Old-time musicians

"Title music can be a macro or specific topic, and it is easy to talk about it for days and nights." Fanning sat down somewhere in a group of four single sofas, poured himself a glass of prune juice, and tried to make some associations about it.

"This topic is very good." Lou Adair, who was sitting next to him, responded, and then repeated the old tune, "Mr. Fanning, do you have any works that need to be published recently? Compared with the last bid, I can increase the budget..."

Fanning was amazed at this guy's persistence: "I do reserve some works for you, but let's listen to the gentlemen and ladies discuss title music first."

Lou showed a happy face: "I salute your commitment and artistic inspiration."

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"Title music" is actually a serious musical work with a specific word as the title by the composer, such as Vivaldi's violin concerto "The Four Seasons", Beethoven's sixth "Pastoral Symphony", and Berlioz's "Symphonie Fantastique" in Fanning's previous life.

The opposite concept is "non-title music" or "pure music". They are not equipped with directional instructions, and the names of the works are often directly "Symphony No. 3", "Violin Concerto No. 1", "Piano Sonata in B Minor", etc.

It is worth noting that there are some works with familiar names that are not title music, such as Haydn's symphony "Surprise" and Beethoven's piano sonatas "Moonlight" and "Passion". These titles are added by publishers or music critics. The purpose is to guide the audience's imagination and appreciation ideas. There are also some commercial motives. They are actually still in the category of "pure music".

The title of title music must be added by the composer himself. In layman's terms, it only recognizes "official announcements". It is a summary of the true ideological content of the work and a display of the composer's creative intentions.

Moreover, the distinction between "title music" and "pure music" only applies to instrumental works. Vocal works do not participate in this distinction because they already contain lyrics with clear content.

The period of classical music in this world ended in 863 of the new calendar, with the death of the great music master Gilles. Since entering the Romanticism, "title music" has always been a well-deserved hot topic. People have been arguing about the pros and cons of "title music" and "pure music" for half a century.

According to the salon process that Roy had communicated with Fanning before, several senior music fans, literary critics or music scholars will give introductions at this time. The logic of these introductions is relatively complete, which is equivalent to opinion leaders or authoritative figures, using the salon platform to output their own ideas, opinions or research results to the society.

However, the introduction is only a weak speech. Participants can reject their opinions and choose not to listen, but whisper with other guests to discuss what they are interested in. According to the principle of freedom of the imperial salon culture, this is not considered a violation of etiquette.

I am the last person to give an introduction, which is connected with the premiere of the string quartet. After the performance, the salon will come to the free discussion and social session in the second half.

At this stage, people completely dispersed, chatting in groups of two or three, joining at will and leaving at any time. Experienced hostesses often flexibly interspersed them, guiding topics, collecting opinions, promoting social interaction, and finding materials and inspiration for the final summary at the end.

There were still a small number of guests who had not yet sat down. While waiting for the main topic to begin, Fanning spoke to the little girl sitting on the sofa opposite him. "Joan, there are so many snacks today, why don't you go get them?"

Joan still kept holding the score, seeming a little restless: "There are only more than 20 minutes before the performance, I can't eat too much, otherwise I may forget the score even more."

"Miss Nisemi, did you eat enough at the dinner just now?" Lu asked at this time.

"I eat quite moderately." Joan cried, "Carlon, I have an idea for you, I don't know if you can accept it..."

"What idea?" "What idea?"

Fanning asked subconsciously, but he didn't expect his voice to overlap with Sheeran who spoke at the same time.

"Tell me first if you can accept it."

"Tell me what you think first." Fanning insisted with caution.

"Can you replace the second violin in your piece with a flute? Anyway, it's all treble clef..."

Fanning, who was drinking prune juice, almost choked.

At the beginning of the introduction, a well-known female music critic holding a fan with a gold-lined edge stood up and spoke first. She pointed out that title music is not a new thing, but has appeared since the Middle Ages. The reason why it has become popular now is that other sister arts such as literature, drama, and painting have moved to the forefront of the development of romanticism, thus inspiring composers to use literary titles to express their creative intentions and humanistic philosophy.

