Old-time musicians

Write a symphony with the legacy of Mozart?

Recalling the past, Fanning looked melancholy, shook his head and smiled.

The classical period of the previous life was similar to the classical period of this life. At that time, Roy thought that the Mozart 330 she played was a Tarakani piano sonata that she had never heard of.

Fanning said that this was "considered an imitation" and frankly admitted that "it is difficult for my temperament to write such a pure temperament work."

In fact, this is not just his personal problem.

More importantly, the times have changed.

All pastoral, courtly, feudal patriarchal and chivalrous artistic narratives are now disintegrating in the roar of machines. The possibilities of 24 major and minor keys and classical forms have been developed to the extreme. The last ray of afterglow of the late romanticism is about to dissipate in the sky, and there, the bizarre crescent moon belonging to modernism is already looming.

However, it is still possible to try, and it is also an opportunity.

Perhaps there is a possibility to make my creation in this life compatible with the Blue Star classical music in my previous life?

"How can I abandon the long form, complex orchestration and grand narrative, pay tribute to the legacy of Mozart, and still integrate my personal imprint? After the funeral of the giant, the resurrection of the spirit and the 'love tells me' on the heights of the glorious creation, let the innocent and naive children tell me about the things they know from birth?"

"In fact, 'epic sense' is also a very tiring thing, right?"

"I really should take a break, a little break at a certain intermediate stage in my spiritual wandering history"

Fanning first opened the title page of a blank score book, which is the second page.

In his personal first draft writing habit, he likes to record some ideas of orchestration, the framework of the form and the shaping principles of musical temperament on this page, and record the poetry text involved on the third page (if any), and the main text often starts from the fourth page.

He first set some principles for himself in composing this symphony -

Using the conventional four-movement structure;

Abandoning the grand narrative, the length should not be too long, and the whole movement should be controlled within one hour;

Reducing the arrangement of instruments and returning to the three-pipe system of early Romanticism;

Even more "classical", deleting the trombone and tuba parts, the entire brass group has enough French horns and trumpets, trying to make the audience recall the chamber music legacy of the old court;

Percussion types can still be tried more, under the premise of "not being noisy"

"Then determine a tonality of the work you like."

"Mozart or Haydn's works are mostly in major keys, and the sharps and flats are relatively simple. The most common ones are silent and without sharps. "C major flat, F major flat, G major sharp"

"Maybe it's better to set the range at a generally moderate and slightly higher position. Just like the central tone of Bach's "Goldberg Variations", if it's as low as starting from F or C, it always feels that the color is wrong, but if it's C in the higher octave, it's too sharp"

"G major is a good straightforward and childlike tonality."

Fanning, who made the decision, closed the manuscript to the cover page and wrote a title like this in coherent and slightly sloppy italic Janus letters:

"4GMajor"

He finally began to write the abbreviations and key signatures of each instrumentation group in the "main text".

Since it is created under such principles, the theme should not be too numerous. Each movement has one or two theme melodies, combined with several short and vivid motives, to be fully developed, seeking a unified and varied formal logic.

In this case, the musical idea of ​​the opening theme of the first movement is extremely important. It not only sets the emotional tone of the entire symphony, but also lays the groundwork and forms a consistent echo with the summary and sublimation of the last movement.

"In the prelude, these uninhabited areas are far away from the world, and the rich colors bloom like a palette in the mountains and forests, but in the refreshing journey, there is a hint of unknown strangeness and coolness, including a series of strange changes that make people confused."

"The timbre of the woodwind is a good choice, with simple G notes with semitone decorations played by flutes and clarinets, repeated at a leisurely and leisurely beat speed."

"But based on the above atmosphere, the optimal solution for the harmony here is probably not G major. If my later cognition is really destroyed, listening to this movement again, it is easy to come to the conclusion that I was deceived and think that this place is peaceful and warm."

" # The semitone decoration relationship between F and G not only exists in G major, but also in the V-VI degree relationship of b minor! "

"The tonality is set to b minor! The ethereal third B note is dotted on the melody line as a depiction of this tendency"

The pen tip rubs against the paper, making a rustling sound. The relationship between inspiration and rationality is controlled by Fanning just right.

At the beginning of the "Fourth Symphony in G Major", he wrote a woodwind prelude in a minor key with a very special color and an inexplicable coldness.

Even if it is a tribute, he will always put his style in the most distinctive and prominent position.

The inspiration for melody writing encountered a pause in the middle.

"This is because the 'coolness' of this piece of music has come out, and the illusory 'trance' is still a little short"

Fanning quickly found the reason, stopped writing and thought, and at the same time imagined and deduced some sound effects in his mind.

Maybe it depends on some percussion instruments, such as triangle, celesta, or, like the bells in the "First Light" movement of the "Second Symphony".

But in the end, Fanning in the small workshop picked up another "percussion instrument" on the shelf.

A pair of sleigh bells!

Its timbre is fine, cold, and silvery, like the sound of frozen snow being crushed by a sleigh.

"This percussion instrument fits the mood of the opening perfectly, but"

Fanning has long known that people in the God's Advent Society like to shake this kind of thing to sing poetry.

But he has never avoided such similar situations. On the contrary, he has a lot of experience in dismantling the other party's knowledge pollution and raising cognitive impact in his artistic creation, just like the use of the D augmented triad in the "Poem of Awakening"!

And what's interesting is that when Fanning looked up some geographical information before, he found that the meaning of "sleigh bells" has long been rooted in the cultural context of people in some regions.

For example, in the Nileru region on the southwest border of Theolaine and the Ihlau region on the southeast border of Janus, people living on the snowy plateau would tie bells like this around the necks of cattle and sheep when grazing halfway up the mountain. Many poets and travelers believed that "the sound of the snow bells is the last earthly sound people hear before climbing the mountain."

It is not the unique insight of the Society of the Advent of the Gods to sing praises of "heaven" in this way.

After all, it is just an ordinary and common thing, and the Society of the Advent of the Gods is just using and distorting its symbolic meaning.

"Use it."

"Dismantle the mystery that the esoterics think of into musical vocabulary that can be understood by the world."

"Haha, this is my specialty."

Under Fanning's writing, this B minor prelude became the beginning of flute, clarinet and sleigh bells.

After the music changed to G major, the violin, cello, double bass, French horn, oboe and clarinet continued to write a long and tortuous phrase. The sun shone on the traveler, but the air was still cold. The scenery was magnificent and strange, but with an unknown sense of strangeness and illusion.

In the peripheral vision, there were still colorful soap bubbles. Under Fanning's pen, the theme of the first movement was gently thrown up by the French horn. The light phrases of several bars glided with the wind and were quickly caught by the string instruments and slid into the arms of the cello.

Time passed by, the sun sank in the west, and the few evening stars shone brightly.

Even though the writing place was a bit cramped and the noise of vehicles around her continued, the whole process still made Fanning feel comfortable and calm.

There was still no strange thing attacking everyone.

However, a realistic problem finally began to be placed in front of everyone.

After entering the abnormal zone for more than 36 hours, someone in the team was trapped.