Chapter Fifty-Four: The Pianist at Sea

(This chapter is dedicated to my beloved film.)

Cheng Xiaoyu watched Fu Xiyue get into the taxi. Fu Xiyue, who had been downcast all evening, managed a forced smile as she said goodbye, promising to keep in touch. Cheng Xiaoyu could only smile in return and say, "Alright, call me when you have time," waving as she left, thinking that perhaps their next meeting would be no meeting at all.

He didn’t feel much regret about it. Although Fu Xiyue was quite beautiful—a man rarely refuses the chance to know a pretty girl—he now cherished his emotions too much to give them away lightly. He couldn’t tell if this feeling was the will of his reclusive self, or the will of his professional self as a music director.

Standing beneath a camphor tree by the roadside, watching the taxi disappear, Cheng Xiaoyu received a text from Tang Wenqian.

"That performance just now was amazing, sister!" followed by a string of clapping emojis.

Only then did Cheng Xiaoyu remember the instigator of tonight's embarrassment. He quickly replied, "Damn, you nearly got me humiliated. And you even dare to text me! Luckily, your sister here is a virtuoso and stunned the crowd, saving the day with my skills. Otherwise, you’d have really done me in!"

"Oh? You’re still boasting after being called fat? Well, sorry, but you really are fat. Haha. Honestly, I wasn’t sure I dared to text you, but since you promised me a favor, I had to muster some courage to collect on that!" Tang Wenqian replied almost instantly.

Thinking of the bet, how he’d gone all out to deliver a shabby rose and ended up being mocked, Cheng Xiaoyu felt he’d lost all dignity. If he didn’t at least see what Tang Wenqian looked like, his efforts would have been in vain. He replied immediately, "Fine, whatever you want, let’s talk in person."

After sending that, there was no immediate reply.

Cheng Xiaoyu turned and walked towards Forest of Lights; his jacket was still in the dressing room. At the bar entrance, he saw Wang Ou and Xia Shamo already waiting. He also noticed Xia Shamo’s mother standing under a distant streetlamp, still with her bicycle.

Cheng Xiaoyu said goodbye to Xia Shamo and waved from afar to her mother, then stood with Wang Ou watching the mother and daughter pedal away under the dim lights.

Wang Ou, excited, grabbed both his arms and exclaimed, "Chubby, you were absolutely awesome! That ‘Dragon Gate Inn’ piece was mind-blowing. When can I play it? You have to copy the score for me!"

Cheng Xiaoyu laughed, "Don’t rush. There’ll be a day. For now, work more on your basics. Don’t aim too high too soon—whatever I can teach you, I will. Go home now, it’s late. If you wait any longer, you’ll miss the last subway."

Wang Ou nodded, slung his guitar across his back, and ran toward the station.

Cheng Xiaoyu took out his phone—no reply from Tang Wenqian yet. He wasn’t about to call; he wasn’t desperate for the meeting. He picked up his jacket at the bar and drove to Fudan University.

Only once he was in his car did Tang Wenqian reply: "Sister, I’ll definitely meet you next time. I didn’t put on makeup today, afraid I’d scare you. Let me dress up properly first, then I’ll see you."

The tone felt strangely familiar, but Cheng Xiaoyu didn’t think much of it. He started his Ferrari and replied, "Then I, the emperor, shall retire to the palace now. You may take your leave!"

A flurry of furious emojis soon followed from Tang Wenqian. Cheng Xiaoyu didn’t reply, unaware that he was playing a dangerous game.

Xu Qinning and Su Yuxi watched Cheng Xiaoyu leave the bar, then had Li Linger and Tang Wenqian tail him until he was out of sight before leaving Forest of Lights themselves.

Huang Xiaoqi and his friends were also leaving. Huang Xiaoqi asked Li Linger to see if Xu Qinning and Su Yuxi wanted to join them at Nirvana Bar. Tang Wenqian had already agreed to go.

Li Linger, annoyed, said, "I’m not your messenger; ask them yourself!"

