Spring Musical Observation

"I like this instrument because the reeds taste like peanuts," I said as I plastered the sliver of wood to the clarinet mouthpiece.
"Ew, gross!" the young music shop owner replied.
Ever since I stopped playing the piano, I yearned to learn a new instrument. After testing out a wide range of instruments from the trombone to the guitar, I finally found one that fit my personality: the clarinet. Then over the years, I started to learn the different techniques to better my playing, all while performing with the Kansas City Youth Symphony, school band programs, and the spring musicals. But as the curtain fell for the last time on the musical my freshman year, the District Music Festival was looming just around the corner. Through my preparation for Districts, I learned that everybody can have a different
interpretation of the same thing, and that I need to keep an open mind when dealing with other people's opinions and suggestions.
Since the spring musical, The Drowsy Chaperone, fell right in the middle of the main preparation time for Districts, I soon began to scramble to find a solo piece to perform while trying to practice the challenging score for the musical.
"I want you to find a piece that really speaks to you," my clarinet instructor, Emil, told me, his Middle-Eastern accent twisting the sound of each word which complemented his dark hair and sharp features. "Don't pick one just because it looks difficult or easy. Choose a piece that really lets you express yourself."
After he left, I raced up to my room, grabbed the countless music books littering my music stand, and began to flip through them. After what seemed like hours, I started to file through the Concert and Contest Collection. After noticing that I had already played or looked at a few songs in that book, I came across a new song, Fantasy Piece, which had been heavily marked by a previous musician. This looks too easy, I thought. I want something that is at least a little challenging. I sat that book aside and decided to show Emil the next time we met.
"I love that song!" Emil told me excitedly. "It also fits you
perfectly!"
"Okay, let's get started then!" I replied while assembling my clarinet. Then only a few weeks later, I had perfected the fundamentals of the song, and I thought that I could put Districts aside and return to preparing for the musical.
"You know this piece isn't as easy as it looks, right?" Emil states matter-of-factly after I finished playing through the music. “Even though the rhythms and notes are rather simple, the adjudicator will listen to how you interpret the song and dynamic markings. I want you to think of something that reminds you of this piece. When I think of Fantasy Piece, I think of a dream or a goal I want to achieve."
"Okay..." I reply confusedly. Through my many years of musical education, I was taught that the music I play was supposed to sound the same way every time and every person heard the same thing.
When the lesson was over, I started to realize that the piece reminded me of a story someone could be retelling to a group of friends. Fantasy Piece seemed to even be modeled after the climactic arc of a story. The introduction was slow and had a very easy rhythm, gaining speed as the piece continued, soon reaching the exciting and climactic run of notes, and finally resolving to a quiet and peaceful end.
At my next lesson with Emil, I performed my piece while trying to imagine how a wise elder would recount the tales of the past to a group. I showed inflection, shaping every phrase, every note, spilling emotion and story into the empty air. “That is the best I’ve ever heard you play it!” Emil said, eyes wide and in shock. “You interpreted that differently than other musicians, but it really allowed your musicianship to shine through, listen,” he explained while grabbing his clarinet. He began to play the song, his brow furrowed in concentration while the veins in his neck trying to break through his skin. I notice the many slight differences in intonation and phrasing.
While I was listening to Emil play the piece, I learned that everyone may have a different point of view on every topic. Moreover, I realized that I should be accepting and tolerant of other’s interpretation of the same thing. Since Emil is a professional musician, I believed that his interpretation of Fantasy Piece was more valid than my own. On the other hand, this taught me that I should be able to derive my own point of view independent from what others think, and that I should be able to defend my opinion.
And when I walked into the small classroom littered with Spanish decorations the day of Districts, I could only hope the adjudicator would be content with my take on the song. My tie seemed to be constantly cinching tighter around my neck as I set up my stand. The whole world seemed to have become still as I played my piece.
Throughout the song, I could hear the swells of my crescendos ricocheting off of the wall, adding to each note I play. I exaggerated every dynamic marking and accent to add to the musical story. Each time I breathed, I could feel my neck pressing against my collar, confined by my tie. I felt like I was going to choke, but out of the corner of my eye, I could see the adjudicator smiling and swaying along to the beat.
As I played the final note, I believed that I performed the song perfectly. I received my results a few hours later when Mr. Kern, the Rockhurst band director, called me and said I was awarded a “1”, the highest honor, for my exemplary performance. On my adjudicator, sheet every subject was marked as a “1”, including interpretation.