Please, come home and practice the piano

Under the background of the band, the hall was rendered with a layer of silence, making everyone feel heavy.

This point can be easily explained from the perspective of the music itself. Mozart made the second movement start from a descending dominant tone, and then stopped before the tonic tone, which determined the tone of this movement.

Take an inappropriate example.

A man woke up and found himself lying on a bed that was not unfamiliar but could not give him a sense of security. He wanted to go home, so he walked and walked according to his memory, but he could never find the door.

For a long period of time after the major and minor systems were established, composers always had to create around starting from the tonic and finally returning to the tonic.

Just like people always start from home and finally return home.

Falling leaves returning to their roots is a law of nature, and so is music, at least during the period when major and minor keys ruled.

This is also the reason why music can break through language barriers and connect human emotions. It has certain human attributes.

So it's natural for viewers to feel a little uneasy when they don't hear the door to their home.

The timbre of string instruments is naturally lyrical, and this lyricism has its own poignancy.

The artificially controlled slow speed becomes a magnifying glass, extending the poignant artistic conception infinitely.

Who doesn't want to go home early, but find that the road is getting longer and longer.

Mozart used the melody composed by JC Bach in the orchestra prelude at the beginning of the second movement to commemorate JC Bach who passed away not long ago.

It is well known that as the youngest son of JS Bach and the eleventh eldest son, JC Bach had a profound influence on Mozart in the creation of keyboard music and handed over the Italian Allegro Cantabile style to Mozart.

This style influenced Mozart for the rest of his life.

Perhaps Mozart placed this eight-bar melody in the second movement of a piano concerto because he wanted his mentor to walk slower and more leisurely.

We have no way of knowing whether Ang Lee also suggested that Fang Yongbo use a slower speed to process the movement.

But we can find from the following details that between the piano works of Mozart and Beethoven, Ang Lee seems to prefer Mozart's works more.

Even though he gave a whole concert dedicated to Beethoven.
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Listening to the peaceful melody in his ears, Ang Lee followed the music and let the music take him back to a certain scene in the past.

A year ago, during the rehearsal afternoon of the Leppert teacher-student concert, he performed a miniature recital of Mozart's piano works for many children.

That day he played some of the movements including k545, k311, k283, and k279.

Xiaoche and Marco were still students of Tian Yu at that time.

He ate instant noodles every day and tried his best to coax Wang Xiaohu and Liu Fengrui to practice the piano well. He had not yet heard about the Xinhai Cup.

After the Xinghai Cup, he no longer needs to eat instant noodles, but he still ends a busy day of work with a piece of Mozart from time to time.

When he was planning to buy a piano, he especially liked playing the k576.

These repertoires are all Lee Ang's regular repertoire, and he himself can't remember exactly when he practiced them.

Perhaps he was relaxed when playing Mozart, or perhaps Mozart's music made him feel carefree.

So compared to the difficulty of Beethoven, he probably prefers the freedom in Mozart's music.

He can play however he wants.

From a certain perspective, this can also explain why he was able to complete the game by improvising on the final night.

If the piece of music that was wronged was not K271 but replaced by Beethoven's Emperor Concerto, I'm afraid he would have broken his teeth and wouldn't have lasted until the end.

Perhaps this is his understanding of Mozart's music. He does not need to deliberately search for the root of a certain measure, and he can be satisfied by just playing those notes.

So he rarely thinks about how to deal with the emotions of Mozart's music.

He left all his sense of direction to the music itself, like a kind of obedience to the will of God.

Looking back on the process of preparing for the K466 competition, he only understood the music from the score itself, instead of adding a lot of humanistic elements like when studying Beethoven.

Perhaps it was because the Red Mansion Concert won him a lot of applause that he later consciously tried to interpret things other than music before practicing all his works.

Among them is k414, which will be played in this concert.

During that period, he was often thinking about how to make this piece stand out, and the first and third movements were fine.

The second movement troubled him the most.

The part commemorating J.C. Bach is only the first eight bars, and then the theme of the first movement appears. The repetition of the tonic in D major changes the color of the music 180 degrees. Then the piano comes on stage and solos the theme of the second movement.

What is the mystery behind the relationship between paragraphs that seems to be finished in one sentence?

He couldn't understand it clearly. In the dark, he only felt that this should be a slow and soothing movement.

