The Healing Life of a Music Genius - Chapter 114



Only Noblemtl

114 Uncommon

* * *

Konzerthaus Berlin.

A concert hall with a long history, built in 1821 as the Royal Theater.

Based on Gendarmenmarkt Square, there is a German cathedral on the left, a French cathedral on the right, and the Konzerthaus in the center.

A place where statues of classical composers look down on people.

It can be said that performing at the Konzerthaus is a very great honor as a musician.

Even if you have studied classical music for a long time in Europe, including Germany, and graduated from a prestigious music school with good grades, you are not easily given the opportunity to perform here.

There are only a handful of musicians who get the opportunity to perform in a concert hall like this at least once in their lifetime.

Konzerthaus’ standards are that high.

Even if you are a prestigious musician, if you feel that you are not up to standard, you will not be put on stage.

In the case of one musician, there was even a case where tickets were refunded after asking for understanding from the audience due to insufficient preparation.

In some ways, this may seem like a tricky thing.

However, it can be seen that Konzerthaus’s reputation continues to be thanks to this.

Alexandra Roden, concertmaster of the Konzerthaus, watched the orchestra practice for a long time and finally spoke.

“I’ll stop here for now. Since she said she would come at 1 p.m., I think she can begin to decide on the direction of her practice from then on. “Can each of you please come over to me for a moment?”

This is what an orchestra concertmaster does.

1st and 2nd violins, viola, cello, double bass.

The person who leads the five string parts.

It balances the sound and determines everything down to the bowing of the string instruments.

Have the string members practice according to the conductor’s instructions, and furthermore, have the entire orchestra practice.

Acts as an intermediary between the orchestra and the conductor.

The actual power of the Akjang was that much stronger.

Alexandra Roden, current concertmaster of the Konzerthaus.

She canceled a performance a year ago, saying she did not like the talent of her collaborator.

Actions that may seem arbitrary at first glance.

However, after she joined Konzerthaus, there were evaluations that her level had improved further, so she could not be viewed negatively.

Roden, who had summoned the orchestra principals and explained Hoffmann’s instructions once again, released them only when it was almost lunch time.

Among them, the chief cellist looked at the score and opened his mouth.

“He said he was a child recommended by Conductor Hoffman. But just looking at the interpretation you gave me…”

Roden receives the chief cellist’s words.

“In effect, you are treating me like a master. “I don’t know what kind of performance the child will play, but this is no different from an instruction to give the Konzerthaus his best.”

“Hehehe. Does this make sense? Even if he is the winner of Ettlingen, he is only 13 years old? Are you planning to kill that child on this stage?”

“I just relayed Conductor Hoffman’s intentions. “The performance didn’t match the conductor’s interpretation, so I called the principals separately.”

“Umm… “It wouldn’t be difficult to do that, but…”

The chief oboe also joined the conversation.

“I said that in this year’s Ettlingen, Anna came in second place and that kid came in first place, right? She is a better child than Anna. But she doesn’t think it will make much of a difference. In that case, wouldn’t it be right for us to do our part for the sake of that child’s future? “She should at least be highlighted to the public on her debut stage.”

If a professional orchestra gives its all, the level rises far higher.

There were times when it overwhelmed the concertos of virtuosos, so proper coordination is always necessary.

Moreover, the pianist who came as a collaborator this time was a 13-year-old child.

No matter how well the child did, the level was obvious.

In that case, the idea is to make the child stand out by lowering the level of the orchestra by just one or two levels.

The chief oboe’s words echoed the nature of musicians who want to give a lot of support to their juniors.

However, Roden opposed that opinion.

“I am the one who spoke directly with the conductor. The Maestro said he didn’t want that.”

“hmm. “If that’s the case…”

If the musician spoke to this extent, there was no way.

Roden even added this:

“It might be better to show the skills we have seen and show the drawings that the child asks us to do. Then we might be able to be considerate at that time. Ultimately, one way or another, we will be able to complete the performance safely.”

To be honest, Roden did not think that the child’s skills would be ‘really’ outstanding.

I respected Ettlingen, but deep down I couldn’t believe it.

‘I guess there is a child who can show more than just playing Anna…’

It was Roden, who had seen Anna in person.

So I kept having doubts.

Rather, I had this thought.

I wonder if Ettlingen may have made somewhat biased decisions in order to create the ‘youngest genius’.

The child even said that he went to Ettlingen after receiving a letter of recommendation from the Maestro.

Even though Hoffman is a famously fair conductor, isn’t it natural for his arms to bend inward?

Because of this, I couldn’t help but have many thoughts.

Hoffman said he had quit his job as a judge, but he didn’t know anything about people.

Roden had no intention of looking after the child.

Rather, if it was judged that the child’s skills were insufficient, I planned to suggest that the collaborator be changed to Anna.

This is Konzerthaus Berlin.

Performers who do not meet the standards cannot be put on stage.

No matter what the situation, that will never change.

Roden felt that the child’s playing skills were overestimated, so Roden’s idea was to remind the child of reality by showing the orchestra’s real skills.

The members were concerned that the child’s playing skills might be slightly lacking, so they asked to lower the level of the orchestra.

Roden was implicitly thinking that Anna, whom he had seen with his own eyes, might be more suitable as a collaborator.

1:00 pm.

The Ettlingen winners came to the Konzerthaus at the appointed time.

Children who go directly to say hello to members.

Among them, this year’s Ettlingen winner, a child from the East, was as small as expected.

‘Is he about as tall as Anna?’

It even seemed too innocent.

A performer must have a pulpit.

In order to persuade the conductor, the concertmaster, and the audience, you must be able to confidently state your opinion.

But I didn’t think that kid could do that.

It was the same even for Anna.

Anna is busy following the child around.

A child who warns Anna what to do.

