during which emily takes a break from working at a piano to write about working at a piano

so. (whaet.) my instructor figures that since i brought the first movement of a bach concerto from infancy to performance in three weeks that i can do the same in one week with this piece:

i've posted this link on here before. it is one of those odd instances where the piece is both easier and harder than it looks. the rhythms really aren't that bad. and the heel-on-bflat-1 part, once you get it, is actually really fun. however, every time i practice it, without fail, somebody has to walk in and say something.

these include:

the trombone faculty member: "is that a real piece?"

the instrument tech, who works below the room where i frequently practice: "is that you stomping? can you wait until we've gone to lunch?"

and a variety of students who see me smashing my face, playing with my foot, or get worried when they hear screaming.

one person said, "i thought it was for percussion ensemble because it sounded bad."

backtrack to last friday, when i played the aforementioned bach in a masterclass for a (very accomplished but very dull) pianist named anton nel.

he asked me about the affect of the piece, and i replied that "it is when you are crying and you don't know whether to fall down or hit something."

his eyebrows went up. "i didnt see it as quite so dark."

and i was immediately and deeply embarrassed for the first time in a while.

my instructor took him out to lunch afterwards, where they talked. later that night, she got me drunk and told me what they'd talked about. "every time he hears that piece now, he'll think of your description, i promise you."

that's something, though, right?