musicians of old

Chapter 217 Towering Audio Building (4K [-]-in-[-])

Variation 3 is still going on. Fanning's right hand seems to be playing double notes, but in fact it contains two melodies chasing each other. Sometimes 123 fingers are responsible for one, and 345 fingers are responsible for the other, stretching and switching back and forth between the complex unison , and the left hand plays the undulating fast tone group as always, forming the third counterpoint relationship.

Every time there is an obvious imitation of the "sound head", Fanning deepens the touch key, and supplements it with a heavy and short pedal to highlight the horizontal color. With the advancement of this variation, in addition to the pleasant sense of hearing, its layers And the order is more and more clearly presented in front of the listener.

It was the Marquis McAdam who responded first, and then the three masters. By the middle and late stages of this canon, the seven members of the inspection team in the front row of the ceremony seat had all backed away and sat up straight.

"This variation... I still underestimated its level!" Vyadrin's big hand tightly grasped the wooden railing, "I was really surprised when I heard the second measure and found that it was a canon , but I really didn't expect that Callon could write it as long as the previous variations, and the quality of the subsequent ones is still so high."

Many outstanding church musicians he had met and listened to flashed through Christopher's mind. In a trance, he thought he saw the organist Viern playing on the stage.

If the interpretation of the aria and the appearance of the variations are the beginning of surprising the audience, then the appearance of the variation 3 canon is undoubtedly a watershed, a watershed from surprise to shock.

Those who dare to create canons on impromptu occasions are all music masters with extremely rich artistic accumulation, or geniuses like the one who won the full-time organ position of the Royal Academy of Music in his youth.

Canon is not a song title, but a polyphony technique. It is very simple to say that it requires the creator to write a "reproducible" melody.

But not all melodies can do this, it must satisfy the following characteristics: when the “replica” enters at a staggered number of beats and plays at the same time as the “original melody”, the two can still maintain a harmonious counterpoint relationship, thus A singular effect of imitation and chasing is formed until the final harmony is merged together.

This is undoubtedly a philosophical exploration of the relationship between "self" and "other self", and even a mystical thought of the relationship between "appearance" and "will".

The two canon melodies in the right hand are intertwined and fused, and the left hand plays the last set of clear and cheerful broken down chords, and the music comes to an end temporarily.

Variation 3 ended, and Fanning on the stage let out a sigh of relief.

If "Goldberg Variations" is divided into the early, middle and late stages, the most difficult technically in the early stage is the third and fifth variations, which can be regarded as overcoming the first difficulty more smoothly than expected.

The compactness of the right hand chasing, the stability of the left hand running, the breath retention of long notes, the ups and downs between voices, and the horizontal harmony color highlight themselves are well done.

After adjusting the time of two breaths, Fan Ning returned to the keyboard with both hands. The 3rd, 4th, and 5th fingers of the left hand reproduced the theme trend with strong bass, and the elegant interval of jumping appeared in the high-pitched area, and successively used the remaining fingers of both hands to Next, imitate in the lower middle two voices.

Variation [-], four parts, Pasbye style, this genre can actually be regarded as a fast version of minuet, the whole variation is expressed in a clear three-time rhythm, showing a noble and elegant posture.

This is the most obvious variation that highlights the theme in the early stage. It can help the audience sort out the logical main line of the music. The rhythm patterns of each part are relatively neat, and the counterpoint relationship is mostly columnar chords, which is easy to perform stably. live.In his handling, Fanning tends to boldly use some heavier pedals to make the harmonies more colorful.

The left hand played down the octave G note, and the movement of the right hand followed the sixth-degree double tone ending at the main chord. Fanning let go of the pedal decisively to cut off the aftertaste. The sound zone plays a fast sound flow similar to an infinite dynamic pattern, and at the same time, the left hand is interspersed with it, making ten-degree jumps back and forth between the low and high registers.

Variation 5, two parts, toccata or touch technique with the characteristics of technical etudes, a variation with the highest difficulty coefficient in the early stage of the music.

Fan Ning breathed cautiously, his eyes fixed on his flying hands on the keyboard.

