From Flower Vase to Film Emperor in Hollywood

In the late eighteenth century, the French Revolution and its intense impact on European countries led to a huge shift in the demands for entertainment dances. The minuet and gavotte, once widely popular, were eliminated due to their rigid and constrained styles, while the relaxed and natural waltz became popular.

Of course, the waltz was met with fierce opposition. Groups with different purposes and interests criticized the new phenomenon. The church believed that the waltz was immoral and uncivilized because of the embracing between men and women and the rapid spinning movements, denouncing it as heresy. Those teachers who used to make a living by teaching minuets and other court dances regarded the waltz as a thorn in their side.

However, the course of history could not be reversed. The waltz was simple to learn and free-marketed, requiring no teacher at all. It could often be learned just by watching for a while, and the dance spread rapidly among the common people.

Thus, for a long time, the waltz was accused of being a vulgar, evil, and ugly dance, just like rock and roll, rap, and other music genres were at the beginning.

Therefore, Scarlett said the words she just did—

She also understood this history, which allowed her to have a conversation with Anson.

Anson immediately understood and drawled out the ending sound meaningfully, "Well... me too. Who could refuse the waltz?"

A smile crept onto the corner of his mouth.

It wasn't the luxurious and shiny piano one might imagine, but rather one filled with traces of history. Even with proper maintenance, one could still see the mottled marks left by time.

Anson examined it carefully, revealing surprise, "It's an automatic piano!"

In the 1980s, with the rapid development and maturity of electronic technology, it became possible to control an automatic piano playing device with integrated circuits and a CPU.

Of course, real professionals disdained such things that required no technical skill; but for amateurs, it was very novel.

This also explained the sheet music in Jeff's room—

This producer probably couldn't play the piano, but an automatic piano was different.

Anson turned to look over, and then he saw Scarlett squatting beside that pile of mess, flipping through the books he had just found. Hearing the sound, Scarlett looked up. Anson raised his eyebrows, "I've never tried an automatic piano before. Anyone can play it."

Scarlett, "Even without any foundation?"

Anson spread his hands, "Even without any foundation."

Anson had heard about the principles of automatic pianos, but this was the first time he had seen a real automatic piano. He studied it curiously for a while and figured out how it worked.

Aha!

An exclamation, followed by the sound of the automatic piano's keys, with a bit of electronic force, came over, carrying a mechanical taste—

Bang bang bang bang bang, bang bang bang bang bang.

A professional could immediately perceive the coldness and stiffness in the performance, but apart from that, Anson only felt it was magical and novel.

His voice became cheerful, "Here, it's here, this should be the manic part!"

Tchaikovsky's "Pathétique Symphony" is a masterpiece, aimed at describing the terror, despair, failure, and destruction of life, filled with pessimistic emotions, negating all affirmation, and the optimism and positivity of enjoying life.

In the melody, Tchaikovsky deliberately described the scene of people working hard for life, but he revealed an eternal truth:

Death is absolute and inevitable, and all the joys in life are fleeting.

The kind of emotions that Tchaikovsky showed actually reflected the state of suppression that the people generally experienced in the late Tsarist Russia.

What's even sadder is that only six days after completing the composition of the "Pathétique Symphony," Tchaikovsky died of cholera.

Thus, this piece became his swan song.

However, the third movement is an exception. It is a scherzo, a lively allegro, reflecting the scene of people busying around and living actively. People believe that this movement embodies Tchaikovsky's memories, contrasting with the themes of the first two movements.

This is also why Anson was just looking for the third movement.

That madness, with a kind of burning and blooming wantonness, presents a different temperament and posture, which has the same wonderful effect as tonight's alcohol and party.

Scarlett looked up, watching Anson sitting in front of the piano like a Dionysus, shaking unrestrainedly, his neat hair slowly becoming messy, with a kind of publicity and wildness that made it impossible to look away.

By the time Scarlett came back to her senses, she was already standing next to the piano, watching Anson's hands dancing on the black and white keys. Although it was an automatic piano, it could adjust the performance according to the performer's state—

Of course, the adjustment was also mechanical, like a computer.

Anson's dashing and unrestrainedness made Tchaikovsky's movement also become colorful and fascinating, making people's hearts flutter.

Scarlett then realized that she was too close to the piano. The emotions and colors of the melody poured down like a rainstorm, and her heart couldn't help but tremble slightly. She should keep some distance to appreciate the performance.

But even realizing this, her footsteps were still rooted in place.

Until the end of a piece.

Scarlett couldn't help but feel surging, "Play it again."

Anson had already stood up and stretched, "No, you can't play it again. This is a complete movement. You must do it in one go, feel the flow of the melody in your fingertips, feel the emotions jumping in the notes. When everything is over, it's over, there's no turning back."

Standing next to the coffee table, Anson looked at the fruit basket, grabbed an apple and took a big bite.

Then Anson noticed the large book Scarlett was holding in her hand, tilted his head and looked at it, "Oh, Sophocles."

Scarlett raised the book and glanced at the cover, her expression slightly restrained, "Oh, I just picked it up casually. Actually, I have no idea at all. Could you give me some hints?"

If you don't know, just say you don't know. There's no need to pretend to understand and make a fool of yourself.

A smile flashed in Anson's eyes, "I don't understand either, I just know a little bit. He is an ancient Greek tragedian. I think there must be a reason why ancient Greek tragedies can be passed down through the ages, so I wanted to study it."

"Unfortunately, after only flipping through two pages, my attention has already been attracted by these scores."

He joked self-deprecatingly, relaxing the atmosphere.

Scarlett looked at the book in her hand, and then at the piano.

In fact, she had nothing to do with the piano, and even dared not approach it, with a kind of awe, but at this time, she couldn't help but feel a kind of curiosity.

Involuntarily, Scarlett took a step.

Turning her head, Scarlett saw the encouraging look in Anson's eyes, and their eyes met.

Third update.