True Taste Korea

Kang Ji-hye

  • Did Yoon Seon-ju Really Care About Jeong-yo—or Was He Just Her Secret Weapon?

    TTK Original | Beyond the Headlines | October 2, 2026

    Spoiler warning: This article examines events and interpretations discussed before the final two episodes of Four Hands. Claims about hidden motives are theories, not confirmed revelations.

    In Four Hands: Two Sonatas, Yoon Seon-ju has often appeared to be one of the few adults willing to recognize Choi Jeong-yo’s talent.

    She supported him when others underestimated him. She helped create opportunities for his musical future. And when Jeong-yo returned, she appeared ready to welcome him back.

    But as the drama approaches its finale, some Korean YouTube commentators have begun asking an uncomfortable question.

    What if helping Jeong-yo was also a way for Seon-ju to gain power?

    The distinction matters because kindness and self-interest are not always opposites.

    The Woman Who Recognized His Potential

    Jeong-yo’s life has been shaped by people who tried to control his future, doubted his intentions or used his talent to pursue their own ambitions.

    Against that background, Seon-ju’s support carries emotional weight.

    She recognized Jeong-yo as a gifted musician and offered opportunities that could change his circumstances.

    These actions are important evidence against the idea that every moment of her apparent concern must have been false.

    Supporting someone’s career can be a genuine act of care.

    Yet it can also create loyalty, influence and professional prestige.

    The drama leaves room to ask whether those benefits affected Seon-ju’s decisions.

    Why Her Relationship With Kang Ji-hye Matters

    Seon-ju’s complicated relationship with Kang Ji-hye introduces another dimension.

    According to the interpretations circulating in Korean drama-analysis videos, Ji-hye has long resisted Seon-ju’s authority within the family.

    Jeong-yo’s emergence as a potential successor in the musical world could therefore have consequences beyond the concert hall.

    If Jeong-yo rises, Bi-o’s position may become less secure. And if Bi-o loses influence, Ji-hye may lose some of the status she has tried so desperately to protect.

    From that perspective, helping Jeong-yo could serve two purposes at once.

    It could advance the career of a talented young musician while strengthening Seon-ju’s position against Ji-hye.

    But that possibility does not establish that Seon-ju deliberately engineered the conflict.

    The Retirement Announcement Raises Questions

    One detail has attracted particular attention in fan-produced analyses.

    After learning about Kang Seung-hun’s retirement plans and the possibility of Jeong-yo succeeding him, Seon-ju reportedly brings the information to Ji-hye.

    Some commentators interpret this as a calculated provocation.

    They argue that Seon-ju should understand how threatening Jeong-yo’s rise would feel to Ji-hye.

    Others might see a less sinister explanation: Seon-ju could simply be sharing important family and institutional news.

    The action itself and its possible motive are two different questions.

    The audience can examine the consequences without pretending to know what Seon-ju was thinking.

    The Difference Between Protection and Control

    This is where the character becomes especially interesting.

    A mentor can offer someone extraordinary opportunities while still expecting something in return.

    An institution can celebrate a young artist’s talent while treating that artist as a symbol of its own success.

    And a powerful adult can sincerely care for a vulnerable person while making decisions that benefit their own position.

    Those contradictions are not unusual in stories about elite schools, competition and artistic ambition.

    In Four Hands, they become more emotionally charged because Jeong-yo has already suffered from the ambitions of adults around him.

    If Seon-ju’s support comes with hidden expectations, the question is not merely whether she is a villain.

    It is whether Jeong-yo will ever be allowed to define success for himself.

    What the Theory Cannot Prove

    Some online predictions go much further.

    They suggest Seon-ju intentionally allowed damaging rumors about Bi-o to spread, manipulated Jeong-yo’s resentment or planned to use both young musicians against Ji-hye.

    Those are speculative interpretations.

    The material available before the finale does not establish that Seon-ju originated the rumors or secretly directed every major event.

    It is equally important to acknowledge her visible acts of support.

