Maestro

Peter Goldsworthy’s novel “Maestro”, set in the tropics of Darwin, the dryness of Adelaide and the cultured Vienna, explores the relationship between a piano teacher and his student. The protagonist, Paul Crabbe narrates the memoir retrospectively during the periods of 1967 to 1977 reflecting on his life throughout his adolescence, and into adulthood. With each lesson the relationship between Paul and Keller strengthens through gradual growth and development. Paul’s initially impression of Keller was ‘misleading’ but throughout the novel comes a turning point when both characters realize that their love for one another becomes almost father and son like. In the end Paul ‘mourns over a great man’ and he feels nostalgic as his views of Keller are finally completed. Young Paul, instant to judge Keller when they first meet in Darwin 1967, views Keller as a red-faced heavy drinker ‘his face an incandescent, boozers glow’, with his thick German accent, and unusual teaching techniques with hands that seemed ‘impossible’ to belong to a pianist. Paul suspects Keller to be a Nazi and ‘possible war criminal’. When Paul has his first lesson with Keller he senses he is ‘undergoing some form of test’. Paul acts as is he knows everything, but Keller mocks Paul constantly with comments such as ‘you know so much for your age…and so little’. Keller tells Paul he is given ‘too much self-satisfaction’ and that he is egotistical. Keller, the harshest of critics teaches Paul in a language he thinks is ‘simple and patronizing’. It is weeks before Keller lets Paul play, and even when he does, Keller doesn’t let Paul play complex pieces, making him start with ‘Children’s Bach’. Paul portrays Keller to be melancholic and arrogant as well as inequitable and harsh. Despite all the criticism, Paul develops a sense of affection towards Keller, perhaps a form of appreciation' Paul and Keller’s relationship progresses throughout the novel, in each lesson they share. Paul comes ‘to love him, to depend on him’. Several lessons in, Paul realises that Keller’s teaching methods are unique; as he begins to model them himself in order to teach the band and Rosie. Paul develops respect, admiration and even love for Keller as he understands he has ‘been like a father’ to him. He no longer doubts Keller ability to play claiming it is ‘wonderful. Magnificent’. Through Paul’s maturity, his attitude towards Keller becomes warm and appreciative. Paul begins to admire Keller which creates a warm bond between the pair. As Paul matures his attitude towards Keller becomes warmer and they create a special bond. During 1967 to 1974, Paul is transformed from a spoiled, self-absorbed child to a more compassionate and knowledgeable adult. Paul learns the limits of his own musical ability through Keller and also learns about himself. The truth about Keller’s past acts as a form of closure for Paul. Paul’s experiences in Vienna during 1975 allow him to realize that Keller is not the same man he who once played for Hitler. Paul realizes that Keller’s own experiences as a young man is what have shaped the somewhat suppressed Keller of Darwin. Paul later discovers through Henisch how hard Keller led his life after the death of his wife Mathilde and child Eric during the war. Paul’s comprehends that Keller is declared dead to those who knew him in his early days. Paul understands that Keller must have valid reasons for wanting his friends to think this, so Paul keeps Keller’s secret. At the death of Keller in 1977, Paul ‘mourns over a great man’ and feels nostalgic for not spending enough time with Keller or caring for him like he should’ve, but at the same time feels that Keller had been ‘bad for him’ because he had ‘revealed perfection to him, at the same time taking it away’. He learns that Keller had taught him ‘self-criticism that would never allow him to forget his limits’. Paul regrets not taking use of Keller and the things he taught him. He realises that Keller is his safety net ‘offering a faint last hope’. When Keller dies, that hope dies. Paul’s music lessons with Keller do not only teach Paul about music, they also teach him the fundamentals of life. Paul is no longer unappreciative and dismissive of Keller’s musical ability and develops respect, admiration and love for Keller. During the period of 1967 to 1974, Paul is transformed from a spoiled, self-centered adolescence to a more compassionate and knowledgeable adult. He comes ‘to love him, to depend on him’ and realises that Keller is Paul’s safety net. Paul’s investigations in Vienna, 1975 allow him to recognise that the Keller in Darwin is not the Keller that once played for Hitler. He is finally able to understand Keller in a more adult and complete way.