A treasure in an old record

The Mexican-born violinist Henryk Szeryng (1918-1988) studied piano in Berlin since childhood and studied with the Swedish violin education Carl Flesch (1873 – 1944). Shelin’s playing style is distinctive, classic, steady and loyal to the work. The album described in this article perfectly shows these three characteristics.

In addition to Schumann’s “D minor violin concerto” and Mendelssohn’s “E minor violin concerto”, the other songs have a strong national style, such as Bartok’s “Six Romanian Folk Dance”, Germany West’s waltz “La Plus Que Lente”, Novachik’s “Infinity”, Brahms’s “Hungarian Dance No. 17”, Rimsky-Korsakov Wild Bee Flying and Mexican Lullaby.

Mendelssohn’s “Violin Concerto in E Minor” is one of the most famous “Violin Concertos of the Four Violins”. Its melodic beauty, rich harmony and skillful complexity make it always a popular track list for soloists. Forefront. On the contrary, Schumann’s “D minor violin concerto” is relatively unfamiliar to the public. There is no “king status” of the “Four Violin Concertos”, and even the “Ten Violin Concerto” does not have its place. So boldly put the two pieces of “position” disparity and contrasting on the same album, showing Xie Lin’s maturity and confidence in the work. In fact, Xie Lin’s classic interpretation also makes Schumann’s “D minor violin concerto” and Mendelssohn’s “E minor violin concerto” inferior, but very character, worthy of repeated appreciation, fine taste.

Schumann’s “D-Violin Violin Concerto” was created in 1853 and is the only violin concerto of the composer. Although the creation was in the early days of romanticism, the whole song consists of three movements: fast-slow-fast. It is a typical classical style, which is quite different from the traditional style of Schumann’s traditional composition, which is famous for creating artistic songs. The first movement of the work is a sonata style, which consists of a presentation department, a development department, a reproduction department, and an ending. Although it is a concerto, it does not have a Huacai section, so it is more like a symphony in terms of structure. There is no gap between the second movement and the third movement, and the transition to the third movement is directly through the transition of the last four subsections of the second movement. On the whole, Xie Lin’s performance reveals the characteristics of his respect for the composer’s “creative intention” and his loyalty to the original. Regardless of the timing value of the notes, the grasp of the strength, or the handling of the sounds and sounds of the phrases, they follow the principle of maximizing the “classicalism” of the song, which is both rigorous and musical. In terms of details, Xie Lin’s performance is very strong, whether it is a full note or a sixteenth note, the tone is extremely full and thick; and for the dynamic mark, speed mark and expression mark on the spectrum, he is also strict Follow the instructions, do not arbitrarily change, and strive to meticulously depict the “classical” charm of the song.

Mendelssohn’s “Violin Concerto in E Minor” is familiar to both violinists and the majority of lovers. Whether the opening of the first movement’s signature melody can immediately capture the hearts of the audience is the greatest test for the violinist. However, this is not difficult for Schelling. The melody speed at the beginning of the E string is steady, like a tenderness, but it is clearly able to feel a tenacity. The phrase is step by step, and the emotions are superimposed. In this movement, Xie Lin’s control of the strength and speed of each phrase, as well as the amplitude change of the left-handed string, the sharpness and precision of the change, can be described as vividly. Xie Lin’s strength control of the triplet, eighth note, and sixteenth note segments is also just right, and the emotions of the people are ups and downs with the direction of the music, which is fascinating. The syntax of the Huacai paragraph is clear, and the melody lines hidden in the phrase are clearly emphasized by the left-hand chord and the right-handed bow. It sounds calm and generous and does not exaggerate.

The second movement, known for its beautiful lyrics, was described by Shelin as sweet and affectionate. In this movement, the bow and the strings fit snugly, and the bow speed is subtly but accurately changed, plus the chords in the head, the sound and the ending, or the different treatments at the beginning, middle and end of the phrase. People are awe-inspiring at his rigorous and delicate music processing. The long and mellow melody of the music, each shot is so exciting, people’s breathing and heartbeat can not help but follow the musicians.

The third piece of music that is easy and bright and full of power, Xie Lin is in one go, and people can’t help but sway with music. Each note is very full, clear, and grainy, and the phrase is very coherent and directional. Throughout the movement, the solo and the band are in harmony and complement each other. Under the influence of the band, the exquisite skills of the performer are more obvious. Mendelssohn’s classic work coupled with Schelling’s perfect interpretation, a great work in the romantic period is even more eye-catching.

Bartok’s “Six Romanian Folk Dances” is one of the masterpieces of his folk music. As one of the most prestigious composers in Europe and the world in the twentieth century, Bartok has great interest and in-depth research on nationalist styles, especially folk music in Eastern Europe, which is also reflected in his works. .

The music element of the first “Walking Dance” comes from the folk dance music of the Transylvanian mountains, which contains the rhythm of the unique features such as cutting and attachment. Xie Lin’s playing melody lines are clear, the intensity is obvious, and the sound is full and powerful.

The second “Braul Dance” is a happy folk dance music of Dorenthal. The melody is composed of eight-note notes. Xie Lin’s jumping bow is light and clear, vividly depicting the scene of the peasant dance.

