I shook my head and corrected Midori. “You have him wrong, Midori. Kou’s usually an arrogant narcissist, but he’s not the type of guy who enjoys cruelly hurting others. He’s doing what he’s doing to protect Kon and the fangirls know that. Outsiders have no right to find fault with him for it.”
The thought probably never crossed Kou’s mind that I’d stand up for him. He gaped at me, dumbfounded. Embarrassed over what I had said, I suddenly became uncomfortable. What am I getting all worked up for?
“Sorry, I went too far. I’m just as much of an outsider here.”
“…No, don’t apologize. Everyone has reasons for what they do. Kou, I’m sorry for running my mouth when I don’t know anything about you.” Midori took what I said to heart and apologized to Kou.
“It doesn’t bother me. You have a right to be uncomfortable with it, Misaka.” Kou waved it off and smiled.
Kon watched over our conversation on the edge of her seat. A relieved smile overtook her face upon seeing us resolve the matter without issue.
“Okay, enough of this topic. I want to make music now!” I piped up in a cheerful voice, trying to change the mood.
“Sure. I’m looking forward to playing with you, Mashiro!” Midori agreed in a bubbly voice.
Borne – Carmen Fantasy
French flutist François Borne composed “Carmen Fantasy”, also known as “Carmen Fantasie Brillante”, based on themes from the opera “Carmen” by Georges Bizet.
In about twelve rapidly paced minutes, Borne covers seven of the great themes from the opera. The fantasy begins with the music from Carmen’s first entrance in the opera, goes to the “Fate Motive” theme, the cigarette girls’ song from Act I, the “Habañera”, and then builds up in excitement for the “Chanson de Bohème” (Gypsy Song). Just as the piece seems ready to close, Borne ends with a flashy finale, the “Toreador Song”.
Most people are familiar with the “Habañera” and maybe the “Toreador Song”. A lot of musicians choose to play just those parts.
As this was our first time playing together, Midori faced me with her flute, not our audience consisting of Kon and Kou. The mood completely shifted from playful to tense enough you could hear a pin drop.
I dropped my fingers onto the keyboard and rang out the first series of notes. Beating the same chord with both hands, I waited for the flute to join in.
Face set in a serious expression, Midori listened closely to my piano, until her part came around and she inhaled and entered the music with an original lyrical melody followed by winding arpeggios and large leaps.
I was amazed at how long she could hold her breath during the long trill taking us from the ominous “Fate Motive” in triple meter, to the dazzling quadruple meter. The clarity of her high notes was heavenly, and the bewitching nature of her low notes was sensational. We looked into each other’s eyes while adjusting the tempo for the accelerando (gradually increase speed) part.
Ah, you want me to play faster? Sorry about that, Midori.
Next came the “Habañera” theme from the aria “L’amour est un oiseau rebelle”. Embarking on the unique rhythm, the flute and piano shared the same motif. Expressive and rhythmic freedom was given by a slight speeding up and then slowing down of the tempo in the rubato tempo portion. I accompanied the waves of music Midori created as she slightly rocked with her flute, her cheeks flushed with life. This was the perfect spot to give people goosebumps once we got the song down pat.
After covering the whole theme once, the same melody was repeated with a terrific sprinkling of grace notes. This was the flute’s moment to shine. I was overwhelmed by Midori’s transcendent technique.
The last section, the lively “Chanson de Bohème” (Gypsy Song), contains grace notes and oscillating sixteenth notes. It’s highly embellished with arpeggios, a jaunty melody, and playful rhythm.
I played a crescendo, supporting the ascending flute. Letting the final chord resound noticeably, I lifted my hands from the piano.
Kon and Kou applauded without holding anything back.
“Midori, you’re incredible!” I was the one who leapt into a flying hug for Midori this time—after she put down her flute, of course. It wasn’t an exaggeration to say I couldn’t sit still. That’s how amazing her “Carmen Fantasy” was.
“What did you do to become capable of playing like a goddess?! How long can you hold your breath for? That’s some record breaking lung capacity you’ve got!”
“S-Slow down, Mashiro. Sich beruhigen (calm down)!” Midori lightly rapped on my back, pulling me back down to Earth.
“Sorry,” I apologized, taking a step back. I was like a dog that was too excited to wait.
“It’s super easy to play alongside your piano, Mashiro. I haven’t had such a good time playing since Noboru. I can’t believe that happened on our first time, too!”
I giggled with a bashful smile.
For some reason, Kou’s mood suddenly soured. “I thought your obsession was limited to the piano, but it looks like any instrument will do for you. You’ll have to watch out who you play with if you have a habit of hugging the other player every time a performance ends, Mashiro,” he snorted, sounding exasperated.
I stuck my tongue out at him. “I don’t hug just anybody! Only those who are terrifically talented!” I returned his scowl with one in kind.
Midori slipped in between us. “Okay, children. You’ve proven just how much you like each other.”
What part of that argument implied we like each other? I contemplated it. Meh, we won’t get anywhere if we carry on like this.
I pulled myself together and asked Midori, “Hey, why don’t we practice each part separately next? I think we can play better doing it that way first.”
“Good idea. But can we take a break first? I’m thirsty.”
Kon stood up and asked for drinks through the intercom. Once she finished talking to the maid, she walked over to Midori and whispered in her ear. “Good luck, Midori. Mashiro won’t relent now that she’s got you. She’s a perfectionist to a frightening degree.”
Kon, I can hear you.
“Are you serious? I only accepted as a means to torment Sou, but…right…she’s a pianist. There’s no way she’s not a weirdo.”
I hear you too, Midori! What’s with that biased view on pianists?! I opened my mouth to object, when Maestro Noboru crossed my mind. …Mm, then again, she might not be wrong.