Second Piano Concerto

After Tan Shuo finished the first draft of the first movement, he wrote the second movement within half a month.This movement is the shortest and the simplest in structure in the whole piece. In addition, he has already conceived its main content when he was collecting songs. Now he writes it very quickly. Compared with the first movement, it is really easy. Not a lot.

After writing these two movements, the completion of the work has exceeded two-thirds.For Tan Shuo, the remaining third movement, which is the last movement, will not exceed the part he has already written in terms of length and difficulty.This allowed him to finally slow down and relax a little bit. While composing the third movement slowly, he spent more time at Xiaopengmen, discussing with Qin Haiou the two pieces he had written. movement.

At this time, the first movement played by Qin Haiou was quite different from what he played when he first got the score.After his repeated careful carving and polishing, the music has been shaped into a very three-dimensional and delicate.Under his own conscious efforts and Tan Shuo's reasonable guidance, his talent and talent make this work glow with rich and layered charming colors, whether it is his own personality and unique interpretation of the work, or the original content of the work. Tan Shuo's personality and creative characteristics are fully demonstrated and harmoniously integrated in his performance.

However, the two were not satisfied with that.Especially Tan Shuo, as the creator of music, whenever he hears Qin Haiou's performance, apart from perceptual appreciation, he can't help but rationally sort out the work over and over again in his mind. When I am satisfied, I will go home and revise afterwards, and sometimes even interrupt Qin Haiou's performance on the spot, and revise immediately while the iron is hot.Qin Haiou is very uncomfortable with his obsessive-compulsive behavior. Although he also knows that the work needs to be continuously polished, in his opinion, what needs to be polished should be the processing of the music effect when he is playing, not the music. the content itself.Tan Shuo's works are full of talent, and Qin Haiou liked them very much from the very beginning, and he couldn't bear to let him change them.But Tan Shuo didn't seem to think so. Not only did he change more and more vigorously, but sometimes he used Qin Haiou's favorite part to make surgery.At first, Qin Haiou used euphemistic expressions such as "I think this place is very good" and "It's already great, why do we need to change it?", but Tan Shuo was unmoved and changed it as he said, and the same After the place has been changed once, maybe there will be a second or third change.Qin Haiou gradually got used to it, and the facts proved that Tan Shuo always made better changes, and he could always make the already brilliant things even more brilliant.Qin Haiou was overwhelmed with admiration, and finally gave up even the futile protest. As long as Tan Shuo wanted to change, he would stop immediately and let him do it until he was satisfied.

In addition to the content and effect of music, Tan Shuo also pays attention to the technical aspects of performance.Although piano performance is also a compulsory course in the composition department, it can only reach the amateur level at best. Its main purpose is to be familiar with the performance of the instrument and facilitate its use in composition. unplayable.

You can't play the music you write yourself, which is why creators usually need performers to audition.During the audition process, the performer can help to troubleshoot those places that are not technically reasonable, and put forward suggestions for modification from the perspective of actual performance.Tan Shuo didn't want to cause any inconvenience to Qin Haiou's performance due to his technical omissions. He had to let Qin Haiou perform as comfortably as possible without affecting the quality of the music.For this reason, he would seek Qin Haiou's opinion whenever he was uncertain.But Qin Haiou thought differently.In Qin Haiou's view, there are no difficult works in this world, only bad performances. All difficult and even unreasonable passages must be able to be played smoothly through some kind of technical processing.What's more, what he is facing now is Tan Shuo's works. He hopes to keep every note created by Tan Shuo as much as possible. It is also his own problem, not Tan Shuo's.

The two had many exchanges in this regard.Qin Haiou did find some places that made him feel different, but he also said that these places can find solutions, such as adjusting fingers or enhancing the cooperation between left and right hands.He demonstrated to Tan Shuo one by one to prove that these passages would not affect him, but Tan Shuo was still not satisfied - not because Qin Haiou's method was not good, but because such a demonstration made him intuitively feel that Qin Haiou was How much extra effort went into ironing out these technical irrationality.These extra consumption will more or less increase the burden on the fingers, which translates into potential risks for Qin Haiou when he plays on the spot.This is what Tan Shuo does not want to see, and it is what he has been trying to avoid, so Tan Shuo finally insisted on changing all these places.

Qin Haiou naturally understood Tan Shuo's painstaking efforts.They polish the work from different angles in order to make it perfect in the end.As Qin Haiou's interpretation of the work entered a deeper spiritual level, he also gradually understood Tan Shuo's core creative ideas when he wrote this work.On the surface, the music he is playing now has no similarities with the music they heard when they were collecting songs, but whenever he plays, Tan Shuo's music can always evoke the memory of that period deep in his heart. resonance.The folk songs they recorded at the beginning and the countless scattered fragments written by Tan Shuo at the beginning seemed to have been smelted and forged again and again, and finally they were reborn and reshaped with a new look, only their souls were left intact. preserved.Tan Shuo did not simply use folk music materials, but thoroughly absorbed folk music, truly understood it, digested it, transformed it into his own strength, and then flowed out his own music from the bottom of his heart.In this kind of music, you can not only hear the spirit and charm of grandma's singing, but also hear Tan Shuo's own understanding and interpretation of it, which is the true inheritance and development of the essence of folk music.

Qin Haiou understood Tan Shuo's thoughts, and thus had a small wish.He hopes to give this work a name - not a title named after a number like "Second Piano Concerto", but a name with real meaning - like "Xinghai".This is also because in a certain corner of his heart, he has always been almost paranoid that since this will be a work that surpasses "Xinghai", then it should at least have everything that "Xinghai" has.

This desire grew in his heart, until one day he finally couldn't bear it and told Tan Shuo.Tan Shuo didn't have any special reaction after hearing this, he just asked him if he had already thought of a name.Qin Haiou grabbed a pencil, hesitated for a moment, and asked, "What do you call this?"

As he spoke, he wrote five small characters below the "Second Piano Concerto" - "Acha and Aguang".In fact, he is not very good at naming things, and he has racked his brains for days and can't think of a name that satisfies him.But in the process, he always thought of the story told by his grandmother in singing: a pair of wounded brothers, after going through hardships and encountering despair, in order to keep their original promise, they took their lives as a bet to support each other and set off on their way home. .

Qin Haiou felt that this story did not appear in his life by chance, it seemed that it had always been there, waiting for him to hear it.He looked at Tan Shuo and thought in his heart, you are Ah Cha, I am Ah Guang, and this work is the road of return we embarked on together.

Tan Shuo came over to have a look, and took the pencil from Qin Haiou: "This is too long, please make it simpler!"

Just as Qin Haiou was about to say that it was only five characters, why did he think it was too long, he saw that Tan Shuo had already crossed off the line of small characters, and wrote two simple big characters vigorously at the side, and then threw the pen away: "So be it!"

Qin Haiou just glanced at it, and countless emotions surged out from the bottom of his heart, all choked in his throat.

I saw the new name of this work written on the top of the first page of music score:

Second Piano Concerto

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