Stephen's Secure Blog #301
These stories about Stephen began was when he was 10 years old, and
moving to a new part of the country to attend a special school for
gifted students, in the 1950's. This was from a time before computers
would fit on a desk, and when people communicated with friends in other
countries by actual letters sent through the postal service. He wrote
225 of them to a friend. He stopped writing to his penpal, but found he
still wanted to record his life, in case he lost his memory again, and
wrote 30 entries in his first logbook. Then he wrote to an artificial
intelligence called Geenee, in the master computer in his school for
gifted students, which he started attending in 2016. Now it's after
2018, and he's continuing to save his memories in a secure blog.
All characters are fictitious, even if some of them might have names
that belong to some actual people, or act like people we know.
The stories may not be posted in chronological order.
Stephen is 17 in this story, in Summer of year 7 of his special school.
Stephen's Secure Blog #301 "Setting Up Vienna"
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We ported to a meeting in Vienna again. We were introduced to the son
who plays the flute. He was very emotional. When he calmed enough to
have a real discussion, he said, "I can't believe how good it sounds!"
I said "Well, I believe it." He was confused, and then smiled at my
grin. I said "I make my instruments to the best of my ability." Chad
said, "And that's saying a LOT!" I said to him, "I would have to say
much more to make that a lot." He said "Normal for you." I said "Do
you want me to tell them what's normal for YOU?" He said "Er, I take
that back." We grinned at each other, and hugged. I told the player, "A
lot of calculations went into the design of the flute, and such
precision in the making of it, that even the slight alterations the
polishing would cause, were part of the final specifications." He said
"Wow! It must have taken a long time." I said "No, not really. I've had
practice. Making instruments of wood, is more complicated. Glues and
finishes need some time to dry the correct way."
He said "You make those, too?" I said, "I play almost all
instruments, and I make mine. I like them to be strong, and sound good.
I'm strong, myself, and can easily break most standard instruments."
One said "How strong are you?" I said "I don't actually know. I have
the strength I need, when I need it. But here's an example. I can lift
your chair with one hand. With you in it." One said, "This I have to
see." I said "Oh really? How would you do that, when I have yet to lift
a chair here?" He said "Please demonstrate." He was in a wooden chair.
I said "It's possible that the chair will break, and you with it.
Ready?" He nodded. I got down on one knee, and wrapped my hand around
the chair leg, near the top. Then in one smooth motion, I stood, and
lifted him up. I said "I'm leaning so far, to balance the weight. If I
were holding onto something sturdy with my other hand, I wouldn't need
to do that. Want to go down now?" He said "Please." I lowered him
gently down. I said "I must say, elevators are more convenient, and
actually go places." They smiled.
I said "You didn't think I was telling the truth, did you." He was
embarrassed. I said "I am not able to lie." He said "How can you do
that?" I said "Well, thank you." They laughed. I said "It's not just
about strength. It's about how you use it. I teach advanced physics,
and martial arts, and I am VERY well trained in most sports, and am
very fit. I thought we came here to discuss music." The music director
said, "We have decided to ask you if you would be available for three
concerts." I said "Sure. You're looking for a holiday?" He laughed, and
said, "Not quite. We would like you conducting your first symphony, for
the first concert." I said "We might need a lot of practice for that."
He said "I agree. For the second, your choice of conducting, and you
playing in a concerto." I said "Brahms violin?" He grinned, and said,
"We expected you would chose a Brahms. For the third, your symphony for
us. That magnificent composition should be the last and most brilliant
jewel in your crown of performances."
I said "Are you a poet, too? That was very well said, even if
seriously embarrassing." He laughed, and said, "I do not apologize for
that, and yes, I have written some poems." I said "Will you be
available to conduct something in each of the concerts?" He said "I
will." I said "Good. I want it so you and the orchestra take the final
bow together." He said "Thank you. Your unusual generosity is very
appreciated." I said "Is it desired that I play a solo in each
concert?" He said "Yes, very much so. Of your own, if possible." I said
"What about singing?" He said "That, too. Please sing your Fantasy
Waltz." I said "I want to do something else, too. Can a guest bring a
guest, for one piece?" He said "What were you thinking?" I said "Hora
Staccato. I would be on the piano, and the owner of my flute will play
the other part. That is if he wants to, and passes the audition." There
was a lot of emotion in the room. I said "The concerts end with my
usual encore, and with my blessing of love." He said "Expected. We have
heard your encore, which now seems to be something of a trademark.
Personally, I like it very much." I said "So does she who I play it
for." He said "I'm not surprised."
We planned the programs for the three concerts. We were all happy
with how it went. The only real problems were the extended rehearsal
times for my own compositions. I said to the flute owner, "Do you know
the piece?" He said "I do. It's required practice." I said "Would you
be willing to show me now?" He said "But I don't have my flute here." I
said "If you will allow, I can bring it here for you, if you tell me
where it is." He did, and I ported it to my hand. His eyes almost
popped out. Chad grinned. We went to the piano room. We played, and he
was very good. I said "May I have the flute for a moment?" He handed it
over. I adjusted the position of some of the levers, and reshaped one.
I said "Try this out." He did, and was very surprised. His father said
to me, "What did you do?" I said "I made some changes in the way it
works a little, to customize it for his hands and the way he plays. I
think it might have helped.
