beauty winner

The second movement begins with the melodious melody of the first flute, followed by the addition of a triangle, which sounds very small and even worthless.Fortunately, the triangle iron stopped after only a dozen strikes. In fact, the percussion music of the whole work is only the triangle iron except the timpani, and the triangle iron only needs to strike a few measures at the beginning of the second movement and the end of the fourth movement. It is relaxed and happy, although the musicians still have to play a few big cymbals in the third movement.

Following the gesture of the conductor, the second violin group started to follow the musical color of the flute, but it only played a role of embellishment, and then the woodwind and double bass also performed the same function.After laying the groundwork for multiple parts, the cello group started together, and the unison of the first note was loud and full of power. It felt like some heavyweight player suddenly appeared in the open space of small flowers and grasses, which was a bit extraordinary. The sense of announcing something should focus the audience's attention and pique curiosity.

The cello group did not disappoint, and in the next six bars, it was set off by other voices to perform a super long phrase.This phrase is so clear, loud and smooth, and it is performed in one go without punctuation.Lian Lixin and the orchestra here took a fairly standard route, strictly following the score, and felt that they did not add personal understanding to the second creation.This interpretation can be regarded as correct, because the emotional color of this long phrase is very unclear, or to put it more pleasantly, the stable rhythm and gentle unique melody trend make the music appear more inclusive and broad, so I have to generalize it If you are emotional, it should be considered peaceful, and it seems to be a bit broad.

After the long sentence of the cello, the piece comes to a stop, and it sounds like it is over.Of course, the second movement is not so short. After a beat of silence, the trombone sounded, looking leisurely from far to near, and then with the violin joining in a little lively, the emotional color of the music became brighter.

After a little activity, the violin group stopped for the first time, made itself clear and coherent, and then played a slightly longer upward complete phrase.If the cello in the front is quite obscure and difficult to detect, then from the first violin phrase in the second movement, the composer's nouveau riche essence is fully revealed. Call it mediocre, or the composer simply doesn't want the audience to pay attention to other instruments. At this time, all the voices exist only to support the violin.This is a very smooth and lively melody, and the brisk bow jumping of the first violin group seems to come out of nowhere, without over-preparation at all.This melody is very nice, but because it is too prominent and nice, it may make people uncomfortable, or even make people feel gaudy. In fact, composers should use this kind of melody in popular songs as a melody. Chorus mnemonic.

Fortunately, there is only one time in the music that the violin pleasing to the ears so unabashedly, and then the composer still came up with some technical theory. The voices expand and plump up, whitewashing the violin's kitsch packaging, and improving the melody from a crude joke to something that seems to radiate joy from the inside out.

Dozens of bars have passed, and the music sounds a lot more advanced, but the most basic form is still simple, that is, the wind music pushes the strings to go up again and again, and later even has a waltz feeling. Not only was he happy, but he was even a little excited. Not only did the conductor's movements become more lively, but even the expressions of the leaders in the audience looked much more energetic.

Suddenly, at a juncture that makes people feel that there should be a higher wave of emotions, Lian Lixin suddenly stretched out his palms on the stage, and all the musicians who were playing stopped to stop the music abruptly. And the yangqin group started with the gesture of the conductor.

They are all percussion instruments but the timbres are very different, and the melodies played are also independent and even without counterpoint, but they are all very simple at the beginning, and the composer did not show off his wealth.

The sudden change from the ensemble of the Western Orchestra to two groups of national instruments is indeed sudden and even abrupt, far from the natural feeling of over-leading musical cues in the first movement. This drastic change will definitely have a great impact on the audience. Small, but it is not yet known whether it will play a positive or negative role.

After a few bars of monotonous single-note playing, the melody of the dulcimer and sanxian began to connect and echo. At the same time, the performances of the two groups of instruments also began to show some of their traditional characteristics, although they were still relatively basic skills. But Fufafu seems to be unable to help but start to show off again, but this time the composer did not kitsch, but gradually and even forbearance.

As the melody of dulcimer and sanxian gradually became fuller, the cello group began to play its bass role.After gaining confidence, the two groups of ethnic instruments went further, the melody became more distinct, and the technical performance was also enriched, unlike in the first music, which only served the music but had no room for expression.

Woodwinds and brass were added successively, but it seems that they are not serving as a foil like the cello, but to grab the audience's attention from the sanxian and dulcimer.Sanxian and Yangqin also quickly realized that the connection between the two became closer and closer, and the color of the music seemed to inspire each other, and both became more active and full.

