musicians of old

Chapter 128 "Symphony No. [-] in D Major"

Everyone's formal dresses are too homogeneous, and it is indeed difficult to find a person in such a large square in a short time.

Until a classmate accidentally discovered that a young man in a black tuxedo among the passers-by slowly pulled out a black baton with pale gold patterns from his skirt.

"He's next to me!"

The classmate exclaimed, and then subconsciously covered his mouth.

"The conductor is here!"

"Carolne Van Ning is with me!"

Finally, more and more people discovered Fanning, but their reaction was exactly the same as that of the first classmate: first exclaimed, and then immediately covered their mouths.

This is because there is no sound in the crowd at this time, and they find that their shouts are too abrupt in the music, causing a short circuit in the brain for a while, wondering whether this is a concert occasion, and whether they should be silent.

With these shouts, the crowd began to surge.

Centering on the general area where the musicians stand, the people in the inner circle basically remained in place, the people in the outer circle converged towards the inner circle, and the people on the edge of the square were moving closer to the sound source as much as possible.

The introduction of just a few minutes before has made them feel the incomparably wonderful sense of resonance-there is no real stage, and the musicians are by their side. This is a penetrating and immersive ultimate listening experience.

Holding the baton, Fan Ning felt the confinement of the sound field that he had not yet experienced in the future, and slowly passed the crowd, and climbed a movable staircase with a triangular section—it was located on a stone brick with a wide view. The ground was originally used as a camera position for photographers to climb up and shoot.

It is not high, only close to three meters, but there is no obstruction nearby, enough for the musicians around to see his movements clearly.

"re, la—re, la—re, la, re, la, re, la"

At the end of the introduction, the clarinet blows out the repeated four-degree downward "breathing motive" as the introduction of the theme, the interval is getting shorter and shorter, and the mood is getting more and more pleasant.

The first movement shows the arrival of the theme, and Fan Ning gave Roy a gesture from afar. The clarinet's breathing motive was taken over by her, and the cello played a fresh, lively, and slightly excited melody. This is the "wilderness theme" ".

At the same time, the bassoon staggers half a bar to imitate, just like the empty valley echo of a person walking through the field when singing loudly.

The melodious "Bird Singing Motive" played by the flute in the subtitle is superimposed with the "Wildness Theme" of the French horn at the same time, forming a polyphony. A hundred flowers bloom, a hundred birds contend, nature recovers completely from the silence, and creatures dance, which is very lively.

Fan Ning opened his arms and brought out a warm and cheerful presentation of the closing sentence. After a strong beat fell, his right hand closed in an instant, the baton was lightly tapped, and the other hand made a downward movement, and then slowly moved to the right.

The music returns to the background sound of high and low string friction.

Fan Ning's left hand is still moving slowly, while his right hand is taking a preparatory shot for Joan in the distance, and at the same time, his chin is slightly lowered, indicating a quiet mood.

The first movement enters the expansion part, and the first round of expansion is played by the flute to re-play the "Bird Motive", and the "Breathing Motive" of the other woodwinds forms a polyphonic counterpoint. The living beings take a break.

The second round of expansion begins with the descending four-degree progression of the "breathing motive" in the introduction. ", here Fan Ning made a transformation and replaced it with a dotted rhythm, which brought a sense of power to the original quiet effect.

The scale elements of the "wilderness theme" appeared in the fourth round, and gradually transitioned to the fifth round with the most complex sound effects. At this time, Fan Ning showed his superb counterpoint skills to the audience. In the pattern, "wilderness theme", "breathing motive" and "bird singing motive" form a triple counterpoint, and finally form a palpitating ensemble whirlwind. The dramatic tension of harmony and color is constantly intertwined and pulled, and the emotions are gradually pushed to the top. vertex! !
"Boom!——"

Fan Ning first stood on tiptoe, then twisted his waist, slammed down the baton at a high speed, the timpani and other percussion instruments fell together, and then the brass blew out a violent triplet "Blooming Motive". The omen, now turned into a spectacle under the accelerated lens!
With the arrival of the reappearance department, the complete "wilderness theme" is blown out by the bassoon, and the flute and oboe reproduce the "bird song theme". Everyone returns to the sunny field in spring, shuttles among the breeze, green waves and flowers, and finally sings and dances in the The first movement ends in unison.

No one made a sound, no one moved, and no one applauded. During the more than ten seconds of rest between the movements, thousands of audience members in the square followed the etiquette of the concert.

Night had fallen, and the gas lamps in various places in the square were very bright, reflecting the faces of every audience member. Some of them waited with their eyes closed, while others waited eagerly for the sound to sound again.

It's still breathing, but it changed direction in the second movement, from descending fourths to ascending fourths. The cello and double bass are played rough and vigorously, full of dynamics, leading to a simple and enthusiastic dance melody.

Many people found that it has almost the same structure as the "wilderness theme" of the first movement: both are the fourth jump in the first half, and the unpretentious pentatonic scale of [-], [-], [-], [-] in the second half, but it was made by Fanning After the deformation of the timbre and rhythm, it presents a completely different effect!

