.

Tatling Anton sat in front of the piano, calmed down for a moment, then placed his hands on the midrange area of ​​the keys, and pushed forward slightly, as if feeling the touch of the keys.

The eyes of the audience and the media were all gathered on this short Russian contestant, waiting to listen to his performance.

Under the eyes of everyone, Tatling Anton's hand moved, and his hands quickly and vigorously pulled the keys, and a series of arrogant short arpeggios sounded, and at the same time, it also opened the prelude to the final final of the international piano competition!

The hands were playing the short arpeggio continuously on the keys. The two previous ones could clearly hear the sentences. Then the short sound stream began to slowly connect into one another. The hands of Tatling Anton danced busy on the keys.

The fourth song of Liszt's Super Etude---sto (Mateppa)!

After entering the finals, almost all the contestants took the best skills. All the songs they chose were their strongest repertoire. As the first etude session, almost all the contestants chose Liszt's super skill etudes!

This sto (Mateppa) is the fourth etude of Liszt's super skill, with a strong Liszt's show-off style. Almost from the beginning of the music, the performer's hands began to challenge the limits of finger gymnastics.

Under the bright stage lamp above the stage, Tatling Anton's hands were like butterflies, flying on the black and white keys. His hands sometimes opened their five fingers. It seemed that each finger was falling down and raised independently and quickly, sometimes shrinking into a ball like a frightened bird, with only two, three fingers making brisk or tremolo, sometimes like a big golden knife, under the guidance of his arms, like a stiff short column, playing huge and transparent chords! The rapid movement of the hands on the keys brought great visual impact to the audience, and even made them ignore "listening" and shifted all their attention to "seeing"!

Such a difficult song was obviously reaching his playing limit for Tatling Anton. He looked carefully and focused on his face, and his eyes kept looking at his hands on the keys. He did not dare to take it lightly. After all, for such an etude that could squeeze into thirty or forty notes in a bar, and every second, his hands had to move at least two octaves on the keys, any small negligence could lead to huge mistakes.

This kind of performance with strong visual effects also made the audience extremely nervous. With the performance of Tatling and Anton, every audience almost unconsciously breathed and focused, and even dared not breathe.

The performance for more than four minutes was like the most intense finger gymnastics. Through the large screen behind the stage, people could clearly see that a dense layer of sweat had already oozed out of the tip of Tatling Anton's nose.

When the last chord was played, Tatling and Anton played in an exaggerated manner into the air, as if they wanted to completely vent the tension and emotions of the extreme four minutes. A face was full of excitement, because such a song that had reached the limit of his playing skills had not made a mistake. He was simply too satisfied with such a performance.

After a little rest, the audience applause from the bottom of the stage calmed down some of it. Taitlin Anton began to play his second song, the work of the famous Russian composer Tchaikovsky, "The Song of Autumn".

"Song of Autumn". The song "The Four Seasons" in Tchaikovsky's famous piano suite was originally named "October - Song of Autumn". Although it is not as famous as "June - Song of Boat", it is also a song known for its beautiful lyricism.

Tatling Andondi's hands slowly sank on the keys. The chords of silence and sadness came from the Stanway piano, like the calm waters covered with the afterglow of the sunset by the Volga River, with a strong Russian flavor.

As a Russian contestant, he is naturally familiar with Tchaikovsky's pianist, Taitling Andong. At the same time, he likes Russian music. He also put a lot of effort into studying Tchaikovsky's works. Therefore, in this final final, Titling Andong chose this work that he is best at. His performance did not disappoint the judges. He mastered it just right and slow it down. From beginning to end, the melody of calm and slightly sad made people feel that he had a profound understanding of this work.

It was different from the nervous expression that just played Sto. At this moment, Tatling Anton's face was full of peaceful and freehand painting. His fingers were relaxed. Every note was like a deep homesickness, leaning against his heart.

The sound of the piano gradually drifted away, and Tatling Anton's face, which seemed to be deeply thoughtful, slowly faded out a smile.

