why did you choose to stage a concert of Bach in the first half and piazzolla in the second half on March 11th? On the evening of February 18th, two young artists sat in the lecture hall on the third floor of Shanghai Duoyun Academy and Drama Store, and together with Yan Feng, a professor of China Language and Literature Department of Fudan University and a veteran fan, talked about the past in detail.
On March 11th, 1921, piazzolla, an Argentine who later became a world-famous composer and accordion player, was born. March 21st is the birthday of German composer and keyboard player Bach, who was born on this day in 1685. One is the father of classical music, and the other is the father of tango music. Two young performers have been worshipping them for a long time, so Kuang Junhong and Mao Jun hit it off and chose a day from the birthdays of the two masters to hold a concert to show their respect. As Yan Feng said, although Bach's music has the fun of climbing the mountains and climbing to the top of the mountain, the technical difficulty always makes it difficult for listeners to touch the core of the work quickly, and the time pushes away the Baroque period in which Bach lived, thus increasing the difficulty for us to approach and walk into Bach's music castle. Therefore, although the repertoire of the concert on March 11th was arranged by Bach in the first half and piazzolla in the second half, the two young musicians first explained and played for us after picking up the guitar and carrying the accordion, and it was piazzolla's works.
The movie "Scent of a Woman" made more people know that there is a charming music called tango in distant South America. Because they don't know enough, many people mistakenly think that the song "One Step Away" in the movie is piazzolla's work. Although it is a misunderstanding, it is a beautiful misunderstanding, which shows the importance of piazzolla to tango.
In 1937, 16-year-old piazzolla, who moved to the United States with his family, moved back to Argentina with his family. At that time, pianist artur rubinstein happened to live in Argentina, and piazzolla, who already had a certain musical foundation and played the accordion very well, specially wrote a piano piece with Rubinstein's face. After listening to piazzolla's works, the pianist suggested that piazzolla should go to the Conservatory of Music to study music formally and systematically.
piazzolla, who accepted good advice, left for Paris for further study after graduating from the Argentine Conservatory of Music, in order to make himself forget the tango completely and concentrate on the study of classical music. However, in romantic city, piazzolla soon got lost, and he couldn't find the direction of his efforts. Just when he was at a loss, his teacher reminded him that he should trust the music in his hometown. It's really a wake-up call. Otherwise, we may lose a father of tango. The reason why piazzolla is honored as the father of tango in the music industry is that he promoted tango from the foil of the bottom bar to the repertoire that is often performed in the elegant hall. Goodbye, Nonino, Free Tango, Banduoniu Accordion Concerto, Grand Tango, Forgetting, Angel Milonga, History of Tango, Four Seasons in Buenos Aires, and so on, piazzolla's works are frequent visitors on the classical music stage.
Kuang Junhong and Mao Junhao chose two works by piazzolla for the concert on March 11th, namely The Four Seasons in Buenos Aires and The History of Tango. The two works written by piazzolla for the band are now completed by a classical guitar and a Bayan accordion, and the adaptation is inevitable. Perhaps it is mindful that piazzolla always incorporates classical music elements such as ballads, fugues, sonatas, arias, romances and mass in his works, and Mao Junyi, who accepted the task of adaptation, also added the "vocabulary" of classical music to it. Unfortunately, although two young performers at the lecture site staged the summer, autumn, winter and spring in Four Seasons of Buenos Aires once, they played it once every season. There is no way to catch a glimpse of music. Many fans who come to the lecture can't wait to buy tickets at the gate after the lecture, so they turn on their mobile phones and pocketed the tickets for the concert on March 11th.
Nevertheless, we still expect Kuang Junhong and Mao Junyu to tell us the tricks of understanding another work of piazzolla's "The History of Tango" while playing as they explain "The Four Seasons of Buenos Aires". Our enthusiastic response touched two young people. Under their vivid descriptions and their beautiful piano sounds, a history of tango came to the present through 19, 193 and 196:
The tango we heard in 19 had a strong rhythm and a strong flavor of life;
The tango we heard in 193 tells a very lyrical story of sweet sadness, and the cutting is still chaotic;
The tango we heard in 196 was free and easy after being integrated into the Posanova style.
The tango we heard in our time was very visual-piazzolla died on July 4, 1992. How did the tango of our time, which he imagined before his death, fit this moment so well? This is why piazzolla is honored as the father of tango.
Kuang Junhong and Mao Junhao, although they only dramatized the tip of the iceberg of their "The History of Tango" to be performed on March 11th, did not prevent us from imagining the whole history that piazzolla tried to tell by tango, sometimes dark, sometimes bright; Sometimes bitter, sometimes sweet; Sometimes realistic, sometimes romantic.
Listen, Kuang Junhong plays Bach's work BWV17 on the classical guitar.
I think there is probably no classical music fan who doesn't know that Bach's BMV17 is the vast cello suites. Because I like the cello, the instrument closest to human voice, and I know that many instruments other than cello have also adapted Bach's cello suites, I have never turned on the audio to listen to it. This is the first time to listen to a classical guitar playing the prelude of Bach's "cello suites" No.1. If we listen to the cello, it seems that there is a flowing news in front of us, there is flowing air in our ears, and we reach out our hands as if we feel the sunshine flowing. Then, listening to the classical guitar "covering" Bach's "cello suites" prelude No.1, when the strings are plucked, everything is silent, so we can take care of ourselves in the sound of the piano.
At the same time of entering the Year of the Tiger, Shanghai seems to have entered the rainy season. It always rains for a few days before the sun will show its face for a while. The winter in Shanghai, which is famous for its coldness, is particularly wet and cold. After Mao Junyu finished playing Bach's "Italian Concerto" on the accordion, Professor Yan Feng had to put an end to the lecture that had been overtime.
Humming the Italian Concerto I just heard, I walked along Changle Road in the rain, and when I came, my cringed body actually spread out. I think of Professor Yan Feng's concluding remarks, "Listening to two young people talking about music on this rainy winter night, I once again feel the love and beauty that music brings us", which is really good.