An important reason for the extreme difficulty of the whole work is related to historical factors——

Since Bach's original composition was based on the idea of ​​a harpsichord equipped with a double-row keyboard, each variation contains a large number of passages with interlaced ranges, often appearing that the upper part gradually progresses to the lower register, or the lower part The situation where the part runs to the high-pitched area, and sometimes several parts are "wrapped" in the same narrow area, with dense common notes.

If it is a double-row keyboard, the hands have their own duties and do not interfere with each other, but on a single-row keyboard, troubles will come. The player must design strict fingerings to avoid the "fighting" lines of each part. Consider how many fingers are used to play which sound, and also consider which direction to reach out and drop the key.

As a result, the audience saw that Fanning sometimes ran at high speed with one hand, while the other hand kept jumping left and right in between. Sometimes the two arms were crossed together. In a few clips, Fan Ning held up his palm in the performance state, and his other hand, as if trying to survive, first "clicked" a few sounds on the back of the former hand, and then went around the palm of his hand to play back and forth.

Such a baroque show-off technique, just from the presentation on the screen, can make the audience feel excited.

At the end of the passage, Fanning's right hand crossed his left arm, and after striking a few scattered notes in the bass area like a chestnut, the dislocated voices regrouped and distanced, and his hands returned to their original positions, bringing out a light and roundabout theme. chord group.

When did I become so strong?Fan Ning let out a big breath, and asked questions with doubts in his complacency.

This variation is too easy to encounter some flaws. In my previous life, I used to hold it for a while, but once I played it at a faster speed, there would always be mistakes here and there. I didn't expect to perform so perfectly today.

Before he had time to think about it, Fanning played the flowing bass again with his left hand, and played a melody composed of dotted long notes and descending scales with his right hand.

Variation 6, Canon.Starting from the second measure, Fanning's right hand again superimposed a melody in the same direction as the former, the only difference being that the overall pitch was moved up by one degree.

The undercurrent of the bass, the intertwined long and short canon melodies one after another, once again let the audience experience the interesting musical inspiration.

"It turned out to be Canon again!?" At this moment, the elderly Master Swellink almost couldn't sit still.

He has dabbled in a vast number of music works, and he is very clear about one thing: whether it is serious music or small tunes in the market, many well-known melodies are beautiful, but if they are staggered and superimposed with themselves, most of them are like multiple melodies. The chasing and occlusal characteristics of the incongruous canon melody, like a phonograph cassette, are doomed to have extremely strict conditions for its interpretation. Once there is any lack of consideration in the early design, even if the rhythm is slightly changed, it will not be able to proceed later. go down.

One time is enough, but a second time?How dare Fanning take such a big risk?
At this time, Master Xilinsi's thoughts were churning with excitement: "Canon is a seemingly simple, but actually profound technique. No matter how many composers have racked their brains, they can barely achieve the harmony of the sound, but he still thinks it is not complicated enough! Two Canons all use complex three-parts to write extra continuous sound flow in the bass part to enrich the harmony and emotional effects. Could it be said that this Mr. Fanning has reached the level of polyphonic music that is close to that of Cahuu? The level of a great master like Niqi?"

It seems that techniques such as Canon are far less dazzling than those undulating show-offs in the Romantic period, but the timbre effect and depth of thought it presents are unsurpassed by any technique. It can be deconstructed into concise and regular units", and the steady rhythm shows the ever-changing vitality.

"Enough! You don't need any variations, these two canons are enough! No, one is enough!" Master Nieman leaned out from the audience, "If today's The inspection of creative ability is the only link, if there is no other dimension, this year's "Boethius Artist" nomination, he can undoubtedly occupy one!"

The three-fold flow relationship comes to a standstill inch by inch, and this exquisite canon finally ends in a relatively quiet mood.

"Which article is it?" Taking advantage of the pause of the music, someone from the audience below chatted in a low voice.

"It's already the sixth variation. It may not be as good as the master's interpretation in terms of length, logic, and technique, but it completely surpasses those mature artists."

"Even without rational analysis, it still sounds good! It sounds so good! I hope he can sort out the score after the end."

It should be nearing the end.This is the current expectation of all listeners. As long as there is a more emotional ending variation, or simply return to the original quiet and holy aria, this is a perfect improvisation.

With a playful smile on Fanning's face, the left hand begins with a Boeing-tinged G, and the right hand plays a singing melody with a sharp dotted rhythm.