The last chord ended at the fingertips, and Tatling Anton's performance was almost perfect. Facing the audience and media in the audience, he bowed and gestured to him, with a confident smile on his face.

Improvisation, music knowledge, and the next two links, Tatling Andong also performed well, fully demonstrating the great strength of the contestants who made it to the finals!

The performance of the first player was so wonderful that it ignited the audience's surprise and cheered, and there was a deep desire in his eyes for the next players.

Tatling Anton walked off the stage with satisfaction. Then, host Zhou Tao announced the second place, which was Li Yundi, who ranked first in the preliminary and semi-finals!

As soon as this Chinese player with long hair and thin figure appeared, it immediately caused a burst of almost crazy applause and cheers from the audience. Although the so-called "home court advantage" in the piano competition is not as obvious as a sports competition, it does not mean that there is no one. After all, nearly half of the more than a thousand audiences and media in the audience are Chinese at this moment. The players from their own countries performed well in the preliminary and rematches, which naturally ignited the enthusiasm of the audience. Li Yundi's face with the unique vitality of young people also won the favor of many female music fans. With Li Yundi's appearance, many placards with Li Yundi's avatar were suddenly raised in every corner of the stage. Looking at the eye-catching words "Come on Yundi!", it made people wonder if he came to the pop concert.

In response to the enthusiastic reaction of the audience, Li Yundi always had a smile on his face and kept nodding his head.

Seeing that Li Yundi had already had such a loud momentum before he started playing, the other contestants in the lounge had a hint of envy, and some even showed a hint of jealousy.

The hands on the keys ran without warning.

Chopin Etude p.10no.4

When the finals arrived, Li Yundi had no reservations anymore, and all the works he chose were works that he was best at.

Although Li Yundi has not won the championship in the Chopin International Piano Competition at this moment, there is undoubtedly a lot deeper understanding of Chopin's works than ordinary pianists.

The left hand bounced slightly on the keys, playing short and strong chords. The five fingers of the right hand were like busy bees, flying and dancing in the warm midrange and bright high-end areas. The rapid and tense stream of notes kept pouring out from the fingers from the beginning of the music.

However, with such a rapid melody, the movements on Li Yundi's hand are always very comfortable and natural. From a distance, Li Yundi's right hand, whose speed is running rapidly, is as standard as a textbook. No matter how rapid the running is, the finger focus has never changed at all, and it looks so pleasing to the eye. Such hand shape also fully demonstrates Li Yundi's solidity in the basic skills of piano. The piano teacher often emphasizes the word slow, which many beginners do not understand. They do not understand why the simple lifting of fingers and penetrating fingers are required to do dozens, hundreds or even thousands of times. Until one day he also played the sonata and concerto of Beethoven and Chopin, he sighed the painstaking efforts of the teacher at that time. For example, now, people only see that Li Yundi's performance looks so labor-saving, but naturally, but they don't know how much effort it takes to achieve this level.

Looking at Li Yundi's performance, Lu Wei fully understood that to train such a hand shape that is almost free of problems, it requires the practitioner to have a great perseverance and perseverance. Because of this, Lu Wei is full of respect for his biggest opponent who won the championship.

Chopin's op.10no.4 etude is an etude that both the left and right hands "take care of" very thoughtfully. After the fast melody of the right hand, it immediately moved to the bass area of ​​the left hand with a similar melody. The idle right hand continues the work of the left hand--accompaniment.

Li Yundi's left hand was also perfect. People could hardly hear the main melody that moved to the left hand, and the changes and differences were the same as the performance of the right hand just now. It was as smooth as the same force, and the same relaxed freehand painting. Seeing the kung fu on Li Yundi's left hand, even the judges on the judges' seat could not help but nod their heads gently, revealing a look of appreciation!

Li Yundi's performance also made the contestants waiting for the competition in the lounge feel pressured. Although almost none of them are first-class players when they come here, facing Li Yundi's almost flawless etude, these contestants still showed cautious expressions. Although they knew that Li Yundi was very strong for a long time, they did not expect that he had reached such a height in Chopin's etude!
Chapter completed!