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Maestro, written by Peter Goldsworthy, illustrates a complex relationship

between Paul Crabbe, an egotistical fifteen year old boy living in Darwin, and
Eduard Keller, a guilt ridden, self punishing former concert pianist seeking
exile from the human race. Although through the course of Pauls adolescence,
Keller and Pauls relationship grows leaving Paul unable to comprehend ͞how
much he came to love the man, to depend on him͟ Keller was not the most
suitable teacher for Pauls personality, theoretically disabling him to become a
famous concert pianist from the beginning. However, as much as Keller was
not suited for Paul, he subliminally taught Paul more about life than the
intended music, proving that their lessons together held more value than
either of them would have thought.

On the day of their meeting, and their first piano lesson, Keller sensed
arrogance in Paul, a child-like trait that he did not like. Paul at this stage is a
spoilt yet talented young boy whose substantial ego leads him to misjudge
Keller͛s loss of a finger to indicate that he͛s ͞incapable of straddling a fifth, let
alone an octave. Keller takes this opportunity to belittle Paul, to embarra ss
him. He turned to his piano and released a ͞rippling run of tenths͟ and then
further denies Pauls wish to ͞play something͟ as he has ͞heard hands like that
before͟. Paul is infuriated and vulnerable as he leaves Keller͛s first class
deeming him a ͞sadist͟ but Paul becomes accustomed with these comments.
Keller had a brusque and direct attitude towards Paul͛s skill level, constantly
reminding him ͞that every fish has its depth͟. Keller teaches Paul a ͞self
criticism that would never allow [him] to forget [his] limits͟. This makes Paul
defensive whenever criticism is given to him, and unfortunately he maintains
this trait throughout his life, which leads him to never fully grow as a person.

Eduard Keller exhibited a unique, yet contradicting teaching style, which both
helped and restricted Paul͛s growth as a musician. Due to Keller͛s cruel and
destructive past, the teaching methods he used were unorthodox, constantly
reminding Paul of his depths and how a concert pianist is ͞one in a million͟.
Keller͛s past restricts him from teaching P aul to the best of his ability, limiting
the composers that Paul performs to complex, highly structured pieces of
music such as Mozart. The common lack of rubato in these pieces has an
affect on Paul͛s opportunity to become a concert pianist, although teaching
him to be ͞technically perfect͟. ͞In this sense Keller was the worst possible
teacher for [Paul]͟. Keller͛s self-conflicting personality allows Paul to learn
under two different versions of the man, seeing glimpses of the man Keller
used to be before the war.