Huang Xiaoqi had no choice but to promise Li Linger several Michelin-starred dinners to persuade her to ask.

Xu Qinning had already called her driver to pick up her and Su Yuxi; they planned to go home. Li Linger came over, hugged Xu Qinning’s arm, and said, "Ning, Yu, Huang Xiaoqi wants to invite you two to Nirvana. Want to go?"

Xu Qinning shook her head without hesitation; she knew Su Yuxi wouldn’t go either. She told Li Linger, "If you’re going with Wenqian, remember to come home before 1 a.m. I promised Wenqian’s mom I’d see you home."

Tang Wenqian thought for a moment. "Forget it, if you and Yu aren’t going, I don’t feel like it either."

Xu Qinning took Su Yuxi’s hand. "Good, what’s the point of bars anyway? They’re loud, give you headaches, and are full of lustful men. Nothing worth going for."

Li Linger knew Xu Qinning and Su Yuxi were not people to be persuaded and sighed, "I tried my best—can only help Huang Xiaoqi so far."

Su Yuxi, well aware of Huang Xiaoqi’s feelings for her, sincerely believed love was a boring affair and wouldn’t waste her time on any man. In her eyes, almost all men were simple creatures driven by instinct. She smiled at Li Linger, "Linger, see if you can get Huang Luyang’s bank account. I’ll transfer him the money we spent tonight."

Li Linger was surprised. "Yu, Huang Xiaoqi isn’t stingy; it’s just a little money."

Su Yuxi replied seriously, "It’s not about money."

Li Linger sighed, "I’ll try. If he knows it’s you paying him back, he definitely won’t tell me."

Xu Qinning interjected, "Don’t tell him it’s from Yu. My car’s here—let’s go. Wenqian, are you coming?"

Tang Wenqian nodded.

The three girls waved goodbye to Huang Xiaoqi and his group from afar, then got into a Rolls-Royce waiting by the curb.

Li Linger returned to Huang Xiaoqi’s side, patted him, and said, "Seven, you should give up. There’s really no hope."

Huang Xiaoqi forced a bitter smile. "Do you think I ever believed there was?"

He turned and walked to his Porsche 911 parked by the road. Right now, he wanted nothing but to get drunk.

In truth, Huang Xiaoqi didn’t know what love was or why he was so persistent. If he thought back, he’d seen Su Yuxi only a handful of times since elementary school graduation. Yet each time left an indelible mark on him; when he lay awake at night, those memories would replay like scenes from a film.

He remembered every dress she wore, every graceful gesture, every piano piece she performed.

He bought all those piano pieces, though he didn’t particularly like them or understand them, but he believed Su Yuxi played them best.

At an age where love is still a mystery, those unreachable dreams taste the sweetest. Every person in unrequited love gazes at the stars with reverence, never daring to hope happiness might descend, only quietly grateful for each accidental joy.

That was how Huang Xiaoqi felt: lucky if he gained, resigned if he lost.

He seized every chance to get closer to her, but never allowed that closeness to trouble her.

This is the proudest dignity of an unrequited lover.

—A Glorious Divider—

A few days passed since the piano duel, with little impact on Cheng Xiaoyu’s life. Evenings at Forest of Lights brought him no love letters from infatuated girls. Deep down, he felt a little disappointed—such a perfect performance, such a classic piece, and not even a hint of affection in return. He felt he’d made a bad bargain.

In the mornings, Cheng Xiaoyu had no time for piano practice. He’d been busy these days choosing a piano. Today, he rose early; the renovation of his studio was nearing completion with the New Year approaching. But in the end, he was too embarrassed to buy the piano from Fu Xiyue’s family’s music shop. She hadn’t contacted him since, and he understood that a reserved beauty would not take the initiative with someone like him, a plump and awkward man.

So, Cheng Xiaoyu entrusted his butler, Qiao Sandai, to purchase the piano on his behalf.

After much consideration, he chose not to buy the same brand as Su Yuxi—Steinway—but instead went with Liszt’s favorite, Bechstein.

