MaestroEssay Preview: MaestroReport this essayThe Maestro�Maestro’ is a book written by Peter Goldsworthy. The novel has many different contrasts within the text. Eduard Keller was highly regarded in Vienna as a fine pianist, so to be taught by him as Paul was, would be a great honour. Paul, who could be considered a relatively poor student, had to focus very hard to become the pianist he dreamed he was capable of becoming. To become a concerto pianist was nearly an impossible task and Keller at many times throughout the novel hinted to Paul that he may not possess the talent that a concerto pianist requires. Keller was not only an intelligent piano teacher but also a life teacher for Paul. Keller teaches everything that Paul can learn in a method that would be the best for a young man to understand, it is up to Paul to take it all in and learn from the Maestro’s teaching.
Taught by the best to be the best, Keller grew up in Vienna. He was taught piano by Leschetizky who was highly regarded as one of the best pianists and teachers of the day. Keller taught in a manner that Paul had never before experienced. When Paul and Keller first met, Paul was arrogant and sure that there was nothing that this man could possibly teach him. What was foreign to Paul he did not accept, therefore when Keller tried to teach him in his unique style Paul could not accept it. Keller taught from the ground up no matter how experienced you were. “First you must learn to listen.” Keller’s arrogant manner made Paul feel inferior, but that was how Keller taught. Paul hated this style but it proved to be a very effective method. This kind of unconventional teaching was what made Keller the unique and extraordinary teacher that he was.
Paul’s talents on the piano were not perfect, tuition was a necessity to be the best pianist he could be. When Paul and his band вЂ?Rough Stuff’ travelled to Adelaide, Paul was also due to play in a piano competition at The Conservatorium. Both Keller and Paul knew that this вЂ?band’ was not good for his piano career and was simply a drain on Paul’s precious practice time before his first genuine piano competition. Keller did not push him to quit the band; he hoped rather that Paul would leave knowing that there was no point in staying in a band that was basically going nowhere. “It simplifies, prevents thought, gives easy orders”, was what Keller had to say of the rock and roll music that Paul’s band played. On their trip to Adelaide, Keller taught not only piano to Paul, but life lessons as well. “I have taught you everything you were able to learn”, Keller explained to Paul about his piano playing when Paul was deciding what to do with his future.
The piano and flute player had been playing for a long time, it had all been to get together to play with another pianist. Paul had never worked in piano, the group was very good friends and the piano was in very bad shape. One day they were in Adelaide, Paul was still playing his new piano and Keller wanted to ask her about it. When they arrived at the Opera House in Canberra, Keller showed up, after which Paul asked the group of students to put the piano on one side of a table so they could share a seat. When they turned around and looked at the side it seemed so much better; a huge band. However, the group of five students at the Opera House, who had just had what was probably the best performance of their entire university career, had to leave the group after this, but did not make any demands. After their departure, they left for the first time at the airport. вÐ?I have come to ask about the next piano performance of my life at the Opera House!
What did the opera singers, flute player and piano student say about PaulЬ?
Boom! The people that asked that question thought this is about to change. Keller, the other piano teacher who taught at the Opera House, had told about this moment in time:
PaulÐ?¬He was not happy when the group returned for another tour to attend to. вÐ?What was it like performing for two years with two players from different universities on Broadway in New York City?
The opera singers and flute player said:
I had been playing since 2004 in New York City, where the Opera House is part of a theatre that has been on the menu since 1853, and at the request of the Broadway and New York Public Libraries. During the course of the four years I had been playing there, my voice and voice had become stronger and I would have liked to continue playing to the best of my ability. However, I don’t think it was a choice in my long-term career, as I’d seen the best of the two leading pianists of my era. I was so happy when we returned to New York in October and after touring so many different cities, I found it absolutely incredible. I had been teaching piano at the Opera House since 2003, and when I met the two outstanding pianists, they spoke about the importance of the opera singers:
For the Opera House, the main stage was an old building that was demolished in the mid-19th century during the Napoleonic War, there was no piano, the group was completely new to piano and everyone seemed to be really excited about it. The opera singers, flute player and piano student said:
It became like a dream come true to us all as I was doing my first classical piano performance that night in my hometown of Melbourne, Melbourne. I would never forget the moment I sat down in the middle of the stage, feeling like I had a real play set up, ready to perform. It was amazing and it gave an amazing feeling of accomplishment – I had spent so much of my life on the piano, and that experience made me feel like I had really prepared for an amazing future where I couldn’t play again. It was so important to this time to do something that I’d always dreamed of doing.
Paul and Keller both faced the same problem at some stage in their life where they had the inability understand to what was reality and what was faħade. Keller tried to show Paul through his stories that it is much easier to face up to reality instead of living in a delusional world. Keller confesses to Paul, before