Chinese pianist Sun Jiayi is most remembered by the "heroine" figure on stage with bare feet, an anxie-length white dress and winged arms, and she is often called so affectionately by fans. The word "heroine" can be said to accurately grasp the soul of Sun Jiayi's performance texture as she entered the secret realm of knights, in addition to dignified elegance, there is more familiar and calm, enthusiastic and decisive level, she calls this momentum "dead knock". Although it may seem difficult to immediately associate the "dead woman" and the "pianist", her life seems to be full of superficial charm and inner tension.
Every New Year's Day must have vast classical music. Returning to the concert hall to play the beautiful music of the old and welcoming the new, Sun Jiayi saw a vivid and busy scene that the entire classical music industry has rarely seen since the outbreak of the epidemic in 2020. Recently, in Guangzhou, Shenzhen and Beijing, Sun Jiayi first collaborated with the Guangzhou Symphony Orchestra directed by conductor Yu Long and pianist Zhang Haochen to perform Planck's "Double Piano Concerto in D minor"; Then, together with the famous violinist Lu Siqing, he brought three Brahms violin and piano sonatas to commemorate the 125th anniversary of Brahms' death in a pleasant or sad ensemble of violin and piano; Subsequently, he cooperated with the Shenzhen Symphony Orchestra conducted by Tan Dun twice to play Tan Dun's "Piano Concerto". After successfully completing this series of concerts, Sun Jiayi's Year of the Tiger came to an end, and she wrote a sealed statement on Weibo: "The last concert of the Year of the Tiger has ended successfully. I think that people who are engaged in music should be happy, and there are many things in life, 'although they can't reach it, their hearts yearn for it'. People's happiness is actually to the point of yearning for it, and the whole music is the realm of the heart's yearning, and it is something that cannot be obtained or touched. The applause from the audience is congratulations, but also hope and confidence. ”
A piece of Tan Dun's "Piano Concerto" concludes with the Year of the Tiger, and the points are ingenious and natural. This track is one of Tan Dun's epic masterpieces "Wuxia Trilogy", which was recreated on the basis of the soundtrack of "Night Banquet", and finally formed a magnificent face that integrates Western musical expression with Chinese imagery through the four movements of "Mask", "After Tonight", "Sword Dance Flying" and "I Repay Love with All I". There is also a chamber music version of "Night Banquet" and the finale "Resurrection", which are the source of Sun Jiayi's classic "heroine" image after twelve years of evolution. On August 7, 2010, 2010, 20-year-old Sun Jiayi was invited by Master Tan Dun to perform the world premiere of the piano concerto "Night Banquet" at the Shanghai World Expo as a solo piano player, and since then she has escaped into the philosophical conception of martial arts. Imitating the timbre of national musical instruments with piano sounds, depicting sword light and shadows, and rendering the local style charm of Chu's folk poem "Yue Ren Song" not only made her deeply realize the intrinsic relevance of the players to some extent as role players, but also ignited the sense of national responsibility in her heart to introduce Chinese culture to the Western world.
What exactly is "Xia"? Sun Jiayi sees it as a very free and free state. Although the spirit of sacrifice shown in martial arts novels is no longer compatible with the contemporary context, we still advocate and promote the spirit of craftsmanship today. "Those who uphold the spirit of craftsmanship, the state of unconditional dedication for their love and awe, is a kind of 'chivalry'. In the real world, we can do small things, but we must be full of righteousness in our hearts and dare to love and hate. "As a performer, that's what she says and that's what she does.
Leather dress, Be Mindful necklace
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The thunderous applause and cheers are the gentleness and pampering that the audience gives to the performers, which is really moving, and it is also one of the reasons why offline performances are still irreplaceable despite the boom of the "epidemic" in online concerts. In the past three years, the pessimistic tone of "global musicians are unemployed" has been fremerate, and the concert has generally been postponed or forced to cancel, Sun Jiayi can not talk about anxiety, and the courage to embrace the impermanence of the world is like a powerful entity, quietly accompanying her. "The planned performance has been canceled, and the work that I am working hard to prepare will not feel in vain, because practicing the piano itself is my normal, whether there is a performance or not, I practice the piano every day, it has become a part of my life like eating and sleeping every day." In addition to building a firm muscle and mental memory for her playing skills through enough practice every day, Sun Jiayi also finds more time to read books and study works. The performer's emotional grasp and personality expression of a work is a second creation that exists on another level, and it is more difficult for her.
