musicians of old

Chapter 288 "Choral Fantasia in C Minor" (5800)

The dignified and gloomy piano sound under Fan Ning's fingertips continued to envelope the symphony hall.

Like a thunder in a dark cloud, an imminent tide, or a dormant volcano waiting to explode.

"Could it be that it's a piano overture that brings out the orchestra? 4 bars or 8 bars?"

"For example, similar to the opening of his "Second Piano Concerto in C Minor"?"

A group of music critics, including Yettus, the editor-in-chief of "Tioline Culture Weekly", and Ferege, a senior reporter for "Hoffman Gramophone", listened to Fan Ning's performance at this time, and the first thing they thought of was "La two".

If that's the case, it's really innovative...

Many people with a sense of scrutiny felt from the opening that this is by no means a cliché.

Didn't copy the sublimation formula of that master's late symphony, but added a chorus in a genre similar to a piano concerto?

Just when everyone thought that the piano's "prelude" was about to bring out the opening of the band, they realized that they had guessed wrong again.

Master Schillings still stood with his hands behind his back.

The violin in the hands of the chief Miss Sheeran, who led the whole band, was still upright on her lap.

After the piano four-sentence column chords rise and fall repeatedly, Fanning's right hand does not stop, and a passage sentence composed of three-degree double tones is brought out in the high-pitched area.

They twist and fall like light, melancholy sighs.

Immediately, Fanning let go of the pedal, leaned over and touched the keys carefully, letting it turn into a repeating pattern in the middle range.

The tone is light and short, with a slight sense of pace:

"la/xi/la/xi/la/xi/la/xi/la—." "xi/re/xi/re/xi/re/xi/re/xi—."

The repeating patterns of tick-tock-tick-tick alternate, the left and right hands contrast each other, and the gloomy minor-key harmony gradually reappears.

Hesitation, torture, although the volume is not high, the color is not strong, but it has a hint of tragic heroism.

Regardless of any attempt or homage, can't the music itself be called great since it started like this?
In less than ten bars, the audience has been deeply moved by Fanning's performance. The old lady Hamilton held the armrest of the seat tightly with both hands, and tears glistened on her wrinkled face.

In the second pass, Fanning played with his right hand in a thickened octave, while a descending triplet group appeared in his left hand at the same time.

The sudden extra notes broke the neat rhythm correspondence, and a strange sense of urgency came to the face.

The strength of the sound group is rising all the way, and the hands are gradually moving away in the rapid movement.

"Boom! Boom! Boom!" At the end of the phrase, Fan Ning exerted strength with both arms, stepped on the pedal deeply, and played the major chord starting with the octave bass again.

The distantly related E major modulation brings strong contrast to the colors. Amidst the thumping of sf and ff throughout the text, the column chords gradually collapse and decompose, and Fan Ning's left and right hands are flying up and down, bringing out pieces of cool Arpeggiated clusters.

"This... is actually his performance alone!"

"Let's not talk about the chorus! Even the band... After almost 3 minutes, the band didn't show up!

"Did he write a whole piano solo?"

Those who thought about how to join the piano and chorus in the early stage got an answer that completely deviated from expectations, but was extremely touching and aesthetically pleasing, and suddenly felt fascinated and admired.

Not to mention anything else, a symphony concert, after listening to so many elegant orchestral dance music, suddenly presented a large section of piano solo with cold light, this is very refreshing, right?

"Casual, so casual, totally eclectic! I suddenly realized that it's not just 'Chorus', it's 'Choral Fantasia', which is just too fantastical, and, still Classical fantasy temperament with tragicism as the core!"

Master Schillings standing on the podium, although he has walked the stage with Fan Ning several times, but at this moment, he has discovered many different feelings in the in-depth performance on the stage.

Fan Ning lifted his wrist from the keys with his left hand, and played a long series of cadenzas with ups and downs at a casual speed with his right hand, and rushed to the high note C of the third group of small characters in a chromatic gesture.

A series of loud vibrato brought out the reappearance of the "hesitant pace" of the left and right hands answering before.

New material appeared, in the rhythm of double-tone repetition in the high-pitched area, Fan Ning joined in with the sudden force of sf with his left hand, playing a combination of long and short sounds, like a declaration and a call for motivation.

But in the modulation and development, Fanning's right hand, which symbolizes the painful percussion, is getting louder and louder, and the range is getting higher and higher.

"The world is in a great predicament! People are living in great pain!" He shouted the opening chapter of "The First Light" in his heart to inform the audience.