    A persuasive character analysis must account for both.

    Otherwise, a theory risks turning every kind gesture into evidence of deception simply because the ending has not yet been revealed.

    The Real Question Before the Finale

    The final episodes may clarify Seon-ju’s intentions.

    But even if she never emerges as a hidden antagonist, the debate around her character raises a worthwhile question about mentorship.

    When someone invests in another person’s future, where does support end and ownership begin?

    Jeong-yo has spent years struggling against other people’s versions of his life.

    His final choice may matter more than any revelation about Seon-ju.

    Will he accept the career that powerful adults have prepared for him?

    Or will he finally choose what music means on his own terms?

    Perhaps the greatest freedom Jeong-yo can achieve is not defeating another person. It is becoming someone else’s instrument no longer.

    That possibility gives Seon-ju’s relationship with him significance beyond a conventional villain reveal.

    This analysis was written on October 2, 2026, before Episodes 11 and 12 aired.

  • Why Is Jeong-yo’s Return So Dangerous for Bi-o’s Mother in Four Hands?

    For nine years, Choi Jeong-yo was gone.

    To most people, he was either missing or dead.

    Then he suddenly returned.

    But Jeong-yo did not come back as the frightened teenage pianist who disappeared before the most important performance of his life.

    He came back as Luca Domenico — a successful conductor with extraordinary musical ability and a reason to confront the past.

    And that may make his return especially dangerous for Kang Ji-hye.

    Jeong-yo Is No Longer the Boy People Could Control

    Nine years ago, Jeong-yo was vulnerable.

    He was young, poor, and trying to survive in a world controlled by adults with far more money and power than he had.

    Then he was kidnapped just before the final round of an international piano competition. The kidnapping destroyed the future he had been building as a pianist.

    But the Jeong-yo who returns nine years later is different.

    He has survived.

    He has built a new identity.

    And most importantly, he has power of his own.

    Episode 8 makes that transformation impossible to ignore.

    When orchestra members question whether the 27-year-old conductor deserves his position, Jeong-yo quickly proves that his musical perception is on another level. He catches a cellist’s deliberate attempt to test him and even identifies a technical habit the musician himself has failed to recognize.

    This is no longer a boy trying to find his place.

    Jeong-yo has returned as someone people have to take seriously.

    The Past Hasn’t Disappeared

    Bi-o spent years trying to discover what happened to Jeong-yo.

    Even nine years after the disappearance, he continued searching for clues and eventually tracked down the man involved in the kidnapping.

    That tells us something important.

    The kidnapping mystery was never truly buried.

    Someone knows what happened.

    Someone ordered it.

    And now Jeong-yo himself is alive.

    That changes everything.

    The victim who was supposed to have disappeared from the story has walked back into it.

    Why Kang Ji-hye Matters

    Kang Ji-hye is not simply Bi-o’s mother.

    She is a powerful figure in the classical music world and has always had strong ideas about Bi-o’s future.

    That makes Jeong-yo’s return particularly uncomfortable.

    Because Jeong-yo represents something she cannot easily control:

    the past.

    His existence brings old questions back with him.

    Who wanted Jeong-yo removed?

    Why was he kidnapped just before the competition?

    And who benefited from his disappearance?

    At this stage, viewers should be careful not to treat every suspicion as a confirmed fact.

    But the drama is clearly bringing Jeong-yo’s disappearance and Bi-o’s family back toward the center of the mystery.

    Jeong-yo’s Greatest Weapon May Be Patience

    What makes the adult Jeong-yo frightening isn’t physical strength.

    It is patience.

    He doesn’t rush.

    He doesn’t reveal everything he knows.

    Even his behavior toward Bi-o shows that he is capable of hiding his true intentions while carefully watching the people around him.

    That makes him very different from the teenage Jeong-yo.

    The younger Jeong-yo often had to react to whatever happened to him.

    The adult Jeong-yo can choose when to act.

    And someone who has waited nine years does not need to reveal everything on the first day.