However, he did not get too entangled. The performance at the music festival was important, but if he was forced to fabricate a second movement for the audience, he would not be able to pass it.

And Fang Yongbo did not express any dissatisfaction with his second movement at that time.

He had thought that would be it.

It was God's will. In a subsequent class, Marco asked a question unintentionally, and the idea of ​​the second movement appeared in his mind again.

Since it is slow, how slow is slow?

At that time, he was filled with an impulse, and he locked himself in the study room after class.

Finally he found a suitable speed and played two versions and sent them to Fang Yongbo.

One version focuses on inner voice expression, and the other version focuses on outer voice expression.

Fang Yongbo thought they were all good and let him choose.

In the end he chose the inner voice.

As for why, he still couldn't explain it clearly, but it probably stemmed from an inspiration from the bottom of his heart.

It's as if this movement should have been so slow, and he should have played the beauty of the inner voice.

Just at this moment, listening to the band reproducing the first movement in another way, he knew how he was going to take over next.

Opening his eyes gently, Li An felt the heat wave coming from the auditorium and raised his hand to wipe the sweat from his forehead.

After spitting lightly, he turned his gaze to Fang Yongbo.

Almost at the same time, Fang Yongbo responded with his peripheral vision.

The two exchanged glances briefly.

Amid the audience's expectations, at the moment when the band's volume was no longer enough to reach the audience, Ang Lee raised his hand again.

Close.

The orchestra collected the music neatly, the scene entered a vacuum, and there was no sound on the stage.

At this moment, Li An's right middle finger and five fingers fell down at the same time, and the little finger and big finger of his left hand fell down at the same time.

After dragging three times in a row, the three sets of two-hand intervals totaled twelve tones. Ang Lee amplified the left-hand octave of the first set of tones.

"When-when-when-"

Three piano sounds as warm as the earth suddenly filled the entire hall, with a kind of healing that reached every ear.

After a long prelude, homeless ears finally heard the bell ringing home at this moment.

The atmosphere of the concert hall was also rewritten at this moment.

The three groups of intervals are like the three intervals of the motivation for farewell, but here there is no farewell, only the call to go home, like an affectionate mother, selfless and broad.Hearing this, Fang Yongbo was completely relieved.

For this piece, his only worry was the interface. If Ang Lee could not connect it well, the lengthy intro before the band would become a rootless sound, and the overall effect would be greatly reduced.

However, Li An caught it and caught it steadily.

Just like the finishing touch, Ang Lee's three sets of musical intervals fell, and tonight's K414 was completely alive.

The sound of the piano continues to move forward slowly in a soothing solo.

The audience in the audience looked at the figure in front of the piano with fascination, their vision blurred by the beautiful music.

The stopped musicians, including Fang Yongbo, also turned their bodies towards the piano, and they were now transformed into live audiences.

But everyone can only see a person sitting in front of the piano, but they can't see clearly how his fingers are playing.

"when-"

There was another long D note, and Li An stared blankly ahead, his fingers still flowing freely in Mozart's notes.

After pressing the D note, he did not rush to release it. Instead, he added a little fade-out in his left hand, and switched to using his fingertips to emphasize the first beat of the next section.

The notes that are separated before and after seem to overlap in another dimension, but they are sequential to each other.

Like a scene of floating shadows, it gives people an indescribable sense of trance, which is fleeting.

When Lao Tang heard this, he naturally thought that Ang Lee would do the same thing again.

Indeed, Lao Tang has secretly learned that this processing method is very suitable for slow passages, especially when you don’t want to step on the pedal and need to extend the tone, it is really filling.

What Lao Tang didn't expect was that Ang Lee changed the touch keys in the subsequent acquaintance passage.

It becomes a dynamic particle shape rather than a static sculptural presentation.

Lao Tang nodded slightly and said wonderfully in his mind after thinking about it.

Combining the previous and later, the music has a moist feeling. Coupled with the light vibrato at the end, the whole paragraph is like a landscape painting with broken ink, and the artistic conception is more complete.

But Song Kang has a different feeling.

From the moment the piano sounded in the second movement, he seemed to be deeply connected to this movement.

He didn't know where the music was taking him, but he wasn't going to think about it.

