Everyone's formal attire is too homogeneous, and it is really difficult to find someone in such a big square in a short time.
Until a classmate accidentally discovered that a young man wearing a black tuxedo slowly pulled out a black baton with light golden lines from his lapel.
"He's next to me!"
The classmate exclaimed, and then he subconsciously covered his mouth.
"The command is here!"
"Caroline Van Nin is here with me!"
Finally, more and more people discovered Fan Ning, but their reactions were exactly the same as the first classmate: first exclaimed, and then immediately covering their mouths.
This is because there is no sound in the crowd at this time. They find that their shouts are too abrupt in the music, causing their brains to short-circuit for a moment, wondering whether this is a concert occasion and whether they should keep silent.
Under these shouts, the crowd began to surge.
Taking the general area where the musicians were standing as the center, the people in the inner circle basically stayed where they were, while the people in the outer circle were moving towards the inner circle, and the people on the edge of the square were also moving as close as possible to the sound source.
The introduction of just a few minutes before had already made them experience an incomparable and wonderful sense of resonance - there is no real stage, the musicians are right next to them. This is a penetrating and immersive ultimate listening experience.
Fan Ning held the baton, feeling the sense of constriction of the sound field that he had not yet had time to experience. He slowly passed by the crowd and climbed up a movable staircase with a triangular cross-section - it was located on a stone brick with a wide view.
The ground was originally used to provide camera operators with a high-altitude shooting position.
It is not high, only close to three meters, but there is no obstruction nearby, which is enough for the musicians around to see his movements clearly.
"re,la——re,la——re,la,re,la,re,"
At the end of the introduction, the clarinet blows a repeated fourth descending "breathing motive" as the introduction of the theme. The intervals become shorter and shorter, and the mood becomes more and more pleasant.
When the theme of the first movement arrived, Fan Ning gave Roy a distant gesture. She took over the clarinet's breathing motive, and the cello played a fresh, lively, and slightly exciting melody. This is the "wilderness theme"
”.
At the same time, the bassoon staggers half a measure to imitate, just like the echo in the valley when a person walks through the wilderness and sings loudly.
The flute plays the melodious "birdsong theme" in the subtitle, which is superimposed with the "wilderness theme" of the horn at the same time, forming a polyphony. A hundred flowers bloom and a hundred birds sing. The nature is completely revived from the silence, and the creatures are dancing, making it very lively.
Fan Ning opened his arms and delivered a warm and joyful closing sentence of the presentation. After a downbeat, he immediately closed his right hand, tapped the baton lightly, made a downward movement with the other hand, and then slowly moved to the right.
The music returns to the extremely high and pianissian string friction background sound.
Fan Ning's left hand was still moving slowly, and his right hand made a preparatory shot for Qiong in the distance. At the same time, he gently pointed his chin down to indicate a quiet mood.
The first movement enters the development part. In the first round of development, the flute plays the "birdsong motive" again, and the "breathing motive" of other woodwinds forms a polyphonic counterpoint. The tone is quiet and long-lasting, with a pastoral-like temperament, like a carnival.
The living beings rest for a while.
The second round of development begins with the descending fourth-degree progression of the "breathing motive" in the introduction. At the same time, the strings reproduce the low undercurrent of chromaticization, with a contemplative meaning, and the horns continue to blow the "breathing motive" in the third round.
", here Fan Ning has transformed it into a dotted rhythm form, giving the originally quiet effect a sense of momentum.
The scale elements of the "Wild Theme" appeared in the fourth round, gradually transitioning to the fifth round with the most complex sound effects. At this time, Fan Ning showed everyone his superb counterpoint skills, in the cheerful descending rhythm of the strings.
In the pattern, "wilderness theme", "breathing motive", and "birdsong motive" form a triple counterpoint, eventually forming a palpitating ensemble whirlwind. The dramatic tension of harmonic colors is constantly intertwined and pulled, and the emotion is gradually pushed to
vertex!!
"Boom!!——"
Fan Ning stood up on tiptoes first, then twisted his waist, and brought down the conductor's baton very quickly, knocking down the timpani and other percussion instruments. Then the French horn blew a fierce triplet "Blooming Motive", which was a harbinger of the blooming of a hundred flowers.
, at this time it turned into a spectacle under the accelerated lens!
The recapitulation arrives, the complete "field theme" is played by the bassoon, and the flute and oboe reproduce the "birdsong theme". Everyone returns to the sunny spring field again, shuttles among the breeze, green waves and flowers, and finally is surrounded by singing and dancing creatures.
The first movement ends with singing in unison.
No one spoke, no one moved, and no one applauded. During the more than ten seconds of rest between movements, the thousands of listeners in the square followed the etiquette of a concert.
Night has fallen, and the gas lamps everywhere in the square are very bright, reflecting the faces of each listener. Some of them have their eyes closed and are waiting, while others are eagerly anticipating the sound to sound again.
It’s still the breathing motive, but the direction changes in the second movement, from descending fourths to ascending fourths. The cello and double bass play rough and vigorous, full of power, leading to a simple and warm dance melody.
Many people have found that it has almost the same structure as the "Wilderness Theme" of the first movement: both have a fourth-degree jump in the first half, and an unpretentious one-two-three-four-five-note scale in the second half, but it was modified by Fan Ning
After the transformation of the timbre and rhythm, it shows a completely different effect!
Sheeran led the string section to play the three-beat pattern of "Leanderer", and Fanning used what he thought was the most "magical" processing method, inserting two more eighth notes into the original two beats.
