After dreaming of getting rich, I dressed up as a collapsed idol

Chapter 543

In its previous form, "Scarborough Fair" was a folk song adapted by American musicians Simon and Garfinkel from an English folk narrative poem.

After receiving the assignment to participate in a cultural exchange activity from Professor Chen, Lu Qingfeng immediately thought of this song.

He specifically looked up relevant information and learned more about the background story of this song.

There are many similar old folk songs in England, such as "Whitingham Market," a folk song with a strong Celtic tone, which has many similarities in lyrics to "Scarborough Market."

A market, several spices, and a series of impossible tasks.

These folk songs trace their origins back to an old song called "The Elfin Knight," and the two songs mentioned above are variations of that song.

The old folk song, which is literally translated as "The Elf Knight," is not the original version. According to the information he found, it originally came from British folklore.

The story goes that an evil elf kidnapped a young woman, intending to marry her.

The girl disagreed, so the elf presented her with several impossible tasks, including making a linen shirt that could not be cut.

The brave and wise girl randomly proposed a condition: she asked the elf to provide a piece of land between the sea and the beach for planting materials to make shirts.

This is also an impossible condition.

Later, as the story was passed down and went through several versions, it evolved into a love story.

By the 18th century, there were dozens of versions of the song in England, and the original version of "Scarborough Fair" took shape in the early 19th century.

This market does indeed exist.

Yorkshire, located in northeast England, was granted a privilege by King Henry II that allowed citizens to hold an annual market there, a market that was not abolished until the 18th century.

It lasted for nearly five hundred years.

Lu Qingfeng combined the version from his previous life with the old version he found and made an adaptation.

For example, the previous version used a natural and simple acoustic guitar, but he changed the instrumentation to make it more suitable for the band's performance, while retaining the Dorian mode, which is the finishing touch of the whole piece.

That feeling of traveling through time upon first hearing comes from this melody.

Eleven seconds into the prelude, Lu Qingfeng gently plucked the strings, his touch subtle and elusive, still primarily accompanying the Irish whistle. Then, at the twenty-second mark, the piano entered, enriching the melody with layers of sound.

Lu Qingfeng stopped plucking the strings, and then gently placed the bow on the strings, making a full, steady long bow stroke, delicate and even, the notes lingering like a sigh.

Unlike the dazzling skills the audience had seen online, Lu Qingfeng abandoned those techniques and used basic techniques to bring out the singing quality of the violin to its fullest potential.

The simple yet profound emotional melody conveys an ancient and poignant narrative charm.

The transition from F to F in the first to the second measure also represents a shift in melodic color, changing from gloom to light and hope, which is a key and central point.

In this passage, Lu Qingfeng used a gentle, close-to-the-string bowing motion, as if his words were dissipating with the wind. He maintained even pressure when raising the bow, and the smooth melodic lines allowed the audience to follow the emotions he expressed through his instrument.

Master Menuhin, sitting in the front row, couldn't help but nod slightly; true mastery is revealed in the details.

This short segment alone reveals the boy's solid fundamental skills in this instrument, instantly boosting my admiration for him.

Only then did he set aside those extraneous thoughts and focus on the performance itself.

At the fifty-second mark, Lu Qingfeng's violin took center stage, using a gentle, stepwise melody to create a tender, nostalgic mood, like the chanting of a wandering poet.

The same melody, but the Irish whistle in the secondary voice is detached and austere, with an echo-like effect.

At the end of the scene, the sound of the piano is added as a refrain, repeated, fixed, and ethereal, symbolizing courage, memory, and eternity.

The polyphonic aesthetic structure creates a sense of interwoven time and space in the auditory experience, one being a medieval pastoral love narrative, and the other being the cruelty of reality.

The two completely different moods do not interfere with each other in terms of melody, but complement each other, making this section full of strong artistic tension.

The overwhelming emotions resonated deeply with the audience.

Sean Skadi is a sensitive person, so his works often contain deeply moving lines. In addition, as a composer himself, he has the most acute perception of melody.

He could sense what the boy was trying to express in the piece.

This piece is more than just a folk song adaptation; it carries a deeper meaning.

But he hasn't figured it out yet.

Until the choir began to sing.

……

"Please ask her to find me an acre of land."

(From a few blades of grass beside the hill)

Parsley, sage, rosemary, and thyme.

(Silver tears dripped down, washing over the grave)

"Right between the sea and the coast"

(The soldier wipes his gun)

……

"Tie the harvested photinia into a bundle."

(Fighting for a reason that has long been forgotten)

Like the melody, the chorus also adopts a dialogue-style approach, which, combined with the lyrics, makes the theme of the entire piece readily apparent.

反战

Sean Skadi praised the other party's unique arrangement.

It employs a polyphonic counterpoint structure, yet maintains a clear and independent main melody throughout. The two melodic lines intertwine, using the original tender love of folk songs to highlight the cruelty of war.

It elevates the theme without deviating from the style of the original song.

genius!

As the final phrase faded, the young man on stage pursed his lips, his pure, dark eyes fixed on the strings, a poignant medieval melody enveloping him.

Noble and elegant.

A sense of unreal fantasy lingered in the hearts of the audience.

It wasn't until the violin music gradually faded that I realized what was happening and instinctively clapped.

The applause was thunderous.

Yehudi Menuhin was the first to stand up, giving the highest recognition. Claudio and Sean Skadi, who were next to him, stood up with their old friend, which led the audience in the front row to stand up like waves.

The audience members behind them followed suit.

The entire audience stood up and looked at the boy on the stage.

Lu Qingfeng dared not presume and bowed deeply in gratitude.

The applause lasted for three minutes before gradually subsiding as Lu Qingfeng expressed his gratitude repeatedly.

Prince Edward was so surprised that he asked his idol, Sean Skadi.

"Who is he? Incredible violin playing, why have I never heard of him before?"

Sean shrugged.

"Perhaps starting today, more and more people will know his name."

Prince Edward nodded in approval.

Nothing in this world is irreplaceable, but humans love to pursue unique and rare things, and this boy possesses that quality.

A captivating charm.