    But Jeong-yo Didn’t Return Only for Revenge

    This is where Four Hands becomes more interesting than a simple revenge drama.

    Jeong-yo remembers pain.

    But he also remembers kindness.

    Bi-o once helped him when he was struggling.

    Now, when Bi-o falls into a slump, Jeong-yo tries to help him return to music.

    So Jeong-yo’s past seems to be divided into two kinds of people:

    those who helped him and those who hurt him.

    And his return may force both groups to face what they did nine years ago.

    What You Give Someone Can Come Back Years Later

    There is a simple idea underneath Jeong-yo’s story.

    The person you help today may someday return that kindness when you need it most.

    But the person you treat as an obstacle may also return one day — stronger than before.

    Bi-o once reached out to Jeong-yo.

    Now Jeong-yo reaches back.

    But for anyone connected to the tragedy that destroyed Jeong-yo’s life, his return means something very different.

    The boy they once knew is gone.

    The man who came back remembers.

    And if Four Hands continues moving in this direction, the most dangerous thing about Jeong-yo may not be his desire for revenge.

    It may be that he has had nine years to prepare for the moment when the past finally catches up with everyone.

  • Four Hands: Are Bi-o and Jeong-yo’s Fathers the Drama’s Biggest Hidden Secret?

    Four Hands has already given us plenty of mysteries.

    Why was Choi Jeong-yo kidnapped?

    Who ordered it?

    Why did he disappear for nine years?

    Why did he return as conductor Luca Dominico?

    And why is he pretending to have lost his memory?

    But after Episode 7, I keep coming back to a different mystery.

    It has been sitting quietly behind the story for much longer.

    Who are the fathers of Kang Bi-o and Choi Jeong-yo?

    More specifically:

    Why has the drama revealed so much about their mothers and families while leaving crucial parts of their paternity unresolved?

    That may not be accidental.

    Jeong-yo’s Birth Secret Has Already Begun

    One part of this theory is not speculation.

    Earlier in the drama, Jeong-yo learned that the man who had raised him was not his biological father.

    The revelation came after his father was rescued from a debt crisis. Instead of embracing Jeong-yo, the man angrily said that Jeong-yo was not his son and that he had been deceived by his wife for ten years.

    That scene did something important.

    It answered one question—

    Is this man Jeong-yo’s biological father?

    No.

    But it immediately created a much bigger one:

    Then who is?

    The drama has not yet given us that answer.

    And in a series already filled with family secrets, that missing name feels increasingly important.

    Bi-o’s Family Story Is Complicated Too

    Kang Bi-o’s family history isn’t simple either.

    The drama has already explored the history surrounding his mother, Kang Ji-hye, and her father Kang Seung-woon. Earlier episodes revealed family conflict connected to Seung-woon’s affair and Ji-hye becoming an unmarried mother.

    Yet the question surrounding Bi-o’s father remains intriguing.

    This matters because Four Hands repeatedly connects the lives of Bi-o and Jeong-yo through the generation above them.

    Their rivalry doesn’t exist in isolation.

    Their mothers matter.

    Their grandfather generation matters.

    Their teachers and patrons matter.

    And the adults around them repeatedly make decisions that change the two young men’s lives.

    So I have started wondering whether Bi-o and Jeong-yo’s connection began before either of them was born.

    What If Their Mothers’ Past Matters More Than We Think?

    This is where we enter theory territory.

    One Korean viewer theory currently circulating suggests that the relationship between the two young men may be connected to an unresolved relationship between their mothers.

    Were the women friends?

    Classmates?

    Musical rivals?

    Or connected through another person we haven’t fully understood yet?

    At this point, the drama has not confirmed such a relationship, so it would be a mistake to present it as fact.

    But the theory becomes interesting because of Kang Ji-hye’s behavior toward Jeong-yo.

    Why Has Kang Ji-hye Been So Threatened by Jeong-yo?

    Ji-hye’s hostility toward Jeong-yo has been unusually intense.