At this time, the overall color of the instrument is also very clear, as before, it is joyful and happy, but there are obvious differences.

With the symphony of each part in operation, Sanxian and Yangqin are already flying together. Yangqin is as light and agile as a flock of birds dancing, while Sanxian makes people feel calm and atmospheric but can also fly freely without restraint.By this time, the composer's intention to compare the two pieces of happy music before and after has become very obvious, and the differences have been successfully expressed.

Under the dominance of the dulcimer and sanxian, the music is joyful enough to a high enough level that the composer seems to feel that it is enough to end this section, so the music begins to transition to the next stage, but just in the dulcimer and sanxian Gradually released the previous joy and began to stabilize or even start to quiet down, the pipa group that had been watching the excitement suddenly exerted force, instantly combining the motives of the yangqin and sanxian in this movement and performing it in a more sonorous form, and then continued After the last two quick rounds of kung fu, he returned to silence in an instant.

Here the pipa is simply flashing, just two bars, suddenly appearing in a rapid performance and then disappearing suddenly, it is almost at a loss and stunned on the spot.But if the teachers of the composition department look at it, they will definitely appreciate the lightning attack of the pipa. The teachers will say that it is the seemingly dispensable pipa that plays the finishing touch in these two bars, and it is the The pipa settled the dust in the first section of the second movement of the four-section style, and the title clarified the difference between the two kinds of joy before and after.The joy dominated by Western instruments in the front is lively and even a little noisy, while the joy dominated by dulcimer and sanxian will be more forbearing but revealing some joy.

The second movement of "Yang Jingxing's Second Symphony" does not have any theoretical breakthroughs. It has an obvious four-segment structure, and there is no academic contribution in terms of harmony texture. However, the composer fully expressed his own in this movement. The creativity of the melody, the four musical colors of joy, sadness, calm, and solemnity are successively realized in the movement, and each color is expressed in two different ways.

After the joy, the piece then uses a more expressive Western string melody to express the theme of sadness, which is much sadder than "Meditation", much more sad than "Song of the Wanderer".After the western string music, the music unexpectedly did not use the erhu as the main performance, but used the pipa with the strings and the dulcimer with the wind to sing the rivalry. The two schools sometimes compete with each other and sometimes rely on each other They snuggle together, but they are all called a sad and sad.This was also the first time that Yang Jingxing created serious music with such clear and sad emotions, and he did a good job. Not only did the audience look down, but the performers on the stage were all heavy.

But you can’t always be sad, so when you’re sad enough, you’ll transition to peace and tranquility. This time, you’ll be performing folk music first, using Erhu and Sanxian to express that kind of calmness, and then using the tolerance of Western music. Contrast that with tranquility.

Majesty is also an old label of serious music. Composers have prominently used wind music in Western music, fully expressing grandness and solemnity, but also giving birth to some glorious and surging feelings.After the folk music dominated, Yang Jingxing chose to use the erhu and pipa in an ensemble form to express a sense of dignity and even majesty.

Throughout the second movement, the composer is almost profligate in creating and using all kinds of beautiful melodies. No matter which color is expressed, the music is full of fresh and moving ideas, especially in Western music, the composer The performance is particularly generous, and it seems that he has spared no effort to use any means, but he seems to be restrained in folk music, but under the restraint, he seems to reveal deeper emotions.Moreover, in the second movement, the connotation and characteristics of several folk musical instruments have been fully reflected, and many expressions have been done in detail.

However, under the composer's various inspirations and technical means, the second movement did not realize the fusion of folk music and Western music. Instead, it contrasted some conflicts and oppositions, and even felt a little bit of a competition. It violates one of the original intentions of this song.

The nearly [-]-minute second movement ended with a few heavy beatings of the timpani. The female sanxian player on the stage shifted her gaze from the conductor to the composer in the audience, and was made to chuckle again.

Everyone on and off the stage hurriedly prepared, and soon the third and fourth movements came together.President Wu nodded after adjusting his sitting posture, and said to himself as if he wanted to adjust the excessive silence in the auditorium: "It's a good attempt."

Wen Fujiang praised: "Director Yang has accumulated a lot of knowledge..."

Lian Lixin was out of breath, and the third movement started, which was straight to the point. It opened with the show-off of the chief pipa and the principal violinist. Listening separately, it should be a high-level solo piece, so the two senior performers It seems that he has put in all his strength, and he doesn't even need to look at the command.

