Please, come home and practice the piano

The Taiwan light is scorching hot.

At this time, Chen Xuan, who was under the spotlight on the stage, felt the breath that was about to be exhaled in his chest rushing out of his throat.

With the bending motion of bowing, she let out a long breath.

When she stood up again, there was no longer just a stage in front of her.

The air barrier connecting the auditorium and the stage seemed to have been broken. She no longer felt depressed in the center of the stage. Now she could feel the presence of the entire concert hall.

Suddenly, a surge of energy enveloped her. Holding the flute and standing firm, she felt as if she was in control of everything.

Subconscious experience told her that today's stage condition was better than she expected.

But she was in no hurry to play the flute.

She breathed in and out again, three times in a row. When the slight dizziness passed, she took half a breath for the last time and exhaled slowly. She knew she could start.

At this moment, the tempo of the track, which had been bound to her nervous system, appeared clearly in her mind.

Da-da-da-da-
Slowly holding the flute to his mouth, the golden flute head brought a slight chill from his lower lip to his whole body. The clicking sound in Chen Xuan's mind was taken over by his body in the next moment.

I saw her whole figure naturally swaying from bottom to top, holding the flute in both hands and leaning forward slightly, a small hole appeared on her two delicate red lips, and the air filled the mouth of the flute as she exhaled——

"buzz"

A deep yet ethereal bass swayed and floated from the surface of the stage, like a slowly unfolding ink scroll revealing a corner of its background, making people unable to help but take a closer look.

First movement of Duttier's Flute Sonata, Allegro Allegro.

Like the clouds and the sun, the light is hazy and the sound of the flute jumps up and down.

The car was affected by the brightly colored flute sound across the big screen. It turns out that the feeling of this song can still be like this.

It wasn't because Teacher Chen played it that she thought it was unique. It was because she really liked the beginning. After listening to it so many times, it was the only beginning that sounded friendly to her.

It's like being wrapped in the sound of a flute. It sounds like you're lying in the sun, but when you look up, the sky is colorful.

Beside the car, Xiaobei also showed an obsessed expression.

The classroom was quiet, and the sound of the flute was coming from the speakers and spreading everywhere.

When Chen Xuan finished playing four bars, Li An leaned back on his chair and felt temporarily relieved.

A good beginning is half the battle, and Chen Xuan's opening is full of meaning and can be called a head start.

It’s this smooth and concise beginning. No one except Ang Lee knows how many times Chen Xuan has practiced the attack in private.

And it is this attack that runs through the entire song.

Western music has entered the [-]th century, and new genres and techniques are emerging one after another. Avant-garde composers are pursuing composition techniques with different styles, and every note deviates from traditional music.

However, Dutilleux, who was in the avant-garde trend, did not blindly follow this innovative craze. He inherited the essence of the traditional composition techniques of his ancestors and perfectly blended various excellent musical elements to form his own style.

The most representative one is this flute sonata.

This piece is of great significance to the competition. The opportunity for its creation was that Dutier was invited by the Paris Conservatoire to create an examination piece for flute graduates.

Candidates can graduate successfully only if they pass this piece in the graduation music performance.

At a time when modern flute playing techniques had not yet been fully developed, the difficulty of this piece made the graduates miserable.

Even today, it is a mountain of flute playing techniques.

Although it is a sonata, there is no pause between its three movements, and in terms of characteristics, it is completely different from the sonata structure of the classical period.

Chen Xuan starts the piece by directly naming the main theme of the movement with an unstable rhythm.

The swinging melody gives people the illusion of missing beats at any time, and the romantic color between the ups and downs crosses the ups and downs between the three ranges, full of neoclassical colors.

In all passages with rests, the live judges could hear a performance expression such as "Animez toujours", which was always active.

This kind of material appears from time to time in three different sections. Every time Chen Xuan appears, it breaks the structural divisions of traditional sonatas, fully conforming to the definition of this movement, which is irregular.

But if you listen carefully, you can't tell what exactly she did.

The silky-smooth music comes to the end of the movement like riding on a cloud car.

Chen Xuan cleverly chose Jiangsu in advance, and then gradually accelerated, and the emotional dotted rhythm pushed the music to the top G note.

The grainy double spit and colorful tongue are confusing, and the poetic words are slowly released after reaching the peak, and finally return to calm.

The naturalness of the music's speed sets off the connotation of the music at this moment, echoing the low beginning and end of the movement,

The cadenza continues to the end of the movement, ending the first movement.

