Chapter 50
Chapter 50
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Translator: MadScientist
Chapter: 50
Chapter Title: Business, Not Art 3
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Debussy's Arabesque, No. 1.
One of his early works, a masterpiece with a charming and elegant arpeggio.
Composed in a freer form rather than a traditional structure, one can feel its sensual and original melody.
Who is Debussy?
The founder of Impressionism and a pioneer of Modernism.
Though I hear he wasn't particularly fond of that nickname himself.
Still, there's no denying it fits him perfectly.
It's as if he transplanted the paintings of French artists directly into music; the romantic and refined melody captivates listeners' emotions even hundreds of years later.
Listening to his music, it feels as if the world before my eyes is blurring into the soft hues of watercolor.
And yet.
"Ah... is this right...?"
Thinking that she had mastered the basics by now, I handed Diana a new musical score.
It was the aforementioned Arabesque.
"Ugh..."
It started with a calm melody of eighth notes in 4/4 time.
She managed to get through this part somehow.
But the moment the 16th-note arpeggio appeared, she crumbled.
The charm of this piece lies in its rhythm and tempo changes that flow like water.
Just like the title Arabesque, it's important to express the curvilinear melody and the fluid tone color resembling art decoration.
If played correctly, it can produce a very antique atmosphere.
I thought she would surely like it...
Was this mission still too early for Diana?
"Aht! Young Master! I can't do it!"
She sprang up from her seat and distanced herself from the keyboard.
What's the problem?
'The difficulty level itself isn't that high, is it?'
I'm not even expecting delicate emotional expression.
It's unreasonable to ask a beginner for that.
But even considering that, it feels like she can't even start at all right now.
"Diana."
I called her name in a low voice.
"Didn't you practice properly?"
"No. I practiced properly."
Right.
I know better than anyone how passionate she is about the piano.
She was practically on fire when I first showed her the score for Arabesque.
'Then what is it?'
It makes no sense for her to hit a wall here after doing so well until now.
"Could it be?"
I called Diana again and had her sit properly in front of the piano.
"Don't think of it as playing, just play."
"...Excuse me?"
Was the instruction too difficult?
Actually, there is a more precise expression, but I was worried she might get hurt by it.
I didn't say, 'You're not a performer, you're a piano-playing machine.'
"Leave the emotion out of it and think of simply transferring the score directly to the keyboard."
"The score, directly..."
A clumsy melody followed.
"No. Stop."
This solution was a failure.
Arabesque is a piece characterized by its free-spirited melody.
It's the prototype of Impressionist music, composed with a sensory structure that breaks away from tradition.
But Diana has only ever played relatively simple scores that stuck to the basics until now.
It's like asking someone who has just finished sketching to copy a painting by Monet.
The rhythm is unpredictable.
The melody is fluid.
Reproducing that with delicate expression isn't a problem of technique.
'She needs sensibility.'
She needs to understand why the melody flows this way, and why the 4/4 time signature suddenly changes to 3/4 time.
She must first understand the intention behind the expression.
It seems Diana is still clumsy in that regard, so I told her to try playing as if she were a machine, excluding all sensibility.
This method doesn't seem to work.
"Hmm."
It seems it would be better to show and teach her directly.
"Move over for a moment."
"Excuse me?"
"You can get up if it's uncomfortable."
"No... it's not uncomfortable."
She lowered her head deeply and shrank back to sit on the very edge of the chair.
"Listen carefully."
I lightly moved my fingers and played the first four measures.
"What do you think?"
"...My heart feels at ease."
Next.
The rhythm changes in the middle part and the chord progression.
"Somehow, it feels fluffy... as if I'm in a dream."
"Doesn't it paint a picture for you?"
At my words, she nodded gently.
"Before playing a piece, you must first think about how your music will sound to the listener."
Only then can you move your hands as intended.
A performer needs the skill to convey emotions in the desired direction.
They shouldn't just simply contain the emotions.
"The arpeggio in this part gives you a sense of tranquility, as you said. So, it's best to play it so the clear sound flows on softly."
"Ooh."
"And here. The part where the rhythm changes and creates a dreamy atmosphere. What do you think you need to do to play this?"