"The player said, "That's incredible! It's like I don't have to play
it! I just want to, and it almost plays itself." I said "Yes. That's
the way it should be for experts, but usually, instruments are made the
same way for everybody, despite the well known fact that no two people
are perfectly identical. Now you two really belong to each other. Oh,
and don't worry too much if you lose the flute. I've added the changes
I just made, to the specifications. I can make another just like it, if
needed. Let's play again, and see if we are better." We did, and at the
end, he cried, and so did his father. It was the best any of us had
ever heard it, and we all knew it. They wanted to thank me endlessly. I
said "Stop! It's not me. I cannot make talent. It's really the musician
playing, not so much the instrument. I did help, but that would not
have been successful if the talent and dedication were absent. Oh, and
the audition was passed." A lot of smiles happened.
Then we went to where the orchestra was being led by the concert
master in a practice session. It was Ravel's Bolero, and going badly. I
whispered to the director, "That is really bad. Why?" He whispered
back, "He's not much of a conductor. Getting old, and might not hear as
well as he should." I said "What he's doing is bad for the orchestra.
They should not be allowed to play like that, ever." He looked at me
with more respect, and said, "I think you are correct. I think I will
invite some student conductors to lead some of the practices in the
future." I said "May I?" He looked surprised, but very pleased, and
said, "Absolutely!" I motioned the flutist to me, and said, "I'm going
to conduct them now. I don't need to look at the sheet music. Please
accompany me, and look at it yourself, and see how I conduct. Doing
Bolero well, is not as easy it it might seem."
The director called the concert master away, and we took the podium.
I said "Greetings. I will be conducting and performing in three
concerts. For this time, we can get to know each other, before we learn
my original symphonies. Before we start, I should tell you that I can
play any of your instruments myself, and well. Who will be the first to
challenge me to play his or her instrument to prove that?" The second
violinist stood. Chad brought it to me. I tuned it, and played some
difficult selections. He brought it back. The harpist stood, and said,
"I can't bring this to you." I said "Fine. I'll be right there." I did,
and played it very well. I said "One more." The trombonist rose. I went
to him, and played some difficult jazz on it. I want back to the
podium, and said, "Have I proved my ability to you?" Silence. I cupped
my ear, and they all said, "Ja, Maestro!" My podium partner was almost
in shock. I nudged him, and grinned, and he gave a tentative smile
back. I said to the orchestra, "Please tune your instruments." I said
"When I call your name, we will tune your instrument together." I did
that for four of them, including the concert master. The director was
very impressed. When they were ready, I raised my wand, and then we
started.
I brought each soloist and each section in at the right time,
moderating the volume. One of the most difficult parts of conducting
the Bolero is maintaining control of the tempo. The orchestra gets
caught up in it, and wants to go faster and faster. I didn't allow
that. After we finished, I said to the orchestra, "That was, well, YOU
tell me how it was. Did we do well?" There was a lot of applause. I
said "You were magnificent! I look forward to working with you. Thank
you very much." The director told them to take a break. I said to my
guest, "Please tell me what makes the Bolero difficult to conduct." He
did very well, and I told him that. I said "In a concerto, or in any
musical group, the soloist can't be much better than the orchestra. If
they don't do well, it won't make much of a difference how well you do,
as far as the audience is concerned, so it is in your best interest to
make those who accompany you, be at their best, to show YOU in the best
way. One way which can help you do that, is to know their jobs. Perhaps
not as well, but at least well enough to know what is good and what is
bad, and how to make what you want to happen, happen. Comments?"
He said "That is wonderful! I don't know how to thank you enough for
this opportunity to learn from you. You are a very good teacher!" Chad
said "He is. He's known as The Master Teacher." His jaw dropped, and he
it. He's in shock. If his eyes pop out, be ready to catch them. I
didn't bring a bowl for that." Some of the others tried not to laugh. I
poked the flutist and said, "Let me know when you're back to flute
caressing. By the way, it doesn't grow any bigger, doing that." Some of
the others laughed, and he almost choked. Then he said in a weak way,
"How do you know that?" I nodded in appreciation, and said, "Well, I
was watching for that, when I was polishing it. Maybe I should ask my
others joined him, including Chad.
We went back to the office. We set up the schedule for the rehearsals
and the concerts. I said "Good. I won't be available for the week
starting the forth of July. That is when Tibet's freedom takes effect.
I need to be there." They understood. I said "Now, before we go, one
other thing." I held out my arms. Even though some were embarrassed,
they all knew what to do, and each one came into my arms for a hug with
all my love. Chad helped them to sit down, after. Then I said, "Thank
you for a great time. I'll be back for the rehearsals, and any other
time you want to see me. Farewell." I ported us to my living room.
Chad said to me, "I didn't expect you would share the podium like
that. Well done!" I said "Thank you. It seemed like the right thing to
do, but there is a problem." Hawk said "Right That concert master has
to go." Chad said "I agree. But you didn't ask for that." I said "I'm
giving the director the opportunity to do that on his own, and he might
realize that. If the first violinist has to have his instrument tuned
for him, seriously embarrassing him in front of the rest, he should
retire. It's sad, and I really dislike it, but he drags the whole
orchestra down." Chad said "The day before your first rehearsal, I'll
check and see if he's done anything about it, and tell him if he
didn't. Better I do that as your manager, than you." I said "Thanks."
Rose said, "I love what you did with the flute player again. That was
really great, offering to share the stage with him." Hawk said "Good
business sense, too. Don't want the audience overdosing on just one
performer for an entire concert." I said "While I did think of that, I
did it for other reasons. He is from that country, so it will help me
to make a better connection with the audience." Rose said "That wasn't
really why you did it." I sighed, and said, "Yes. I did it because it
made me feel good, making him and his father feel good." She wiped my
tears. We all let our love flow.
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Grant
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