He sighs when he sees Anna pouting, then calms him down and smiles brightly again.

They looked like children.

Purity is always a good factor in making music, but now that an important performance is just around the corner…

‘I don’t think that would be important.’

Is there nothing you can do about age?

It was Roden who felt that way.

Classical music is deep.

It’s very difficult to understand that.

Alexandra Roden is a former winner of prominent competitions.

He won second place at the Genava International Competition and received sponsorship for his Stradivarius from a major company.

She, too, had been studying classical music her entire life, but she felt like it was still not enough.

But is there anything special about those kids?

Of course, there are geniuses in the world.

There are geniuses among geniuses who can far surpass the shackles of time.

But Roden had never seen such a genius before.

In the end, everything is decided by the amount of practice and attitude toward music.

How seriously do these people, who are just like children, take music?

‘well.’

These were children who still seemed to need more time.

Anna and Louis left the concert hall.

The orchestra members take their seats one by one.

Roden, who was watching the stage from the second floor auditorium, slowly went down to the first floor.

I finally got to meet that child up close for the first time.

A child who introduces himself as Han Seo-jin.

He said it was an honor to meet him.

Roden nodded slightly and sat down.

The child also immediately sits down in front of the piano.

At that time, the Maestro appeared on stage.

About 60 members who were sitting stood up all at once.

Members who all show respect.

Hoffman smiled kindly and greeted the members lightly.

The Maestro looks at Loden.

Roden calmly faced that gaze.

This time the Maestro looked at the child.

The child’s face could not be seen from where Roden was sitting.

However, I could vaguely hear their conversation.

“Seojin, you can play whatever you want today. Here, I can match whatever you play. “I want you to know that it is different from Ettlingen.”

“yes. However, there has not been much change from the interpretation I mentioned before.”

“so. Then, as you said, let’s make your ⌜emperor⌟.”

“Please take care of me.”

“······.”

Conductor Hoffmann treats children with utmost respect.

Without being surprised by the situation, the conductor’s baton moved sharply.

Hoffman’s command is like a sword.

Not allowing for even an inch of error, the members’ instruments are treated like limbs.

Thanks to this, the melody of the Konzerthaus was able to become even more varied.

About 60 members sing ⌜Emperor⌟ in harmony with his rhythm.

A sound more grand than ever fills the Konzerthaus.

Great pressure.

however.

A beautiful piano melody began to resonate, lightly breaking through the pressure.

A powerful yet extremely dense piano melody.

Roden was momentarily out of breath.

“······.”

For a moment, I couldn’t think of anything.

This may be because it is such an unexpected situation.

My back feels cold and goosebumps appear on my arms.

A child’s cadenza that immediately dominated the orchestra.

So surprisingly…

It seemed like the child’s rumor was true.

* * *

⌜Emperor⌟, who performed with the orchestra four times in Ettlingen, came out as naturally as breathing.

I was so used to it now.

Three practices and one main performance.

That was an incredible experience for me.

After successfully completing the first cadenza, several thoughts came to mind as I listened intently to the orchestra’s performance.

First of all, the sound of the orchestra itself was different.

The sound of the Konzerthaus Orchestra, which had been working together for several years or even decades, was extremely refined.

Correctly falling chords.

An ensemble that exchanges music closely.

In the case of Ettlingen, although the individual performers’ skills may have been high, the period of time they came together as an ‘orchestra’ was extremely short.

So, in fact, mistakes were made in the Ettlingen Orchestra.

But Konzerthaus was different.

I got along well with conductor Hoffman, and each note was clear.

Moreover, the interpretation of the ⌜Emperor⌟, which was discussed from time to time with Conductor Hoffman, was reproduced without a single error.

‘This… must be the level of a professional.’

One of the best orchestras in Berlin.

The sound they made was so cool.

I couldn’t lose either.

I listened intently to the sound of Master Roden coming from behind me.

Clearly, the pressure was felt.

but.

I don’t know if I feel a little sorry for Master Roden.

‘Mr. Richter… there is no such suffocation.’

Melodies of Dresden.

His violin captured the heart of Finist.

So that you can’t move.

The violin’s melody had overshadowed the piano’s melody.

Really… I was in tears the whole time I was practicing ⌜Emperor⌟ in Ettlingen.

But now it seemed worth doing.

The orchestra’s level was clearly higher than that of Ettlingen, but I didn’t feel like I would be pushed out here.

The powerful introduction of ⌜Emperor⌟ was performed exactly as in Ettlingen.

But from now on, I felt like I could play a little more intensely than before.

It is not only the soloist who is overwhelmed in the concerto.

An orchestra can equally be overwhelmed by a soloist.

then.

At least in the performance of ⌜Emperor⌟, which has already become mine.

I felt like I could do that.

Conductor Hoffman glances at me.

His baton slowly moves towards me.

I tried to sound bigger than ever.

I tried to express the steps of the ⌜Emperor⌟.

With all my might.

The intensity was expressed as it was.

But then.

A “Tonk!” sound rang out from the grand piano.

Conductor Hoffman immediately stopped the orchestra, and I also stopped playing.

The conductor glanced at me quickly and let out a small sigh.

“Thank goodness.”

A concert official came hurriedly onto the stage.

A man in his 30s.

He looked at me as if I was dumbfounded and then asked me the most important thing.

“excuse me. “Are you hurt anywhere?”

“yes. are you okay.”

“The piano strings broke… “It is a rare occurrence even in the performances of virtuosos…”

A concert official said he would immediately call a piano tuner.

Thanks to this, I was able to take a break from practice for a while.

I glanced at the orchestra.

and.

“······.”

“······.”

“······.”

“······.”

They too were looking at me silently.

A debut stage where I have to prove myself once again.

For this performance, it seemed like a small episode had occurred since practice.