Maestro (1989) is Goldsworthy’s first book, set from 1967 to 1977, embodying the theme of migration and identity for two main characters, one young and the other old.
A young man, Paul
Crabbe, at the age of fifteen, is uprooted from Adelaide in the south of
Australia to Darwin in the north, by his parents. An older man – now 80, Herr
Eduard Keller, was uprooted from Austria as a refugee, and eventually landed in
Darwin where he worked from his “home” as a piano teacher. Keller’s home is a
weatherboard room above the front bar of The Swan hotel. The smell of beer and
cigarette smoke seeps into the room with two pianos: a grand Bosendorfer for
the maestro and an upright Wertheim for the student. Paul Crabbe is his
student, for one lesson a week.
One day Paul
enters the room waiting for his piano lesson. While the maestro is absent he
looks at the photograph propped on his teacher’s piano: his son Eric and his
wife Mathilde. Not much else is known about the mysterious piano teacher.
At the end of
their first year in Darwin, Paul and his family drive five days south to
Adelaide to stay with Paul’s grandmother for the summer holidays. He begins a
library search to determine who Herr Keller really is. Keller died in 1944, the
records reveal.
Back in
Darwin, just as he is about to knock on the door for his piano lesson, for the
first time Paul hears the maestro play the piano – Wagner’s Tristan. It was
brilliant: “nearer to lovemaking than to music.” And in Darwin, Paul learns
about that too, in the shape of Megan and Rosie.
Years later,
in 1975, in between piano competitions, Paul heads for Vienna, chasing a
cellist who claimed to have played with Keller before the war. And it is in
Vienna, Herr Keller’s birth place, that Paul discovers the truth about his
piano teacher.
Brief,
succinct, unembellished, Goldsworthy paints a picture of innocence, that of a
sixteen year old boy searching for the truth, yet also of fitting in, settling
into a new country, a new city, a new place – a place where a person can leave
the past behind.
MARTINA NICOLLSis an international aid and development consultant, and the authorof:- Similar But Different in the Animal Kingdom(2017), The Shortness of Life: A Mongolian Lament (2015), Liberia’s Deadest Ends (2012), Bardot’s Comet (2011), Kashmir on a Knife-Edge (2010) and The Sudan Curse (2009).
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