Dance of the Chicks

It's a very simple ballet.

It's hard to use a specific word to describe what is depicted in this ballet picture.

Because it's just a concept map.

Concept art of a ballerina costume.

The ballerina in the hood of a chick stands inside an eggshell, without any movement, just to show the effect he wants to express in this costume.

Very simple.

But music is not simple.

How do you use music to depict what such a chick dance is trying to express?

Then the answer is......

The confrontation of dissonant intervals between chords and the emphasis of the treble parts are emphasized.

Fu Tune's fingers clenched slightly in the treble voice, and then pressed down in an extremely relaxed state.

Ding, ding, ding, ding!

Like the chick's crow, crisp and tactful.

But that's not all there is to Fu Tune.

Dance of the Chicks.

Since it is a dance, there must be an element of dance in it.

It's a ballet.

A ballet with chicks.

Then there must be a ballet dance form under the chicks in the music.

Fu Tune's fingers are still running on the piano, but under the chick's chirp, the dance nature of the music is vividly displayed by Fu Tune.

You feel like you've eaten mushrooms, and you can see real dancers playing on stage.

Interesting.

This is the first feeling that many people have about Fu Tune's work.

Funny is really funny.

Just like this work, "Dance of the Chicks" is essentially a scherzo.

Fu Tiao imprinted all his understanding of Chopin's scherzo when he played it on this piece "Dance of Chicks".

Let the music add a little bit of Chopin, or Fu tune's own unique taste.

Ordinary people may not be able to tell the subtle difference.

But the musicians, or the music lovers who had listened to the "Picture Exhibition" more than once, quickly discerned the subtle changes in Fu's tune.

They couldn't help but smile on their faces.

Whether a pianist's version is good or bad, in addition to whether there are mistakes in his playing, there is also a very important point.

That is, whether his music can show his own characteristics.

If you play well, at the same time your music is not so cookie-cutter, but has its own characteristics.

Then your work will easily stand out from other people's music and become the focus of everyone's appreciation.

If your version of the performance can reach the god-level level, which is often referred to as the god-level live and god-level recording, then your version may even become a textbook for many people to play.

And now, although Fu's performance has not reached the god-level scene, the personal characteristics in his version are enough to make everyone smile.

Sure enough, music with a personal character is the most interesting music.

What the group of people under the stage think, Fu Diao is not clear.

But he knew one thing, and that was that the chick dance he was playing right now was nearing its end.

The rest of the content is more serious and difficult to control than the Dance of the Chicks.

Because the name of the next work is ......

The Jews

This work is not a mere depiction of a single Jew in its entirety.

Instead, it is divided into two different scrolls.

"Rich Man" and "Poor Man"

Fu Tuo's body leaned forward slightly, and all the weight was pressed on his fingertips.

He pressed the melody of the music with great heaviness.

Bang, Bang, Bang......

The sound of the piano rises from the dark corners and emerges in front of everyone.

Arrogant, rude.

Majestic-looking!

Moreover......

Be on one's high horse!

Even if it's just such a short beginning, when such violent music sounds, everyone can't help but hold their breath.

What does it feel like?

There was no one in front of them, but in front of them stood a Jewish man who was incomparably arrogant and conceited.

Pot-bellied, every time I walk, it's like I'm stuck in the ground.

It seems that he wants to grab the last hard-earned money in this land.

Terrifying and powerful.

The rich kosher tone is played easily in the hands of Fu Tune.

His mastery of kosher tones led one to think that he was also a Jewish.

But it's clear that he's not.

There is a hint of isolation in his music.

Like a bystander, he stood on the side of the road and watched the rich Jew walk down the street.

Intermittent rhythms, unexpected accents, weird and slow melodies.

All of them are proof of the rich Jew's control over the land.

He is like an earth emperor, controlling everything under his feet.

Under this heaviness, Fu Diao's right hand was raised slightly, placed on the piano, the corners of his mouth couldn't help but chuckle, and his fingers rotated rapidly.

Monophonic wheel fingers.

A trick that sounds very simple, but it's extraordinarily complex.

But Fu Tiao's use of this technique is particularly easy.

His fingers were like wheels running fast on that single note.

Under such brilliant running, his voice did not make the music uncontrollable because of the different lengths of his fingers, on the contrary......

The sound is like a clear bell, swaying slightly.

It is like a terrified poor man, looking at the rich man who controls almost the entire wealth of the city, and the fear and fear in his heart cannot be suppressed.

He couldn't help but retract his feet, looked at the rich man, and showed a flattering smile.

Although they were all Jews, they were treated differently.

