In the composer column, there is only Xu Qiao's name.
Not only were the audience members discussing it, but the judges were also discussing it.
"Even 'Moonlit Night in Suzhou' was a collaboration with the folk music master Ying, but this piece was completed independently?"
“I hope the standard won’t be too far behind the last song.”
“I’m sure Joe won’t disappoint.”
The audience was still immersed in the performance of the Vienna Philharmonic Orchestra not long ago and their attention was somewhat distracted.
At this time, all parts of the folk music orchestra sounded with strong tones at the same time, with uniform intensity for ten beats. The huge sound spanning four octaves startled the audience and they looked over in surprise.
The opening sound is very shocking and impactful.
Each voice part is used with a very high density. The timbre of the compound chords is contrary to the word "harmony". Coupled with the vibrato of the erhu and the high-pitched and extremely destructive sound colors of the suona, the atmosphere is filled with tension and fear from the very beginning.
The use of rests interspersed throughout the piece caused this already discordant melody to stop and start, as strange as the cold wind howling outside the window at night. The audience covered their chests, and in a trance, they seemed to hear countless spirits and ghosts humming, grinning, and crying.
The judges with keen hearing noticed that from the beginning of the melody, the heavy drum beats had been beating at a specific rhythm.
Boom, boom, boom... The sound is slowly getting faster.
They immediately understood that the drum beats hidden in the melody matched the frequency of the heartbeat. As time passed, the drum beats became faster and faster, and the audience's heartbeats seemed to be affected and began to beat rapidly.
Feelings of chest tightness, shortness of breath, fatigue, dizziness and other discomforts came up, goose bumps appeared on the arms, and many people had painful expressions on their faces. They felt cold all over and hugged their arms.
It is the unbearable terror of facing death.
Is it the devil's music
Gloomy and sad emotions swept over them, and the heavy color of death and tragedy permeated their hearts.
At this moment, the leading pipa player seemed to have transformed into a devil. He lowered his head and pursed his lips, his fingers moving quickly on the strings, as if he was communicating with ghosts with the melody in his hands.
This is a elegy, a song of gratitude for death.
When he composed this piece, he tried to recall the faded memory of death. No one had seen more dead people than him, and no one knew death better than him.
He experienced this feeling more than once, watching people around him die, watching himself die. This is the foundation for him to write this symphony.
Malz, who was sitting in the center of the judges' seat, stared at Xu Qiao closely. At this moment, the young man played the piano like a dead soul.
Don’t go on… the audience called out in their hearts.
As if hearing their call, after the intensity of each part reached its peak, the string part continued to descend, making a long downward glissando.
Everyone was stunned.
All the pain and fear were fading away. They were in a trance and saw the perspective of the deceased before his death.
If you ask Xu Qiao what it is like to die, he will give this answer: At that moment, the body cannot feel pain, all perceptions fade away, and are replaced by an active consciousness.
He will no longer be afraid of all kinds of physical pain, and he will have many hallucinations, such as reuniting with his dead lover. These hallucinations make the process of death gentle.
Therefore, the closer we are to death, the calmer our attitude towards it will be.
After the downward glissando, the leading pipa plays at a slow tempo, accompanied by the deep bass of the erhu, instantly depicting a peaceful and tranquil world.
The change came too fast, but there was an inexplicable reason for it.
It was a strange experience; all the pain and anxiety disappeared and a feeling of transcendence came over me.
What is the purpose of life, and where does death go
The music ended in silence.
There is no doubt that this is a symphony that is even more outstanding and perfect than "Gusu Moonlight Night".
Most of the audience were so moved that they burst into tears. On the judges' panel, assistants also presented clean handkerchiefs to these music masters to wipe their tears.
As both symphonies have the theme of death, it is clear which one is better, "Mahler's Sixth Symphony" or "Elegy".
[I need some time to slow down]
[There is no way to describe my feelings at this moment. Human vocabulary is too limited. I only know that I am no longer afraid of death.]
The judges all gave their very high evaluations.
"This symphony is perfect both in terms of composition and performance. Sorry, I need to get my temper under control, it's just so great."
"In terms of artistic level, 'Elegy' is comparable to the symphonies composed by great musicians of all ages! Especially this group of lovely people can perform it so excitingly."
“It’s perfect. I am deeply moved by the mood of death and transcendence presented in this symphony.”
…
Inside the concert hall, the media focused their cameras on Maestro Malz, who was sitting in the center of the judges' seat and had remained silent. Everyone was looking forward to his evaluation of "Elegy".
However, Malz said nothing, but just looked at Xu Qiao deeply.
This left the media looking at each other in bewilderment.
Was Mr. Malz dissatisfied with their performance? You know, he gave a jaw-dropping evaluation of the previous piece "Moonlit Night in Suzhou".
[What's wrong with Mr. Maltz? Are you dissatisfied?]
[Oh my god, this symphony is so great, but it can't impress Malz?]