Just when everyone's minds seemed about to be crushed by ruthless fate——

The mighty power of the hero finally broke out, and he rose up to resist with a posture of resistance. The horn-like left-hand movement suddenly turned into a pouring downward 36th note, which is even more crowded than the original triplet!
The audience was horrified to find that Fanning's right hand was still hitting harsh and dangerous octave patterns, while his left hand was running at high speed, and afterimages were flying around. It resounded through the entire symphony hall like a volcanic eruption!
"boom!--"

In the end, like a giant fell to the ground, dust rose, and a heavy dominant seventh chord in C minor was violently smashed by Fan Ning with both hands.

As the hands flipped up and down, the decomposed arpeggios came in waves like a tide. Beethoven improvised on that winter night in 1808. This extremely dazzling and tragic splendor finally came to an end.

The piano solo lasted for nearly 4 minutes, but what I got in the end was a wave of colors, a set of incomplete terminations, and an ending without results.

The hero's questioning lingers in the air for a long time.

The audience seemed to have a premonition of something, and the curtain finally opened.

Master Schillings on the podium raised his right hand holding the baton without knowing when.

In a moment of perfect rapport, Fanning let go of the pedal, and the conductor gave the landing point. Almost at the same time as the reverberation disappeared, Roy led the whole cello group, playing a bass melody in C minor with a weak pp strength, "Inquiring Motives" .

The length of 4 and a half bars, short bowing, rhythm with dots... The melody under Roy's bow is first progressive with a tentative meaning, reflecting the characteristics of actively seeking answers, but it seems to be afraid of difficulties and hesitation fall back.

So Fanning raised his hands again and played a melody with recitative characteristics in the high register, answering with warm colors of comfort and comfort.

The second time, it was still "inquiring about motives", switching to F minor, changing to the viola and the second violin, and Fan Ning also raised his wrist and dropped the keys to give encouragement.

The oboes, bassoons and French horns were immediately added to make the sound more warm and rich in texture. These melodies full of recitative characteristics are intertwined with the "motivation of inquiry". Between a large number of freely extended expression terms, it seems that something new is brewing.

Finally, in the 53rd section, Fan Ning used the piano to undertake the two-tone percussion, and then, with the accompaniment of the French horn, for the first time presented the core of the work, which is similar to the "Ode to Joy" in the final chapter of "Beijiu". Joy theme".

Behind the filthy skin of the world, there is such a light, above all the heterogeneous colors, sometimes it can crack the skull, and sometimes it can pierce the darkness and pain, dripping in the mud of distorted colors in the world.

Accompanied by Mozart's semi-decomposed chords, the "happy" melody composed of regular eighth notes appears simple and warm, and the piano cadenzas interspersed in it are like a cheerful and lively ballad.

The "joy theme" born out of misery is so precious that no audience wants to savor it quickly and leave it alone.

They naturally long for the musicians on the stage to fully explore its joy and fragrance through variations.

Fan Ning played the accompaniment column chords, and based on this, the flute started the first round of variations, with sixteenth notes in the high-pitched range. Colorful spirit.

Then the piano accompaniment changed into a thinner left and right hand style, the flute exited, two oboes entered, and the second variation was launched in parallel three degrees apart, with swinging sound patterns, bouncing postures, crisp timbre... all kinds of humorous musical characters It's unbearable.

In the third variation, Fan Ning withdrew his wrists and withdrew. He had a short period of time to rest. He was sitting in front of the piano smiling comfortably, shaking his head easily, and enjoying the performance of the woodwind trio.

Bassoon has a deep and simple timbre, coupled with the harmony of two clarinets, they show a high-purity fusion against the background of the same color, and at the same time maintain the same singing quality as the theme piano solo.

In the fourth variation, the woodwind trio is replaced by a string quartet, and the violins are neatly woven into a mellow and dense texture, accompanied by occasional playful pairwise dialogues.

The intensity of the music gradually increased, seamlessly connecting to the fifth variation of the orchestra's ensemble, so "Theme of Joy" finally ushered in its first highlight moment, the symphony hall was radiant, and the sound of praise resounded from every corner !
After the band played forcibly, the piano reappeared without any trace. Fanning's left hand played a warm triplet, and his right hand played a cadenza with cheerful vibrato. Do a staged summary.

Then the piano played the deformed "wandering theme", and the sound range rose in an atmosphere of anxiety and anxiety, and turned into a series of passing sentences that seemed to sigh softly.

Suddenly, Fan Ning's eyes narrowed, and with his left hand, he played the alternating C minor chords of grade IV with the strength of ff. A gust of gloomy melody appeared from his right hand, opening the sixth variation at the beginning of the expansion.