One note was removed and it became a triplet. Such an enthusiastic rhythm made the audience almost spin along with it.
The horn solo played a somewhat tangled semitone, and the dance music came to the interlude. The three beats were played by the cello. This is another slightly slower presentation of "Leander". The violin hesitantly played the first half of the sentence, and then the clarinet
The second half of the sentence slips away, with a hint of laziness in its elegance, which Fan Ning calls the "lazy theme". The next theme in the interlude is displayed by strings, with many changes in voice, and a sense of intimacy of communication.
Became a "chat topic" by Fan Ning.
The creation of these two musical images comes from Fan Ning's impressions of the conversation and behavior of the guests at previous country dances. They are processed and developed with the techniques of serious music, re-introducing the cheerful and simple dance music at the beginning, and finally unfolding into a poetic picture.
The picture of pastoral life makes the audience intoxicated and fascinated.
At the beginning of the third movement, Fan Ning temporarily stopped his gestures and stood calmly. Lu held the drumstick, held his breath, and carefully struck back and forth on the timpani, presenting another bell-like breathing motive of heavy steps.
In this context, the "Funeral Theme" was first played by the double bass. Although it is called "Funeral", in fact, the melody was transformed by Fan Ning from the children's song "Brother Jacques", but slightly changed a few notes, and
It was deliberately changed to a gloomy minor key.
Then, Fan Ning continued to show his ingenious contrapuntal writing skills. The "funeral theme" was imitated and superimposed on each instrument one by one. Bassoon, cello, and tuba. When imitating the viola, the oboe once again superimposed a "joke theme",
The whole sentence is filled with jumps, dots and glides, full of sarcasm.
The imitation of the "Funeral Theme" continues. The simple minor-key version of the children's song for horn, flute, clarinet, and harp eventually forms a large and complex canon. They are spliced with some "sentimental-style" market minors in the middle to form a song.
The subtle atmosphere of "Funeral March" is full of irony.
The funeral procession gradually faded away amidst the sound of timpani. Fan Ning stood with his eyes closed, his hand movements almost stagnant, and his body seemed to be asleep, which gradually made the audience's mood become peaceful.
Suddenly, his eyes widened and light burst out. His whole figure was like a taut bow, and the right hand holding the baton split like lightning!
An explosive band played in unison, making the audience's hearts almost stop for a moment!
The fourth movement, the finale is here!
A series of rapid passages played by strings brought out the "Giant Motive", which was played by the trombone, but only four notes came out before it was rudely interrupted by the "Devil Motive", and the descending chromatic fragments followed in sequence
From the woodwind section, to the string section, to the brass section, the timbre ranges from soft, to sharp, to ferocious, full of weirdness and evil.
The audience was frightened and frightened. After finally hearing a set of exciting horn sounds, it suddenly turned into such material. Now everyone's hair is standing on end and they are dripping with cold sweat!
The two are caught in disputes and struggles, with the "Devil Motive" symbolizing fate and evil thoughts wandering and deforming among the various parts, while the "Giant Motive" is always presented as an incomplete melody, as if it is lingering on its last breath.
After going through a blocked and painful process, the complete version of "Giant Motive" was finally presented, played by horns, trombones, oboes, and clarinets in unison, fighting back with a heroic attitude of resistance, and starting a fight with "Devil Motive"
A brutal fight.
In the middle of the music is a long string lyric duet, which is sweet and sentimental, seeming to foreshadow the failed outcome of the struggle. Then Fan Ning reflected the changes to the composition of teacher Anton. He laid out the foreshadowing of the first movement one by one.
Gathering together, the previous "breathing motivation", "blooming motivation", "wilderness theme", and "birdsong motivation" were recalled and summarized one by one.
The "Psalm Motive" makes its debut. In the eyes of the audience, this is exactly the descending melody of the "Breathing Motive" at the beginning of the music, but it has changed from a minor key to a major key - so it has become the biggest foreshadowing of sublimation. Listen to
It feels clear and generous, symbolizing divinity and purification.
After the "Chant Motive" showed its power for the first time, string fragments sounded uneasily, and the intervals of the "Giant Motive" reappeared in each part. This was the hero's last counterattack. At the end of each bloody confrontation, the entire orchestra
Fan Ning marked them with expression terms ranging from p (weak) to fff (strong) and then p. This playing method, which was practiced repeatedly during rehearsals, was as violent as a whirlwind at this moment, vividly showing the struggle between people and fate.
Tragic, as thrilling as riding a roller coaster!
The most heroic scene of the music was finally revealed. Under Fan Ning's instructions, the seven horn players, who were almost exhausted when playing, climbed up several rockeries with steps in the square and faced the dark night sky.
Sound the "Psalm Motive" for the second time!
This is exactly what Fanning originally marked as the "standing blowing" instruction in the score!
As the spokespersons of divinity, the blood and power contained in the bodies of the seven horn players finally broke out at this moment, playing the final elegy for the giant!
When the giant fell, when Fan Ning stopped, when the music ended, when silence returned to the square, thousands of hearts were still beating wildly, mouths and noses were still holding their breath, and inspiration was still resonating.
All the audience temporarily forgot to applaud or move.
Instead of listening, they experienced it all.
This experience is from the shadow of the forest funeral to the singing of the spiritual garden, from the awakening of the overtones of the violin at the beginning to the burning of the orchestra at the end. Although some dangerous out-of-control performances were experienced in the middle, although the ending is destined to be a fatalistic demise, it is
Still try our best and move towards self-realization without hesitation.
They feel that there is only one feeling that can be described: