The Healing Life of a Music Genius - Chapter 212



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Allegro non troppo e molto maestoso.

Allegro non troppo e molto maestoso.

Not too fast. And very grandiose.

Tchaikovsky’s ⌜Piano Concerto No. 1⌟ First instruction of the first movement.

The piece began powerfully, like the finale of another concerto.

On top of the beautiful melody created by string instruments.

The pianist had to play thick chords in octaves that were not easily found in any other work.

A repeated chord played in groups of three.

Even the last chord requires a two octave leap.

Then, we jump again from the right end of the keyboard to the left end to play a lower chord.

Tchaikovsky even gave instructions to play it very grandly.

Because of this, I had to use all my strength to press the keys, and I had to repeat the ‘leap’, which is something that always makes pianists nervous.

A situation where even the slightest hesitation could lead to the mistake of pressing the next key.

But I······.

There was no room for hesitation for me now.

I hit the piano hard, as if I was hitting it with a hammer.

The thick sound of the piano fills this space just as I intended.

The orchestra also responded to me with even greater intensity.

Julian Brel, the chief conductor of the Belgian National Orchestra, glances at me.

Are you really sure it’s okay to keep going like this?

Just as we had that conversation during rehearsal, he asked me unspokenly if it would be okay for the orchestra to give it its all on stage.

Before we knew it, the concerto had reached its 25th measure.

A very brief moment of pause when the piano stops playing completely and you can hear the pizzicato of the strings.

Instead of sending some signal to Conductor Brel······.

He responded by playing the piano, strumming deeply on the keyboard as written in the music.

‘I am well aware of the outstanding skills of the Belgian National Orchestra.’

‘so······.’

‘I hope you will follow along with my playing.’

Said.

Conductor Brel smiled and waved his baton.

The orchestra stopped playing for a moment.

It was time for the piano’s magnificent cadenza (solo part in a concerto) to appear.

A series of powerful chords.

Descending piano note.

A scale that quickly goes up to high notes.

At that time, a melody with Tchaikovsky’s sense of tragedy appears.

When Tchaikovsky composed his Piano Concerto No. 1 in 1874, he was not a particularly famous musician.

Although he was a professor at the Moscow Conservatory, the works he composed during that time did not receive much attention.

Tchaikovsky suffered from nervous breakdowns and depression throughout his life.

He was a musician who was much more sensitive to failure than success, and he always compared himself to Mozart and lamented that he was such a lacking musician.

The formal beauty and compositional power seem far behind those of Mozart’s music.

Mozart’s beautiful melodies that seem impossible to even imitate.

He had no confidence even at the moment when he composed his Piano Concerto No. 1.

Nevertheless, Tchaikovsky continued composing silently.

My passion and enthusiasm for music kept me going all the time.

He had to become a civil servant against his will because of his parents’ wishes.

He eventually quit his civil service job and entered a music conservatory at a relatively late age to begin studying music.

He had to continue writing his own work without anyone noticing it.

Shout out to everyone.

No matter what situation comes my way.

In the end, he was someone who had to do music.

Tchaikovsky, who lived his life in depression and despair, speaks through his concerto.

A melody that gradually loses its strength.

A sound that seems to be writhing in pain.

At the end of the piano’s sad theme that gradually fades away······.

The orchestra’s grand melody explodes out.

Accordingly, the piano also regains its power.

I am willing to give up everything in the hope of a glimmer of hope.

A huge concerto that is called the beginning and the end for pianists.

Tchaikovsky’s Piano Concerto No. 1 is slowly beginning to reveal its true form.

.

.

.

The flute and clarinet show off their elegant appearance.

Above it, the piano creates sparkling musical figures that seem to float.

At that time, the current 5th division intervened and gradually increased its scale.

The descending melody begins to change and become intricately woven, revealing its grandeur.

The melody of the concerto gradually crescendos.

At the forefront was the piano.

The boy led the entire orchestra forward.

Without the slightest hesitation, he embraces every melody and willingly throws his body first.

He displays brilliant technique at a speed that even a pianist would not be able to handle.

He pours everything into his performance as if there is no next time in this world.

The audience held their breath without realizing it at the pianist’s intense spirit.

They couldn’t take their eyes off the boy who was showing off the extremes of splendid performance.

Polish maestro Michał Payans, who was looking at the stage from the second floor of the Beaux-Arts Concert Hall, also could not take his eyes off the boy.

The Belgian orchestra that has led Queen Elisabeth’s history is about to be dragged away by that little boy.

Conductor Julian Brel barely managed to keep his balance, but it seemed as though the piano would take over the performance all by itself at any moment.

A single pianist who is overwhelmingly outperforming dozens of performers.

These scenes are usually······.

‘It comes up mostly in collaborations with master pianists. In that case, the audience only remembers the melody of the piano, and the orchestra can become just background music for the piano.’

‘Heh heh heh. Brel. The thing you were trying to take care of in the introduction is what ended up happening.’

‘Well, can you turn this around? If you make one mistake, Belgium’s name could be omitted from Queen Elisabeth’s finale. Isn’t that a blow to your pride?’

‘To that child who has already reached the level of a master······.’

‘Show me the best orchestral performance you can.’

‘Only then can this finale stage······.’

Payans smiled kindly.

‘It will be recorded forever in classical history.’

Payans no longer worried about the child.

There was no need for any further comment on the musician who presented the performance of ⌜Immortal⌟.

A path that has already been decided.

The boy’s performance today may have been decided a long time ago.

Just like the six-year-old Mozart had to go to Schönbrunn Palace to perform.

Just as Beethoven, at the age of 13, had to compose three piano sonatas.

The 14-year-old boy had to perform here today.

In the meantime, the melody of the concerto became even more magnificent.

The piano and the fifth string section engage in a conversation.

The first and second themes are mixed together to add more splendor.

A graceful melody that reaches its extremes.

The piano and orchestra create a precariously organic connection, boldly showing off their grandeur to the audience.

Sylvie Lucas, who was sitting in a corner on the first floor of the Beaux-Arts concert hall, leaning against the wall and looking at the stage so as not to be disturbed by the audience’s view, captured the boy’s appearance as it was.

The boy was quickly scanning the keyboard with a calm look in his eyes that did not match his age of 14.

Even though the performance continues with great intensity, not even the slightest shaking is visible.

Lucas felt like the tears he had been holding back were about to burst out.

Seo Jin’s deep feelings were fully expressed through her piano playing, and it was difficult to control my emotions.

Holding everyone in my arms······.

While conveying comfort, consolation, and healing to others······.

I am enduring the sadness alone······.

That young pianist who says that’s what should be done······.

Lucas felt grateful but also heartbroken.

‘There was definitely sadness hidden in your playing.’

‘I felt it clearly in the Raindrop Prelude, Petroshka, and Strict Variations.’

‘But Seojin, you······.’

‘You never said anything like that to me.’

‘that is······.’

‘That’s why I think your playing touches my heart even more.’

‘Because of your inner self and your playing that is actually like an adult······.’

‘I feel like crying even more······.’

Silvi Lucas wiped her eyes with the back of her hand and engraved this wonderful concerto deep into her heart.

After the intense and impressive first movement, the second movement began, seemingly trying to cool down the heat for a moment.

The delicate sound of the flute alone presents the theme.

A beautiful and sweet melody in which you can feel the performer’s breath.

The piano calmly answers him.

So softly.

It’s a great read for everyone in this space.

It was so warm that I almost cried without realizing it······.

It felt as warm as my mother’s embrace.

A piano that builds up the narrative step by step.

Judge Samuel Scott, who had been quietly watching the stage, takes a deep breath.

‘So much so that I can’t even describe it······.’

‘What a perfect performance······.’

The boy’s playing was precise as if measured with a ruler, powerful as if a hammer was striking the keys, and delicate as if played with the hands of a small child.

It presents a variety of tones without compromising the consistency of the performance.

As if it were an orchestra in itself······.

Create one sound with all the melodies that exist in this world.

The boy borrowed a piano and expressed the sounds of the world.

It depicts flower petals fluttering in the wind and leaves floating on a stream.

As the viola, an instrument resembling the human voice, sings cheerfully, the piano responds by creating the sounds of the forest.

A sound that seemed to come from heaven.

My eyes close at the sight of its beauty.

‘The virtuoso of this era······.’

‘It will be made in this place today······.’

Woodwind instruments that move along with the melody of the piano.

Among them, the flute is the representative, presenting its first delicate melody once again······.

The second movement also concludes.

.

.

.

A fleeting moment of rest between movements.

Conductor Julian Brel looked at me.

A time that is less than a second.

But we were able to have all the conversations in that short time.

My will was communicated to him, and his will was communicated to me.

The conductor’s deep eyes sparkled, and then his hands moved greatly.

The fifth section and the timpani create instant excitement.

Allegro con fuoco (fast and furious).

The theme of the third movement was also presented from the piano.

A rhythmic melody was created from my ten fingers.

He plays a gorgeous scale with both hands crossed.

Descending minor key.

The cool Russian melody, made in a single key, pierces my lungs.

After Tchaikovsky completed this piano concerto, he showed it to his teacher, Nikolai Rubinstein, who was the greatest Russian pianist of his time.

Because I wanted to get the recognition I never received before.

Because I wanted to gain some confidence.

The first thing I showed him was the score of ⌜Piano Concerto No. 1⌟.

Tchaikovsky even considered dedicating this piece to Rubinstein.

but.

The answer he got back was quite cruel.

– The piano part is so clumsy that it’s unplayable. –

It seems like Tchaikovsky’s feelings at that time are clearly felt.

His life becomes darker and darker as he becomes mired in nervous breakdown and depression.

A furious Tchaikovsky speaks to Rubinstein.

I will not change a single note in this score right now.

After declaring this, he went to Hans von Bülow, who was a conductor and pianist at the time, to request a premiere.

As modern musicians who already know the ending, we find this situation interesting.

This is because Tchaikovsky’s Piano Concerto No. 1 is the great concerto that is called the beginning and the end for pianists.

As expected, Hans von Bülow leads the premiere of this piece to success.

In the United States, not Russia, he performs with great success the greatest piano concerto in Russian history.

From then on, Tchaikovsky began to produce works that could be considered masterpieces throughout his life.

Starting with ⌜Piano Concerto No. 1⌟······.

Symphony No. 3, Swan Lake, Francesca la Rimini, Variations on a Rococo Theme, Symphony No. 4, Violin Concerto, etc.

It was at this time that masterpieces that would go down in classical history were created.

Tchaikovsky lived his entire life in fear of failure.

But we modern people know that Tchaikovsky is one of the greatest composers in history.

A fact that only those living at the time knew.

Tchaikovsky declared that he would never revise his Piano Concerto No. 1, but he eventually listened to his teacher Rubinstein and revised some of the piece.

Because Rubinstein’s words actually made sense.

This could also be said to be a fact that he was unaware of at the time he was composing ⌜Piano Concerto No. 1⌟.

It is also an interesting story that Rubinstein was the first person to perform in Moscow.

When I was falling from the plane, I thought I was going to die.

At that time, I didn’t know anything.

But I get a chance to meet Mr. Miller on a deserted island.

Could anyone have imagined these facts at the time of the crash?

I was given precious time that cannot be exchanged for anything valuable.

Because of that, I was able to survive.

We mistakenly think we know a lot.

Actually, I don’t know anything.

Tchaikovsky too.

Me and Mr. Miller too.

Both Jankowski and Sister Lucas.

I don’t know how this world flows.

We just live each day, being true to the moment.

Live in the present without forgetting gratitude.

That was all we could do.

We must not abandon reality and become attached to losses that have already become the past.

When Tchaikovsky was 14, he suddenly lost his mother to cholera.

He was very sensitive at heart and lived his entire life in the grief and nervous breakdown that resulted from that loss.

Seeing the world as a place full of suffering, Tchaikovsky lived in depression until his death.

I am······.

I understand him so well and yet······.

On the one hand, it was a pity.

The piano melody moves quickly.

Two recurring themes are exchanged endlessly with the orchestra.

Short passages are inserted to continually alter the melody.

The music started to build towards its climax.

The timpani announces the beginning with a bang.

In line with this, the current 5th section crescendos sharply.

The piano also goes up an octave, changing the melody to become more and more extravagant.

I, a modern musician, answer Tchaikovsky, a musician of the past.

All your worries were for nothing······.

Let your sorrows out here.

I hope you find peace there.

I, a contemporary musician, answer Mark Miller, a musician from the past.

your······.

All your worries are things you don’t even need to worry about······.

If you have any sadness at all, pour it all out here······.

I hope you find peace there.

I know that my melody will definitely reach there······.

Please listen to this performance.

Answer, answer.

Therefore, to me, this stage right now was the most precious.

More than anything else, this stage······.

It was everything to me ‘now’.

The melody is extraordinary.

The piano takes over the second theme brought by the orchestra.

An ascending scale leading to the Martian chain.

Mars, who had been hesitating with some worries, tried to come down.

In the end, it creates a beautiful melody from that high place.

The five sections plus brass, woodwinds, and timpani support my piano.

Finally, a single harmony emerges and fills the concert hall.

No one on stage stopped playing as they created a huge melody.

The orchestra and piano took turns creating melodies, and we moved together to the conclusion.

The pinnacle of beauty.

‘Just a little more.’

‘I wish this moment could last just a little longer······.’

Because the performance that had begun had to end······.

I ran towards the end.

Together, they play countless melodies.

Before the pressed key on the piano can even be lifted, the key is pressed again.

Ten fingers move without rest.

The end of the coda.

Even the orchestra, which had been playing a different theme, joins in the piano’s melody.

Not much sheet music left.

There aren’t many words left.

There are not many notes left.

The entire orchestra plays the same note to the long fanfare of the brass instruments.

I also played the same chords with them.

The conductor swung his baton horizontally.

Half beat quick instructions.

It was a signal to mark the end of the concerto.

The orchestra and I, who saw his gesture, simultaneously took our hands off our instruments without a single error.

This concludes all the performances.

A small, trembling breath escaped.

The orchestra members also take a deep breath.

In the concert hall where the grand melody had been splendidly unfolding, only the reverberation of the melody remained.

The silence that came for a moment after the performance ended.

What brought back the time in the concert hall that seemed to have stopped for a moment······.

“Waaa …

“bravo!!!”

“Waaa …

“Han Seo-jin!!!”

There was a huge cheer from the audience.

This competition was one where I poured out all the musical skills I had.

The Queen Elisabeth Competition, from which I was able to learn a lot, has come to a regrettable close.