It's like the Jews who are locked up to take a bath, and the Jews who have reached the other side of the world.

The same people, but in a completely different class.

The poor are crying, trembling, and afraid.

He looked at the rich man who could control the fate of the city, and tentatively stretched out his hand.

While!

Fu Tuo's hands clicked at the same time.

The melody of the poor man in his right hand trembled over there.

On the left hand is the melody of a plutocracy, wild and rough.

It's like a conversation between the two of them.

One up and down, one rich and one poor, one arrogant and one humble.

Completely opposite identities, completely opposite positions, completely opposite attitudes.

The only thing that is the same is that both of them are also Jewish.

The tension in the music is maximized.

Fu Tiao seems to know all about such conversations, controlling the mood swings of the music.

Make the conversation between the two sharper.

The poor are wailing, thirsting for the help of the rich.

Trying to be able to impress the rich with their own suffering, so that they can help them out of this sea of suffering.

But every time the poor speak, all they bring is the extraordinarily harsh response of the rich.

Lowly.

Arrogant.

Implore.

Interrupt.

The opposition between these emotions in music is becoming more and more serious.

The poor are trembling and crying out to the rich.

And the plutocrats just interrupt and reject the poor again and again.

The two themes are almost completely intertwined.

The identities of the two also seem to be beginning to merge.

They were all Jews.

But why is there such a big gap between their statuses?

The tension in the music is maximized in such discussions.

Ultimately.

Rumble!

A huge chord sounded.

The poor man's last cry is forcefully interrupted by the rich man, and the whole passage is terminated with the strength of the octave.

Firmly.

In cold blood.

There isn't any little bit of temperature in it.

The identity and status between the two are vividly displayed.

It's hard to believe that these two men are Jews as well.

And under such noise, a large number of rapid thirds and seconds are heard.

The music goes straight to the next painting.

Rimon Market

This painting does not have the same strong tension as before.

There is just a lot of noise and noise.

As the picture scroll describes, this is a noisy and noisy market discussing the chaos of all kinds of parents in the short bargaining market.

Very simple.

Fu tunes also don't give mixed emotions in such uncomplicated music.

Since it's just a simple description of the scene, then it's enough to simply describe the scene.

Sometimes music doesn't just need to be added, but also subtraction is essential when needed.

The music ran fast, and Fu Tune's fingers didn't stop at all.

It even gave Fu a hint of an etude.

Soon, however, this rapid run came to an end.

With a thud of half notes.

The music comes to the next chapter.

And here it is......

The music has changed.

"Tomb"

This is the name of this chapter, a name with a hint of horror in it.

Normally, the strolling movement that should exist in music disappeared for the first time.

There have been two full movements without a walk.

In the third movement, there is still no stroll.

Fu Tune very eloquently portrays this strange feeling in the music.

FF, stronger.

p, weak.

Cresc, crescendo.

sF, Sudden Strength!

p, weak ......

The strong and the weak are constantly intertwined.

The music is strong at one moment and weak at the other.

Like a strange candle flame, it illuminates the people who are strolling through the picture exhibition hall.

This is the strangest song in the whole exhibition.

It's also one of the hardest to understand.

It's full of abrupt harmonies and white spaces.

From the market, to the tomb.

There wasn't even a single gap in between.

It's as if you've suddenly come to a tomb.

But as long as you know a little bit about music, or ...... I know a little bit about picture exhibitions.

Then they must know.

This section depicts Mossorgsky's deceased friend, Hartmann.

All the pictures in this picture exhibition are also his works.

At this moment, it doesn't feel like walking in a picture exhibition.

Instead, it is gradually making its way to a deep, hollow catacomb.

The harmonies in the music have become more and more bizarre.

con mortuis in lingua mortus

It is a Latin word that means ......

A dialogue with death in the language of death.

This is the narration and annotation that Mossorgsky left on his work.

It is also this work, everything that Mossorgsky wants to express.

When, when, when......

In the midst of this weirdness, the main theme of the stroll suddenly appeared.

It doesn't come directly in a separate form.

But......

It's all in the music.

Blended into this chapter of "The Tomb".

Creeps!

Obviously, it is very familiar music, and I have listened to it at least three or four times, and it is almost exactly the same strolling movement.

They had thought that the walk in the music would be gone before the music was almost over.

Who would have thought that a stroll would suddenly appear at this moment.

What does that mean?

Everyone's hearts were cold.

Especially the group of people who had never heard of "Picture Exhibition" before, their minds were almost blank when they heard about this place.

There is no need for anyone to explain or describe it.

And they know it.

It's stepping into death.

This is a walk from the world to death.

