Please, come home and practice the piano

Chapter 191. 188. Dream and Killing Under the Storm
Time goes back to 20 minutes ago.

Now that he knows that Jiang Sheng can't beat Jiang Sheng head-on in the etude, Li An doesn't need to bother to create a torrent atmosphere.

It is not good for him to play next to Jiang Sheng, whether it seems or in reality, but there are always two sides to everything.

Think about it if he and Jiang Sheng switched the order, he was the first to appear on the stage, and he also chose to make a fuss about the on-site atmosphere of the torrent, then Jiang Sheng would then go on stage to show the judges with a more pompous torrent.

So what.

So thinking about the good, Li An still has room to strike later.

As long as the rapids are tied with the opponent, then his backhand, the storm, will have full room to play.

Although Jiang Sheng's torrent sounds like a hero all the way to the end, it is not perfect.

The sound effect of half clear and half muddy is her fly in the ointment.

Since you can't fully and clearly present the music lines in detail, then I will.

Ang Lee adopted the most direct and natural way of expression, using only his fingers to play each note clearly according to the rhythm within the established speed frame.

At the beginning of the performance, he gave up the natural advantage of the work in terms of emotional appeal, calmly handled each melody line, and strived to achieve clear fingers, strong pronunciation, and clear layers.

After playing the temporarily designed 25th to 33rd bars, from the perspective of his own listening experience on the spot, he feels that the whole passage has met his expectations.

The rest is up to the judges.

What he will continue to do is to keep the whole work intact on his first competition stage along this approach.

"when!"

With the entry of the 33rd measure, Ang Lee's right hand suddenly fell, and the bright chords flew into the air for a moment and fell again.

"when."

The homed left hand moves forward again with a crescendo on the second beat.

The right hand is weak in control, leaving room for the next paragraph.

The clear melody enters the 35th bar in an instant, and the continuous arpeggios send the music to the 40th bar.

The sound permeating the air suddenly weakened, and I saw the hands on the keyboard making rapid alignment movements as if they were gathering.

The first level of soft play is like an undercurrent under the water level.

A pedal and hands that continue to run push the tension of the piano sound to the second level.

The three-dimensional die-feeding of the right hand gradually strengthened, and everyone in the audience looked forward to it-"Dang!!!"

In the 45th measure, Ang Lee's left hand turned into an iron arm, falling heavily, and the power was completely lowered. The sonorous and powerful chords coupled with the upward sound train of the right hand rushing all the way to the high level directly ignited the emotional high of the music.

The third layer of emotion in music is finally released at this moment!
The emotional line that has been hidden under the two melody lines finally surfaced at this moment.

It is as expressionless as glass, smooth and compact, like a piece of ice cream that cannot be grasped, even with a bit of obscene perfection.

Don't wait for the audience to make aftertaste, it's fleeting.

Until the disappearing sense of layering was replaced by thunderous rolls again, at this moment, no one dared to underestimate this unknown player selected by the Gansu Music Association.

If Jiang Sheng's torrent represents orange fire, then the torrent interpreted by Ang Lee at this moment is black ice.

What will be the ending of the ultimate confrontation between ice and fire?

Everyone in the spectator seats was too busy to take care of themselves and couldn't spare their minds to pay attention to this issue.

The forehead of contestant No. 027, who was preparing for the third appearance in the background, was already covered with fine beads of sweat.

Listening to No. 66 on the stage, he felt a deep powerlessness.

Although he never had the luxury to enter the third round, he still occasionally had a little fantasy in his heart.

At this moment, the illusion was completely extinguished.

If you can't even get out of Group A, how can you enter the third round.

He was assigned to Group A, and his NAFA classmates were assigned to Group E. Last night, when they were bored, the two of them did a little research on the contestants in Groups A and E.

Judging from the strength on paper, No. 68 Tang Shaochong should be the closest to advance in Group A.

From the attached primary school of Haiyuan to undergraduate and postgraduate students, this kind of existence that was regarded as a pervert by those who were admitted to art colleges in general high school should not have appeared in the same arena with them.

But there is no way, that's all for some gold-rich competitions in China.

The cake is that big.

Then there is Jiang Sheng, it is said that this one came out of the Huaguo Academy, a student of Zhao Weilin.

Lao Zhao's reputation in the domestic piano education circle has always been mixed, but the students he brought out are all one-on-one.

