I arrived in Canada about a decade ago. As a highly educated immigrant, I found myself in that peculiar place where the life one is used to shifts in K-shape. It is a tedious existence, really. I wish no one had to go through being treated as invisible by people who likely have never gotten a passport themselves. I found the local corporate ladder unappealing; I recall asking a recruiter, quite reasonably, about the Return on Investment for my time, given my engineering background. The poor man seemed scandalized that I viewed five years of rigorous university training as something other than a license to be exploited as labour (cheap labor). I thanked him for his efforts, but I declined the offer. I have never had the temperament for mediocrity. I'd slowly die inside by accepting to earn a pittance while climbing someone else’s structure.

Instead, I turned my eye to the secondary market. I noticed a shocking habit among the locals: they discarded things of immense value simply because they lacked the ability to see an item's true worth. They put a tag on their items based on age and market price, rather than judging by quality and durability. Beautiful, solid-wood pieces (heirlooms, literally) tossed aside for particle board. I didn't see it as "junk removal"; I saw it as curating. I acquired a truck, hired staff, and began rescuing craftsmanship. It was environmentally noble, yes, but mostly it was satisfying to restore dignity to objects that deserved better. Items in which craftmen had invested a lot of time and efforts in their making.

But dealing with the public… well, that requires a stiff drink. One encounters the hagglers and the philistines. Among those were the people who'd refer to a piano as "furniture." Now let us be clear: A piano is not a credenza. It is a vessel for art. There is no "overlap" between the two unless you use a piano to put stuff on it. If you cannot distinguish between an instrument and a table, we have nothing to discuss.

I once sold one such upright pianos. As old as it was, which was the best proof of its durable good-quality construction, she was fully functional and one of the best instruments in my studio. I let it go for a song (a fraction of its true worth) simply to clear floor space. The buyer was a suburban father, harmless enough. The transaction was seamless.

Until it wasn't. Later that evening, I received the call. His wife. She claimed the instrument was "unplayable," "Faulty," and "useless," in her own words. There is something about a bourgeois person that makes them stand out even in the darkness. It may be their apologetic comments to excuse their choices, rather than explaining an outcome with an assertive attitude. But, being a gentleman, I agreed to return.

I brought the movers on late-hours overtime. I walked into their living room, ignoring their flustered attempts at explanation. I sat at the bench. I closed my eyes, and instantly, I was no longer in their beige suburban subdivision.

I was back in December 2008. At the recital hall. I was wearing my first bespoke suit. As humble as it was, it had been fully made for me. My parents were sitting in the front row. And they were the only two people in the world who mattered. As I struck the first F-sharp of Chopin's Waltz Op. 69, No. 2 in B minor, the silence was total.

In that stranger's living room, my fingers found the memory before they found the keys. From the F-sharp to the final B. The B minor part was as liquid as B major was. And the phrasing was neat. Didn't my fingers know when to fly up in the air and when to land on the keys. The action on the piano was crisp, both the staccato and the sostenuto pedals were responsive. The piano was not faulty but impeccable. It was a time machine that could transport anyone anywhere, just like it had transported me back to that moment of absolute perfection, where I could hear the phantom applause of my parents, and their "Bravo" as they stood up. All of it whispering from the past.

I finished the piece. The silence in the room was heavy. The wife looked down; the husband looked away. They were clearly not used to seeing a person with a heavy accent being able to play piano in casual clothes. But it was second nature to me. I stood up, smoothed my jacket, and addressed them with the calm of someone who knows exactly who they are.

"I understand that you have reconsidered your purchase," I said softly. "But there was no need to lie about the instrument’s condition. I was raised playing on practice pianos that truly were in disrepair. I know the difference because I lived through it. A piano's condition is not on the shell; it is in what you can do with it. A concert-worthy piano came through your door. And you treated it like a defective appliance because you clearly lack the education to discern quality."

I signaled my movers.

"I am delighted to take it back," I told them with a genuine smile, as I really was. "Not as a favor to you, and not because I must. I am taking it back because a flawless instrument like this deserves a home with a soul. And this is clearly not it."