Old-time musicians

Fanning's counterpoint 13 is also a set of mirror fugues. It seems to have only three voices, one less than the previous one, but the technique is actually more complicated.

The double octave counterpoint makes the position of the voices present a restored effect after transposition. After the mirror mapping, the two voices AB still maintain the voice position relationship of A above B below.

Moreover, in the "positive" part, the prototype and reflection of the theme have appeared alternately, while the "reflection" part is just the opposite.

To put it bluntly, all the themes in the "positive" part are prototypes, while the "reflection" part is all in the form of reflection, thus presenting the effect of reflection in reflection!

Such a magical polyphonic technique is simply beyond the judgment of anyone in the world!

Among these "investigation team" members of the discussion group, some of those with a slightly more upright temperament have already thought about resigning from this appointment.

What's the point? It's nothing more than showing their superiority and power of life and death in front of those mediocre artists.

Perhaps I am still far from understanding modern art, which is truly at the forefront of the wave of art history!

Amid the thoughts of countless people, the finale of "The Art of Fugue" under Fanning's fingertips, which is also the finale of the entire sermon performance, has finally arrived!

In terms of the number of counterpoint, it is the 14th.

But considering that there are 4 canons before, and there are also 1 mirror canon and 2 mirror fugues, its order position is actually a little more than the number of "Twenty Infants Meditation".

No. 22.

Fanning's left hand played the first theme, which is solemn, deep, pure, and almost like the Gregorian chant in the early Middle Ages.

It is almost composed of whole notes and half notes, and seems to tell the longing for great spirituality in a slow tone.

It sounds like it should be a brand new material, and people are not very familiar with it, but this does not hinder its greatness, because it naturally has a revelation that can be perceived by the most spiritually dull people - this fugue will be everything, the beginning and end of all polyphonic music!

Just like the original creation song of the divinity, it makes everything in order and the noise and chaos disappear without a trace!

This slow and flowing atmosphere of compassion lasts until the 114th bar, when the first theme of the fugue is initially explored, and then the mezzo-soprano part begins to enter another melody flowing with eighth notes.

The second theme appears.

Sure enough, this 22nd finale is still in the form of a "multiple fugue"!

Compared with the solemn and slow first theme, the second theme has more enthusiasm and heroic flowing emotions.

It is also brand new material.

However, Fanning did not show the structure of the secondary presentation section to the audience as before. After the four voices under him presented the second theme and supplemented it again in the high voice, the music entered the second development section.

In bars 156-193, the first theme and the second theme are combined for the first time to form a double counterpoint!

Solemnity and enthusiasm, depth and heroism, they are combined three times, and three interludes are used as transitions.

Like the creation process at the beginning of the origin of the world, the music grows gradually from sparse to dense from space to time, reaching its peak, with climaxes in between, making the audience cry, just like the believers constantly shouting the new holy name they believe in!

So far, the structure of this finale is actually very large and magnificent!

But then, it is just a short and quiet moment of termination.

The camera seems to be pulled away in an instant, allowing people to see the full view of a towering, magnificent and magnificent ancient cathedral.

The sunlight penetrates those magnificent stained glass windows, creating a fascinating moment!

"B (flat xi) - A (la) - C (do) - H (restored xi) -"

Fanning played a brand new third theme again!

That is Bach's signature theme "BACH"! It enters from the tenor part of bar 193, and immediately connects and responds to the female bass's answer.

The believers found that this was still a brand new material that they were not familiar with before.

Compared with the character of the first two themes, because it has more semitone progressions, it shapes the tone of this piece of music with its ethereal, mysterious, and almost meditative temperament.

"BACH Is ​​this Saint Sebastian's signature revelation?"

The revelation has progressed to this point.

So, this finale is at least a "triple fugue"?

"Well, no, no"

"In the history of music, the triple fugue is already an extremely strict and rare magnificent structure, which is unattainable for followers like me, but Master Lavoisier has already demonstrated several triple fugue paradigms before."

"No! What about Sebastian's 'God Theme'?"

Many musicians seemed to have a sense of excitement when they heard this!

"The 'God's Theme' has not appeared yet!"

"Could it be..."

The more inspired artists clenched their fists.

"This 22nd Finale."

"Is it a quadruple fugue that transcends the spiritual limits of ordinary creatures and even the sublimity of the 'Door of the Dome'?"

"Four-part quadruple fugue!?"

Highly inspired artists like Janinger 19th subconsciously rehearsed the sound effects of the first "Compassion Theme", the second "Enthusiasm Theme", and the third "BACH Signature Theme" in their inner hearing.

It seems to be harmonious.

What if the "Compassion Theme", "Passion Theme", and "BACH Signature Theme" are superimposed on top of the original "God Theme" as the fourth theme?

The shifting relationship of the rhythm is slightly adjusted in my mind.

It seems to be still harmonious!

"Once this feat is achieved."

"It's almost happening!"

The third theme of a mysterious and meditative nature, which is the "BACH signature theme", was gradually presented 8 times under Fan Ning's fingertips in a two-part echoing manner.

So the third presentation part of the music also ends.

What the audience thought was an important and exciting part appeared in measure 233.

The first three themes really coincided with each other at the same time!

Some kind of hidden divine treasure was solemnly revealed!

This is the third expansion!

This magnificent spiritual palace is reaching completion!

A premonition that they are about to participate in the discovery of divinity, the manifestation of true knowledge, and the closed-loop achievement of lofty morality has taken over the entire body and mind of the believers!

“Tick-tick-tick-tick-tick-tick-tick-tick-tick-tick-tick-tick-tick-tick-tick-tick-tick-tick-tick

Suddenly, the notes changed from dense to sparse.

Eight single notes flowed in loneliness, and then Fanning's hands suddenly moved away from the keyboard.

The music stops suddenly!

In measure 238, those sacred and sublime counterpoint melodies come to an abrupt end!

"What's going on?"

"Why did the performance suddenly stop?"

A huge sense of loss and sadness severely shattered the audience's expectations!

"Is it a performance error?" Many people couldn't help but stood up from the field and looked towards the sacrament table. "Impossible! It is impossible for Master Lavoisier to have such a problem. Why, Why?"

"Revelation tells me that after the end of the third expansion, the 'God Theme' will reunite with us again, and will complement the previous three themes of compassion, enthusiasm, and signature mysticism to form a unique song. The ancient and modern "four-part fugue" that points directly to the sky! Why did Master Lavoisier suddenly stop playing! ”

"No way, it might just be a mistake! I actually want to pray that it's just a mistake!"

Even the Pope couldn't help but stand up and murmured to himself.

Lassus also looked at the expressions of the people around him in surprise.

However, what shocked everyone present was that at the next moment, Master Lavoisier stood up from the piano.

Just like at the end of a performance, he held onto the piano and bowed to the audience!

"This concludes my sermon."

"I must tell you truthfully and truthfully, and tell you the witnesses who are gathering here."

"The 22nd Finale of Saint Sebastian is an unfinished fugue."