"Like a mother speaking to her child?"
"It's similar, but..."
"Like whispering into the ear of a sleeping lover...?"
Saying this, Diana lowered her voice for some reason.
Why are you whispering all of a sudden.
"...That's accurate."
"Ah."
Feeling like the atmosphere would get strange if I just stayed still, I quickly got up from the chair.
"Anyway, if you understand that and play, you'll be able to understand why the score progresses this way. If you grasp the reason why this music was created to give that emotion to the listener, you'll be able to play much more naturally."
"I think I understand a little now."
"Try it again."
"Yes."
What is this.
Why did she get so stiff?
Is she a robot?
Anyway.
After that, I gave her various tips, and Diana was able to play Arabesque without much difficulty right away.
She still hesitates in the middle and makes mistakes sometimes, but.
It's much more pleasing to the ear than before.
'The type that goes slow but steady.'
I also learn a lot from our lessons.
Especially, and it's a bit awkward to say this, but.
Diana is quite the slow learner.
I'm so grateful that she just follows along diligently.
Teaching a student like this will be a great help when planning future curriculums.
If I end up establishing an academy branch, maybe I should name a classroom after Diana.
'Maybe.'
Could I have her enroll directly?
It would be difficult right now since she's a commoner, but.
I should try submitting a proposal sometime soon.
Speaking of which, I wonder why that letter hasn't arrived yet.
It feels like it's been quite a while since I sent the request to the Academy.
I'm so anxious I feel like my blood is drying up.
'It must have arrived safely, right?'
◇◇◇◆◇◇◇
At the same time.
The Academy's main building, conference room.
"I believe it is right to approve it."
"I also agree with Professor Korsolin's opinion."
The request to establish a branch campus, sent by Anton Tilberg.
All the professors had gathered to discuss this matter.
First to cast a vote in favor were Victor Korsolin and Jubel Brosia.
Since they were already well-known Anton supporters within the Academy, there was really no need to ask for their opinion in the first place.
Still, a clear reason was required.
A professor sitting opposite him asked.
"Do you have a basis for thinking so?"
"There is no one with as much musical knowledge as Master Anton. That is also true within this Academy."
"In that case, wouldn't it be better to hire him as a professor instead?"
"Master Anton plans to build not only an academy but also a theater and a museum there. It's the optimal condition for studying music."
"And what is the benefit to the Academy? Hearing this, it sounds like he intends to borrow the Academy's name for his own plan, but we are not a charity."
At the professor's sharp question, Victor smiled.
"The Academy is, by its very nature, an educational institution that cannot be confined to just one place. Establishing a branch campus near the capital will give more students the opportunity to learn music, and cultural exchanges will become more active as well. And furthermore."
All eyes turned to Victor.
"Master Anton's plan is not merely about establishing one school. And it's certainly not just about borrowing the Academy's name. It's about turning the entire region into a hub of music and art. We must look at the long term. If the branch campus succeeds, the Academy's own prestige will rise, won't it? Rather, the Academy should be begging to work with him."
However, the professor sitting opposite still wore a skeptical expression.
"Let's say everything Professor Korsolin says is correct. But! For that, a considerable amount of capital is required. The Academy doesn't have the capacity to cover all those costs, does it?"
It was Jubel Brosia who answered that question.
"The Academy doesn't need to pay the costs."
"What do you mean?"
"He said he would cover all of it himself."
The conference room became noisy.
"Is... is that true?"
"To cover all that money by himself..."
The professors who had opposed the idea began to nod, seemingly persuaded by her words, one by one.
"The Academy has nothing to lose, does it?"
"Certainly..."
If a branch campus is established, they can admit more students, and as Victor explained, they can focus more firmly on cultivating performers.
And what if that place truly becomes the center of the Empire's culture?
The Academy's own standing will naturally rise.
Moreover, the cost the Academy pays in this process is zero.
It seemed everyone's minds were shifting in favor of approval.
It was the Dean who summarized the situation.
"It seems a decision has been made."
He neatly unfolded the request form on the table with both hands.
"I approve the establishment of an Academy branch campus by Baron Anton Tilberg."