musicians of old

Chapter 610: Cannot be imitated

After the ceremony, Fanning slowly looked around at every audience member present.

Until everyone's little movements stopped, some people with itchy throats also unconsciously suppressed the noises they were about to make.

Turn around and face the band.

He also glanced at the musicians, but probably spent more time on the principal violinist, cellist, flute player, and timpanist.

Only Sheeran on the left was still there. Even Lou had moved into the audience. As his career and family status rose, he had less and less time to play the timpani.

The distracting thoughts are cleared away, and the wrist prompts the beat to go out.

The tip of the baton pointed downward, casting a short, sharp shadow.

Uneasy string tremolos tore out from the silence.

What follows is the rough and solemn "questioning motive" segment of the double bass.

The first movement is a funeral march.

"So this is the experience. Come to think of it, it's been such a long time since I wrote this. It's really late."

The double bass wanders and sweeps in a broken form. For the first theme in C minor, Fanning introduces phrases from the oboe, alto oboe, clarinet, French horn and violin parts one after another, starting with whole notes and climbing upward in a long and difficult line.

No matter how many apostles' conspiracies were mixed into the life of the old organist Vien, his struggle for life itself is still worthy of being remembered and revered.

In the connecting phrase, the band trembles uneasily along with Fanning's hands.

The continuous downward drag stretched the harmony conflict to the limit, and his eyes were looking far away at the timpanist who was playing the rolling instrument.

The other hand decisively cuts down at the strong beat point.

“Crack!——”

The large and small snare drums all fell down together, the big gongs and cymbals made earth-shattering and piercing sounds, and twenty or thirty brass and wooden wind instruments followed his instructions and roared towards the sky.

“A perfect start!”

“It’s so refreshing and so shocking.”

The audience's spines were numb, and the finger joints that were holding on to the seats were exerting uncontrollably force, making it difficult for them to relax for a while.

Among them are many professional conductors who brought scores and were ready to observe and learn on site.

Some of them frowned deeply, while others sighed in embarrassment.

You can’t learn it. You can’t learn it at all.

“Where should I start imitating this?”

Fanning's palms rubbed an arc in the air, soothing the band's initial struggle, at which time the double bass produced lingering triplets and the colors began to transition.

In the second theme in E major, the violin plays a simple ascending scale, which then drifts down melodiously and gracefully, while the French horn supports it with a warm four-part harmony.

  In the pastoral melody, Fanning recalled the time when he drove Joan and Sheeran to investigate the "non-existent town". It was a summer with blue sky and white clouds, the country road was sunny, and the "big nose" engine compartment of the car passed through the shadows of rows of sycamore trees at high speed.

In fact, the first movement of "Resurrection" was completed in the hotel in the small town of Gogol. In the past, the sunset there was the color of red wine and chocolate, the cobblestone streets were surrounded by flower beds, street performers played accordions and violins, and the river was pink and sparkling.

Tonight, as the music progresses, many of Fanning's experiences and silhouettes during the creation of "Resurrection" have finally begun to be wiped back into place one by one.

At the end of the funeral march, amid the low steps of the harp and violin, the C major chords of the flute and oboe suddenly pierced in, and then dropped a half-degree mi tone in the continuous sound, bringing a hint of ominous warning.

"Alert chords," Fanning suddenly came up with a name for this technique.

This ominous meaning is very suitable for melancholicists, suggesting a certain tragedy, and perhaps there will be opportunities to use it in the future.

The diminished seventh chord of the French horn comes suddenly, and the entire orchestra descends to play a chromatic phrase. After two faint plucking sounds, the first movement ends.

Fanning stood there in silence, faithfully following the rule he set in this musical world: "rest for at least five minutes." After the score was widely published, more people knew and understood the composer's instructions.

The audience was emptying their minds to temporarily allay the overly terrifying atmosphere, and many professionals tried to use the free time to "review the situation", but it didn't take long before someone gave up, closed the score, and decided that it would be better to just listen.

  This is something that other artists cannot imitate!

If Kaplun's conducting at that time was the explosion of the afterglow of life, the outpouring of emotions, and the perfect presentation of his daily thoughts and accumulations at this unique historical moment, allowing the audience to feel the silent sublimity, then Fanning's conducting at this time was the effortless control and all-round crushing show of skill - in fact, he had no intention of showing off, but if it must be described as "effortless" and "show of skill", then it would be like taking a few things as heavy as celestial bodies in your hands and spinning them in various trajectories according to the needs of the music!