The band camp played fiercely. Under the instruction of Master Schillings, the musicians danced their bowstrings and sang in unison, and the incarnation of fate and suffering was played by the piano. Fanning was surrounded by a chilling spirituality. On the field, every sharp wrist lift, every sharp touch of the keys, caused tremors from head to toe.

The extremely dramatic interpretation brought about a stormy confrontation. This round of conflict turned into a pianissimo passage in B major, and finally ended in the not so bright A minor.

But soon, the raised semitone of do opens the meditative adagio in A major of the seventh variation.

So the audience discovered that the original pianist who created a sound full of menacing and violent sounds, suddenly released a gentle and blurred melody under his fingertips.

Fan Ning raised his cheeks, smiled and closed his eyes, and stroked the piano keys with his right hand. Every finger turning, finger piercing, or unison finger change showed the love for a lover, and there was a little bit of sweetness in the accompaniment of the band. The ballad flows in the high register.

The sun is shining, the swings are rippling, and the boys and girls are whispering affectionately in the spring. At this time, the "joy theme" is magnified with its joyful and intoxicating side. This is not the final answer, but it is beautiful enough to make people indulge in it.

The right hand of the piano plays a long vibrato staying on the dominant E of A major, and the left hand strikes a bell-like dotted rhythm, so the bassoon, French horn and flute imitate the response one after another, turning into the sonorous and passionate eighth variation. Army March.

The majestic rhythm form, the energetic dialogue between the piano and the band, and the free and easy modulation techniques all disappear in a beautiful cadenza in the opening part.

So far, the entanglement of suffering and hope, the preliminary discussion of the "joy theme", the dialectical relationship between fate and resistance... have all been fully demonstrated, and any good composer can reproduce it with changes in repetition It cannot be said that it is unreasonable to end the part beautifully, but a great master obviously does not fall into this cliché.

The audience, who had experienced hardships, struggles, contemplation and joy along the way, suddenly felt something, and became more excited and excited.

Master Schillings on the podium gave a cue shot.

The cello starts, the rhythm with dots, and the short and playful bow movement are exactly the "motivation of inquiry" that mixed the state of seeking and hesitation when the band first entered the stage.

"Bang!——"

Fanning's response this time is not a comforting recitative in the high register, but a head-on blow of a diminished seventh chord and a set of rapid arpeggios whizzing from low to high.

"No, it's not like that, we have new joys, new strengths." The piano seemed to answer in this way.

The string group thoughtfully, starting with the cello and viola's retelling of "Inquiry Motivation", the first and second violins joined in one after another, welcoming the arrival of new forces with a more positive and open attitude.

"Ding dong ding dong ding dong ding dong..."

Fan Ning smiled slightly, and played a string of radiant, undulating, and infinitely dynamic background sounds in C major.

"Pleasant and cute!"

Suddenly, three melodious female voices came from the channel on the left side of the stage, out of sight of the music fans.

The score here is abbreviated by the poet Kuffner in "When Love and Power Become One", the original German Schmeichelnd hold, which was adapted by Fanning into the more elegant Guhof in line with the original meaning and the distribution of syllables. Man language.

"Pleasant and cute!"

As if in reply, three more men's deep responses came from the dark place in the passage on the right.

The great joy that can be an answer and a destination has finally arrived!
The body of the old lady Hamilton shook like an electric shock, similar to her, countless music fans instantly experienced the almost trembling feeling brought by the great joy!

After two answers, the Marquise McAdam in a red dress, accompanied by Miss Elizabeth, a chorus member in a white dress, and Miss Lausanne, a young composer, walked slowly to the stage. The melodious and melodious trio of female voices with the melody of "Joyful Theme":

"The harmonies of our life sound pleasant and lovely;
Once the beauty is revived, the flowers bloom forever!
Peace and joy fly side by side, like waves ebb and flow;
All cruelty and hostility, turned into sublime joy! "

"Infinite surprises, I guessed wrong again!" The editor-in-chief of the music critic Don Yettus smiled and shook his head in the seat, "I thought the children in the choir were about to stand up, but I didn't expect that Carlone van · Ning actually arranged such a trick, he really can hold his breath... That's right! Why didn't I expect that those singers haven't shown up from the beginning to the end!!"

Fanning was much delighted by the singing of the ladies, and the keys under the fingertips were struck alternately in octaves with the left hand and sixths with the right.

So under the instruction of Master Schillings, in the passage on the other side, Master Nieman, who was wearing a brown formal suit, led the permanent conductor Mr. Kaplan and the famous composer Mr. Virgil in a black tuxedo to enter the venue.

