The second round of applause sounded, and Schillings came on stage as conductor and took the initiative to shake hands with Fanning again. At this time, quite a few in the audience felt a little confused.

What's going on? How come the entrance to "Choral Fantasy in C Minor" is like a steel association performance?

Orchestral works with chorus cannot be faked.

A large number of music fans glanced at the back of the symphony orchestra. There were the choir boys and girls who had taken their seats in advance. They were wearing neat black dresses and white evening skirts and were sitting in the choir seats under the reserved seats of the organ with their heads held high.

superior.

They must be the last ones standing. Where is the piano? How does the piano enter? Together? Or somewhere in the middle?

The audience and music critics stared intently at this talented musician who changed his role tonight.

Fan Ning sat down, tried to step on the pedals, adjusted the seat position, and arranged his tuxedo.

In front of him was the smart and elegant "Boethius" trademark, as well as the warm and delicate black and white piano keys, which made Fan Ning's thoughts drift back to the evening of December 22, the eve of the graduation season a few years ago, and then drift further and further.

Far away, we arrived at that European winter night of the same month and day in 1808.

Vienna Theatre, how happy the citizens who attended that night's musical feast must have been.

It can be said that I have no regrets in this life.

The programs Beethoven brought to them were so many and so great: "Symphony No. 5 in C minor" and "Destiny", "Symphony No. 6 in F major" and "Pastoral" premiered one after another, and Beethoven himself

He performed piano works such as "Piano Concerto No. 4 in G major" and "Mass in C major" (Op.86).

However, Beethoven thought it was not enough. Look, since there is already a conductor, an orchestra, singers and a choir, and he happens to be sitting in front of the piano, why not integrate all the elements into a brand new work?

Where to go?

I am already struggling with how to write the chorus for my future symphony, so why not give it a try first?

Because it was a spontaneous act on the eve of the performance, this "Choral Fantasy in C minor" was prepared in a hurry.

So much so that I didn’t even write the beginning.

During the performance, Beethoven replaced it with improvisation, and the audience who felt the sublime power gave him great applause, and this piano cadenza, which embodies the light of the "torch bearer"'s supreme inspiration, was fixed in

In the charts of future generations.

So today, those music fans were surprised to find——

Master Schillings stood on the stage with a smile and his hands behind his back, seemingly not wanting to start filming.

The musicians did not raise their instruments in preparation.

This made the audience more and more puzzled.

"Boom! Boom! Boom!"

Fan Ning's expression turned sad and deep in an instant, and he lowered his keys with both hands.

Starting from the bass octave C in the left hand, a dark and heavy column chord in C minor is played, just like the beginning of Beethoven's Pathetique Sonata.

From two c minor triads, to f minor triads, to the dominant seventh chord in E flat major...

They imitated four sentences with the same sound pattern, climbing hard and falling, climbing again, and falling again.

Depression, coldness, pain.

The conductor stood at attention, the whole place was silent, and the orchestra and chorus were silent.

The only thing being played was the piano under Fan Ning's fingertips.

…piano solo?

"What... exactly is this presentation method?"

Many listeners guessed wrong.
Chapter completed!