Sheeran led the string group to play the three-beat pattern of "Leandre". Fanning used the most "magical" processing method, adding two more eighth notes to the first beat. One note was removed and it became a triplet. Such a passionate rhythm made the audience almost ecstatically spin.

The horn solo played a somewhat tangled chromatic tone, the dance music came to the interlude, and the cello plucked three beats. This is another slightly slower presentation of "Leanderle". Catching the second half of the sentence, there is a touch of laziness in the elegance, which is called "the theme of laziness" by Fan Ning.The next theme of the interlude is presented by strings, with many inflections and a sense of intimacy for communication, which Fanning called "the theme of small talk".

The shaping of these two musical images is derived from Fanning’s impression of the speech and behavior of the guests at the previous country dance. They are processed and developed by the techniques of serious music, re-leading the cheerful and simple dance music at the beginning, and finally spreading out into a poetic scene. The picture scroll of pastoral life makes the audience intoxicated and fascinated by it.

At the beginning of the third movement, Fan Ning temporarily stopped his gestures and stood still. Lu held the drumstick, held his breath, and carefully tapped back and forth on the timpani, presenting another breathing motive like a heavy step.

In this context, "Funeral Theme" was first played by the double bass. Although it is called "Funeral", in fact, this melody was transformed by Fanning from the nursery rhyme "Brother Jacques", with only a few notes changed and replaced. Deliberately changed to a gloomy minor key.

Then, Fanning continued to show his ingenious counterpoint writing skills. The "funeral theme" was imitated and superimposed on each instrument one by one, bassoon, cello, tuba. When imitating the viola, the oboe again superimposed a "banter theme" , the whole sentence is full of jumps, dots and portamentos, full of sarcasm.

The imitation of "funeral theme" continues, French horn, flute, clarinet, harp. This simple children's song in minor key finally forms a large and complex canon, which is spliced ​​with some "sentimental style" market minor keys in the middle to form a The first "funeral march" with a subtle atmosphere is full of irony.

The pace of the funeral gradually drifted away amidst the sound of the timpani. Fan Ning stood with his eyes closed, his movements almost stagnant, and his body seemed to be asleep, which made the audience's mood gradually quiet.

All of a sudden, his eyes widened, his eyes burst open, his whole body was like a bow stretched tight, and the right hand holding the baton split like lightning!

An explosive unison of the band made the hearts of the audience almost stop for a moment!

The fourth movement, the final chapter is here!
A series of rapid passing sentences played by strings brought out the "giant motive", which was played by the trombone, but only four notes were played, and then it was roughly interrupted by the "devil motive". From the woodwind group, to the string group, to the brass group, the timbre ranges from soft, to sharp, to ferocious, full of weirdness and evil.

The audience was terrified at first, and finally heard a group of exciting horn sounds, suddenly turned into such material, and now all the hairs stand on end, dripping with cold sweat!

The two are caught in disputes and struggles. The "devil motive" that symbolizes fate and evil thoughts wanders and deforms among the various parts, and the "giant motive" is always presented with an incomplete melody, as if lingering on its last breath.

After going through a period of stagnant and painful process, the complete version of "Giant Motive" was finally presented. The French horn, trombone, oboe, and clarinet were played in unison. Fierce fighting.

In the middle of the piece is a long string lyric ensemble, sweet with sentimentality and weakness, as if foreshadowing the failed end of the struggle, and then Fan Ning reflected the changes to Mr. Anton’s composition, and he foreshadowed the first movement one by one Gathering up, the previous "breathing motivation", "blooming motivation", "wilderness theme" and "bird singing motivation" have been recalled and summarized one by one.

"Psalm Motivation" made its debut. From the audience's point of view, this is the descending melody of "Breathing Motive" at the beginning of the music, but changed from a minor key to a major key-so it became the biggest sublimation foreshadowing. The sense is clear and generous, symbolizing divinity and purification.

After the "chant motive" showed its strength for the first time, the string fragments sounded uneasy, and the interval of "giant motive" reappeared in each part. This is the last counterattack of the hero. At the end of every bloody confrontation, the whole band Fanning marked the expression terms from p (weak) to fff (very strong) to p. This playing method, which was practiced repeatedly during rehearsal, is now performed like a whirlwind, vividly showing the essence of people fighting against fate Tragic, like riding a roller coaster, it is frightening!
The most heroic scene of the music was finally unveiled. Under Fan Ning's instructions, the seven horn players, whose performance was almost exhausted, climbed up several rockeries with steps in the square, facing the dark night sky, Blow the "Psalm Motivation" for the second time!
This is exactly what Fanning originally marked "standing playing" in the score!

As the spokespersons of divinity, the blood and power contained in the bodies of the seven horn players finally exploded at this moment, playing the final elegy for the giant!

When the giant fell, when Fan Ning closed his momentum, when the music ended, when the 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, and also forgot to move their steps.

Instead of listening, they lived through it all.

This kind of experience is from the shadow of the forest funeral to the singing in the spiritual garden, from the awakening of violin overtones in the beginning to the burning of the orchestra in the ending. Still go all out, without hesitation towards the realization of self-value.

They feel that there is only one feeling to describe:
"Moths to the flame, live to die."

(End of this chapter)