The second movement is the shortest of the four movements, almost half the length of the first movement, and has no obvious genre features in the form structure.

The music begins with a low and powerful wind instrument, presenting a relatively long theme, and then the string instruments perform variations on the theme, and then the wind instruments perform variations again, alternating three times and five variations in total.

The composer showed off his experience and skills very well here, each time producing subtle color changes, from calm to grand, then grand, then gorgeous, then a little lighter, and can continue to be cheerful, after the final variation

Following the transition, the music has a gentle yet faintly rising trend.

The knowledgeable people in the audience made some reactions at this time. They raised their chins to increase their concentration or made a look of careful thinking, indicating that they professionally and sensitively discovered that the work was starting to get real. The short second movement

The beginning may not be particularly pleasant, but the sincerity shown by the suite composer is sufficient, the talent is ingenious and the meticulous craftsmanship is worthy of the investment on stage and the concentration off the stage.

However, just when everyone was looking forward to how the music would develop as expected, the composer was naughty again and made the strings "tremble" unexpectedly, and then the wind instruments also began to "rest".

It is simply unreasonable and contrary to theory. For a brief moment, some people may question whether the composer made any mistakes here or whether there was something wrong with the orchestra.

Just as it eased slightly, the discordant trembling and uneasiness came again, intensified, lengthened...and then disappeared again.

Maybe some people think that they won’t do it again in a worse way, right?

It really came, and this time it was no longer a test or a brewing, but a real one. The strings began to fluctuate violently, and the wind instruments seemed to be swaying uncontrollably.

At this point, the music coming out of the stage is no longer pleasant to most people, and the normal enjoyment of beauty has almost disappeared.

But the "ugliness" orientation of the music has just begun. In just two measures, the strings changed from fluctuations to tumbling, tumbling to overturning, and the wind instruments swayed until they broke, shattered, and fell.

It was so unexpected that people who had read the music score seemed to be frightened by the instantaneous collapse of the musical image on the stage. Yang Jingxing had never done this before. His style has always been to make the music beautiful and attractive to please girls. Of course.

, more people in the audience are unfamiliar with Yang Jingxing, but even senior experts should have never been exposed to any works, and they would completely fall out of favor in such a short period of time.

However, the destructive desire on the stage has just begun. The unexpected shock just now is just an appetizer, and then the meal will officially begin.

After collapsing to the maximum that all factors could achieve together, the music suddenly and without warning started the wind theme at the beginning of the movement, this time the woodwind started first.

The notes are still the same and the tempo has not changed, but the conductor and musicians still use the remaining space to carefully carve out the color of the music. It is not exactly the same as at the beginning. This feeling is after the brass and strings are added one after another.

become more obvious.

But compared to the previous one, the current melody is so beautiful.

But it was beautiful just once. The music seemed to be about to expand and develop this calm theme. The style of painting suddenly changed, and the composer's destructive skills became more proficient. It only took one bar to separate the original calmness, and each sound

Each part splits from a common theme, and then each part uses its own special skills to express the tearing pain and ugliness, the shrillness of the violin, the mournful wail of the trumpet...

This was the first main course. Fortunately, the people on the second floor were all well-informed. Only a few laymen showed a little discomfort. Most people were calm and had only slight expressions.

In the second course, the audience seemed to be suddenly pulled to a completely opposite perspective, and the grandeur became so insignificant.

In the third course, the composer and the musicians on the stage used a brand-new cooking method to paint the previous gorgeous theme variations as quickly as possible until it was pitch black and invisible, without mercy.

In the fourth course, the light and flowing theme became extremely heavy and difficult, and even completely trapped in the mud, which led to disaster.

The fifth course continued to play tricks, the cheerful rhythm was momentarily interrupted, and seemed to be frozen forever.

The food was served so fast, let alone eating it, that the audience had no time to take a closer look, and the next shock came again. It was simply cruel, with beautiful melodies and beautiful textures coming alive in front of thousands of listeners.

The ground was shattered and torn, and it made a gesture of overwhelming force.

The sixth course immediately overturned the table, completely cutting off the audience's hope of seeing one or two edible dishes, and then established a simply terrifying musical image, standing there with arrogance.