"When music ruled magic, and spoke magic words;
The great glory appeared, and the night and the storm became light!
Outer peace and inner happiness rule the lucky man;

However, the spring of art makes both of them shine! "

The piano and the band resonated with an increasingly positive attitude, the gentlemen smiled gracefully, and the "Joyful Theme" trio became deeper and more touching.

Seeing Mr. Kaplan, whom she just met, singing on the stage with a happy and joyful smile, Mrs. Hamilton could no longer restrain her inner emotions. Crystal tears flowed from her wrinkled face tumble.

We are bound together, we are about to break through the shackles of the visible world, and fly to the land of freedom...

Those sufferings, struggles, and hesitation that once started are all comforted, dispelled, and turned into ultimate joy at this moment.
More and more listeners also began to have sore noses, wet eyes and even wept with joy.

"Du Pont, the guy who plays the chief tenor, I always felt that he couldn't sit still..."

Fanning's fingertips were still flying happily, but he raised his head and smiled and glanced at the high place in the distance.

Master Schillings raised his left hand while swinging, so the chorus behind the symphony orchestra stood up all at once, and opened the music book in their hands!
In the collective strong performance of the piano and the orchestra, under the leadership of six singers, the symphony hall finally broke out into a radiant and brilliant chorus! ——

"When greatness enters the heart, beauty and new life bloom;
Once the soul comes out, there is always a spirited chorus to respond!
Then, ye fine souls, rejoice to receive the gift of this fine art;
When love and power are united and married, divine grace will favor all mankind! "

"Ding ding dong ding ding dong ding ding dong ding ding dong..."

During the interval of breathing, Fan Ning's left hand appeared a warm triplet, and his right hand brought a cheerful vibrato cadenza to the melody as expected.

"value!----"

"En-given!——"

"Wonderful—art!—"

The vocal shouts interspersed with the piano melody burst out one after another with the band's brilliant column chords.

"Then you beautiful souls, joyfully receive the gift of this wonderful art;

When love and power are united and married, divine grace will favor all mankind! "

In the final aria, the band and choir poured out all their strength, so the volume and texture were fully loaded, and various techniques such as free variation, canon imitation, close harmony and response accelerated the journey of the chorus, and hit the final without hesitation. orgasm.

"Then you beautiful souls, joyfully receive the gift of this wonderful art;

When love and power are united and married, divine grace will favor all mankind! "

The band and choir sang loudly, and Master Schillings swung his racket vigorously, sweat dripping from his forehead.

"When love and power are united and married, divine grace will favor all mankind!"

All things have jumped to the realm, temporarily surpassing everything in the tangible world, and bursting out with the light of supreme glory.

This is the light from the will of the world, the "beginning light" of the sublime music, where there is no new color, no wandering shadow.

"strength!----"

At the moment when the singers and choir shouted "Kraft!" in the original German, time and space seemed to freeze.

There is no theme, no motive, no rhythm, no harmonies, just an extremely powerful E-flat major triad, which not only looks strange in color under the tonic of C major, but also lasts for a full seven bars!

It explodes, then hovers, occupying the longest duration and the strongest intensity, and also fulfills the mission of "Choral Fantasia in C Minor", flying from a super high range to a transcendent range!

"Rumble rumble—"

The rolling sound of the timpani finally brought the sound that resounded through Huita back to the world.

"Divine grace will favor mankind!—"

"Divine grace will favor mankind!—"

Fanning's heart was beating violently, his hands for playing the piano were almost numb, the particles were flying, sparks were flying, and ecstatic octaves and arpeggios shot out from under his fingertips.

"Boom!!!" There was a burst of strong playing, the music ended, and Master Xilins's falling posture stopped in mid-air.

Fanning's raised hands hung over the keys.

The rustling of clothes rubbing against each other came from all over the symphony hall.

The first reaction of these audiences after the end was not to applaud or speak out, but they all felt that they should stand up first, and then consider how to express it.

It was not until more than [-] audience members stood up that the editor-in-chief Don Yettus, who was standing in the front row, uttered a solitary cry:
"Bravo!!"

　At the beginning of the month, I was stunned by the three big guys who were touched by the smile, the big divination pot, and the lack of a good name. Thank you very much. I will try my best to write an extended chapter. I hope everyone will enjoy it at once. T^T
　　Then, I found that writing orchestral works with vocal music was far more difficult than I imagined. The chorus part of the lyrics in German, Austrian or Italian requires careful attention to the correspondence between syllables and notes in the score. The composer’s every harmony, Every group of rhythms and the arrangement of every expression term are closely related to the text.It can only be said that I tried my best to show the key content to everyone. If there are mistakes, please correct me.
　　
　
(End of this chapter)