For the rest, just judging from the institutions they belong to, they are basically not bad, and he believes that they all have the strength to fight.

So if you want to get out of Group A, you must win at least one of these two.

But looking at it now, his eyes followed the figure that stopped in front of the piano and sighed.

The three had no water to eat.

After listening to the complete rapids again and again, he felt that he could completely let himself go in a while.

I didn't have any hope of signing up, so I just used the 1500 yuan registration fee to spend on the stage of Taoyuan Concert Hall. Anyway, there is a video of the competition, so I can keep a souvenir when the time comes.

It can be regarded as having competed on the same stage with players from two top domestic colleges.
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The camera returns to the stage.

Different from the listener's perspectives behind the stage and behind the scenes, Ang Lee is in a state of simultaneous excitement in body and brain at the moment.

However, there was no time for him to reflect on the performance just now.

He needs to calm himself down quickly.

Five seconds later, he wiped the sweat off his forehead, adjusted his breathing to be steady, and stretched out his hands again.

There is no sense of ritual, just as casual as opening your eyes when you get up early in the morning.

After a while.

Difficult to press every sound effect imagined in his mind on the keys in turn.

In the judges' seat, the right index finger of the male judge surnamed Liu who was tapping on the table suddenly stopped in mid-air.

Looking at the expression of the performer, his expression changed slightly, and he saw a kind of determination struggling in suffering.

Does it still sound like an unremarkable dominant sixth chord? -
Beethoven Piano Sonata No. 17 in d minor, op31.no2.

AKA, The Tempest.

Ang Lee's answer sheet for the second round.

It is also a page from his past life.
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Why is it called a storm?
You have to start with another topic first.

'When we recall Beethoven's words about finding new directions, the answer can be found in op31.no2. '

The humorous master Schiff provides us with such an angle.

Known as one of the greatest piano compositions ever written, we call it The Tempest because Beethoven's secretary and biographer asked him what he thought of it, and Beethoven said, "Go and see Shakespeare's The Tempest. "

There is no doubt that this is a legendary drama.

However, if you really believe and try hard to find similarities between them, then you are wrong.

Schiff told Ang Lee a fact through the explanation in the video: that is a fantasy.

Everyone can find it online.

But Beethoven's words do indicate the depth and reach of this sonata, and the research discussions both concrete and abstract that it can have.

What kind of person could have written such an opening in 1802.

The music doesn't even start in the key, it should start on a D minor major chord.

But Beethoven made it start with a dominant sixth chord.

Just an unremarkable dominant sixth chord?

Countless music historians in later generations have made various interpretations of the dominant sixth chord at the beginning of the first movement of The Tempest.

There are different opinions.

Perhaps some evidence can be obtained from this. This work is indeed worthy of in-depth study and discussion just like Shakespeare's The Tempest.

However, 90.00% of nine performers probably haven't read Shakespeare's The Tempest.

They are more concerned about how to perform this work on the piano.

No piano competition will examine how a contestant can write a short composition about a work.

If the etude examines the basic finger skills of the contestants, then the sonata examines the contestants' ability to control and interpret a multi-movement piano work with a rigorous structure.

The structural development of the sonata form can be roughly divided into: the presentation part, the development part and the reproduction part.

That is to say, when a player starts to play the first note of the first movement of a sonata, this huge and complex decryption game begins.

No matter the occasion, at a concert, in the piano room, or on the stage of a competition.
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The difficult opening sentence belongs to the free sustain mark played by the sixth chord and connects to the second measure. The speed of the music can be seen from the broad board to the allegro.

The strength is gradually increasing.

Li An's hands became cautious.

Continuous descending extreme intervals appeared alternately under his solid fingertips, and when he reached the sixth bar, he stopped suddenly.

The music immediately takes on a restless image.

The music resumes, suddenly strong turns weak, allegro turns into adagio, and ends in the dominant chord of D minor.

At this moment, the music image changed again, gradually calmed down from restlessness, and then condensed curiosity and expectation.

In just six bars, Uncle Bei inserted three different emotional speeds into it.

At the beginning of this work, the puzzle he left for the performers is like how to let the various forces develop independently under the conflict of opposites to seek the ultimate unity.

Ang Lee's understanding is to reflect the ultimate contrast of strength and weakness at the moment before each speed switch through dexterous fingering.

