First of all, I would like to thank all the book friends who have patiently followed up here.
The score of this book is already bronze, and there have been many criticisms before. The timid orange is too timid, and I almost wanted to throw down the keyboard and run away several times (don’t worry, I haven’t had this idea recently). If it weren’t for your support, vote
and rewards, I may still be crying while writing.
Secondly, I would like to remind you that the summary is a summary of the plot, and there will be some spoilers based on the current progress (remind book friends who are in a wait-and-see subscription state to jump here).
The first volume of "" has finally been finished. It has 35,000 words, which is still a bit more than the expected upper limit. The full attendance in the first month after it was released was also just right (by mistake).
As a basic starting volume, it needs to complete the painting style and initially show the status of classical music (or art) in this old industrial world where mysticism is popular. It also needs to basically explain the world view and power system, and lay the foundation for the future.
The unfolding of the book unearthed several important clues, so when I was making the outline of this volume, I tried the narrative technique of a dual-mainline structure.
The main line of music is relatively clear. Fan Ning has determined the goal of premiering "Symphony No. 1" from the beginning of the time travel, and passed the work selection competition all the way. The main line of the mysterious side is biased towards decryption, spying and experimentation. There are two
The threads intersect and explode at the final graduation concert.
In the ending, whether it is a premiere format similar to a "flash mob" or the conspiracy at the graduation concert, I had already planned it from the beginning of the book, and the knife was just a small shot to tie up the various threads.
You should be able to watch it for a while, but during the serialization period, the reading experience may be a bit scattered.
I tried my best to deal with it myself. Firstly, every action of the protagonist can reveal part of the secret and leave new suspense, so as to attract everyone's attention as much as possible. Secondly, when filling in the holes and closing the thread, I did
Targeted selection - anything that does not affect book friends' acceptance of the ending of the first volume will be shown later. A little confusion is not a big problem. This will make the pace as fast as possible.
I just don’t know how the actual effect is. If book friends actually don’t like it, I would like to apologize here and we will continue to adjust and improve it in the future.
Continue back to the summary.
The title of the first volume, "Giant", has three metaphorical meanings.
First of all, it comes from Mahler’s First Symphony of the same name, so the protagonist Carole Van Nin’s creative prototype is Gustav Mahler, and his teacher Anton Konard is based on Anton
East Bruckner.
According to this idea, I set up the Blue Star before the protagonist traveled to a parallel world similar to Earth: it has a similar history of classical music, but does not have Mahler and Bruckner, so that I can write novels based on them in a different world.
, but a completely different life journey.
This can also allow readers to stand in the perspective of the composer and experience the big event of truly creating a symphony, in addition to the small event of "copy reproduction and upgrade", and also find the corresponding appreciation template in reality.
For the above reasons, I write a lot about classical music and humanities.
For example, many "serious" professional music reviews were invented at various plot stages, instead of making the art world appear to only call "666", such as the description of the debate between salon culture and title music at Salon Night, such as Fan
Ning's complicated and tortuous process of composing the First Symphony. In the beginning, when I described how he received inspiration, dismantled the inspiration, and built the framework, I used a few single chapters. Later, I used nearly 10,000 words to write it.
How he draws creative nourishment from the pastoral countryside.
I was originally going to write a more complete plot here, but due to space issues, I only kept a few more key points: such as the tribute to Mahler's "composer cabin", such as the vocal suite "Traveler's Song"
The second song "In the Morning I Cross the Fields", such as the waltz's predecessor, the Liandele (Leanderer), such as Two Tigers (Brothers Jacques), and Fanning's inspiration from the woodcut "The Hunter's Funeral",
etc…
In fact, these things are not as easy to write as fighting and decryption. I can directly say that the protagonist's inspiration burst out overnight, and he wrote a work that shocked everyone in the world.
But I promised to explore the connection between "classical music" and "mysticism" in this book, so I couldn't write it like this.
First of all, there is a proportion issue involved. I think that a true classical music text should not overly increase the role of "piano" in terms of musical instruments, while ignoring strings, vocals, woodwinds, brass and percussion;
In terms of genre, we should not over-increase the role of "piano solos" and ignore chamber music, concertos, symphonies and operas; in terms of field, we should not over-increase the role of "playing and singing" while ignoring composition, conducting, and music.
Theory, music aesthetics and artistic operation, etc... (Maybe it’s another crazy point of view?)