In the terrifying atmosphere, the second movement ended, and Jiajia might have been a little frightened.

The audience was completely different from the one at the end of the first movement. There were all kinds of expressions and whispers. I don't know if they were condemning the composer's bad attitude, or regretting his own inability to face the ugliness. Regardless.

Whether it was good or bad, it was a good thing to be willing to talk about it. However, the teachers and seniors around him didn't say anything to Yang Jingxing, or even look at him.

It is not easy to cause damage. Even Lixin on the stage seemed exhausted from these five or six minutes, but only had a few seconds to recuperate and adjust his spirit.

The third movement, if you have to use a formula, can be regarded as a combination of rhapsody and march. The music has a certain Yanhuang national color and borrows some traditional music materials, but it has been completely changed in the music. Only professionals can analyze it. The third movement is still

The longest one, I heard the orchestra was rehearsing it for fifteen minutes. This movement also has the most complex color changes, and the composer marked it most frequently in the score.

For most of the second movement, Lian Lixin was frantic and unable to control himself. The starting movement now is particularly slow. While turning over the music score, he lowered his head and turned his neck so slowly, which was extremely artistic.

When the trumpet sounded, it seemed that sadness could be heard from the first note, presenting a theme that was like a sad music. Of course, sad music should be serious, but the trumpet then became confused, seemed confused, and then lost its mind.

Develop the theme of sorrow and music to the point where the six gods and souls leave the body.

Fortunately, the strings came up, and the wind instruments also followed, with several parts, and the melody suddenly showed off its wealth again, but this time it took a sad route, the double bass and the bassoon continued to lay out an extremely heavy bass, and the cello

Sobbing, the violins weeping, the French horns lamenting.

Slowly, the violin that lost its mind was pulled back by other parts, and began to harmonize with everyone.

When the entire orchestra finally came together and began to perform together, it was overwhelming sadness, despair, and out of control.

Lian Lixin's command movements here are simple. From the back, it seems that he is holding his hands on his chest and tilting his head to the sky. He has not moved for a while. He is probably commanding with his eyes.

Before the concert, when Gong Xiaoling suggested that Li Yingzhen prepare tissues or handkerchiefs, Li Yingzhen laughed and said no, she wasn't bragging, it was just a twinkle in her eye now, and she was far from using those things.

The music is getting more intense, and the melody of each part is getting more and more exaggerated and the coordination is getting better and better, which makes the grief become rough, even broad and majestic, making it impossible to avoid or ignore.

Vice Principal He was a little excited. He stared at the stage with his eyes wide open as if he had some hatred. The program list he had been holding in his hand was shaking a little.

No matter how sad it is, for the ears, the current music is at least much more acceptable than that of the second movement.

You can't keep sensationalizing. I don't know when the timpani sounded, and it gradually became louder and louder, and the rhythm became more and more distinct, which then led to the gradual change of other parts.

After the timpani reaches the level of sharpness and boldness, the other parts also reach the watershed of emotional transformation, and each progresses and develops, entering the next more complex stage.

First, the brass were the first to wake up from the grief, and after clever connection, they played the march horn. The confidence and strength grew from weak to strong, and were echoed by the strings, and gradually reached climax.

However, the little dance was short-lived, and the march disappeared, and the music began to be sad and even panicky again.

Then the march came up again and fiddled with it for a while, creating a little ** again.

Then another grief began, but this time it ended with a small feeling of hope.

The march continues...

The third movement can be regarded as the composer's first show off from the technical and theoretical level of this work. The first movement has a wonderful melody, and the second movement has a novel idea. This third movement allows Puyin's composition department to play "original and pioneering"

, subversive, extraordinary" and other such shameless words in the literary and art circles.

Supported by the endless stream of wonderful musical ideas and the exquisite and solid structure, the music moves towards the big climax in continuous small waves.

The tension and panic of the strings will not stop the wind instruments from stopping, but will instead become more intense.

In the seemingly endless suffering of the bass, the mid- and high-pitched strings will not give up their beliefs, and will push forward step by step no matter how difficult it is.

…

After enough preparation, the movement is ready to enter its climax. Encouraged by the woodwinds, which are soft but brighter each time, the brass unison becomes grander, brighter and more passionate each time. Again and again, the composer seems to have inexhaustible inspiration.

After the woodwinds exerted all their strength, the brass finally reached its highest point, and then all the strings played, filling the audience's minds with warmth instantly and continuously.

After the orchestral music has been warm for a long time, the percussion begins to pave the way and slowly adds to the drama. Others slowly fade out, and then the percussion gradually takes on the leading role.

Almost in an instant, the orchestral strings struck again at the same time. The winds enveloped the music surgingly, and the strings radiated magnificently. All the beauty and light seemed to be gathered and amplified at this moment, making the music too brilliant and the audience had to close their eyes.

eyes.

However, this last moment was relatively short-lived, and then the music fell back and entered the end of the movement. It seemed that it began to express sadness again, but it was very different from the beginning. There was no despair, but there was hope.

The orchestra stopped and there was not a single note on the field. Why was Lian Lixin still twirling his baton a few times?

There was some applause upstairs and downstairs, but nothing happened. Gong Xiaoling squeezed Yang Jingxing's shoulder from behind. Yang Jingxing turned around with a smile and saw Professor Gong's expression of being completely moved by the music, so he quickly restrained himself.

Before Yang Jingxing had time to respond to all the attention and encouraging glances around him, the fourth movement began on the stage.

The fourth movement, in form, is a misplaced combination of two rondos. The composer’s tricks are many and clever. If a freshmen undergraduate were asked to analyze the structure, they might get dizzy.

However, in terms of emotional color, the fourth movement and the first movement seem to be a bit repetitive. They are mainly about the magnificent and open feeling, and even the duration is similar. It is just that the fourth movement has a stronger sense of freshness than the first movement, although

The material is different, but the emotional expression can be regarded as a luxuriously improved and upgraded version of the first movement. Perhaps the composer's restraint in the first movement was to leave more room for the fourth movement.

There are not many changes in the fourth movement. Basically, it is pleasing the ears of the audience from the beginning. It not only sounds good, but also mostly has a positive musical image. It only occasionally adjusts it and changes the technique.

If you conduct an audience survey, the fourth movement may even be more popular than the third movement, but if you analyze it in the composition department, the second and third movements can be praised in great detail, while the connotation of the fourth movement is much shallower.

The first movement has an introduction, and the fourth movement has an ending, which is also relatively long. Finally, through the cheerful rhythm of the strings and the sonorous sound of the wind instruments, it expresses hope for a bright future.

Lian Lixin's last movement also gave him a youthful and lively look. He paused for only a second or two, then turned around unceremoniously to face the audience, with a slightly arrogant smile and a slight tilt of his chin.

The applause rang out. After all, Yang Jingxing had no status or qualifications. The start of this applause was much worse than those in the previous shows. In the previous show, as soon as the show ended, the conductor made a move, and the whole place immediately started to crackle. It was Yang Jingxing's turn, although the leader also

Not too few, but the people following behind seemed to be holding a wait-and-see attitude, not very decisive.

You can't blame others, just look around the composer. Ding Sangpeng didn't take action right away, the principal didn't take action right away, He Hongchui wasn't in a hurry, Li Yingzhen didn't seem to have that intention at all... It's better for Professor Gong, and Lu Kaiping also gave him face.

.

However, Lian Lixin should have some status. Looking at his posture, he was doing more and more, and everyone still had to give face to him. So the applause gradually became warmer, and the entire concert hall joined in. Ding Sangpeng also raised his old arm,

Li Yingzhen also showed some interest.

Then more people may remember that this is the finale, so they will give more face, and the applause will be more intense and turbulent.

After less than half a minute, the people upstairs began to gradually put down their hands. After all, almost every program tonight was treated like this. Everyone was treated equally, which could be considered an encouragement to the juniors.

Yang Jingxing pretended that the slap was for the orchestra and conductor. He originally wanted to hold on, but he had to start accepting congratulations like the principal and others. However, what the principal received was compliments, while what Yang Jingxing received was praise.

Tang Qing turned around, as if he was young, put his arms on the back of the chair, and said: "One of the few joys in life is that you get what you pay for, and you get what you pay for. We get what you pay for."

Something was gained.”
To be continued...