At this time, Fan Ning glanced out of the corner of his eye and saw An Zai gently touching his face with his sleeve.

He stopped playing for a while and raised his head with a questioning expression.

The girl with the same cheerful smile was nodding and blinking at herself.

"winter!--"

So Fan Ning lowered his left hand, which was already on the E key of the octave in the bass range.

Summer (6), "Holy River".

The slow bass progression of whole notes and half notes is like the heavy striking of church bells again and again.

Then his right hand played an alternating long and short dotted rhythm melody, first from top to bottom, and then swirling up again, like waves on a river.

"In the sparkling waves of the holy river,

Reflecting the towering towers of the cathedral.

There is a portrait in the church,

Painted on golden cloth,

In the desert of my life,

Its brilliance always illuminates me."

It is also the confession of one's heart in summer, but the emotion is no longer as intoxicating and hot as before.

The tone of this song is solemn and admiring.

The melody An sings has a moderate range, restrained ups and downs, and almost no temporary rising or falling sounds.

But for some reason, just eight bars before, Fan Ning heard her voice shake a few times imperceptibly.

This has never happened before in such a long period of tug-of-war.

Later, it slowly returned to its previous stable and clear texture.

The piano's low octave accompaniment renders a majestic and majestic city, and pictures emerge from the audience's mind one after another. As the singing progresses, the music gradually turns into a major key, and the sacred worship also turns into delicate murmurs and admiration.

"Beside the icon I admire,

Flowers bloom, angels fly;

And those eyebrows, lips and cheeks,

Just like the one I love!"

The dotted melody is guided by the legato lines of Fan Ning's fingers, making the slightly undulating yet more tranquil image of the river gradually fade away.

"Did you notice that the songs in this set are all very short?"

"Indeed, the first song is just over one minute, which is already very short, and there are only dozens of seconds after that! This two-minute song is already the longest..."

After hearing the sixth song, some judges began to realize this.

"But have you noticed that his piano suffix is ​​very important. After singing, the accompaniment is no longer an accompaniment but a solo... The piano continues to render the background of the work, as a complement to the form of the music, and even the entire

It is a summary of the first work, which makes up for the problem that the audience feels that there is still something left to be desired..."

"So the time is short, but the amount of information is not small. This Scheler does not repeat meaningless melodies or lyrics at all. There is new musical material or new emotional changes every second!"

They took advantage of the long free extension at the end of the sixth song to communicate softly with the people around them.

"I feel like many songs written by others can no longer be listened to..."

"This suite is completely different from "The Beautiful Mill Girl". It is not connected by narrative logic, but by emotional logic!"

"Yes, its text is completely in service of emotions. I have never been overwhelmed by such strong emotions!"

The audience also commented and expressed their feelings.

The text of "Poet's Love" comes from Heine's collection of poems "Lyric Interlude". It can be seen from the word "Interlude" that each poem is very short, and it is not to state the actual plot, but to symbolize it.

, line drawing or lyrical techniques to achieve huge emotional appeal.

Everything serves emotions.

Schumann obviously grasped this feature accurately. He chose the full spectrum style and the single section style in the musical form structure. He rarely used repeated melodies with the same lyrics, and did not distinguish between "theme" and "chorus".

Song".

In other words, after the material has been presented and the emotions have been released, it will end when it is time to end, just tens of seconds! It is definitely not like some crappy composers and lyricists who continue to repeat or insert interludes needlessly to make up for it.

Three or four minutes!

This extremely free and easy yet extremely condensed emotional expression undoubtedly deeply touched the aesthetic heart of these southern people.

Fan Ning's right hand began to strike continuous C major column chords.

The bass area enters a deep octave with two beats and one note. Against this background, the right hand keeps tapping out a continuous "bang bang bang bang" sound.

"Even though my heart is broken, I don't hold a grudge!

Even though my heart is broken, I don't hold a grudge!

Love disappears forever, I don’t hold a grudge!

Although the jewels shine and bestow glory, no ray of light can penetrate your night-like heart..."

Summer (7), "I Will Not Hate You Even If My Heart Is Broken".

In the simple key of C major, Miss Nightingale sang it with a sad but not sad feeling.

Especially on the prolonged "Herz——" (heart) syllable, the melody appeared special, with a slightly depressing temporary A flat sound. When she sang this, she smiled freely on her face, but her eyelashes were shining brightly, and she felt bitter.

It's those listeners who are heartbroken.

"Even though my heart is broken, I don't hold a grudge!

I have really dreamed of you, I have seen the dark night in your heart, I have seen the poisonous snake biting your heart;

I've seen how sad it is,

But I don’t hold a grudge!”

The texture of this piece is very special, and the whole piece is performed with the percussion of the right hand.

There are pillar chords with ">" accent marks under Fan Ning's fingers, as if a hammer is beating constantly, trying to break the poet's heart before it stops!

This kind of music processing method makes some listeners who are sensitive to sadness or have a feeling of compassion want to lift Scheler up from the piano and ask why he is so decisive and ruthless!

Fortunately, this song also ended quickly. Fan Ning used a shaking technique to press up the pedal, and then played a very light and fast thirty-second tone group with repeated unison sounds with both hands.

The last song of summer, "If That Little Flower Knew".

The smooth and crisp tremolo under his fingertips was like stars in the sky, twinkling and emitting a faint light.

Then the girl followed the hidden legato lines and sang a delicate, weak and beautiful ballad:

"If Xiaohua knew how much my heart was hurt,

They will cry with me and relieve my pain.

If only the nightingale knew how sad I am,

They cheer me up and make me sing happily.

If the golden stars knew my pain,

They will come down from heaven and speak words of comfort to me—"

Flowers, nightingales, stars, these ordinary things have all become "small and fragile" things in the eyes of the poet, which shows how fragile and sensitive his state is at this time.

But when the vocal melody was about to end, under Fan Ning's running fingertips, five special strong marks (SF) were suddenly played without any warning, as if the protagonist's grief and anger were erupting like a volcano at this moment.

!

"Too bad they don't know!

Only one person understands my sadness,

It was she who took my heart,

Tear it in half!

!”

Listening to Miss Nightingale singing the last verse, many listeners could not help but close their eyes and look up, lean back in their seats, open their mouths slightly, and breathe in the air while gasping.

Scheler's ability to mobilize emotions really made people uncomfortable...

No matter what happens with the previous "Beautiful Mill Girl", at least the 11th song "Belong to Me" in the middle, the music and poetry content is still very happy and joyful.

We've only reached the 8th song "Summer" and it's like this. Who knows what he can do next!?

In fact, "The Poet's Love" was very subtle during Schumann's creative period. 1840 was the year of love when he and Clara entered into marriage, and it was a fruitful year for music creation, so many people took it for granted that this work was

"A crystallization of inspiration filled with happiness and joy"...

But in fact, the two got married in September, and this work was completed in May. It was the time when Schumann was separated from his lover, their reunion was uncertain, there was a lot of resistance from the outside world, and he was in the most torment and pain in his heart!

It is completely conceivable that a pessimistic, melancholic and sensitive artist would worry about gains and losses when creating this work, and would put himself into a rough and poignant situation.
To be continued...