Just like the seemingly unremarkable dominant sixth chord mentioned by the male judge surnamed Liu, it represents suffering in Ang Lee's mind.

From hardship to restlessness to the emergence of new expectations.

This can be a whole story premise.

At least Ang Lee understood and firmly believed that it really existed in a certain period of time in Uncle Bei's life.

Tempest is currently the only piece in Ang Lee's composition library that he has performed completely according to his personal understanding.

It is also the spiritual pillar in the gray years when he wandered in life and dreams.

The premise of the six-section story ends.

The tense, uneasy, and urgent second phrase follows the development and extension of the first phrase, from sighs to tones rising to a tragic climax.

The music zigzags into the link with two speed changes and four dynamic changes.

Next, he will use his hands to tell about a past that only belongs to him.

With both arms raised high and lowered, once the majestic melody appeared, it knocked on the door of fate with strong force.

The rhythm fluctuates alternately between fast and slow, and the music seems to be a helpless cry of a person under a storm.

Almost at this moment, a tornado of notes blew around the stage piano.

Centered on the ups and downs in front of the piano, the entire Taoyuan Concert Hall is sucked in in an instant.

indeed.

No pair of ears could resist the wanton aggression of this restless emotion.
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After the stormy first movement ended, the music ushered in the second movement.

Only then did Lao Tang heave a sigh of relief along with contestant No. 66 in front of the piano.

Isn't it cheating to play the game like this.

Before it was his turn to play, he had already been unloaded with a lot of emotions.

Fortunately, the major chords at the beginning of the second movement helped to soothe people's emotions and seemed to define the tone of this movement.

Watching the body movements of the figure in front of the piano become softer, Lao Tang naturally felt that what followed was and should be a romantic and peaceful movement.

Between the square inches inlaid with black and white, the ten fingers are as gentle as sliding over a lover's skin, and the arpeggio chords are full of mesmerizing sweetness.

The romantic atmosphere gives people a strong poetic and picturesque feeling.

It seems to be depicting an infinitely beautiful natural scenery, and it seems to be telling a series of intoxicating emotional stories.

But in this sweet breath, he could feel the uneasiness in the melody from time to time.

This is the fourth time, and the new friend on the 66th seems to have a grudge against the half note, playing only one beat each time.

However, after savoring it carefully, it has a slightly different taste.

It's as if one foot is in the sweetness, but the other foot is hesitating to step in.

This feeling of dissociation is actually not easy to express.

What did he want to say.

Lao Tang didn't believe it was a mistake.

Following the music, he listened with doubts, maybe the answer is in the third movement.

Enter the third movement with the music.

Six judges added ten contestants, and at this time, no one's eyes were not on the number 66 in front of the piano.
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The soul becomes cheerful and joyful after being baptized, and the melody becomes cheerful and joyful after entering the third movement of baptism. At this moment, it seems that there is no longer any worries.

Fast, extremely fast.

The hands on the piano run wildly on the prairie of 3/8 sixteenth notes like wild horses.

There is a direction without a destination.

But it still gives people a feeling of great expectation.

The ethereal dreamy beauty is clearly outlined by Ang Lee's ten fingers, and those who yearn for dreams can find that trace of longing and longing for the future.

How many times did Ang Lee play the third movement, perhaps not a thousand times.

But for a young man who grew up under the red banner of a new generation struggling between dreams and reality, and wandering on the edge of boys and men, this movement may belong to the inner monologue of their generation.

No longer entangled in playing skills, no longer entangled in what color should be used to express the color in music.

Go ahead.

Rush toward the endless future.

Music gives us direction and answers.

It starts with suffering and ends with mediocrity.

Another unexpected twist!

Is this the end?

When Jiang Sheng saw Li An put his hands away calmly, she was a little puzzled because the music ended here.

Yet she was absolutely sure that the music would indeed end here.

She was absurd, and there was a clapping sound not far away.

The male judge surnamed Liu must applaud the three movements full of ideal poetry.

Even in the arena.

He would say he was moved by a certain emotion conveyed in the third movement.

So just as he fell into the quiet concert hall, there was a burst of crisp applause from the judges' seat.

Li An put his hands back and got up, turned around and played the piano, bowed, and walked off the stage calmly just like he went on stage.
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Dream above, live below.

storm.

It is also Ang Lee's killing game.

"027 contestant Yue Xiao, please get ready."

The game continues.

(End of this chapter)