Please, come home and practice the piano

Under the gaze of eight hundred pairs of eyes, Ang Lee first adjusted the height of the piano bench as he would any time he sat in front of the piano, and his movements were slow and unhurried.

Although he had confirmed the height problem of the piano bench two hours ago, he then raised his right hand and loosened the cuff of his left hand.

Usually the audience doesn't care much if the performer makes one or two small movements before the music starts.

No matter how mean you are, you can't really accuse a death row inmate of wanting a drink of water before he leaves.

mean almost the same.

But Li Yinsong's cuffs were not because he felt that his wrists were restricted by the lining. In fact, this new outfit was the most comfortable dress he had ever worn, and it perfectly matched his body shape.

He wasn't showing off his brand new gown to the audience, either.

He simply hoped to adjust his nerves through one more body movement, trying to focus all his attention on the piano in front of him.

After all, just now, he was baptized from head to toe by the huge enthusiasm of the audience.

Fang Yongbo did not reveal anything to him during the rehearsal where the musicians stood up, including the final conversation in the break room.

But even if he knew in advance, he would probably still feel a little strange at this moment.

Putting down his hands, Li An naturally looked towards the podium.

On the podium, Fang Yongbo was looking at Li An with gentle eyes. His expression seemed not to be anxious at all, and his posture was indescribably relaxed and comfortable, as if he was in his own courtyard.

The two looked at each other in the distance and nodded to each other.

This is another classic stage scene, Wang Xiaohu calls it a confirming look.

Whenever the conductor and soloist look at each other affectionately on the stage, the music will begin in the next few seconds.

Fang Yongbo turned to look at the musicians. The first page of the K.414 score was spread out on the conductor's podium in front of him. He raised his head and glanced around.

If an audience member were sitting in the musician's seat at this moment, they would definitely find that Fang Yongbo's expression no longer had the slightest warmth and kindness when he showed it to the audience.

When a conductor becomes serious, his eyes can kill every musician on the stage.

The musicians headed by Lin Qingfeng were very familiar with this look. Whenever Fang Yongbo showed such a look on the stage, they could not call him Brother Bo, but the conductor.

The musicians concentrated their attention, straightened their backs, and responded to the conductor with affirmative eyes.

For a moment, it was as if the team that summoned Jupiter appeared again, and the entire orchestra exuded a powerful aura.

The audience in the audience held their breath and focused all their attention on Fang Yongbo's back.

Everyone is waiting for that moment to come.

Suddenly, Fang Yongbo raised his hands, and all the musicians quickly reacted to prepare for the performance.

In mid-air, Fang Yongbo's conductor's baton was like Harry Potter's magic wand. With a slight lift, the entire concert hall was like sunshine.

The musicians moved, the string section moved in unison, and the waving bow wiped out Mozart and spring on the strings.

The violin, viola, and cello are three string instruments intertwined, and their bright tones create a sweet melody, like the breeze, the first ray of sunshine in the morning, or a mountain stream.

Mozart Piano Concerto No.12 in A major k.414.

first movement.

allegro.

In the first presentation, the strings state the main theme.

Regarding the piano concerto, you can get the following information by just moving your fingers and wasting a little traffic.

Concertos involve two or more musical organizations 26 collaborating and performing.

The piano concerto consists of a collaboration between the piano and the orchestra throughout the work, and the relationship between the piano and the orchestra creates a rich acoustic effect that interacts with each other during the development of the melody.

As the saying goes, a high-quality concerto requires a high degree of tacit cooperation between the orchestra and the soloist.

But even more detailed, the orchestra's instruments also need exquisite coordination to set up a comfortable breeding ground for the soloist to join.

The Chengdu Philharmonic under Fang Yongbo has a delicate style, is good at depicting musical details, and has clear and logical levels of leaps between strong and weak.

When the music reached the tenth measure, Fang Yongbo tapped his baton lightly, and the sound slowly appeared like the whine of a train coming from afar.

The appearance of oboe and horn adds a different kind of agility to the spring-filled string section, speeding up the passage of time and giving people an indescribable childlike charm.

This is the orchestra prelude to Mozart’s Piano Concerto No. 12. If Beethoven’s passionate third movement gives us the courage to fight, then this prelude seems to remind us that we should have an optimistic attitude towards life.

When all members of the band stated the main theme at the same time, people seemed to hear the call of the breeze.