After the performance, the folk music band returned to the lounge, but the Vienna Philharmonic Orchestra, including Lucas, had not left yet.
The young violinist said with a complicated expression: "Joe, you are not only an outstanding performer, but also a talented composer. The Elegy is excellent."
"But you are not the only one who can compose such an excellent symphony. We still have a chance to communicate with each other." His expression became serious.
Xu Qiao knew that he was referring to the last round of the exchange meeting, but he was too tired after the performance, so he just nodded slightly.
Lucas looked at his sweaty forehead and tired eyes that had lost their spirit, hesitated and said, "Joe, you should have a good rest. You are not in a good condition."
"Thank you." Xu Qiao gave him a gentle hug.
Ying Wenlin supported him and asked with some concern: “Shall we go back to the hotel and rest first?”
Playing the entire symphony was a huge drain on one's emotions, especially since Xu Qiao was the lead performer, and the mental and physical energy consumed was unimaginable to others.
Xu Qiao responded in a low voice, and at this moment, a young man dressed as an assistant walked into the lounge and bowed respectfully to Xu Qiao: "Mr. Xu Qiao, Mr. Maltz wants to meet with you. Is it convenient for you?"
Everyone in the folk music group looked at each other with some worry in their eyes. Mr. Maltz had just not made any comments on the jury, but now he wanted to see Xu Qiao alone. What happened
Xu Qiao lowered his eyelashes and said, "Take me to see Mr. Maltz."
After that, he said to Ying Wenlin: “I will be back soon, don’t worry.”
I met Maltz in another judges' lounge not far away.
When the white-haired old man saw Xu Qiao coming over, he hunched over, took his hand and sat down.
He was silent for a moment, and then he said in an old voice: "My child, in your music, I don't feel the slightest fear of death."
Xu Qiao chuckled: "Yes sir, I am not afraid of death."
Malz shook his head and said it another way: "You have the will to die in your heart."
He has been immersed in music for so many years that others may not be able to hear it, but he immediately understood that "Elegy" hides the composer's inner lack of attachment to life.
Seeing that Xu Qiao didn't say anything, Malz continued, "My child, I am more than half a century older than you. I am about to see God, but I don't even feel as deeply about death as you do."
"Elegy is perfect, and because it's so perfect, I have to worry. To be able to compose a piece like this, you must have simulated or practiced the journey to death countless times in your mind, right?"
This was mostly true, he had indeed faced death countless times, but it was not an active choice.
Seeing Xu Qiao's tired eyes, Malz sighed: "You are in a very bad condition now, kid."
Xu Qiao was trying to organize some words to comfort the old man in front of him who was worried about her, but at this moment, the cell phone in her bag rang.
He took out his cell phone and wanted to hang up, but paused when he saw the contact.
Malz smiled kindly and said, "Take it."
"Sorry." Xu Qiao said to him and walked to the corner of the lounge to answer the phone.
It was Xu Siyi calling.
"How are you?"
Xu Qiao was stunned for a moment, then smiled and pressed his temple: "Why do you ask?"
"I watched your performance." Xu Siyi's voice was low and came from the other end of the phone, which seemed even more magnetic. "You need to get a good night's sleep."
Like Malz, he heard the transcendence of death in the music. But unlike Malz, he didn't think Xu Qiao had the will to die, he knew Xu Qiao was just too tired.
He witnessed Xu Qiao's journey through one world after another. Xu Qiao's transcendence of death was based on his understanding of his own experience, not the yearning for death as Malz believed.
"Well, I need to get some good sleep." Xu Qiao's voice became softer. "Don't worry, I'll be back soon."
After hanging up the phone, Xu Qiao walked over to Malz and sat down again.
"Mr. Maltz, thank you for your concern and care. I'm just a little tired." He took a deep breath and smiled, "I think you will change your mind after you listen to the last symphony prepared for the exchange meeting."
Malz looked at him and gradually chose to believe him.
Xu Qiao was too tired, so he fell asleep as soon as he got back to the hotel. He didn’t know how long he slept before he was woken up by the ringing of his cell phone.
Seeing that it was an unfamiliar number, he yawned and hung up. Unexpectedly, as soon as he hung up, the phone rang again.
This happened several times before Xu Qiao frowned and picked up the phone, only to find out that it was a call from a powerful local media reporter in Vienna.
The person on the other end of the phone immediately asked him a barrage of questions about what he felt about the online attacks and what his response was.
Xu Qiao frowned and said, "Sorry, I need to understand the situation before I can get back to you."
After opening the message, I saw a large number of music critics criticizing "Elegy" in the media. The article quoted comments from netizens on social platforms, accusing "Elegy" of implying a disrespect for life and an attitude of instigating death.
Some even criticized that this symphony would increase the suicide rate of the listeners and should be banned.
The article also suggested that Maestro Malz had the same attitude towards the symphony, citing his refusal to comment.
Other music critics have also raised objections to this argument, believing it to be taken too out of context.
There was quite a bit of controversy for a while.