    Earlier in the story, Kang Seung-woon praised Jeong-yo’s instinctive musical talent while criticizing Bi-o’s music as technically perfect but less compelling.

    Jeong-yo actually defended Bi-o, saying that Bi-o had helped him discover his own ability and that Bi-o possessed extraordinary potential.

    Yet Ji-hye still warned Jeong-yo to stay away from her son.

    Now Jeong-yo has returned after nine years.

    And once again, Ji-hye’s reaction is extreme.

    In Episode 7, she strongly opposed bringing Jeong-yo into the Korean Symphony, while Seung-woon argued that Jeong-yo had once pushed Bi-o to grow as a musician.

    Most importantly, Bi-o himself has started noticing that something is wrong.

    He has now asked investigator Martin Vogel to secretly discover who really ordered Jeong-yo’s kidnapping nine years ago.

    And Bi-o’s suspicion is beginning to turn toward his own mother.

    That’s a major development.

    Jeong-yo Wasn’t Simply Bi-o’s Rival

    This is what makes Ji-hye’s hostility harder to dismiss as ordinary parental ambition.

    Jeong-yo and Bi-o certainly competed.

    But Jeong-yo also helped Bi-o.

    Bi-o helped Jeong-yo.

    They played together.

    They influenced one another musically.

    And when Seung-woon praised Jeong-yo over Bi-o, Jeong-yo himself rejected the comparison and defended his friend.

    So why did Ji-hye perceive Jeong-yo as such a serious threat?

    One explanation is obvious:

    She was obsessed with Bi-o’s success.

    Jeong-yo’s natural talent threatened the future she had planned for her son.

    That explanation may ultimately be enough.

    But Four Hands keeps introducing family secrets.

    Which makes another possibility difficult to ignore.

    What if Ji-hye wasn’t only afraid of Jeong-yo the pianist?

    What if she was afraid of what Jeong-yo represented from the past?

    The Missing Biological Father May Be the Key

    Remember what the drama has already done.

    It didn’t merely give Jeong-yo a difficult father.

    It specifically revealed:

    That man is not his biological father.

    From a storytelling perspective, that creates an unfinished question.

    If Jeong-yo’s biological father were irrelevant, the drama could simply leave his family as dysfunctional.

    Instead, it deliberately separated:

    the father who raised him

    from

    the father who created him.

    That usually means the second identity has narrative value.

    And once we ask who Jeong-yo’s biological father is, another question follows naturally:

    Is that person already somewhere inside the story?

    Could the Two Boys’ Families Be Connected?

    This is where the theories can become dangerous, because it is easy to jump too far.

    For example, viewers could speculate that Jeong-yo and Bi-o share a father, or that one of the older male characters is secretly Jeong-yo’s biological father.

    But Episode 7 has not confirmed either idea.

    There is currently not enough evidence to say that Bi-o and Jeong-yo are half-brothers.

    So I would not treat that theory as an answer.

    What we can say is much simpler:

    Both men’s family histories contain unanswered questions, and Jeong-yo’s biological father has deliberately been left unidentified.

    That alone is worth watching.

    Even Their Musical Relationship Could Take on a Different Meaning

    This is where the title Four Hands becomes interesting again.

    At first, the meaning seems obvious.

    Two pianists.

    Four hands.

    One piano.

    Bi-o and Jeong-yo can create something together that neither creates in exactly the same way alone.

    But the drama has increasingly turned their musical relationship into something larger.

    Their lives mirror one another.

    Bi-o has the body to play but struggles psychologically.

    Jeong-yo wants to play but his injured body no longer allows it.

    Episode 7 confirmed that Jeong-yo’s right shoulder was shot nine years ago, damaging the nerves affecting his fingers and forcing him away from the piano.

    One has what the other lost.

    One once envied the other’s natural talent.

    Now Jeong-yo tells Bi-o that he envies the simple fact that Bi-o can still play.

    Their lives keep crossing like two musical lines.

    If the drama eventually reveals that the connection between their families also predates their friendship, their relationship will become even more complicated.

