The solemn and dark piano sound under Fan Ning's fingertips continued to hang over the symphony hall.

Like thunder in the dark clouds, a frenzy about to hit, or a dormant volcano ready to explode.

"Could it be that it's a piano overture that brings out the orchestra? 4 bars or 8 bars?"

"For example, something like the opening of his "Piano Concerto No. 2 in C minor"?"

A group of music critics, including Yetus, editor-in-chief of "Theoline Cultural Weekly", and Ferrege, senior reporter of "Hoffmann Gramophone", listened to Fanning's performance, and the first thing they thought of was "La La".

two".

In this case, it is really innovative...

Many people with a sense of scrutiny have felt from the beginning that this is by no means a cliché.

Instead of copying the sublimated formula of the master's late symphony, he added a chorus to a genre similar to a piano concerto?

Just when everyone thought that the piano "prelude" was about to lead the band to the beginning, they found that they had guessed wrong again.

Master Xilins still stood with his hands behind his back.

Miss Sheeran, who was leading the entire orchestra, still had her violin propped upright on her lap.

After the piano's four column chords rose and fell repeatedly, Fan Ning's right hand did not stop, and brought out a passing sentence composed of third double tones in the high range.

They fall in a roundabout way, like light and melancholy sighs.

Fan Ning then released the pedal, leaned over and carefully touched the keys, letting them turn into a repeating sound pattern in the midrange.

The tone is light and short, with a slight sense of pace:

"la/xi/la/xi/la/xi/la/xi/la—." "xi/re/xi/re/xi/re/xi/re/xi—."

The repetitive sound pattern of tick-tock alternates, and the left and right hands contrast with each other, and the dark minor-key harmony gradually reappears.

Hesitation and torture, although the volume is not high and the color is not strong, it has hints of tragic heroic temperament.

Regardless of any attempts or tributes, if the music itself starts like this, can't it still be called great?

In less than ten bars, the audience was already deeply moved by Fan Ning's performance. The old lady Hamilton tightly held the armrests of her seats with her hands, tears glistening on her wrinkled face.

The second time, Fan Ning's right hand played in thicker octaves, while a descending triplet group appeared in his left hand.

The sudden extra notes disrupted the neat rhythmic correspondence, and a strange sense of urgency came over me.

The intensity of the sound group increased all the way, and the hands moved farther and farther away in rapid movement.

"Boom! Boom! Boom!" At the end of the phrase, Fan Ning exerted force with both arms, stepped deeply on the pedal, and once again played the major chord starting with the octave bass.

The distantly related E major modulation brings a strong contrast to the colors. In the thumping sound of sf and ff throughout the piece, the pillar chords gradually collapse and decompose, and Fan Ning's left and right hands fly up and down, bringing out pieces of coldness.

Arpeggio sound group.

"This... is actually a performance by him alone!"

"Don't talk about the chorus! Even the band... after almost three minutes, the band didn't show up!

"Did he write an entire piano solo?"

Those who were thinking about how piano and chorus should join the band in the early stage now got an answer that was completely deviating from their expectations, but extremely touching and in line with the aesthetics. They suddenly felt fascinated and admired.

If nothing else, during a symphony concert, after listening to so many elegant orchestral dances, suddenly a long piano solo with shimmering cold light was presented. This is very refreshing, right?

"Casual, so casual, a completely eclectic creative approach! I suddenly realized that its title is not only 'Choral', it is 'Choral Fantasy', which is simply too full of fantasy temperament, and it is also

Classical fantasy temperament with tragedy as its core!”

Master Schillings, who was standing solemnly on the podium, had already walked on stage with Fan Ning several times, but with the in-depth performance on the stage at this moment, he discovered many different feelings.

Fan Ning's left hand lifted the wrist away from the keys, and his right hand played a long series of ups and downs of cadenza at a casual speed, and rushed to the high C in the third group of small characters in a chromatic manner.

A series of loud vibratos brought out the "hesitant pace" of the previous left and right hand responses again.

New material appeared. In the rhythm of repeated double notes in the high register, Fan Ning's left hand joined in with the sudden force of SF, playing a motive fragment that combined long and short notes, like a declaration and a call.

But in the process of modulation and development, the painful tapping sound of Fan Ning's right hand became louder and louder, and the register became higher and higher.

"The world is in great trouble! People are living in great pain!" He shouted from the bottom of his heart at the beginning of "Initial Light" to inform the audience.

Just when everyone's minds seemed to be about to be crushed by ruthless fate——

The hero's power finally broke out, and he rose up with a fighting attitude. The horn-like left-hand motive suddenly turned into a pouring descending thirty-sixth note, which was even more dense than the original transformed triplet!

The audience was horrified to find that Fan Ning's right hand was still striking the harsh and dangerous octave pattern, while his left hand was already flying at high speed. The two forces were fighting hand to hand, and the fight was fierce and bloody. The sound of the piano

It resounded throughout the symphony hall like a volcanic eruption!

"boom!--"

Finally, like a giant object falling to the ground, dust rose up, and a heavy dominant seventh chord in the key of C minor was violently smashed down by Fan Ning's hands.

As his hands flew up and down, decomposed arpeggios came in waves like a tide. This extremely virtuosic and tragic cadenza that Beethoven improvised on that winter night in 1808 finally came to an end.

The piano solo lasted for nearly four minutes, but what it ended up with was a wave of wandering colors, an incomplete ending, and a fruitless ending.

