"Slow, too slow!" This is many people's first impression of Cherie's interpretation, and it is also the most complaining and confusing point. In fact, Cherie in her early years was a very fast and sparkling youth interpretation. It is easier to understand that when people get old, their spirit is restrained, and the speed of their works naturally decreases with the generosity and kindness of the elderly. And there is this tendency, is by no means cut's one. Speed is relative. From a technical point of view, the most important thing is to control the speed evenly. What's more, with the improvement of study and life, Che Lao's understanding of art is more in-depth and thorough, and his methods have changed accordingly: microscopic research on the score, microscopic treatment of rehearsal, a bar or even a note has its own life, and it never seems hasty.

What's more unique is that Cheshire treats all the components of symphony equally, and exerts its strength evenly when dealing with it, and never relaxes in transmitting sentences and decorative sounds, so this slowness is fully justified. There is no intention, no grandstanding, and his slowness is soothing, flexible, relaxed and full of tension. You listen to the theme of "walking" in Musorgskiy's art exhibition, which makes you enter the picture in the most relaxed state. Everything is done in slow motion, everything is presented in a slow mirror, and even the listener becomes a viewer. Listen to the passage "The Gate of Kiev" again. It is powerful and sublime, and its stress extends in all directions, and finally transcends the limitations of space. Every time I hear this, I think: Is his music too slow or is our time too fast? Accustomed to living in the hustle and bustle and absorbing nutrition from fast food culture, we can't relax and chew the music feast dedicated to us, and his slowness is one of the most valuable parts of his art and an indispensable factor in his artistic view. It allows us to re-understand music and enter an unprecedented listening state. Slowness is the extension of time and life. Isn't this a sign of longevity?

Of course, to understand his slowness, we have to talk about his "lightness". He has always loved eating, but music is vegetarian. Listening to his interpretation, there is an out-of-touch detachment, but peace and elegance contain infinite internal forces. There is no dross in music, the texture is extremely transparent, pure as a blue flame, there is no exaggeration or pretense in the interpretation of music, and there is no attempt to find a deliberately created "sweet or spicy". Fans who want to seek sensory stimulation are afraid to be disappointed. His "Last Four Songs" with jesse norman Richard strauss asked the famous female singer not to be too loud, but she was still dissatisfied after the performance and said indignantly, "This is not the spring in Vienna, but the spring in Mongolia at best!" Since then, I have never worked with that singer again. This can also prove his persistence in his artistic concept. His indifferent demands come from his years of experience and his profound understanding of Zen.

His ignorance can best satisfy people's deep spiritual desires, but it can never satisfy their physical desires. It is refreshing to listen to his interpretation. The ancients said: "Carve, cut, return to simplicity", which is the tranquility of atrix's deep heart after the return and the transcendence of contradictions. The ultimate goal of his directing art is to achieve the realm of dust-free, pollution-free and selfless. At this point, the aesthetics of oriental philosophy is actually integrated with western classical music. At this point, I'm afraid we have a deeper understanding of the friendship of the old pianist Michelangeli. His piano sound is pure and beautiful, and his art is tangible and metaphysical. Looking back from this aspect, it will be clearer to cut the old artistic image.

Some people say that the joy of cutting down the old shows "Tao", but what is Tao? Normal mind is the right way! Many pianists can't play Mozart well, which is why they have lost common sense. Mozart's works are not difficult technically. What is difficult is a dull and naive heart, while Che's works have such a normal heart. Isn't this "heart" the "true colors" of people? There are still many people who think that it is more appropriate to use Chebyshev's method to command brukner, Brahms and other deep, restrained and long works, but it is not appropriate to command passionate Beethoven and miserable Tchaikovsky. For this, it is entirely due to inertia. From the perspective of "accuracy" and "standardization", the established "style" and personality are used to set off the aesthetics of the car. The right person will abandon the unsuitable person. This is a blind spot.

In fact, I'm afraid music has no fixed speed at all. Speed is not important, what matters is what speed expresses. We can accept conductors from different cultural backgrounds to interpret the works of other countries and nationalities. Why can't we accept the forward-looking view of the car? In fact, transcendental aesthetics can completely cover regional national style and narrow personality view.

Based on this, it will create abstract music with strong tolerance and adaptability, without emphasizing style, but with its own style. He proved by practice that there is no sect in the essence of music, and there is no other opinion between ancient and modern times. As for why Che Lao never directed Mahler, it is probably because Mahler's works are mostly contradictory products. Although technically self-evident, his emotional expression is too confusing and anxious, which is probably not to Che Lao's taste. However, the operas regarded by Che Lao as children's play are not as good as symphonies in terms of concentration, compactness and harmony with conductor, and some traditional operas are too naive, loose in structure and not as dramatic as symphonies, which is also different from Che Lao's view of musical harmony.

Che Libitch's command art has been tempered all his life, and in his later years, it seems to have become superb. He has a famous saying: "Music is not beauty, beauty is just the bait of music. The music is real! " A word of "truth" doomed Cherie to drift from place to place for most of her life, but it was also a word of "truth", which sublimated Cherie's later years and reached her ideal realm. Karajan tried to integrate Futvingler and toscanini, but he never did it in his life. But Cherie buys nothing but herself, so she can enjoy herself. I think at least in the eyes of us orientals, it is easy to tell the level of their realm.