Just like fighting in groups, the two big brothers are already fighting with real knives and guns, and the younger brothers of course keep up, so it quickly becomes four erhus against four violins, and the melodies of the two voices are not gentle. There is still a little impassioned in the beginning.

After more than a dozen bars, the pipa and the violin seemed to be invincible or did not admit defeat. The hands of other spectators were itchy. First, the cello came out to cheer people up, and then the woodwind seemed to cheer the violin. The sanxian was immediately loyal. Asking the pipa to work hard, the brass pipe pretended to be fair with its voice, and the erhu immediately began to slap on the sidelines...

The situation developed very quickly, and the third movement only reached more than 50 bars. The first full performance of "Yang Jingxing's Second Symphony" finally appeared, with one mention and two mentions, viola, cello, double bass, woodwind and brass timpani, four A folk musical instrument, not a single part is idle, even the triangle iron players are ready to rub.

Although it was played in full, it sounded like chaos at first glance. The audience who could hardly bear it would probably have to leave the stage after a stalemate. Fortunately, the conductor was so artistic.Therefore, some artists are far away from the masses. In fact, the analysis of the score here is not chaotic. The overall structural design, the counterpoint relationship between the voices, and the internal relationship between the materials are all better than the first and second. The movements are much more technical, all worthy of avant-garde academic research, but they just sound chaotic.

The first thing I couldn't stand was Dacha, who expressed his dissatisfaction loudly and loudly in three different ways at the three special nodes of the chaos, which was indeed very intimidating. With the ugly posture of pushing the buttocks forward and arching the upper body and raising the hands, the music seems to pause for a moment, and then each part begins to exit this chaos in an orderly manner, in a way similar to rewinding.

If "Yang Jingxing's Second Symphony" can still get the attention of music critics, then those music critics who like to appear to be technically savvy will probably be delighted when they listen to the first and second movements, which seem to be more important than "First Symphony" Simple, but when they heard the third and fourth movements, most of them were blinded.This is why He Hongchui is now opposed to studying Director Yang's works in the Puyin Composition Department. In his words, there is nothing to learn if you don't graduate as a graduate student. Can you understand it?But Gong Xiaoling thinks there is still a need to learn, just like reading classics, different ages and different insights can read it, and they can all have different gains.

The third movement, which was quite pleasant at the beginning, turned into a messy chaos inexplicably after more than a minute, and only let the audience suffer in the chaos for less than half a minute. Maybe colleagues or senior music fans can already understand it. Some clues were found in the chaos, and the music began to be played in reverse, but it was not a rewind of reading the music score backwards, which can be called a technical rewind.

It was the materials that caused the confusion. After rewinding, they were slightly modified and adjusted or left intact. A wonderful thing happened. The music began to gradually become layered and prioritized, and even started to have a pleasant feeling. .

For more than three minutes, the music returned to the scene of four lutes and four violins playing against each other, and then during the technical progress of the two voices, the composer let the music materials on both sides overlap two bars subtly, just like The two straight lines got closer and closer and finally met at one point, but the next two voices did not continue to move in the direction of their own material, but changed paths at the intersection and walked on the path of each other.

All the details are combined, so ingenious that it is almost a coincidence. The melody exchange performance of the two voices does not feel abrupt and contrived, and even seems to be natural, and then there is no more confusion. The pipa and the violin seem to like each other’s material , seem to understand each other, and gradually echo each other from afar.

As the pipa and violin echo more and more closely, the viola and cello begin to enrich the bass with this new posture and emotion, then the clarinet and flute gradually begin to enrich the pipa part, and the sanxian tries to form a counterpoint with the violin...

At the 7th minute of the third movement, "Yang Jingxing's Second Symphony" is performed in full for the second time. The material has not changed much from the first time, only adjusted or exchanged, but the music is reversed from the previous one. , the parts are in order, the French horn and the double bass are at the bottom level and work hard, and the cello and viola are willing to be green leaves.At this time, there are a total of four pieces of music that have formed a rigorous internal connection and closely match the main theme with a clear hierarchy. The first violin and sanxian lead one, the second violin and dulcimer lead one, woodwind and erhu lead one, and brass and pipa lead one.The four melodies go hand in hand not only without dissonance, but gradually showing a trend of simplicity and melodiousness.More importantly, there is no obvious collision and contrast between Western music and folk music, and it feels like they have been successfully integrated by the composer, and they are all working together to serve the music.