In truth, there are no superior brands, only personal preferences. Brand history, craftsmanship, tone, touch—all are points of reference. For top-tier instruments, the following names stand alongside Steinway: Bechstein and Bosendorfer.

Choosing a piano is much like choosing a car. Can you say a Ferrari is definitely better than a Lamborghini? Even Mercedes has the SR722. Comparing brands alone is meaningless.

An old debate arises: what distinguishes the sound of these famed pianos? Which is more beautiful?

Cheng Xiaoyu had spent many days visiting piano shops to study this. Steinway’s obsession with tone is almost fanatical—their pianos are subject to harsh scrutiny before sale, ensuring each has a unique voice. Steinway’s sound is difficult to describe: it feels regal, dignified, with a commanding presence. The first time people hear it, they are awed by its noble character. Steinway’s bass is rich and sonorous, the midrange warm and full, the treble bright and opulent. Its midrange is especially outstanding, deeply moving and expressive. But for Cheng Xiaoyu, the most striking feature is that innate imperial aura.

Bosendorfer uses different standards from Steinway, resulting in a distinct character. Its sound is reserved yet profound, distinctly Germanic and Austrian. Bosendorfer’s hallmark is its clarity and roundness in the lower register, without losing depth, creating a unique atmosphere. Many pianists describe it as "deep and restrained," embodying the idea of "great skill appears clumsy." The difference between American and European-made Steinways is also notable: the former is brighter, the latter sweeter. Most pianists say the instrument adapts to many demands, with pure tone and broad range, bright highs, and full, rich lows.

Many pianists feel Bosendorfer doesn’t match Steinway’s versatility, but its lower to middle registers are rich, its treble sweet without metallic harshness—qualities that rival Steinway. It is ideal for playing Mozart and Schubert, those elegant Viennese works. Pianist Backhaus once remarked that Bosendorfer offers its own unique response, following a pianist’s every intent in tone and touch.

Bechstein, compared to the other two, offers an even more balanced feel. The pitch at every bend of its grand piano strings differs by a pure octave, and, astonishingly, the bends use no lead—its manufacturing is dauntingly precise. Bechstein’s wood is air-dried for at least five years before assembly, ensuring clarity of sound. Every detail is meticulously crafted, yielding a one-of-a-kind timbre to satisfy the most exacting pianists. From treble to bass, the sound is even and the pedals crisp—a perfect match for musicians who prize nuance.

Compared to Steinway, Bechstein focuses more on subtlety; the bass reflects precisely the strength of the player’s hand. More accurately, Bechstein’s tone is exceptionally smooth and rounded, the treble seeming less prominent—but perhaps only seeming so. Steinway’s treble carries a distinct metallic brilliance, the sound more open and extroverted. If one were to liken them to human voices, Steinway would be the voice of a robust adult, Bechstein the voice of youth.

In terms of musical expression, Steinway’s timbre is ill-suited for Baroque. Many masters performing Bach, Scarlatti, Rameau, or Couperin on modern pianos find it necessary to modify Steinways to suit their needs. Steinway is flamboyant; reserved souls struggle to harmonize with it. German-Austrian works sound beautiful on Bechstein, while many modern pieces suit Steinway better, given its expressive range. Only Steinway’s metallic treble surpasses Bechstein.

French-Vietnamese pianist Dang Thai Son produces exquisite beauty from a Bosendorfer—no Chinese pianist has matched that tone. The late Chinese-American pianist Xu Feiping refused to record on a Bosendorfer.

Ultimately, piano choice comes down to personal preference. European pianos share a heaviness; long playing can be tiring. Bosendorfer and Bechstein are no exception—many find them physically demanding.

But Cheng Xiaoyu favored Bechstein’s obsessive attention to detail, and thus chose Liszt’s beloved instrument. He also remembered that the ornate grand piano in his favorite film, The Legend of 1900, was a Bechstein.

So, in truth, his heart had long since decided—Bechstein.

1900 did not disembark, but he would, for the one he loved.