The hero's questioning lingered in the air for a long time.

The audience seemed to have a premonition of something, and the curtain finally opened.

Master Schillings on the podium raised his right hand holding the baton at some point.

In a moment of perfect tacit understanding, Fan Ning let go of the pedal and the conductor gave the starting point. Almost at the same time that the reverberation disappeared, Roy led the entire cello group and played a bass melody in C minor "Inquiry into Motive" with weak pp dynamics.

.

Four and a half bars in length, short bow movements, and a dotted rhythm... The melody under Roy's bow first progresses tentatively, reflecting the characteristics of actively seeking answers, but also seeming to be hesitant about difficulties.

The ground fell back.

So Fan Ning raised his hands again and played a melody with recitative characteristics in the high register, answering with warm colors of comfort and comfort.

The second time, it was still "inquiring about motives", switching to the key of F minor, switching to the viola and the second violin. Fan Ning also responded with encouragement by raising his wrist and lowering the keys.

The oboe, bassoon and horn were then added to make the sound warmer and richer in texture. These melodies with recitative characteristics were intertwined with the "inquiry motive". Finally, the wind instrument played a slightly empty fifth-degree double tone,

Among the large number of freely extended expression terms, something new seems to be brewing.

Finally, in measure 53, Fan Ning used the piano to take over the double-note percussion, and then, accompanied by the horn, presented the core of the work for the first time, which is similar to the "Ode to Joy" in the final chapter of "Beijing".

Happy theme".

Behind the filthy surface of the world, there is a light that towers above all the heterogeneous colors. Sometimes it can crack the skull, and sometimes it can penetrate the darkness and pain, dripping into the mud of distorted colors in the world.

Accompanied by Mozart-style semi-decomposed chords, the "joyful" melody composed of regular eighth notes appears simple and warm, and the piano cadenza interspersed is like a cheerful and lively ballad.

The "happy theme" born out of suffering is particularly precious, and no audience is willing to abandon it after hastily savoring it.

They naturally long for the musicians on stage to fully explore its joy and fragrance through variations.

Fan Ning played the accompaniment column chords, and based on this, the flute began the first round of variations, using sixteenth notes in the high range. Joan's elastic and brisk vocals seemed thin and clear, seeming to echo the previous Hua Hua.

Colorful and lively temperament.

Then the piano accompaniment changed to a thinner alternating left-hand and right-hand style. The flute exited and two oboes entered. The second variation was launched in parallel three degrees apart, with swinging sound patterns, bouncing postures, crisp timbres...all kinds of humorous musical characters.

It's hilarious.

During the third variation, Fan Ning raised his wrists and exited. He had a short period of rest. At this moment, he was sitting in front of the piano, smiling happily, shaking his head relaxedly, enjoying the performance of the woodwind trio.

The bassoon has a dark and honest timbre, coupled with the harmony of the two clarinets, they show a high-purity fusion against the background of the same background, and at the same time they are consistent with the singing of the theme piano solo.

In the fourth variation, the woodwind trio is replaced by a string quartet, and the violins uniformly weave a mellow and dense texture, with occasional joking dialogue between pairs.

The intensity of the music gradually increased and seamlessly connected to the fifth variation of the orchestra's full performance. Then the "Happy Theme" finally ushered in its first highlight moment. The symphony hall was filled with light and the sound of praise resounded from every corner.

!

After the band played forcibly, the piano reappeared without leaving a trace. Fan Ning's left hand played a warm triplet, and his right hand played a cadenza melody with cheerful vibrato. Together with the band's brilliant column chords, it had an impact on the entire presentation.

Make periodic summaries.

Then the piano played the transformed "Hesitating Theme", the register rose in an atmosphere of uneasy anxiety, and once again turned into a series of passing sentences that sounded like soft sighs.

Suddenly, Fan Ning's eyes narrowed, and his left hand played the alternating I-V C minor chords with ff intensity. A burst of dark melody like a storm appeared from his right hand, starting the sixth variation at the beginning of the development.

The band camp embraced the fierce competition. Under the instructions of Master Schillings, the musicians' bows and strings were flying and the pipes were singing. The incarnation of fate and suffering was played by the piano. Fan Ning's whole body was surrounded by a chilling spiritual aura.

Every sharp lift of the wrist and every set of sharp key touches sent tremors from head to toe.

The extremely dramatic interpretation method brings about a fierce confrontation like a storm. This round of conflict turns into a pianissimo passage in the key of B major, and finally ends in the not very bright key of A minor.

But soon, the do rose a semitone, opening the seventh variation of the meditative Adagio in A major.

As a result, the audience discovered that the pianist who originally created a sound full of danger and violence suddenly produced a gentle and confusing melody under his fingertips.

Fan Ning raised her cheeks, smiled and closed her eyes, caressing the keys with her right hand. Every finger turn, finger thread or finger change with the same sound was filled with love and care for her lover. Amidst the accompaniment of the band, there was a hint of sweetness.

The song flows in the high register.

The sun is shining, the swing is swaying, and young girls are whispering passionately in the spring light. At this time, the "happy theme" is magnified in its joyful and intoxicating aspect. This is not the final answer, but it is beautiful enough and enough to make people indulge in it.

The right hand of the piano plays a long vibrato that stays on the dominant note E of A major, and the left hand strikes a bell-like dotted rhythm. Then the bassoon, French horn and flute imitate and respond one after another, turning into the sonorous and passionate eighth variation.

Army march.
To be continued...