Variation [-], two voices, jig, free and casual style.The audience immediately realized that this is a highly interesting variation segment, the two melodies run through a distinct rhythm pattern with small dots from the beginning to the end, and with impromptu decorative vibrato, the music image is smart and playful .

"Here it is again, it doesn't seem like a variation for the end." Master Nieman's insight is very keen, "Variations 1, 4, and 7 are three dance genres, 2, 5 are touch songs, 3, 6 is the canon. I seem to have a premonition."

The friend Xilins next to him turned his head and said in a low voice: "If my guess is right, he will continue to choose the technical touch song for the next song?"

"You also discovered this pattern?" Nieman responded in a low voice, "This Mr. Fanning seems to want to build a sound building in the form of three groups of three." He suddenly found his breathing I couldn't help trembling, "If Variation 9 is also Canon, that's too much"

This is simply amazing!

Then, Fan Ning played a descending broken chord in the low voice, and his right hand made a reverse upward movement of the 16th note. Several people in the row held their breath and watched Fanning's next move intently.

The 9th variation starts with a weak and gentle dynamic. With the free counterpoint of the low voice, the high voice starts from the B note, playing a quiet ballad. After one measure, the middle voice also appears imitative The melody of , but shifted down two degrees, starts on the G note.

"As expected." The scalps of these two leading figures in the music industry suddenly tingled.

Every three variations form a group, and the cyclical presentation of "dance genre-touch music genre-canon genre" gradually climbs up. Fanning is using this structure as a "building material unit" to build a majestic audio building!

But the reaction of the two masters was not only because they successfully predicted the appearance of Canon, but because they discovered an even more surprising fact!
——In the third variation, Fanning used the same-degree canon, the sixth variation was the second-degree canon, and the ninth variation was the third-degree canon.

You can still play like this! ? ! ?
What is a fucking show off, what a fucking show off! ! !

These two people... one is Schillings, who is known as the "Heir of Gilles" in the music industry for his talent and pride, and the other is Nieman, who is personable, elegant and easy-going. These two people have already burst out incoherent swear words in their hearts!
Fanning continued down, and played a cheerful melody that started with a long series of ornamental notes with his left hand, followed by the tenor, soprano and tenor parts in order to imitate and enter, with a passionate rural atmosphere.

Variation 10, four-part fugue, similar in style to the Gavotte dance, which is the most secular and chic dance music in the romantic French court on the Blue Star. Its structure is extremely compact, clean and neat, without any affectation .

"This fugue is extremely exquisite." Viadrin found that as the music progresses, there will always be brighter highlights behind to attract his attention. The two times in the middle are expansion, and the last two times are reappearance, exactly 4 bars, only the most basic structure is retained, there is no nonsense throughout, but the essence and interest of the fugue are fully presented."

The 11th variation, the touch technique, the second part, and the music ideas are all based on a descending sixth scale + dotted rhythm sound pattern. The two melodies are interspersed very tightly, showing the beauty of alternate switching and dense and alternating echoes.

Variation 12, Canon, under the clarification of repeated bass lines, two melodies in a relationship of four degrees are staggered by one bar to start chasing.

But this canon has a more jaw-dropping feature: the two melodies are not simply imitated, but transformed into "reflection", and the direction of the second melody that enters is similar to the original melody. The mirror image relationship can still make a harmonious sound together!

"It's a good game." Master Nieman shook his head and smiled wryly, "This is the 4th cycle, right? Not only canon imitate the interval and increase it by one degree, but also use the reflection technique, this ghost thing can also be improvised on the stage What? I think I need to at least think about it when I'm alone."

"What I am most concerned about now is how high he can build this building." Xilinsi said slowly.

Nieman said very seriously: "At present, there are 4 sets of 12 variations, plus the beginning and the end are 14 parts, and the logical structure is impeccable... This interpretation has convinced me, what a young composer he is! In a few days I will personally go to his concert to listen to the "Violin Concerto in E Minor", and after the festival is over, I will definitely make a solemn suggestion to the delegation to include him in the nomination of "Boethius Artist".

"It should be almost there." The 80-year-old master Swellink couldn't help but mutter:

"There aren't many buildings this tall that can be built in the entire Santa Ramborg, right?"

(End of this chapter)