Mozart seemed to be speaking playfully, "Hey, it doesn't matter if time passes faster or slower, it depends on how you spend it."

Different from the solemnity brought by Jupiter, different from the gorgeous style displayed by the clarinet concerto k622, different from the infatuated lingering vented by the aria, k414 seems to simplify the avenue with a simple prelude.

Pure and warm music is the most touching.

The music progresses until the strings play a rich subtitle. Using the same technique, Fang Yongbo mobilizes the entire band to release the stage space again, making the music closer to every listener.

The car felt the music approaching her gently, and she couldn't help but want to approach the music.

This is a very mysterious feeling. She seems to be sucked into an imaginary space by the music, and she seems to have thrown herself into this space.

Here, she seemed to be able to forget all her worries and just follow her feelings, making flowers bloom step by step, as if she were walking among the singing of birds and the fragrance of flowers.

What beautiful music, what a beautiful spring.

In such music, what kind of music will the teacher play?

She has been looking forward to it since the teacher appeared on the stage, and her eyes have never left the teacher's figure for even a moment.

She was afraid that she would miss any detail.

Likewise, she was still looking forward to this question at this moment.

What kind of music will the teacher play?

She had been looking at the teacher. During the band performance, the teacher sat calmly in front of the piano, with no movement or expression. The teacher must be thinking about how to play for a while, right?

Perhaps every eye and every ear is waiting for the answer to this question at this very moment.

Suddenly, the high sound of the entire string section rose in the air!

Fang Yongbo’s calm eyes signaled the clarinet and French horn to get ready.

The next second, two wind instruments sang loudly, playing a light steel tune with a strong rhythm and complementing the string section, pushing the stage atmosphere to a small climax.

coming!

Lao Tang looked at the piano.

At the same time, Song Kang, Qin Yong, Lao Wei, Huo Xiaodong, Li Tiejun, vice president of the Chengdu Piano Association, and a number of domestic and foreign artists in the same row as the famous Parisian violinist Philippe all turned their attention to the piano at the same time. on the figure.

Immediately afterwards, the wind section stated the closing part to the end.

At this moment, Li An moved in front of the piano.

It was still the unhurried arm-raising movement, which seemed to have some strange connection with the rhythm of the music, giving people the impression that he had been in the music for 2 minutes without coming out.

But even so, when he raised his arms, the entire hall seemed to follow his movements and complete an inhale.

"call."

Finger drop. "Dang."

The arms fell lightly and smoothly, and Ang Lee's index finger landed on the keyboard gently, producing a full and round sound.

The sound of the piano seemed to come from far away, like a crystal clear snowflake slowly falling from the sky and falling into the world.

It also seems to hit the heart directly from near to far, and then numbness spreads throughout the whole body.

There was no time left for the audience to reflect. As soon as his fingers fell, Ang Lee's hands automatically took over the band and played the main theme as if there was no wind.

He had a gentle expression and focused eyes, and he was extremely focused during the performance.

It seemed like all the attention was on his ten fingers.

Every pianist has his or her own performance style, typically with wide opening and closing movements, integrating facial expressions with the music, but most performers don't have so many small movements during playing the piano.

Philip liked the overall state of Ang Lee's performance. First of all, he was sure that Ang Lee's finger skills were superb.

The ascending four notes of the main theme are as solid as a rock, and at the same time give people a sense of dexterity. The flowing phrases contain a continuous inner drive.

He has seen this kind of performance technique in his cooperation with many Russian pianists, and it is an extraordinary ability to shape music.

Just listening to the first measure, he unconsciously paid attention to the techniques in the music.

Secondly, what he appreciates more is that in the few seconds before Ang Lee dropped his finger, Ang Lee did not act like some of his colleagues in the disgusting heroic manner.

It was as if there was only one living person on the entire stage.

Philip has seen too many young artists who are self-centered when they first step on stage. They are talented and arrogant, but they only know how to control and do not know how to truly cooperate with the band.

Philip often warned his students to put away their arrogance in front of the orchestra, because the concerto not only requires cooperation with the orchestra, but also is a lifelong required course for a performer.

No performer can claim that he will never play concertos in his life, and if he did, he would only be laughed at.

Philip has been the concertmaster of two large orchestras, and he knows that concerto is the standard that tests whether a performer is qualified.

The moment he heard the sound of the piano continuing the mood of the music from the rest of the band, it was no surprise to him that this young pianist deserved the standing respect of the entire band.