Therefore, compared to the mediocre and even somewhat deliberately flattering first movement, he could not help but fall in love with the tempo in the second movement, which was slow and flowed with indescribable freedom and sadness.

The sound of the piano is like a solo dance of the soul. Under the melancholy poetry of a dimly lit place, hidden in the mist of the countryside at dusk is a sense of calmness.

No matter what others think, as a composer, this is the picture and idea that music brings to him.

Of course, this is not the work of Ang Lee alone. If there was no band that laid the emotional foundation from the beginning of JC Bach's melody, then Ang Lee would not be able to play this feeling.

So on the day of the actual meeting, he had to add one more question to Ang Lee: whether the tempo of the second movement was Fang Yongbo's idea.

As the music came to the cadenza, Ang Lee finally looked back at the keyboard.

"when!--"

There was a loudness that had not appeared in the whole scene, and the shouting horn disappeared into the dullness.

Song Kang cried, he was moved by this sound.

It is this first note that has become the mainstay of the entire cadenza and even the entire movement. It ultimately carries all the emotions that the music wants to express and completely activates the "slowness" of this movement.

After the piano cadenza, the band sounded again to make the closing statement.

Li An stopped his hand, wiped his sweat again, and put down his handkerchief. He looked much more relaxed.

At this moment he looked at the orchestra with a smile. His work in the second movement was completed, and there was no more note left for him.

After Fang Yongbo took over the music, he didn't need to emphasize anything anymore. The second movement was perfect beyond his expectation. Then he only had to cooperate with Ang Lee to complete the third movement.

When the band plays that poignant sound again, the audience will no longer feel any discomfort because the piano has taken them home.

The audience here refers to the audience who are following the music.

It was difficult for Old Wei to describe his mood at the moment. He almost finished listening to the second movement. He couldn't say it was bad, but he couldn't say it was good. He could only say it was too jumping, or maybe he was old.

Philip's idea is that if this were in Paris, he would definitely write a long review tonight to severely criticize the young performer named Ang Lee. Before, he said that this young man deserves the respect of the band, but now he wants to Take back your words.

The handling of the second movement was completely inconsistent with Mozart's intention, disrespectful of the composer and the performer, and unworthy of anyone's respect.

Ang Lee's performance reminded him of a Russian who was once very popular but always hated him. He felt that both Ang Lee and the Russian should start reading music again.

It’s not just adults who don’t like it that much. Liu Fengrui couldn’t help but yawned halfway through. It was too slow. It was really too slow. It didn’t sound as good as the first movement. No matter how good the teacher played it, he really couldn’t improve it. Get interested.

Zhao Weida had the same idea as Liu Fengrui. He couldn't get excited about slow things. He could only say that the teacher was awesome.

Wen Xiao can only say that he does not understand music, but he respects Ang Lee and Fang Yongbo.

Sun Yuman felt too heavy.

Huo Xiaodong felt that the movement was too plain and lost the true nature of Mozart's music.

But more people still like it.

For example, Fu Tianming sounds good.

For example, Jia Mingyu has artistic conception.

For example, Rosenthal, the British-American conductor sitting on Philip's left hand.

The first concert of this music festival was conducted by Rosenthal, and it got off to a good start. He liked Ang Lee's meticulous and careful handling of details.

For example, Chen Xuan felt that she should know what Li An wanted to express.

For example, she didn't know why she liked the car so much, even more than the first movement.

The car likes it.

Near the end of the band's finale, she took out her phone and quietly took a photo of the stage.

In the photo, the oboe player raises his instrument to announce the end of the second movement.

The scene fell into silence again.

Li An and Fang Yongbo looked at each other for the third time. It was obvious that both of them seemed extremely relaxed at this moment.

Suddenly, Fang Yongbo raised his chin provocatively.

This scene caused a small commotion in the audience.
The conductor was obviously up to something. Laughter sounded from several corners, but the laughter immediately disappeared.

But the laughter was replaced by a huge whistle.

From a Neapolitan bass who was invited to the festival.

At this whistle, everyone looked at the bearded bass whistler in shock.

The bearded bass didn't expect that the scene that was so joyful just now fell silent for an instant when he blew his whistle.

Faced with this situation, he was obviously a little acclimatized.

What did he do wrong?Isn't this a music festival scene?
Different from the seriousness of traditional concerts, the music festival is a festival in itself.