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My little Lev dutifully sets the composition book onto the music stand. He opens the first page to a Mazurka. The composition is nearly impossible to decipher; ink blotches conceal many of the notes, and some others have squiggly tails for stems covering the bar lines and rhythm. "Is that note a D," I ask, "or a B?" Both tones could belong to the key. Lev plays the D. "It's this," he asserts, and repeats the phrase from beginning to end. I observe closely as my young student strokes the thin, frayed paper with care, slowly turning to the next page: Waltz. The opening measures of this Waltz have faded over time. Other notes appear to have vanished. "What's that?" I point with my bow. Lev squints. He strokes the composition book as if it's a piece of parchment of Dead Sea Scrolls. We play our violins together and try to telepathically reconstruct the score. "That's called artistic license," I say, as Lev adds a flourish to a final measure, psychically sensing his way to the end. The creation makes musical sense, and we are both satisfied.
Gino's music has taken up much of the hour; it is time to work on the beloved Mendelssohn Concerto. Lev's sound is sweet, his interpretative style, innocent; perfect for the classicism of Mendelssohn. But an occasional incorrect rhythm and wrong note stubbornly reappear week after week, like an uninvited guest. "Lev" I say. "Play for Felix the way you do for Gino, with regard for every note, as if he, too, will hear his music for the last time—as a gift."
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