Of course, the vast majority of the audience is not Philip, they are just enjoying the music at the moment.

The elastic notes formed a series of beautiful melodies, teasing their auditory nerves all the time.

After eight bars of relaxed and smooth piano, the first movement of k.414 appeared in front of everyone with its inherent undertones.

Under the guidance of the piano, the band is like a stream that finally flows from the forest mountains to the open and flat land, blooming with the color of spring under the sunshine.

The entire concert hall seemed to be filled with a refreshing pastoral.

Fabulous.

If beauty comes from nature, then beauty comes from creation.

When Ang Lee was communicating with Fang Yongbo about the first movement, he once expressed that based on the countless sweet melodies of the first movement, he hoped that this movement would start in a kind of brightness and end in a kind of brightness.

Fang Yongbo made various attempts with the musicians in the rehearsal that followed, and finally put such a picture of the first movement of k414 on the stage.

In fact, there is a contradiction here that is usually not easy to reconcile.

In this way, the piano solo as a solo will be downplayed.

In other words, the first movement will change from a piano-led piano concerto to a symphony with a piano part.

In order to achieve a balance of volume, a balance of the overall music, the piano soloist must allow his or her presence to decrease again and again.

This is the point of contradiction.

Most solo pianists would not compromise on this, even if the conductor so desired.

But Ang Lee was just the opposite. He not only actively provided ideas to Fang Yongbo, but also expressed his willingness to cooperate with the band to complete it.

This surprised Fang Yongbo, because Ang Lee had already obtained his ticket when he communicated with him.

For a young pianist, this is a rare opportunity, and it can even be said to be a great opportunity to make a name for himself.

While other young performers and singers who had received tickets expressed their wish to get more opportunities for personal performance in various euphemistic ways, Ang Lee was actually willing to lower his worth.

Fang Yongbo doesn't mind the young people he selected showing their attitude and expressing themselves.

He and Philip had different views. If a soloist doesn't even have the courage and ideas to control the orchestra, then he can only be a mediocre soloist.

But Ang Lee is not only able to control the band when it comes to playing, he is also willing to sacrifice part of his own role for the sake of music.

Fang Yongbo saw in Ang Lee a pure soul who only cared about music and ignored everything else.

So this is another reason why he is willing to accompany Ang Lee to take the risk of performing the second movement at an extremely slow speed. Since Ang Lee is willing to help his band, how can he not want to help Ang Lee.

The orchestra sings in unison, expressing itself in the bright colors that praise nature. At this time, the piano plays a series of dense notes, turning the confusing scenery into a kaleidoscope, rich, charming, and refreshing.

Fang Yongbo once again gently raised his hands to both sides. This time, his hands remained still in mid-air.

All the musicians stopped their movements, all the notes returned and stopped, and the music slowly dispersed over the stage.

The first movement of Mozart K414 ends here.

Before starting the second movement, there is a small gap. The musicians can use this time to look through the music scores, adjust the instruments, and the conductor can wipe his sweat.

However, no one on the stage even made a single move.

The same is true in the audience, the audience can still hear the music ringing in their ears, as if the music has never ended.

There is no sound here, and the scene becomes quieter and quieter.

The entire concert hall fell into silence again.

But this time, everyone's eyes were still focused on the figure in front of the piano.

At this moment, Lao Tang and Song Kang saw Li An closing his eyes.

After about three or four seconds, Li An heard string music playing in his ears.

Long and slow.

The soft melody flows sincerely, with a thin sadness, sometimes melodious, sometimes deep, and every time it gathers and disperses, there are sparkling waves.

Fang Yongbo waved his hands again, like a dying old man.

No one expected that the second movement would be like this.

The children did not expect that when they heard the teacher's performance, the second movement was obviously music in a major key, and it obviously felt like a minor key.

The professionals explained the children's problems clearly, but they had never heard such a slow second movement.

Most music lovers did not expect that behind the warm spring-like first movement, there would be such a nostalgic emotion.

The second movement of Mozart's Piano Concerto No. 12 in A major k. 414.

D major.

Andante. (×)

Adagio slower than adagio. (√)
The band's elongated tune is like a troubadour singing solo in the evening breeze, soothing and twilight.

Let me explain, I wrote 8900 words today, but I just read Chapter 2 again, and I’m still not satisfied. As I deleted and changed it, it became worse and worse, so I simply deleted it and rewrote it tomorrow.