In the past 10 minutes, the parts of the music seemed to go together so logically, and then the whole group played in unison, and it was the first time that the whole piece appeared so brilliant and bright, and then the third movement was in this different style from the previous ones. It ends in the magnificence of the conductor's soul dancing and the hard work of almost all the performers.

From the present point of view, the obvious academic difficulty of the third movement lies in the fact that the composer connected serial music, occasional music, and traditional creative forms. This requires solid technical theory and rich inspiration, both of which are indispensable.For ordinary music fans, what can be intuitively felt from the third movement is the freshness and even stimulation of the combination of Chinese and Western music, and this stimulation is obviously intentional by the composer.

But the people at the scene didn't have time to feel it too much. The fourth movement started immediately, and it was more direct. It was played in full at the beginning, but it was changed to a brand-new form to form a brand-new feeling.

The music material of the fourth movement is not complicated. It looks like a rondo as a whole, but the rondo contains canons, variations, and various complex counterpoint relationships.The color and emotion of the music in the fourth movement are not complicated, it is almost an impassioned chorus, there is nothing profound and difficult to speak of, and so many technical means of the composer are basically to enhance the emotional expression or the charm of instrumental music.

The fourth movement is not too long, only about 6 minutes, and at the 4th minute, the combination of the rondo of Western music and the Canon Variations of folk music is the climax of the movement and the climax of the whole song, which is what the conductor said. Some, at this moment, the string instruments, wind instruments and percussion instruments on the stage are all moving in one direction, but not only the whole play, but also the whole staff start, all the big and small violins come into battle together, playing rhythmically with steady and sonorous staccato. The vigorous and powerful melody resounds, and then the brass unison promotes the variation, reaching the climax.At this time, even Lixin's movements were exaggerated violently, President Wu frowned as if he was sweating for him.

In more than a minute of the opening of the music, the folk music with few people was almost submerged, but everyone still insisted on it. Until the end of the opening, those Western instruments began to fade and gradually stopped completely, and the national musical instruments persisted. In the end, and there was only folk music left on the stage, even Lixin softened at this time.

The music is obviously coming to an end. This is also the most traditional folk music in the whole song but still fresh. It sounds good but it is not too long. The dulcimer stopped, the pipa stopped and the erhu also stopped.

There are only four sanxians left, and they are all practiced well, and the conductors are uniform even when no one is watching, but Lian Lixin still dances his arms full of emotion.

As cleverly as a coincidence, the melody of Sanxian progressed to the six-bar cello ultra-long phrase at the beginning of the second movement. If the audience still has an impression of those six bars, they will definitely sigh or even exclaim at this time. The same note, completely Different feelings, and this difference is so timely, at least for Chinese audiences, this is the best ending.

The four sanxians did not have any skills together, but they all played the melody of the six bars attentively. After two bars, He Peiyuan and the young colleague next to her stopped playing, and after another two bars, another player stopped playing.

Only the Chief Sanxian and Lian Lixin were left to work on the stage. Fortunately, it was only the last two bars. Lian Lixin's posture was that he wanted to whisper in front of the chief, but the chief didn't look at it at all, he only loved it deeply. Hold your own musical instrument so lovingly, and play every note with love.

It feels like the composer also played a game of Dao Zhi Jian Da Yin Xi Sheng at the end. From the previous mountain roar and tsunami to this one-second note, everything is about to return to calm.

Finally, the last crisp sanxian note spread in the quiet theater and disappeared quickly.Lian Lixin held his last position for two seconds, then relaxed and stood up straight.

There was applause from the audience, and it was time to call it a day and go home. It was very enthusiastic and neat, and the leaders didn't even hold it. President Wu slapped quite hard.

After hearing the applause for two seconds, Lian Lixin turned around and faced the audience with an artist's pride on his face.

President Wu may also be in a hurry to leave. He stood up and applauded and glanced behind him. The people around him and even the entire auditorium stood up and applauded.

Lian Lixin thanked the movement, and then raised his hand to introduce in strict rehearsal: "Yang Jingxing!"

These cameo audiences are really cooperative, and the applause is even warmer,

Yang Jingxing was funny, but he still nodded to the stage and behind him.But others are better than him, and so many senior performers can express the enjoyment and aftertaste of loving music and art, and even paying tribute to the composer.