I personally love the piano deeply, but the piano is only one of the most important elements of classical music, not all of it. There are so many things to talk about in classical music, so it would be a pity to only talk about the piano.
So in this volume, I want to let everyone feel as much as possible from the perspective of a composer, how those masters in history, such as Mahler or Bruckner, wrote a large-scale work. I also want everyone to understand
, there are actually many insurmountable gaps between "inspiration" and "final work".
Musicians first need to disassemble mystical revelation (religious, transcendental) into artistic inspiration (secular, experiential), and then concretize it into scenes under the musical vocabulary. He also needs to follow the guidance of these musical scenes.
, to absorb nutrients from historical myths, philosophical poetry, religious comfort, urban and rural areas and other humanistic soils.
With these nutrients, he relies on his own talent and accumulation to create motives and melodies. The last step is to expand it into a multi-movement work with strong logic through technical processing.
And the "Symphony No. 1 in D Major "Giant"" here in Volume 1 is an extremely outstanding romantic masterpiece of Mahler's youth. Looking at many composer masters, you will find that very few people have the most outstanding performance in the first volume.
This symphony can reach such a mature level and be comparable to the symphonies that followed it - this is something that not even Haydn, Mozart, Beethoven, Schubert and Tchaikovsky can do, and Brooke can't do it.
Nassone couldn't do it, and the only one I could think of was Brahms. That's because he was already 43 years old when he published the First Symphony, and he had written it for more than 20 years.
Oh, by the way, there is also the main character (wrong).
Mahler's pioneering work has reached a very perfect state in terms of humanities and technology: Bach's structural logic, the complex texture of "Beijing", Bruckner's long-distance mist-like sound, and Wagner's dramatic dominance.
Motives...from fairy tales to local customs, from market legends to youthful love... He described the sound and picture-like images and landscapes where man and nature are integrated into one, and he named it "Giant" with a metaphorical method, in order to elaborate on his own experience in youth.
The heroic view of the times commemorates vitality, vitality, pastoralism, morning light, nature and youth.
This is also something Fan Ning thinks about day and night and wants to make up for it. So I wrote the first volume in a campus setting. In that student era, people feel that they should be mature, but they still experience childish contradictions from time to time; they feel that they should cultivate
Although he has a "sophisticated" temperament, he still makes rude words and deeds from time to time; he feels that he should deal with all these situations rationally; but he still falls into some throbs or emotions from time to time...
Perhaps even those who had some dreams come true during their student days were just "false victories," just like Fan Ning's previous life experience.
The "view of heroes" at this stage is naturally controversial. Fortunately, there is no need to blame oneself or argue, because no matter whether they are good or bad, they will all dissipate as youth gradually comes to an end.
Mahler's First Symphony... This is the first metaphor of "giant".
In the world view of this book, the word "giant" is still a mythical creature similar to an elemental body that existed in ancient times, and has homology with the pronunciation of "Tulungaria" in the Noa language. By graduation
When the two main threads intersected on the day of the concert, it not only became the name of the protagonist's debut work, but also appeared in the final battle as the shifting biological form of "Tulungalia's Secret Technique", which echoed the ending of the first volume.
, also hints that the secret history of the Tulungalia Dynasty will be an important main line in the mysterious side of the book.
This is the second metaphor of "giant".
Fan Ning’s teacher, Professor Anton Konard, was both the guide in his artistic career and the founder of his mysterious side path. The protagonist will miss him forever, and his great works that have been ignored, art
The value will eventually be discovered by the world, and it will eventually become an immortal work that people will always follow and remember.
Teacher Anton is also a giant himself.
This is the third metaphor of "giant".
When the epitaph at the end was presented in a complete form, not only did the preface written in the first volume get a title, but the second half of the sentence added by people, "Some people live after they die," also led to the second volume.
Theme of.
Well, at this point, I guess most people have already guessed the title of the second volume.
The title of the second volume "Resurrection" comes from Mahler's "Symphony No. 2 in C minor "Resurrection"" of the same name. Like the first volume "Giant", it also uses a metaphor to hint at key characters and key plots.
Or the tone of the ending.
I don’t dare to write about the new beginning. As a 996er, I have been alive for two or three months in a row. My mental state is currently very poor... I need to carefully structure (shui) (shui) think (qun), sort out the plot, and take two days off, 7