While everyone was still reminiscing about the graceful musical structure, Chen Xuan had quietly entered the second movement, Small Canto, on the flute.

It’s almost impossible to catch, the flute sound spreading on the stage is no longer erratic, and the sound pressure is not as tense as the tight notes create.

The sound of the flute took on a lazy tone in the second movement, and Chen Xuan's entire flute-holding state became a bit more relaxed, with her fingers no longer beating wildly.

The freehand expression behind the musical melody is like the setting sun at dusk, bright but not dazzling.

Debster in the audience couldn't help but smile when he heard this. She was still the stubborn little girl in his memory. He and Chen Xuan had a discussion here on the first day of class.

But it was very obvious that the other party did not listen to his opinion in the end and still chose not to make changes in the timbre.

But overall, after listening to the music, it doesn't mean much whether the timbre has changed at this point. The other party has a clearer grasp of the overall structure than when he was in class that day.

This is how he actually feels at the moment.

After four years of not seeing each other, Chen Xuan’s flute technique at Debst showed no substantial breakthrough, and his playing style was actually tougher.

Four years ago, he suggested that Chen Xuan try to be gentler, but now it seems that the other party has not changed, but has become "even worse."

But now the opponent already has the tough mentality and state to control it.

To put it bluntly, it is confidence.

What's even more rare is that under this confidence, there is a standardized framework.

In that cadenza, Debst heard a powerful soul dominating the music.

The free-tempo playing is a highlight of this piece and is undoubtedly the most exciting for both listeners and performers.

Using free speed to play the cadenza is the best test of the performer's overall strength, but freedom is not synonymous with impulsiveness and chaos.

In this round of competition, Debst heard all kinds of imaginative brilliance, but he was only satisfied with the results.

The imagination of the young players is used to create the hallucinogenic feeling that music brings to people in a moment. It is really exciting for you at the moment, but it seems a bit empty when you think about it later.

It seems to be done deliberately, as if it is brilliant for the sake of splendor.

As a graduate of the Paris Conservatory of Music, Debst knows this Duttier piece all too well.

To be more precise, this piece was born in 1943.

It was the period when emerging artistic styles of the [-]th century, such as neoclassicism, expressionism, and nationalism, were merging with traditional artistic styles such as romanticism.Although this work does not clearly belong to a certain artistic style or artistic method at that time, the entire work is full of traces of various techniques and styles of the same era.

One of the most critical points is one that Debst believes most players have not figured out——

Stripped of all the fancy clothes, this work is essentially a typical French Impressionist harmonious sound work.

Even though the trendy "twelve-tone sequence" has appeared in some places, this does not mean that the traditional structure of this piece should be abandoned.

Most of the players were more showing off their skills, which ran counter to the original intention of creating this piece.

The cadenza is the brilliance of music, the shining point in the music structure. Behind the emptiness is an understanding of the work that puts the cart before the horse.

Chen Xuan's cadenza is thoughtful. The harmonic function of Impressionism is never vague, and Impressionism is not abstract.

Circular geometric lines can never reflect the color and light of the sun, but musical lines can, but few people do it in this piece.

Take Chen Xuan for example, even though her timbre often feels monotonous in this piece.

As Chen Xuan's performance reached the third movement, the atmosphere on the stage changed again.

As if the clouds are parted and the sun is revealed, each section of the third movement has a distinct concept of paragraphs with different materials.

The rapid passages, composed almost entirely of sixteenth notes, make it difficult to hear where the theme lies.

This is why Debst people believe that most players are not smart enough, and when the time comes to show off their skills, they are unable to fully unleash them.

Because there was too much overdraft in the past.

Just when most of the professionals watching the competition thought that the beautiful figure in the center of the stage was going to do something special, Chen Xuan just used a little vibrato.

By controlling the frequency of the vibrato, the rapid flute sound has a slight change in timbre during the jump.

It's not obvious, but it's enough to be heard.

The light and elegant feeling that conveys it reaches people's ears and resonates with them.

Debst had to re-evaluate the figure on the stage. The art of interpretation is the expression of emotional connotations, far beyond the symbols on paper. If the music played cannot express thoughts and emotions, then it is an empty shell.

Like a filled bullet, it suddenly shot towards him from the violently fluctuating vibrato ending of the third movement.

One hit, and he recalled that four years ago, he was moved by the innocence of this little girl holding a flute on the stage, and wanted to take her as a student and take her back to France, but failed.

