musicians of old

Chapter 897 Nighttime Ramblings (Part Two): Debussy-Ravel

"worm?"

Fan Ning frowned.

Do such things exist in the virtual world? Do such things also move around in the virtual world?

He was unsure.

Logically speaking, "worms" represent the ultimate collapse and chaos, but the Void Realm is empty and lifeless, so it shouldn't be considered chaotic.

It's possible that they were drawn in by the overly rich "meaning" within the music.

Is it also possible that it is related to the biased guidance of dangerous individuals?
There should be no night
Fan Ning frowned again as he glanced at the pale white boundary beyond his sight.

I feel like there's a slight increase in "brightness"?
It might be psychological.

Regardless, the pace of the operation must be accelerated, even if it's risky.

Adopting a strategy of "caution and gradual exploration" in such a place is equally foolish and self-destructive.

The "wilderness of modernity" has now been fully explored.

Fanning collected its trauma, its confusion, as well as its rationality, its vitality, its transformation and its sharp edges.

The latter part of "Night Wanderings" was thus imbued with a richer and more complex character, one that dared to confront chaos head-on.

The fall will eventually come to an end.

Before, at the foot of the wasteland were salt flats and ashes, and at the end was a cliff. Below the cliff was a waterfall carrying mud and sand, and the waterfall eventually fell into the sea.
An endless, still "sea".

Fanning was swept away by the waterfall and crashed into the sea without making a sound or splashing any water.

The sound died long ago when it entered the void, and this place is a collection of the "corpses" left behind by all the sounds after they died.

Countless broken melodies, interrupted harmonies, faded poems, and extinguished cries, like billions of gray, translucent pieces of glass, are frozen together by some absolute zero property, forming this eerie sea that is as smooth as a mirror and as deep as an abyss. Occasionally, "internal stress" causes a small piece of "glass" to shatter, and no sound is heard, only a thin, cold crack spreads silently.

It is much deeper than the "wasteland".

A chilling aura, far cooler than that above, emanated from this graveyard of sounds. It wasn't exactly biting, but it caused the temperature of the spirits and divinity to drop irreversibly and slowly.

There is no way to hinder or delay it.

The strange glaze color that evoked the image of Fanning, inspired by the guitar and mandolin, was no longer effective.

Fanning made the most of the time, first floating horizontally on the dark sea to search.

Theoretically speaking, based on Fanning's current understanding of time and space, "modern art" should be roughly at this level if we push it back one era.

But this time it wasn't as easy to find as before.

The virtual realm itself is thin and boundless.

Especially this "Sea of ​​Sounds and Remains," as far as the eye can see, it is so vast that it is terrifying and overwhelming! It is possible that the "flows" of countless generations of history have all silently fallen and converged here.
Fanning maintained the style of "Night Walk," but the music subtly shifted in color. In order to more clearly respond to those "direction" characteristics, the suspended, delayed harmonies in the movement were now tinged with a hazy halo.

The halo of the black jade stone rippled with the "unending secret," and the lines of the melody were no longer clear and sharp, but became broken and shimmering, like sunlight filtering through swaying leaves and casting mottled and colorful light spots.

It felt like a long time had passed. Fanning finally "saw" a subtle change in the hue of the void ahead, with rich "colors" and "emotions" waiting expectantly.

The fog of impressionism was swirling in that strange region, visible only to him through the gray world.

He saw colorful particles rising and falling in the "Sea of ​​Sound and Remains," converging into a swamp of light and shadow, tiny and ever-changing.

A nebula stretches lazily within, its shape elusive, sometimes like the shimmering waves of the sea, sometimes like the languid ambiguity of a faun's afternoon, or like the poetic beauty of an imagery collection.

The lingering echoes of Ash-Claude Debussy, the French Impressionist master.

There is another place, a strangely structured and beautiful mirror garden, where all emotions and fantasies are imprisoned in an absolutely precise rhythm and impeccable orchestration, reflecting a cold and dazzling brilliance.

Another Impressionist "Crescent Moon" master, Maurice Ravel.

Fanning echoed this with a musical and visually evocative approach, with the harp and flute playing short, brilliant phrases, like the ever-changing water lilies in Monet's paintings, while the tremolo of the string instruments resembled the shimmering light spots in Renoir's paintings.

Then, the "maximic motivation" resurfaced, and he endowed it with the brilliance and precision of a diamond facet, like the clear, flowing arpeggios in "Water Play" or the inhuman perfection with a hint of the eerie in "Night Ghost".

They transformed into two beautiful and hazy streams of light.

Many other dazzling lights also rose up in this sea area.

Poet Mallarmé, writers the Goncourt brothers, painters Monet, Pissarro, Renoir, Degas, Sisley
And then there are the many more artists who are captivated by symbolism, sensual pleasures, and fleeting memories—artists who may be less well-known than the masters, yet equally devout in expressing their inner selves and what they see and feel.
The lingering echoes of this era of light and shadow all converged into the "Night Watchman's Lamp," and the edges of the jade-colored halo rippled with dreamlike arcs of pale gold and light purple.

But it is precisely during this process, which lasts for a certain period of time.
Outside, above the devastated world swallowed by the aberration zone, the slime on the surface of the enormous and terrifying "Noon Moon" seemed to have just completed a slow, nauseating wriggling motion.

Just once.

"wrong."

"The physical sensation doesn't seem to match the reality."

They made another small step forward in a deeper area, but Fanning's eyes showed more worry than joy.

He can't see the outside world now, nor can he compare anything, but he has keenly grasped certain abnormal physical sensations.

First of all, he felt that he had been in the virtual world for a long time.

The journey began with a considerable amount of time spent walking on the "salt-alkali ash land," followed by a long and arduous fall off a cliff, during which the feeling of weightlessness was extremely prolonged. During this time, the author also completed a tribute to and collection of "modern wilderness," the "height" of which can be imagined.

This has already taken a long time, and with my own wandering and searching in this "Sea of ​​Sounds and Remains," it has taken countless "days and nights."

However, Fan Ning was also well aware that he was composing and performing the second "Night Journey".

The music has only been going on for six or seven minutes now, judging by the number of measures and the tempo!

Why is there such a big difference? Which one is the real one?

Fanning tends to trust her own music more.

When he had made this clear to himself, he found himself equally certain of another point—

The stark white background in the distance is not a psychological effect that makes it seem "a little brighter".

Fanning saw that it was indeed getting brighter, and even brighter than before!