Qin Jian is confident, otherwise he wouldn't be able to talk so much.

What's more, self-evaluation should be done from an objective perspective, and there is another step before admitting the problem, which is to discover the problem.

Therefore, what is right is right, and what is wrong is wrong. Especially for the note durations on the music score, as a performer, you must give absolute respect.

Music can be understood by performers in ten thousand ways, but the duration and basic rhythm of the notes cannot be changed.

At least Qin Jian knows that at his current level, he has not reached the point where he needs to modify the original score to express music.

So Ruggiero asked him "any more", and he told all the mistakes in the performance. In his opinion, these "mistakes" made the piece drop to another level.

And the term ‘musical image’ he mentioned is a problem on another level.

Through the accumulation of a large number of works in the past six months, Qin Jian has mastered a set of his own playing style to some extent.

This style, which combines a large number of difficult performance techniques taught by Chris Piano Space and Shen Qingci, is not something that ordinary people can easily master, and it is not even easy for others to imitate.

Technical flow is his current positioning for himself.

So at this stage, when the technical level is close to saturation, if he wants to make a breakthrough, he can only start from the music aspect.

Breaking through in music is not as simple as just talking. It requires not only the accumulation of skills, but also the ability to observe and introspect.

Fortunately, from the Huayun Competition to today's trip to Russia, his mentality has been steadily and gradually strengthened.

This morning, the tour guide's introduction to the background of the development of Russian national music and the recording of Jinlach's original sound made him fall into some kind of thinking.

After thinking about it, he gained some new knowledge and understanding of the word "expression" in music.

It may not necessarily be correct, but this process should not be missing for Qin Jian.

If the way forward needs to be illuminated by mistakes, he should choose to make bold mistakes.

Because the road hidden deep in his heart has never been traveled by anyone.

there has never been.

...

...

Although the lovely Miss Natsuki was a little dissatisfied with someone's remarks, she was a little helpless because she didn't hear a lot of what the other person said.

She believed what Qin Jian said when he stood up just now, and at the same time she admitted that the other party had surpassed her in terms of viewing this piece of work.

This resulted in her not knowing how to refute the other party.

Most of the students present basically had similar thoughts to Natsuki.

I want to refute, but the reputation and strength are not on the same line as the other party.

So many people hope that someone can stand up and slap that young Chinese man in the face.

There is nothing wrong with everyone holding their own opinions. Regarding things other than controversial points, everyone is dissatisfied with Qin Jian's attitude in speaking.

"There is absolutely no grace at all."

A comment from a Polish girl with freckles on her face.

Are you going to correct the mistakes in the recording in a big way? If you have the ability, would you like to play one?

Yes, your Mozart is indeed amazing, but no one stipulates that those who can play Mozart well will be able to play Rachmaninoff well.

More and more people have such ideas, and before they know it, Qin Jian's popularity among the public is about to fall to the bottom.

However, there were also many performers and professional music critics present who gave different evaluations of Qin Jian's speech just now.

Everyone's discussion continued, and a woman in business attire, about 50 years old, stood up.

She first affirmed the technical aspects of the work by saying, "This is one of the few Rhapsody on a Paganini theme that I have heard that can combine delicacy and roughness."

Then she expressed her views on Qin Jian's speech about "insufficient musical views". She also believed that what the music wanted to express was too vague, "This should not be the attitude that one should have when playing Rachmaninoff.

"

Qin Jian understood this.

In Qin Jian's opinion, the vagueness she mentioned may have something to do with the national cultural genes in his bones.

Regardless of poetry or song, Chinese people have always liked to create an artistic conception of blank space since ancient times.

For example, "Withered vines, old trees and dim crows, small bridges and flowing water, people live in houses," the combination of six nouns has become a famous sentence through the ages. This kind of thing is particularly difficult to understand in the eyes of foreigners.

But at the end, the female commentator said again, "This is almost one" before ending her speech.

As a professional music critic, even after judging that the expression of a piece of music is vague, she can still say - "This is an almost perfect performance," and it is not difficult to see her affirmation of the work.

The female commentator's remarks gradually diverted everyone's attention away from Qin Jian.

Hopefully this transfer is not temporary.

Then, another person stood up.

Ruggiero's Q&A rhythm is also back.

Qin Jian listened very carefully

After one lap, he gained a lot.

One of the academic opinions put forward by one of the PhD students in music studies from the Hanover Conservatory of Music has once again aroused heated discussion.

He analyzed this piece from the perspective of performance techniques, and finally classified it as an orthodox Russian piano.

He elaborated on the following views.

"First, this is a virtuosic performance with clear purpose and rich musical content."

"The second point is that the performer's small-scale technical playing method is mainly finger playing, and the arms and palm joints can be used flexibly."

"The third point is to pay attention to the echo of the orchestra in symphonic works, and the music has a strong three-dimensional sense."

"The fourth point is that the work emphasizes that the sound must be clean."

"To sum up, I think this piece should belong to Gordon Weiser's performance genre."

Starting with "Gordon Weiser", the subsequent opening ceremony was completely reduced to an academic piano exchange scene.

Various opinions emerged in endlessly, and in the end no one was discussing someone's Paganini.

Qin Jian no longer understood, he admitted this.

The name "Gordon Weiser" was not even familiar to him, and the "Four Russian Piano Teaching and Research Offices" that someone proposed later were all new to him.

However, Ruggiero was very satisfied with the second half. Qin Jian guessed that all the little tricks the old man did at the beginning were just to get to this scene.

But it’s pretty good. Since it’s a work seminar, it should have an academic feel.

Everyone is leaving nothing for pretentiousness and praise. How can this conference be held without any contradictions and arguments?

All in all, this was a successful opening ceremony of the seminar that combined both fun and academics.

Before the end of the opening ceremony, Ruggiero once again thanked the performers who provided music materials for the opening ceremony.

"Let us pay them the utmost respect."

“Wow——————————————”

Qin Jian's applause was no less than those of those who already disliked him.

At the end of the opening ceremony, under the roar of applause, each team went out again from where they entered.

Bustling and bustling.

There were still two and a half hours before the evening concert, and Qin Jian stalked Shen Qingci as soon as he left the hall.

Before the concert started, there were many questions he wanted to figure out.

...

...

"I am coming too."

"I am coming too."
Chapter completed!