Please, come home and practice the piano

Chapter 60 60. Chopin's Magic Solitaire

Most Romantic composers harbored preconceptions about Romanticism.

They are propagandists, agitators.

They conduct or play each other's music.

They write critical essays on new styles and theories.

But not Frederic Chopin.

He had not read much and had little feeling for Romanticism.

He likes to wander among the aristocratic circles, and is particularly concerned with things like style, taste, style, clothing and the like.

He can be quick-witted, irascible, and urbane all at the same time.

He was the brightest star in that era full of evil, madness, sorrow and joy, and his salon evenings were only open to carefully selected audiences.

What a party with such a luxurious lineup.

Liszt played four hands with him, but the volume must not cover him.

Mendelssohn worked as a page-turner while waiting for his own performance.

Surrounding the piano may be Berlioz, Meyerbert, Heine, Delecroix, George Sand, Eugène Sue, and maybe Alain Schaffer is sitting in the background and drawing the scene sketch.

This is Chopin, one of the greatest piano composers in the history of Western music,

Chopin's works are legends of that era.

To be a great pianist in the 19th century was to be a pianist who played Chopin.

Even in the post-World War I era of anti-romanticism, this statement was held to be true.

Even today, Chopin's music appears in solo piano concerts as frequently as any other composer.

The music of other composers has ups and downs, but Chopin's music is almost stable.

Chopin seems to have mastered an exclusive compositional magic, he can transform practical music from simple training and performance skills into a highly technical and music-appreciating work of art.

Today's pianists are still looking for clues in his series of works, trying to decipher its enduring mystery.

Chopin was the composer of 'absolute music' and he almost never gave his musical compositions titles.

如今人们口中的黑键练习曲（op10no5），冬风练习曲（op12no11），雨滴前奏曲（op28no15），军队波罗乃兹（op40no1），所有这些标题都是由出版商提供的浪漫杜撰。

Op25.no2, some call it 'top', some call it 'bee'.

Just because of its free and light rhythm melody like the wind.

In this 2/2 time triplet work, the endless triplets of the right hand are the foundation throughout the whole piece. While playing fast, we must pay attention to the average of each note.

Because each player's hand shape and habits are different, there are one set of fingerings for this piece of work.

But what is certain is that no one dares to claim that his fingering is the only authority.

The fingerings of the piece are created and separated, taken as they are and dismembered.

Just like a deck of playing cards, after being randomly shuffled, you can draw a spade A and say it is right, and I can also draw a diamond K from it and say it is right.

When the fingers and technique reach a certain stage, that card will appear in every player's mind.

What remains constant over time, however, is that the patterns on this card seem to be forever changing.

When Ang Lee first learned this piece, he used Mikuli's version of fingering, and later switched to Joseph's edited fingering.

The two are very close, but slightly different.

Until preparing for the Starfish Cup National Piano Competition, he developed his own set of op25.

These are the numbers that Chen Xuan heard today.

Behind every number is his conclusion after a lot of research attempts.

He knows that his playing is far from systematic, let alone the so-called playing style.

All he can do so far is deal with every self-understanding.

This work is freedom for him.

So there has to be a pure release in the performance, but at the same time every touch must be clear.

On the stage, he had already forgotten that this was an assessment, and his hands were blowing across the green wheat fields one after another like a breeze.

Finally, with the four fingers of the right hand, they landed on the C in the small print group for the last time.

His whole body stopped.

Sending the last breath of coolness in the hot summer to the audience, and then loosened all fingers.

Three seconds passed in a quiet scene.

At the moment when everyone at the scene felt that they could take a breath, Li An raised his foot and stepped on the sustain pedal vigorously.

Accompanied by the whole person into another state.

The two hands raised and lowered and smashed two strong chords in a row.

Beethoven No.20 Three Piano Sonata Passion op57, the third movement.

"Dang-dang!"

"Dang-dang!"

The tense atmosphere overwhelmed the stage in an instant, and Ang Lee began the performance of the music assessment part.

The first five bars of the work adopt dotted rhythm, coupled with the simultaneous exertion of his arms and wrists, he hit the last chord at the end of the second movement continuously.

Dissonant diminished seventh chords, the strength gradually increases in the dignified air.

The nerves and senses of the audience seemed to be shaken by this series of successive strong chords, and they had to withdraw from the graceful and gentle Chopin etude just now.

The next moment, Ang Lee's right hand began to move from right to left with a slightly exaggerated run, and his fingers fluttered rapidly and densely slid to the bass area, at which time his left hand quietly joined in.

Immediately afterwards, both hands moved together, and the musical motivation was looming in the roar of continuous sixteenth note running.

Starting from the [-]th subsection, it officially enters the presentation of the theme.

Beethoven No.20 Three Piano Sonata Passion op57, the third movement.

Romain Rolland once called this movement "flaming rapids on a tunnel of granite stone."

As one of Beethoven's most handed down music chapters, enthusiasm occupies an extremely important position in the entire history of piano music.

Enthusiasm has venting like a howling wind, and tenderness like a trickle.

There is no lack of dark and gloomy self-examination in Some Like It Fire.

The profound tragedy, fierce contradictions and conflicts and tenacious fighting spirit it expresses are all extremely rare in similar works.

There used to be a saying that if you want to become a performer of Beethoven's works, enthusiasm will be a mountain that you can't get around anyway.

Of course, there are still many piano boys who can't get around.

As the last big boss in the grade examination textbook, the third movement of enthusiasm has left an indelible shadow on the same year of countless piano boys.

This is Beethoven, with such enthusiasm, but Ang Lee is playing very relaxed at the moment, his face is so calm that he still has the serious face of resisting the pressure and oppression just now.

Not long after the topic started, Qin Yong heard a problem.

Like, like.
Like pants. You just show me Doraemon?

He felt like Li An was hiding something on purpose.

He is completely different from the one who played Chopin just now.

　The second change, I will write after I have a meal.

　　
　
(End of this chapter)