This continuation material from the Gregorian era is a vital seed. Although it disappeared briefly in the wind and rain at this time, it will bear fruit in the final movement and inherit the solemn "Hymn of the Resurrection".

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However, the audience at least discovered that the sad tone of ordinary funeral marches has been completely abandoned under the conductor, leaving only the sharp blades and lightning that cut through the black sky, allowing everything in the world to appear in detail in the daytime.

The theme group in the recapitulation part shows a more subtle counterpoint relationship than that in the exposition part. Kaplan felt that he was summarizing something, and he summarized it in stages. He thought that the "mirror surface" should be wiped clean.

Flawless, one should be able to observe the reflection of the deceased's entire life from a higher perspective.

The proposition about death is within reach, as if reaching the top, all the turbid energy has dissipated, leaving nothing behind.

He wanted to exchange glances with the musicians he spent time with, but found that his field of vision seemed to be filled with oil mist, making it difficult to see everyone's facial features.

As thought before, this is not the most important factor for a conductor, and pain and weakness are more of an obstacle.

But after all, it means that part of the body has begun to die.

Fortunately, the ears did not die first.

Then he suddenly thought of records.

In fact, recordings cannot be played back infinitely. There is a limit to the number of times a person can listen to each work in a lifetime. If you listen to it once, you will lose it once.

He felt that if he had more time, he would at least still have a batch of favorite works that he could listen to again.

It's one thing to discuss the philosophy of death, but it's another thing to think about continuing to live.

But if you have no choice, it feels good to leave an extra set of records for others.

Maybe I can record the next few movements better.

At the end of the recapitulation, amid the uneasy funeral pace of the harp and double bass, the C major chord of the flute and oboe suddenly penetrates, and the mi tone is lowered in the sustained sound.

The blunt major and minor keys are forced to piece together, bringing with it a hint of ominous warning.

It was intentional on the part of the composer.

Under the sudden diminished seventh chord played by the horn, the whole orchestra played a stormy chromatic phrase, and the first movement ended with two weak pizzicatos.

If this was just a symphonic poem describing a funeral, its achievements and characteristics would be comparable to the First Symphony.

The symphony hall was completely silent, and the audience was so frightened by the terrifying atmosphere of the first movement that they could not move their necks.

Like a long, sublime poem, too sublime to be terrifying; like a long, terrible poem, too terrifying to be sublime.

The audience found it hard to breathe, but Capron was breathing heavily.

He took out a small bottle from his pocket, poured out six small green pills in succession, put them directly into his mouth and chewed them.

The crunching sound of the pills bursting was a bit strange in this situation. A small number of people broke out of their stagnation, and their eyes suddenly became filled with deep worry.

Because Kaplan stood in silence for a long time with his hands on the podium pole.

In fact, these 20 minutes were already the most strenuous activity he had done in the past few months.

But there is still more than an hour left behind the Second Symphony.

He had been holding on to the railing for three minutes without making any movement. Maybe someone could come up and suggest that he lie down and rest for a while, even if he waited for an hour, but no one dared to do this for a while.

The musicians sat quietly, and by the fourth minute, some members of the audience were already considering whether to applaud.

Because this can be regarded as a divine premiere of an outstanding work.

The cough that had been suppressed for too long began to sound, and some signs of rustling attempts to applaud also began to appear.

At this moment, several masters in rows 6-8, including Niemann, Schillings and Svelink, stood up, turned to face the audience in several directions, opened their arms, and made a silencing gesture.

, then turn around and sit down again.

Although the music has not yet been published, due to personal relationships and the early completion time of the first movement, they have seen the score of this movement.

Fan Ning noted at the end "take a rest for at least five minutes" to temporarily forget the horrific incident.

Most of the audience didn't understand it very well, but the master's prompts made them sit upright again.

Finally, Kaplan raised his head again.

The conductor released the railing he was holding, and in a field of vision covered with oil film, he groped for his fingers on the score and slowly closed it.

It’s no longer possible to watch it, so it’s okay not to watch it.

It's just that I didn't look at my wife and daughter more than once before I went on stage, which is a bit sad.

This move still caused misunderstanding by most of the audience, but he raised the baton again.
Chapter completed!