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  • it starts like this.

  • It's a very, very standard for the orchestra to play, a sort of overture where they already present all the material.

  • But they present the beginning without the main scene that Evelyn will play later.

  • So they only go, He's broken.

  • This broken a major chord.

  • It's quite a very simple sort of empty seem.

  • Then when they're finished with the overture, you expect the violent to start with the material.

  • But Evelyn instead comes in with this a gradual, which comes out of nowhere.

  • This short meditation is a really severely arresting entrance.

  • I think off the soloist to play something entirely different that has barely any relations in the same key.

  • But otherwise it's totally different.

  • And then the main section starts orchestra again, placed there distinct.

  • But the violent on top of that plays the main scene, which, you understand, comes out of this a Dodgers scene, and so that it all comes together suddenly and it'll make sense, and it's amazing nobody had ever done anything like this before.

it starts like this.

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B1 中級

奧古斯丁-哈德利希談莫扎特的第五小提琴協奏曲。 (Augustin Hadelich on Mozart's Violin Concerto No. 5)

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    林宜悉 發佈於 2021 年 01 月 14 日
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