In this musical ceremony, the audience has no emotional autonomy and must read and write this epic of life entirely according to the artistic program of the work and the inspiration given by Fanning!

  The second movement, a moderate allegro, takes a few breaths of the turbid air, and the past scenes lingering in the white mist jump out one by one.

Carefree Leander dance steps.

  The funeral of the poet Bassani, the discussion concert in the church, the performance of the Goldberg Variations, and the obsession of choral creation born out of the moment when the coffin was buried.

In the interlude, string instruments march solemnly with triplets, flutes and clarinets sing desolately, and then, the old friend responds to the dance steps with a mellow ballad, which makes the nasal cavity pass through sweet pain.

The third movement, Scherzo, a ballad full of warmth and nostalgia, ends hastily, and the audience wakes up from their daydreams and returns to the muddled reality.

  Eating, sleeping, living, working, the imperial capital of Santaramburg, a city machine made of steel, daily subway travel, exhausting repetitive consumption, chaotic events one after another

The sound became increasingly dense, making it hard to breathe, until a completely unfamiliar and dangerous sound door was suddenly pushed open.

The hideous and evil phrases receded like waves, the low hum of the gong lingered for a long time, and the unsettling atmosphere hovered in the air.

Fortunately, during that period of depression, confusion and restless creative desire, there was also a short summer spent in the solemnity of Saint-Euvergne.

"Oh, little red rose!"

The simplest D flat major "one-one-two-three" scale was sung by a simple but extremely solemn mezzo-soprano.

Trumpets, French horns, and bassoons responded with solemn chants.

  “The world is in great trouble!

People are living in great pain!"

Movement 4, The First Light, is a poem that Ms. Hamilton recorded on the cover page of her workbook.

An ordinary old man who devoted his life to public health and the prevention and control of occupational diseases, and was still organizing his work results by his bedside in the last days of his life.

“Ding-dong~”

The bells of the celesta and harp rang out, the triplets of the clarinet sobbed, and the violin solo played a deep and sad melody in B flat minor.

Sheeran and Fanning looked at each other, probably both remembering Fanning's explanation of the "initial light" in "The Young Man" when they visited him in the hospital, and the inspiration and tears he gained while listening to the choir's carols at the funeral in the early morning of that freezing winter.

After realizing that "all living things must die", Fanning has indeed been fantasizing that redemption really exists, so that those who he misses are no longer in this world, and those who he fears will leave in the future, can still look at this spiritual garden.

I don’t know why the works I write now are becoming more and more “realistic”.

Fortunately, what is being performed now is still the same as in the past?

Fanning suddenly smiled and shook his head for unknown reasons, then continued to introduce the fifth movement without interruption.

“Crack, crack, crack, crack, crack… Boom!!!————”

Expanded sonata form, The Last Day, Resurrection Hymn.

The double bass's "questioning motive" once again tore out from the silence, bringing out a wild and uncontrolled roar. The entire orchestra poured out an overwhelming stream of broken chords, and the terrified horn sounds of the trumpet and trombone spanned up and down the octave.

At the beginning of the exposition, the oboe plays the vast triplet "Proclaimer Motive", beginning the solemn hymn sung in the face of boundless darkness.

"At this moment, I finally understood what an epic is, what a true epic is!"

"This is a miracle! In fact, tonight, whether you choose to show up at the home stadium or choose to spend 1 shilling to listen to the radio in other theaters, it will not make a big difference, but those who didn't come are bound to regret it, and the original owners of those empty seats are bound to regret it!"

Countless threads of inspiration are connecting and surging across the boundaries of time and space.

The audience felt as if they were experiencing an epic dream, and they felt an almost thrilling sense of anticipation and excitement for the coming of the greatest moment!

  This performance is simply difficult to describe to people who have not experienced it!

He is not a conductor at all, and he doesn't have to spend energy thinking about "how to interpret which part of the score"!

A symphony is a world. In the world of "Resurrection Symphony", he is the creator and the master. Any revelations and foreshadowings in the movement, the grand vistas of mountains and rivers, the subtle blades of grass and trees, the thrilling struggle, the lonely journey in the dark night... everything is extremely concrete and real!