Why are there so many, many dialogues of unknown meaning on the side of the solitary movement of the stroll?

Many people thought that the conversation in that place was supposed to be for a sense of ceremony.

But when they heard this, they heard the stroll hidden in the main theme, and everyone realized something.

That's the conversation that came before, and it's all about preparing for this moment.

The previous conversation was an exchange with a friend.

Communicate with someone who doesn't exist.

He and his friends admired the beauty of his friend's paintings.

One after another, and one after another.

Strolling is also becoming less and less.

Until now......

Stroll to the music.

With the help of this painting in the tomb, he finally succeeded in entering the scroll.

He saw his friend, who was smiling at him.

Everything in the music is so clear.

The melody of the treble is the living person, while the walk of the bass is the walk of the dead.

This is the language of death.

It's not just that Latin is dead.

It also shows that under this low stroll, the dialogue between the two is already a dialogue between death.

Shock.

When they heard about this place, everyone was stunned.

Looking at everything in front of him in disbelief, he swallowed slowly.

This place is really ......

It's perfect!

Fu Tu pulled out all the emotions hidden in it and put them in front of everyone.

They don't have to think too much about it, and they can hear most of the metaphors in the music.

Get one’s dander up.

A dialogue between life and death.

Longing and reluctance.

The emotions of all this are at their peak at this moment.

Obviously, the music doesn't have too much passionate melody, but it wraps all emotions in it.

Jun buried the mud under the spring, and I sent the world full of snow.

A few Amen, the words are reluctant.

Nation! Nation!

However, in the next second, the music suddenly sounded!

Music roars!

"The Cabin on the Chicken's Feet" was released at this moment.

The octave is pulled out violently.

Fu Diao's arm lifted and smashed down.

Airplanes......

All the previous sorrows were released in this moment.

His fingers ran quickly across the piano.

Slam the keyboard of the piano hard.

This chapter is to show off skills.

The purest form of showmanship!

Use all your strength to show off your skills.

The so-called hut on the chicken's feet is the residence of the witch in the Slavic fairy tale, Baba Yaga.

Fu Tune's arm swung across the piano keyboard, bringing with him countless chords.

No one knows exactly how he played it.

His arms and fingers were playing too fast.

Even their eyes already have a little bit of a flower.

Horror, horror.

No matter how they think about it, they can't figure out how Fu Diao did it to make the music so gorgeous.

Emotions are stacking.

At the same time, it is constantly being released.

Almost everyone's emotions were completely captured by Fu Tuo, and there was no way to escape at all.

"Beautiful!"

The eyes of the artists in the distance widened.

And they are the same.

Even though many of them have heard the reputation of this set of works, when they really hear about this place, their emotions are still called by Fu Tuo.

This music control?

This emotional control?

This showmanship?

They don't know how to say the Fu tune.

Fu Tiao is like a step-by-step storyteller, little by little, he puts the whole work in front of everyone.

Brilliant octaves and chords climb wildly upwards under the constant superposition.

Eventually, it seamlessly transitions to the final chapter of the music.

"Kyiv Gate"

This is a draft of an architecture created by Hartmann.

The sketches depict the most characteristic churches of the Slavic people.

The typical round spires of the Russian Orthodox Church and the dense iron bells.

Brilliant and beautiful.

Vigorous.

Fu Tune's fingers pressed against the piano, heavy and steady.

Every note is like the sound of a bell.

The serious chorus of the Orthodox Church tactfully in his hands.

The giant bell of the Orthodox Church shook under an octave.

Radiant!

Fu Yun played as hard as he could, and the light above his head even shone a trace of sweat on his forehead.

Countless large chord invocations pressed out with all their might.

There is not the slightest slackness.

After all, this is the last glory, the last triumphant.

It symbolizes the end of the whole work.

The bells ring more ornate than the other, symbolizing that the city's glory never stops.

Even if the fate of the city is not perfect, it is often invaded by other cities.

Even though the city has been hit again and again.

But underneath this music, the glory that comes from the Russian nation is vividly displayed.

Though...... Fu is not a representative of the Russian school of music.

However, his music seems to be far more brilliant and full than those of the Russian musicians.

Countless octaves maximize the breadth of the music.

Vigorous as the last triumphant song.

With a melody that gradually ascends, it is like stepping on a spiral staircase and finally standing on the gates of Kiev.

Watch the rise and fall of the city from top to bottom, and witness the glory of the city.

I miss the friend who drew the map of the construction of this city gate.

Until the final chord sounds.

Music is completely over.

Thunderous applause followed.

and those viewers who were shocked by Fu Tune, shouted the sentence.

“Bravo！”

(End of chapter)