How can such a person be able to interpret such beautiful music?

This one is also outrageous.

How did his head grow, and how did he come up with the idea to interpret it this way?

Are you kidding......

Really, it's awesome!

It's not just him, it's a lot of other people around him.

They looked at Fu Diao in disbelief, and their fists couldn't help but clench.

This performance is really awesome, really strong.

However, the strength of Fu Tune is not only this, but only the appearance of the first theme and the contrast produced by the second theme.

And then there's the point.

Both themes are developed in the opening section, which is very rare in Chopin's work.

So why did Chopin expand on this work and not on the others?

Many people don't think much about it, but if you think about it a little, you will find out.

The reason for all this lies in the performance of Fu tunes.

The purpose of the expansion is to make the image of the music more three-dimensional.

And this three-dimensionality makes the contrast between the themes of the music more obvious.

Up and down, front and back.

You have me, I have you.

Everything is intertwined and fused in Fu Tune's hands, revealing a completely different feeling.

Emotions are gradually colliding, making the expression of music more complex.

However, this complexity does not make it difficult to perceive the beauty in the music, but makes the musical context extraordinarily clear.

It's a very deranged feeling.

It is obviously such a complex work, and the expression of emotions in the music is obviously so difficult, but why does it seem so simple and easy in the hands of Fu Tuo.

It's as if they only need to learn from Fu Tune's understanding, and they can also understand how this piece should be interpreted.

If you really think so, it's actually fine.

But here's the thing.

Their brains and bodies are resisting again.

The cells all over their bodies were telling him with their actions.

"No, you can't."

On the third day, 10,000 words, you vote for me to update, work hard every day, do what you say! Come on!

(End of chapter)