The hands of the large frequency curtain are clearly and profoundly depicting the details of each note.

Even if you put aside anything other than the notes, the pure music and the picture of the performance can make you sink into it.

Probably this is the great thing about composers, who, through the experience of their individual lives, whether fortunate or unfortunate, will use their talents to compose their voices and leave their experience to future generations.

Among the countless lucky listeners, there is no doubt that the one who was able to play them with his own hands was the luckier.

The composer may not care what his music will be played in, but Qin Jian does.

It's a sentiment that's hard to tell, and he celebrates the greatness of music, so he wants to keep it in the state it was from the moment it was born.

It's still not an easy task, and it's no less complicated than it does for those who go to great lengths to reinvent their work.

Luckily, he enjoyed it, and it would have been nice if he had been able to experience that creative experience in the way.

Through the long-term homework outside of playing the third piano, Qin Jian roughly divided Rahe's life into four stages.

The first stage is birth and growth.

Rahe's parents were both music lovers and amateur pianists from old musical families.

His ancestors were Tatars from Asia, and this exotic temperament was revealed from the eyebrows and eyes peculiar to the Orientals.

Contrary to many piano prodigies who practice hard and take the stage early, Rahe's children received formal piano education at a later age, and have always been a little lazy.

It wasn't until his mentor Vyznev began to control him that he finally developed his talents, graduating from the St. Petersburg Conservatory with a gold medal for his one-act opera "Aleko" and showing himself as a talented pianist and composer.

Rach's music was rooted in Russian Romanticism from the very beginning, and he consciously became a successor of Tchaikovsky in terms of ideology and style, and the latter's encouragement gave him great confidence.

In 1893, Tchaikovsky's sudden illness revealed all his pain in the Trio of Sorrows, and his works have since shown the style of a precocious artist.

With his long melody and strong lyricism, combined with his gorgeous but not over-the-top technique, as well as the tragic and irrational power in his bones, his distinct personality has become very prominent.

But it wasn't all smooth sailing for the fledgling young Lahe, and the failure of the premiere of his First Symphony in 1897 brought him to the brink of collapse, and he stopped composing.

It wasn't until three years later that he met a psychiatrist who loved music, and with his help, he finally got out of his predicament.

It was at this time that he wrote the masterpiece that would immortalize his fame - Raji.

The success of the premiere cemented his reputation as one of the leading Russian composers of the time.

Continuing this brilliance, Rah, who is approaching middle age, ushered in his middle age, that is, Qin Jian divided his second stage - the glorious platinum age.

The next ten years were the most prolific years for Rach as a composer, and they were also the most turbulent years for Russian politics.

The Third Concerto was born and completed during this second period.

As for the 'exile' of the third stage and the 'absolute sound' of the fourth stage, they are irrelevant for the time being.

"According to the trajectory of a composer's life, the player's homework should end here. ”

Qin Jian didn't need to retract his thoughts, all of this had been planted in his brain, as clear as the band's score passing line by line in front of his eyes.

What he has to do is keep expressing.

There is no roaring roar in his cadenza, and the octave theme that should be intense is as calm as moonlight.

In the eyes of the audience, the jumping trajectory of the hands on the piano could no longer be captured, but the crumbling green tendons on the backs of the hands were clearly visible.

When the picture of hearing and vision completely mismatched was presented on the stage, Qin Jian once again brought a problem to the audience.

"How did he do it?"

Young people are thinking about the essentials of his playing technique.

"What is he trying to say?"

The older man pondered his intention to play at the root of the bond.

The cadenza is the place where a composer conveys the most emotions, and Qin Jian hopes to reveal the composer's heart as he sees it here.

An introverted middle-aged man, a talented composer at the peak of his creative skills, a bloody Cossack man, a fragile and extremely sensitive soul.

When such a combination is put in a shell, it is in such a turbulent era.

In the face of the unknown world, his heart is angry, melancholy and confused.

But he's just a musician, and he can only vent it all on the notes, which leads to this extremely complex passage.

And in this complexity there is only no destruction, and a good composer cannot write a note of destruction.

Therefore, violently crushing this section of brilliance with a strong posture will only destroy the artistic conception of the music, and completely blur what should be clear.

Of course, this is just Qin Jian's idea.

At this moment, his hands seem to be fighting left and right, and the melody of each hand clearly seems to be circling in the ears of the listener, and without the accompaniment of the orchestra, the two melodies seem to be on the top of the stage

This represents the two most contradictory sides of Rahe's heart that completely sublimate the first movement in a fierce collision.

Qin Jian's hands on the large frequency curtain were completely blurred, and even the green tendons on his hands could no longer be seen clearly.

The two opposing melodies have reached the point where they are incompatible.

Right here and now.

Rahe's powerful skills are once again on display, at the very last moment when the conflict is about to erupt.

"Phew.."

A gentle two-handed chord engulfs the two strands of melody in an instant.

The next second.

The music returns to the calm harmony of the sea, and there is pessimism and helplessness in this calm.

Finally disappeared in the lonely arpeggio.

At this point, Qin Jian breathed a sigh of relief, even though his palms were all soaked.

The first movement is presented in much the way he intended.

He has always transitioned the music with a smooth playing, maintaining his point of view not over-exaggerating the background.

He could not accept the over-the-top fabrication of a work that was not yet in exile, and that it would take too much effort in the first movement.

However, in the passages that require technical support, he is absolutely unrelenting to show as much as possible the huge compositional view that has been formed in Rahe's middle age.

You're welcome to show off your skills.

At the musical level, he has no more lyricism, he is basically foreshadowing, depicting musical notes to depict musical scenes, and stabilizing the mood of the music.

In his design, emotions need to accumulate through the narrative of the second movement and then be released in the third.

"It's not bad overall. ”

At the end of the first movement, although there are still a lot of technical difficulties, Qin Jian has already memorized them skillfully.

"W-"

With a soft click, he raised his hand.

The first movement ends successfully.

"Whew. ”

Qin Jian picked up a handkerchief on the side, wiped his sweat, and wiped his palms.

Then prepare the playing position again.

Second movement.

‘Intermezzo，Adagio’

Intermezzo, Adagio.

With the moderate foreshadowing of the first movement, Qin Jian began to brace himself to do an interpretation of his story in the second movement.

And the composer's story is never jerky.

...

piano up.