Especially recently watched Martha Argerich and Daniel Barenboim Jr. at the concert of the Berliner Philharmoniker, two masters over 80 years old worked together to sprinkle the deep power accumulated over the years, and Sun Jiayi was moved to tears across the screen. "From a purely technical point of view, as we age, the muscles and flexibility of the fingers, the strength of the arms, shoulders, waist and feet will show a downward trend, but Argerich told us that the precipitation of rich life experience and cultural heritage is more durable, and I look forward to the opportunity to continue to play in the concert hall in that state when the time comes." Martha Argerich is not only a beacon for Sun Jiayi's career, but also a life mentor for many female performers, and her perpetual musical life has inspired and strengthened future generations.
Piano playing is a high-intensity physical and mental work, and is by no means a female-friendly profession. On the day of the performance, a performer will go through many links such as piano practice, rehearsal, stage walking, makeup, performance, etc., and the physical disadvantage may be one of the reasons why the number of female performers is historically lower than that of male counterparts. However, from the perspective of gender, female performers also have significant advantages, and their empathy, empathy and complex and delicate emotional expression are not available to many male performers. "For a composer like Chopin, for example, the sentimental and highly sensitive nature of his work is interpreted by female performers, which can bring out more gentle inner strength. But art is subjective, like a thousand Hamlets in their hearts. "Feeling the gentle side of Sun Jiayi, which is more composed of sincerity and courtesy from the bottom of her heart, and precise atmosphere creation is the key to the reason why her performance touches people's hearts."
With the enviable study experience and life opportunities that everyone envies, Sun Jiayi seems to be "effortless" along the way: at the age of 4, he began to learn the piano because he had a piano at home, and at the age of 9, he was admitted to the primary school attached to the Central Conservatory of Music with the first place, and at the age of 14, he won the gold medal of the "4th Moscow Chopin International Youth Piano Competition", becoming the first Chinese to win the gold medal of the competition; After that, he was admitted to the Curtis Institute of Music, which had an acceptance rate of only 4%, and was the only Chinese student enrolled that class. The full talent makes her shuttle between the black and white keys, the nourishment of the academic environment, the tempering of acting and training, and the smooth improvement of masters such as Tan Dun, Yu Long, Charles Dituis, etc., all surround her with a halo of "a relaxed" light. And silently sliding to a relaxed dark side, it is full of performance anxiety under high pressure, and no one in the industry is immune. The solo piano tolerance rate is extremely low, and the concerto genre requires the pianist to perform an appropriate interactive dialogue with the conductor and the symphony orchestra behind him as the lead player, vividly showing the dramatic tension of the concerto. "Every artist strives for perfection, but you can't be 100% right in every concert, and maybe sometimes one or two mistakes are more irreproducible and precious than a machine with zero tolerance." Sun Jiayi explained that she pursues perfection, but has long since reconciled with it, and Argerich's power protects her body.
Live performances are like fireworks, if you don't record them, they will be gone when they are finished, and each sound, mood and state is unique. The recording album more or less freezes time, recording those notes that cannot be grasped and touched, reflecting the performer's interpretation of these music at this age. Satie and Saint-Saëns, two French composers, one is a controversial alternative music geek. One is recognized as one of the most representative composers of French Romanticism, and they invariably hooked up Sun Jiayi's impulse to record the album, which coincided with her original intention of recording and freezing the moment, so there were two albums: "Sun Jiayi in Conversation with Satie The Most Beautiful Piano" and "The Complete Piano Trio of Saint-Saëns". Published and published a collection of works by Satie and Saint-Saëns, Sun Jiayi has won the top spot among Chinese musicians, and no other Chinese has interpreted their loneliness and romance like her, resonating with them. Although in the 19th century, Eric Satie was an alternative authority on modern music, and he pursued a minimalist state of life, and when he settled on creation, he developed a style of simple and clear melodic lines. Coupled with the distinctive personality of anti-mainstream, anti-academic, not casually following the flow, and always being oneself, he invisibly reached the realm of "although he has not arrived, his heart yearns for it" in Sun Jiayi's heart. Playing the first number of "Nude Song and Dance" flowing from her fingers on a loop, it is like standing on Sadie's spiritual high ground and sucking in oxygen, perhaps also a trace of human fireworks.
Two years ago, at the Beijing International Music Festival, Sun Jiayi staged a three-day French music tour "Sun Jiayi and Her Friends" concert, playing classical music in the lunchtime office scene, reaching more young audiences in a more intuitive and intimate way, which was a useful attempt by Sun Jiayi to explore the pyrotechnics in classical music. Consumers of classical music are usually older, and those who have been examined and placed in the present are still classic and valuable music that is far from youth and student temperament, and the audience attending in well-tailored formal wear also labels classical concerts as sophisticated, unfriendly, and threshold. "The sense of ritual is too strong, in fact, we can't fully appreciate the music itself, and I hope that classical music can gradually become a part of our modern urban life, a way of life." This is something I would like to devote more to in my future when I am not playing on stage. ”
Written by: Hui Zhiru
EDITED BY JUVAN ZHU
Design: Xiaoni