Four years later, Chen Xuan had matured. When they met again, he could no longer see the childishness in the other person. But unfortunately, at the same time, the longing for the flute in the other person had also disappeared.

At least in the first round, he felt that Chen Xuan's eyes no longer had the sparkle they once had.

But at this moment, he seemed to realize that this was not the case. The other party might just hide the light and shadow, and when he wanted to show it, he would show his sharpness.

Debst suddenly had another idea. This time he wanted to discuss the issue of timbre in detail with Chen Xuan. It wouldn't take too long, almost two years.

Four years ago, a child could not make the decision. Four years later, the little girl has become a mature woman. Can she make the decision this time?

As Chen Xuan played the last note of Dutilleux's sonata, Debst drew a question mark in his heart.

He wanted to try again, she could and should be better.

In the classroom, Li An was also cheering for Chen Xuan in his heart. From what he heard, Chen Xuan's performance of Dutier was not inferior to Elena at all. The two had very different styles, but they both played closely to the structure, and the final sublimation of the elevator was just right.

Although Chen Xuan is not as versatile as Elena in terms of timbre, the two cadenzas are more visual than the other party. In addition, with the advantage of appearing later, Ang Lee believes that Chen Xuan has completely taken over the stage left by Elena. .

Wonderful and wonderful, Teacher Xiaomi.

This way there is no pressure on the next piece.

Li An thought the children would applaud at this time, but they didn't.

On the big screen, Chen Xuan put down the flute for a moment, then played it again.

Leclerc's Flute Sonata in E minor, a completely different melody from Dutilleux, once again filled the classroom.

As soon as the gorgeous melody sounded, the children couldn't help but get excited.

I have listened to E minor many times, but the child seems not to be able to get enough.

Ang Lee can understand this. In terms of the melodiousness, Baroque music has no rival.

If the Couperin family represents the beginning of the era of French Baroque music, then Leclerc single-handedly wrote the end of the entire French Baroque music.

Just like this Sonata in E minor, it vividly reflects the objectivity of the post-Barlow era.

The most moving part is this kind of pure objective beauty, which does not require anyone's response.

On the big screen, Chen Xuan used groups of light and exquisite small notes to create a baroque music picture for the children that was different from what they usually see.

The subtle flute flute is like legato on the piano, but more vivid.

The long, melodious and cantabile sentences are like the big slurs on the piano, but they have a more singing feel.

The children's moans and groans in the minor key made me feel sorry for them, and the cheerful major part made them find a sense of joy that they thought could only be found in Italian concertos.

Children cannot describe the spiritual direction of the music background, whether it is non-romantic but full of romantic tones of rationalism.

The children cannot describe how sensitive, meaningful and colorful the musical textures in the complexity are.

They can only chant the magical flute music in their hearts!Magical baroque music!

Unconsciously, the children seemed to have a new understanding of Baroque music, as if Baroque music besides piano dance was more vivid and vivid.

Wang Xiaohu was almost overwhelmed by the moving melody, and tears welled up in the corners of his eyes. It sounded so good!

He vowed that there must be a flutist like Mr. Chen in his orchestra in the future!

A large number of decorative notes are added, the rhythm is strong, short and rhythmic, the melody is exquisite, and the emotional ups and downs are turbulent and restrained. This is the Baroque style, also known as the "gorgeous style" in that era.

The magnificence of the Baroque is not like the suffocating beauty brought to people by Sophie Marceau's pure French glimpse. Its beauty is group portrait, objective and flowing, just like a corner of the street in the afternoon, the camera Randomly record the vast flow of people, it carries the rational beauty of time passing by.

Chen Xuan had several disputes with Ang Lee as early as a year ago about how to interpret Baroque music.

Chen Xuan believes that playing Baroque music and using gorgeous timbre to make strong and weak expressions is pretentious.

Ang Lee believes that the charm of Baroque music lies precisely in the fact that those notes are both streams and sparks.

Perhaps Ang Lee's deep-rooted romance prompted him to play the soul-stirring Mozart, but at this moment Chen Xuan still insisted on her own views on Baroque music.

The journey of life is not a secret of heaven and earth and does not need to be whispered.

If you can't do what you want to do, then take a step back and do what you can do, that's good.

The calm E minor sonata started in peace and ended in peace. After playing the last note, Chen Xuan put away her flute and bowed. She stood up and looked around the stage, as if she wanted to imprint the scene from this perspective in her heart.

Then he turned around and stepped off the stage.

In the first round of the competition, she also made such a move after playing three works, but at the backstage entrance off-camera.