    And Then There Is Kang Seung-woon

    Seung-woon is another character worth watching carefully.

    His interest in Jeong-yo’s talent has always been strong.

    When he heard Jeong-yo play as a teenager, he immediately recognized something different in him.

    He described Bi-o as calculating and Jeong-yo as instinctive—a musician capable of captivating listeners even without technical perfection.

    And nine years later, when Jeong-yo suddenly returns as Luca Dominico, Seung-woon again wants him brought into the Korean Symphony despite Ji-hye’s objections.

    None of that proves a biological relationship.

    A great conductor recognizing a gifted musician is perfectly reasonable.

    But if Four Hands eventually reveals a deeper family connection, viewers may return to these scenes and see them very differently.

    For now, they remain clues worth remembering—not proof.

    Episode 7 May Have Quietly Moved Us Toward the Answer

    Episode 7 focused on Jeong-yo’s supposed amnesia.

    By the ending, we learned that was another deception.

    Jeong-yo remembers much more than he claims.

    He even returned to the childhood hideout where he and Bi-o had played together and watched Bi-o’s old interview about their relationship.

    Meanwhile, Bi-o has begun investigating the kidnapping.

    Those two storylines are moving backward toward the same place:

    nine years ago.

    And once the drama fully opens that period, I suspect the kidnapping will not be the only secret waiting there.

    We may finally learn more about the generation before Bi-o and Jeong-yo.

    My Theory: The Birth Secret and the Kidnapping May Eventually Connect

    For now, this is only my theory.

    I don’t think Four Hands introduced Jeong-yo’s unknown biological father merely for shock value.

    And I don’t think the drama has spent this much time on Ji-hye’s hostility toward Jeong-yo without eventually explaining why her reaction became so extreme.

    The safest possibility is still straightforward:

    Jeong-yo threatened the musical future Ji-hye had constructed for Bi-o.

    But the more interesting possibility is that music is only the surface of the conflict.

    Something may have happened among the parents.

    Something Bi-o doesn’t know.

    Something Jeong-yo may not fully know either.

    And perhaps something Ji-hye desperately does not want revealed.

    So Who Is Jeong-yo’s Real Father?

    We don’t know yet.

    And that is exactly the point.

    Four Hands has already told us who isn’t his father.

    Now it has to tell us who is.

    And when that answer finally arrives, I suspect it may explain much more than Jeong-yo’s birth.

    It may explain why the lives of these two pianists became tangled together in the first place.

    The biggest secret in Four Hands may not be what happened to Choi Jeong-yo nine years ago.

    It may be what happened before Choi Jeong-yo and Kang Bi-o were even born.

    Jeong-yo’s family history may hold clues to some of the drama’s biggest mysteries. But another question is why Kang Seung-woon placed so much faith in Jeong-yo rather than his own grandson. Explore why Kang Seung-woon chose Jeong-yo over Bi-o.

  • Why Does Pi-o’s Mother Hate Jeong-yo in Four Hands, Two Sonatas?

    Spoiler Warning: This article contains spoilers for Four Hands, Two Sonatas through Episode 4.

    Why does Pi-o’s mother seem to hate Choi Jeong-yo so much in Four Hands, Two Sonatas?

    At first, Kang Ji-hye’s reaction can look like the behavior of an overly competitive mother.

    Her son, Kang Pi-o, has been raised as an elite pianist. Then Jeong-yo suddenly appears, reveals extraordinary musical instinct and begins receiving attention from the people around Pi-o.

    But Ji-hye’s hostility toward Jeong-yo appears to be about more than protecting her son from a rival.

    Jeong-yo threatens the future Ji-hye has spent years building around Pi-o — and may also force her to confront her own unresolved relationship with her father, Kang Seung-woon.

    Why Is Pi-o’s Mother So Obsessed With His Success?

    Pi-o has grown up under enormous expectations.

    He is talented, disciplined and highly trained, but his musical life has also been shaped by competition and the need to succeed.