The music of the third “Wandering Dance” is also based on Dorenthal, a folk song sung by women during the autumn harvest. The second-degree interval and decorative sound are the two most representative features of this dance. The violin version adds overtones, making the whole song more dreamy. The overtones played by Xie Lin are clear and translucent, as if they are calling from a distance, as if they are whispering in the ear, deliberately and not rigidly emphasizing the addition of a second interval, adding a mystery to the dreamy color. sense.

The next “Bushum Dance” and “The Wandering Dance” formed a sharp contrast, expressing straightforward and emotional. The music is based on the rural horn dance in the Buschum area. It also includes a second-degree interval. The theme is very melodic and singing. The triplet and rhythm add a touch of Gypsy to the music. The second theme was raised by an octave. Xie Lin’s dense chords, full of bows, and the chords at the beginning of each sentence made the soft and strong melody a little more tangled and sentimental.

The fifth “Bolka Dance of Romania” theme is taken from the folk songs popular in Romania and Hungary. The 2/4 beats and the 3/4 beats alternately, which is faster and depicts the lively scene of people dancing and dancing. Listen carefully, you can clearly hear the strong left-handed finger of the Xie Lin and the fingerboard, and the clean and sharp bow of the right hand accurately plays the decorative sound and the free and variable accent, which will play the polka dance. The unique charm is vividly portrayed.

There is no pause between the end of “Break” and “Romanian polka”. The whole song is lively and cheerful, and will be “fast” to the end. The subtle cooperation between Xie Lin and the piano is particularly prominent in this song. Both the rhythm of the rhythm, the control of the strength, or the simultaneous accent, the sharp cut, are handled accurately. The second stage of the folk songs is faster, and the scenes of the dance music are very vivid. Xie Lin and the piano played in one go, and finally powerfully pushed the whole song to a climax.

At the end of the 19th century and the beginning of the 20th century, the most representative French composer of Impressionism was the German genus, which was like a painter-like creation depicting the French-style waltz “More Slow”. Debussy meticulously marked the symbols of speed, strength, expression, etc. in the music score. Xie Lin, who is known as “loyal to the original work”, rigorously presented each mark accurately to the audience. The whole song is only one hundred and forty-eight, and Xie Lin’s performance is four minutes and three seconds. Although the time is not long, it depicts a beautiful waltz scene. The music rang, the two dancers danced, the skirts swayed and walked lightly. From the fifty-eighth second, after five sets of upper scales of the violin, the mood became warm, the music pushed to the climax, the dancers’ steps became gorgeous, and the audience stood up and applauded for the dancers. In the second thirty-three seconds, the theme returns, the dazzling dance becomes soothing, and finally the long sound of the high position on the E string, like the light that fades slowly, plus the last plucked string G and the piano G, The dancers are perfect for the curtain call. The song is 3/4, but the composer has a text mark in front of each phrase to make the rhythm more free and flowing. Xie Lin’s handling of the clauses is also in line with the composer’s intentions. The melody lines are clear and clear, the rhythm and rhythm are flexible and flexible, and the strength changes and relaxes. Together with his perfect chord and right hand bow, the perfect control. The music language of Daisy is sung by the violin.

Brahms’s twenty-one Hungarian dance music was originally made for the four hands of the piano. Later, many of them were adapted into orchestral music and solo. Brahms’s style is distinctive, including both the fusion of classicism and romanticism, and the ethnic tone rooted in the folk music soil. Brahms’s love for Hungarian folk music and dance is undoubtedly revealed in these twenty-one dances. In this album, Xie Lin played “The 17th Hungarian Dance.” The music begins in a dialogue between the violin and the piano. From single to double, from low octave to high octave, the theme repeats and changes, and the characteristic points and triad rhythm form a rich flavor. Hungarian style. The allergic passage is slow and fast. It is another major feature of Hungarian dance music. The strength fluctuates with the change of speed, and the dynamic sense of Hungarian dance is vivid. After a dance, the melodious Hungarian folk songs rang, and Xie Lin interprets the melody into the hearts of the people. The music is smooth and soft, with the exquisite chords and stretched bow of the performer. The music is beautiful but not artificial, as if at dusk. A touch of sunset, warm and comfortable. In the end, the cheerful “dance music” reappears, the music is lively and beaten, and the whole song is strong and powerful.

The two highlights in the album, “Infinity Movement” and “Wild Bee Flying” perfectly show the exquisite piano skills of Xie Lin. The left hand is strong and powerful, the pronunciation is clean and full, the right hand jumping bow is clear and crisp, the long bow is smooth and slack, the lines of the phrases are obviously undulating and the layers are rich, and the two pieces of music are all in one go, effortless. The Mexican Lullaby is a re-emergence of the player’s extreme sensitivity to the sound. Every appearance of the theme, as the range changes from high to low, the change of strength, the fluctuation of the phrase will change, and the player can clearly distinguish the delicate treatment of the string, the bow and so on.

As a performer, the true expression of the essence of music and the connotation of the work must be those who “see the truth in the subtleties”, and the performance style of Xie Lin’s “loyal to the original” is the best embodiment of this. Whether it is a large concerto or a essay, his treatment of music is neither exaggerated nor unassuming, but also pays attention to the characteristics of the music itself and the grasp of the details, and strives to accurately convey the intention of the composer to the audience. In the era of violinists, Xie Lin’s performance is unique, this album is worth collecting, it is worth repeating.