Most romantic composers have preconceived ideas about romanticism.

They are propagandists and agitators.

They direct or play each other's music.

They write commentary articles on new styles and new theories.

But Frederick Chopin is not.

He hasn't read many books and has no feelings for romanticism.

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

He can be smart, irritable, and elegant at the same time.

He is the most dazzling star in the age of evil, madness, sadness and joy, and his salon party is only open to carefully selected audiences.

What a luxurious party lineup.

Lister played with him in four hands, but the volume was never allowed to cover him.

Mendelssohn was a scorer and was waiting for his performance.

Around the piano, Berlioz, Meyerber, Heine, Delekrois, Georgesan, Eugensu, and Alex Sheffer sat in the background to draw a live sketch.

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

Chopin's works are legends of that era.

In the 19th century, if you want to become a great pianist, you must be a pianist who plays Chopin music.

Even in the era of anti-romanticism after World War I, this sentence was still regarded as truth.

Even today, Chopin music appears in piano solo concerts no less frequently than any other composer.

The music of other composers has had great ups and downs, but Chopin's music has almost gone smoothly.

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

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

Chopin is a composer of ‘absolute music’ and he almost never names his musical works.

Today, people talk about black key etudes (op10no5), winter wind etudes (op12no11), raindrop preludes (op28no15), army Poronaz (op40no1), all of these titles are romantically made up by the publisher.

op25.no2, some people call it "gyros" and some people call it "bee".

Just because it has a free and light rhythm and melody like the wind.

In this 2/2 three-part work, the endless triple in the right hand is the foundation of the whole song. While playing quickly, you must pay attention to the average of each note.

Because each performer has different hand shapes and habits, this work now has sets of fingering techniques.

But what is certain is that no one dares to claim that their fingering techniques are the only authoritative.

The fingering of the track is created and separated, taken and dismembered.

Just like a deck of playing cards, after being shuffled, you can draw a spade and say it's right, and I can also draw a square piece from it and say it's right.

When the fingers and techniques reach a certain stage, the card will appear in every performer's heart.

And as time goes by, what remains unchanged is that the pattern on this card seems to be changing forever.

When he first learned this song, Ang Lee used the Mikuri version of the fingering, and then used the fingering edited by Joseph.

The two are very close, but slightly different.

Until he was preparing for the Starfish Cup National Piano Competition, he developed a set of fingering techniques that belonged to his own op25.no2 based on his fingering habits based on his fingering habits combined with the official recommended version of the Chopin Competition.

These are the numbers Chen Xuan heard today.

Behind each number is a summary made by him after a lot of research and attempts.

He knew that his performance was far from systematic, and he could not understand the so-called performance style.

What he can do now is to handle every self-understanding well.

This work is freedom for him.

Therefore, the performance must be purely released, but every touch key must be clear.

On the stage, he had forgotten that this was an assessment, and his hands blew through the green wheat fields like a breeze.

Finally, with the four fingers of the right hand falling on the c of the small characters for the last time.

He stopped all over.

He sent the last coolness in the hot summer to the audience, and then let go of all his fingers.

Three seconds passed by at the quiet scene.

Just when everyone at the scene felt that they could change their breath, Ang Lee raised his foot and stepped on the sustain pedal with force.

As the whole person entered another state.

The two hands were rising and falling, and they smashed two strong chords in succession.

Beethoven's 23rd Piano Sonata Passion Op57, the third movement.

“Dong-Dong!”

“Dong-Dong!”

The tense atmosphere instantly rendered the stage, and Ang Lee began to perform the music assessment part.

The first five bars of the work adopt a dot rhythm, and his arms and wrists exert force simultaneously, hitting the last chord at the end of the second movement in succession.

The uncoordinated severity chord gradually increases in the solemn air.

The nerve senses of the audience seemed to be shaken open by the set of strong chords one after another, and had to be pulled out of the graceful and gentle Chopin etude just now.

The next moment, Ang Lee's right hand started to move from right to left with a slightly exaggerated running, and his fingers were flying rapidly and densely sliding to the bass area. At this time, his left hand quietly joined.

Immediately afterwards, the musical motivation appeared in a roar of continuous sixteenth note running.

Starting from the twenty sections, we officially enter the presentation of the theme.

Beethoven's 23rd Piano Sonata Passion Op57, the third movement.

Roman Rolland once called this movement "a flaming rapid in the tunnel of granite rock."

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

Passion is like a roar of a strong wind, and a tenderness like a trickle of water.

The passion is like fire and there is no lack of dimness and gloom in self-questioning.

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

There was once a saying that if you want to become a Beethoven performer, your enthusiasm will be a mountain that you cannot bypass in any way.

Of course, there are the vast number of piano children who cannot get around.

The third movement of passion, as the last big boss in the grading textbook, left an indelible shadow on countless piano children in the same year.

It was Beethoven like this. Ang Lee played with such enthusiasm at this moment, with a calm face, and no serious face that had just been so strong and oppressive.

Not long after the topic began, Qin Yong heard the problem.

Just like, like...

Just like pants... just show me hellokitty?

He felt that Ang Lee was hiding something on purpose.

It's completely different from the one who played Chopin just now.
Chapter completed!