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Chapters (60)
  1. Praise for the novels of Peter Pezzelli
  2. Also by
  3. Title Page
  4. Copyright Page
  5. Dedication
  6. PART ONE
  7. CHAPTER 1
  8. CHAPTER 2
  9. CHAPTER 3
  10. CHAPTER 4
  11. CHAPTER 5
  12. CHAPTER 6
  13. CHAPTER 7
  14. CHAPTER 8
  15. CHAPTER 9
  16. CHAPTER 10
  17. CHAPTER 11
  18. CHAPTER 12
  19. CHAPTER 13
  20. CHAPTER 14
  21. CHAPTER 15
  22. CHAPTER 16
  23. CHAPTER 17
  24. CHAPTER 18
  25. CHAPTER 19
  26. CHAPTER 20
  27. CHAPTER 21
  28. CHAPTER 22
  29. CHAPTER 23
  30. PART TWO
  31. CHAPTER 24
  32. CHAPTER 25
  33. CHAPTER 26
  34. CHAPTER 27
  35. CHAPTER 28
  36. CHAPTER 29
  37. CHAPTER 30
  38. CHAPTER 31
  39. CHAPTER 32
  40. CHAPTER 33
  41. CHAPTER 34
  42. CHAPTER 35
  43. CHAPTER 36
  44. CHAPTER 37
  45. CHAPTER 38
  46. PART THREE
  47. CHAPTER 39
  48. CHAPTER 40
  49. CHAPTER 41
  50. CHAPTER 42
  51. CHAPTER 43
  52. CHAPTER 44
  53. CHAPTER 45
  54. CHAPTER 46
  55. CHAPTER 47
  56. CHAPTER 48
  57. CHAPTER 49
  58. CHAPTER 50
  59. CHAPTER 51
  60. EPILOGUE

It was not to be, however. As often happens, particularly in New England, the sky suddenly changed its mind. Just when it seemed as if the storm was about to erupt in all its spectacular fury, the winds went quiet and barely a drop of rain fell against the window. The dark clouds, so full of menace just a few moments earlier, gave a few desultory grumbles as they rolled by, but that was all. They seemed as disgruntled by the sudden cancellation of their performance as Rosa, who stood at the window, hands on hips, looking out with keen disappointment as the storm slipped harmlessly away. Feeling strangely let down, he turned away from the window and slouched to the living room in search of solace.There he pushed aside some of the papers and books piled on the piano bench and sat down.

There were in the stacks of sheet music about him on the piano innumerable selections he might have chosen to play as he sat there contemplating the keyboard, some the work of the classical masters; others, sonatas and concertos he himself had composed early in his career. Before him, on the piano’s music stand, lay his last work, a sonata in A he had started composing years ago but for some reason along the way had one day become incapable of seeing through to completion. Subsequent efforts to press forward with it, or with any other new work for that matter, proved fruitless, and the unfinished pages had remained there on the piano ever since, gathering dust while they awaited inspiration to return to their creator.

And so, unable to write anything new, and no longer interested in playing the old, Rosa sat there for a time, gazing straight ahead, before inevitably turning in frustration to the only thing left to him. Reaching out over the keyboard, he began to play scales and arpeggios, basic piano exercises to improve one’s playing technique that he had first learned as a child, though now he played them not to improve, but simply to preserve. Not knowing what else to do, he played them over and over, major and minor scales, parallel and contrary motions, his fingers running up and down the keyboard, back and forth, their journeys always beginning and ending at the same place, always in motion, but never really going anywhere. On and on he played them, over and over again, until finally, after a time, Giancarlo Rosa began to forget about his troubles.

CHAPTER 3

CHAPTER 3

Pain.