William Kienzle - Deadline for a Critic

Finally, Palmer would do nothing to foul up the performance. This was his big chance. Outside of playing it beautifully, Palmer had proved little in his “Air for the G-String.” But “Flight of the Bumblebee”! Great artists could demonstrate virtuosity with that.

Groendal and Palmer entered from opposite sides of the stage. Groendal seated himself at the piano, arranged the music, and sounded an “A” as Palmer gave his violin one final tuning. Palmer fixed his instrument between chin and shoulder and glanced at Groendal. Both nodded: they were ready.

Here they go.

Palmer tapped his right foot against the floor. Koesler’s eyes popped wide. It was too fast—way too fast, impossibly fast! But Palmer cut into the melody at just that impossible pace.

The tempo was much more demanding on Palmer than it was on Groendal, who was merely playing accompaniment. Still, Palmer was the one who had established this speed. And it was he who was maintaining it.

After the first several measures, he left Groendal floundering. At first, Ridley tried to keep up. Finding that impossible, he tried playing on the first beat of each measure. But that was foreign to his practice of the piece.

Finally, shoulders sagging, he surrendered and played no more.

It became a solo.

And what a solo! The audience—those who could block out Groendal’s humiliation—sat mesmerized by Palmer’s merciless attack. If anyone had any doubt that this was a certified prodigy, all hesitation was erased by this singular presentation.

Especially at the speed he had set, it was no wonder that Palmer completed “Flight” in near-record time. The conclusion, executed with a flair, drew a standing ovation.

Few were even aware of Groendal slinking from the stage. Koesler was. “It’s not the end of the world!” Koesler put both hands on Groendal’s shoulders, halting his progress toward the exit.

“Yes it is!” Groendal tried, but was unable to get by Koesler.

“Don’t leave! You can’t leave! You’ve got to stick it out! If you just leave now, you’ll never live it down.”

“You don’t understand! You don’t understand!” Tears were streaming down Groendal’s cheeks. “It’s the end of everything! I had it. It was mine. If it hadn’t been for that damn Palmer!”

“Don’t let him see what he did to you. Come on over here and get yourself together.” Koesler led, or rather forced, Groendal into a recess of the wings.

No one else paid much attention; they clustered around the stage as David Palmer made his triumphant exit. Inspired mainly by Sister Mary George’s ebullience, everyone was congratulating Palmer.

“Excellent David!” Sister enthused. “Even I had no idea you could play that well. I’m sure our special visitors were impressed. Oh, my, yes.” And then, as if giving a fleeting thought to the accompanist Palmer had left behind, “It’s really my fault. I should have scheduled The Flight as a solo.” She looked about. “Where is Ridley? Has anyone seen Ridley?”

It was a command performance. Koesler was glad he had kept Ridley from running off in humiliation. He pushed Groendal into the group that encircled Sister and Palmer. At least, thought Koesler, Ridley’s tears were dried. Maybe nobody would notice the red eyes.

“Oh, there you are,” Sister said. “Now don’t feel bad, Ridley. You did your best. Nobody could have known that David would have been so inspired. It was my fault. I should have scheduled that as a solo. It’s not your fault. None of my other students could have kept up with David. Not today!” She could not disguise her pride in David Palmer. “Besides, Ridley, you did very well with the ‘Prelude.’ Very well, indeed, Ridley.”

“Yes, Sister.”

After several more minutes of nearly unrestrained adulation, the group dissolved, leaving Palmer, Groendal, and Koesler wordless but high in emotion.

In a moment’s fury, Groendal swung out at Palmer, who easily stepped back and away from the wild blow. Before anything could develop, Koesler grabbed Ridley, pinning his arms from behind.

“Just let me put this down,” Palmer gestured with his violin, “then let him go. I can handle him.”

“Don’t be idiots!” Koesler said in a low tone. A few stragglers were glancing back. He did not want them to return. It would only spur the combatants on.

“Palmer,” Groendal said through clenched teeth, “you’ve ruined me! You’ve destroyed my life before I could live!”

“Don’t be an asshole, Rid,” Palmer replied. “This will teach you not to fool around like you did at rehearsal. You shouldn’t try something like that with your betters. Next time you’re supposed to play accompaniment, play it. Don’t try to embarrass me.”

“That’s why you did this to me? You ruined me, you ruined my musical career because of one joke? You did this! For that?”

Palmer grunted. “Your musical career! What musical career? You’re a hack piano player! You won’t ever be more than that! Hell, Ridley, I did you a favor. I let everybody see that you’re no musician. It saved the guys from Interlochen a lot of time. And hell, Rid, it saved you a lot of silly hope. You couldn’t have cut it at Interlochen—if that’s where you thought you were heading—and it’s better for you that you know it now. Hell, that’s right, I did you a favor, Rid!”

Palmer, by his own monologue, seemed to have convinced himself of what he claimed.

“Who are you to say I couldn’t have made it?” Groendal seemed again close to tears. “I was terrific with the Rachmaninoff. Sister even said so. And if you hadn’t tried to be Paganini—”

“You’re complaining about the tempo. It was too fast.”

“Of course. And you did it on purpose!”

“But don’t you see? If you were as good as you think, you could have kept up. Yeah, I stepped up the tempo. And I did it on purpose. I did it to teach you a lesson about fooling around with me. But it also taught you your place. And your place isn’t with me or where I’m going. I’m going to Interlochen and I’m going to the top. And you don’t belong in either place. Got it, stupid?”

“We’ll see about that.” Groendal was doing his best to choke back tears. He knew he could not succeed much longer. “But just remember, Palmer: I’ll get you for this! Somehow I’ll get you. If it takes the rest of my life. And it doesn’t matter what happens to you, the score will never be even as far as I’m concerned.”

He turned and ran, stumbling, to the stairs.

Palmer yelled after him. “When you try to get even, just remember what happened here today. I’m always going to have the last laugh. Do you hear that, Groendal? I’m always going to have the last laugh!”

Nearly two months later, it was announced that David Palmer had been awarded a scholarship to the National Music Camp at Interlochen. A school assembly was held in his honor and congratulations poured in from nearly everyone but Ridley Groendal.

From the recital until the end of the school year, not a word would pass between Groendal and Palmer. After that, as they entered high school, their paths would diverge until many years later, when Groendal would have become a professional critic and Palmer a professional musician.

Palmer attended Holy Redeemer for the first two years of high school. Then, as part of an augmented scholarship, he was able to become a full-time student at the Interlochen Arts Academy, whence he then graduated.

Groendal, mostly as a result of frustration over his scuttled musical ambition, decided to become a priest. So he, along with Robert Koesler, attended Sacred Heart, Detroit’s high school and college seminary.

One incident before the end of that fateful final year in primary school would have serious repercussions many years later.