Vice President Huxley expressed a different view. He believed that the deep reason for the rise of title music in recent years is that after the death of the music master Gilles, the classical symphony fell into crisis. This was reflected in the dilemma of symphony creation by composers such as Sweelinck and Alphen in the early Romantic period. Gilles' great achievements became an insurmountable monument in front of them.

He further analyzed that as the influence of the new generation of composers grows, music fans are increasingly looking forward to the new symphonies they are about to create, but this brings with it a hint of anxiety and questioning. These composers are bound by the orthodox rules of the game dominated by balance, rationality, order, and moderation, and can only find breakthroughs from new perspectives.

After the two people finished speaking, Roy, who was wearing a cream-colored silk dress, walked to the side of Fanning, covered his collar and leaned over to remind him gently: "Mr. Fanning, there are about 15 minutes before the performance."

Fanning nodded slightly: "Then everyone, please follow Miss Roy to the backstage to prepare."

Sheeran was the first to respond, and Lu took a deep breath and stood up: "I'm eager to try."

"Carolan, I suddenly feel hungry again." Joan looked at Fanning pitifully.

"When you finish the performance, Miss Roy's whole cake tower will be yours." Fanning said.

Sheeran gave practical advice: "Joan, you have performed well in recent rehearsals. You just need to treat the audience as cabbage later."

Fanning sent the four people to the curtain at the corner of the corridor. Before they separated, Roy, who was holding the curtain at the end, looked back at him.

Seeing the anticipation in her eyes, Fanning finally encouraged her softly, "Come on, I'll be watching you from the audience."

Roy smiled, winked at him happily, and then pulled down the curtain.

The sharing continued. The speaker at this time was a gentleman who spent more than 1,000 pounds a year at the city concert hall. He systematically sorted out the history of the dispute between "title music" and "pure music", and divided the opposition between the two sides into two stages:

The first stage was the embryonic stage of the debate in the first 30 years. The publication of Sweelinck's piano sound and picture collection "Steam and Speed" and Lorfen's symphony "Awakening from a Dream" caused an uproar in the music world. A group of new era romanticists united around them and tried to follow their creative trend. Composers who supported the orthodoxy fell into a creative low and expressed their disapproval in a passive escape way.

The second stage was the heyday of the debate in the past 20 years. The "pure music" camp began to fight back. Maestro Niemann, who premiered the "First Piano Concerto in C Minor" at the graduation concert of St. Lenya University, published the "Aesthetic Manifesto", criticizing the lack of form of title music, making the words used "eccentric", just to cover up "complete indifference and barrenness".

The "Manifesto Incident" formally formed a distinctly opposing camp between the two sides. Then, Niemann's friend Schillings successfully premiered the "First Symphony "Untitled"" which had been brewing for nearly 30 years. With the high summary of classical techniques and the successful breakthrough of humanistic philosophy, he won the title of "Gilles's Successor" in the music critics. At this time, the opposition between the two sides reached a higher point.

After sharing this, the senior music fan gentleman issued a pessimistic prediction: the third stage of the opposition between "title music" and "pure music" will come in the next few years, when the aesthetic crisis will reach its peak, and serious music may move towards an era of separation of style and concept...

Perhaps because the information and evidence of this music fan are quite systematic, the argument is logically complete, and there are some universities on the emotional level, the audience at the salon listened very seriously at this time, and many people sighed repeatedly to show their approval.

Standing upright at the side, the Marchioness of McAdam had a deep smile in her eyes at this time. High-quality output, emotional content, clear opinions, and good feedback are all what she is happy to see at the music salon.

She said elegantly but with full energy: "Let's invite the last introducer, Carloen Fanning, to come on stage to share his thoughts with us."

Fanning walked slowly to the center of the salon hall.

Everyone's eyes followed closely. Before this, this young gentleman had attracted their greatest attention twice in the dining seats and identity introduction.

"My conclusion is not so pessimistic." Fanning smiled and said.

"I predict that in the third stage, the debate between 'program music' and 'pure music' will gradually die down, and both sides will begin to praise each other, take credit for their own achievements, and then jointly welcome the glorious moment when romanticism reaches its peak."

The gentlemen and ladies present were silent, and they were all quietly waiting for Fanning to prove the above point of view.

Fanning raised his hand calmly and made a "please" gesture.

"Let's listen to a new chamber music piece tonight."