    Ji-hye is a major part of that environment.

    She does not simply want Pi-o to enjoy playing the piano.

    She wants him to win.

    That difference matters.

    For Pi-o, success gradually becomes connected to approval. Being talented is not enough. He has to prove that talent repeatedly.

    This helps explain why Jeong-yo’s arrival becomes so threatening.

    Why Does Jeong-yo Threaten Ji-hye?

    Jeong-yo enters Pi-o’s world from almost the opposite direction.

    He does not have Pi-o’s privileged musical upbringing or the same carefully planned career.

    Yet people quickly notice something unusual in his music.

    Jeong-yo possesses an instinctive musical ability that cannot easily be measured by competition results alone.

    And then Kang Seung-woon notices it too.

    That is where the conflict becomes much more personal.

    Jeong-yo is no longer simply Pi-o’s talented friend.

    He becomes someone capable of receiving the recognition Ji-hye desperately wants for her son.

    Grandpa Kang Seung-woon Is the Key

    To understand Ji-hye, we also need to look at her relationship with her father.

    Kang Seung-woon is not an ordinary grandfather.

    He is an enormously respected musician whose judgment carries tremendous weight inside the family.

    Pi-o wants his approval.

    But Ji-hye’s behavior suggests that she also cares deeply about what her father thinks of Pi-o.

    That means Pi-o’s success may represent more than a mother’s ambition for her child.

    His success can also become a way for Ji-hye to prove something to her own father.

    If Pi-o becomes the musician everyone expects him to become, Ji-hye’s choices are validated.

    But then Jeong-yo appears.

    And Seung-woon sees something special in him.

    Suddenly, the person disrupting Ji-hye’s carefully constructed future is not another elite student.

    It is Jeong-yo.

    Why Grandpa Choosing Jeong-yo Changes Everything

    Pi-o has trained for years.

    Ji-hye has invested enormous emotional energy in his success.

    Then Seung-woon becomes interested in Jeong-yo’s music and chooses to work with him.

    For Pi-o, this feels like rejection.

    For Ji-hye, it may feel like something even bigger.

    The person whose judgment matters most is recognizing another young pianist.

    And worse, Jeong-yo represents a kind of musical talent that cannot simply be defeated by making Pi-o practice harder.

    That may explain why Ji-hye sees Jeong-yo less as Pi-o’s friend and more as a danger.

    Does Pi-o’s Mother Really Hate Jeong-yo?

    “Hate” may actually be too simple a word.

    Ji-hye’s behavior can also be understood as fear.

    She fears what Jeong-yo’s talent could mean for Pi-o.

    She fears Pi-o losing his position.

    She may fear losing control over the future she has planned for him.

    And she may fear her father choosing Jeong-yo over Pi-o.

    This is why Jeong-yo’s presence becomes so disruptive.

    He does not have to attack Pi-o.

    Simply being talented is enough.

    Jeong-yo Is Not the Real Problem

    This is one of the most important distinctions in the drama.

    Jeong-yo did not create Pi-o’s pressure.

    That pressure existed long before he arrived.

    He did not create Pi-o’s need for his grandfather’s approval.

    He did not create Ji-hye’s expectations.

    And he did not create the complicated relationship between Ji-hye and Kang Seung-woon.

    Jeong-yo exposes problems that were already inside the family.

    That is why blaming him is so dangerous.

    If Ji-hye decides that removing Jeong-yo will solve Pi-o’s problems, she may completely misunderstand what is happening to her son.

    Pi-o’s Collapse Makes Ji-hye’s Role Even More Important

    Episode 4 ends with Pi-o unconscious in his room.

    The drama has not yet confirmed a specific medical explanation for his collapse.

    But the scene comes after Pi-o has been placed under extraordinary emotional pressure.

    And importantly, Ji-hye is the person who finds him.

    That creates a crucial question for what comes next.

    Will seeing Pi-o collapse make Ji-hye question the pressure she has placed on him?

    Or will she conclude that Jeong-yo is responsible?

    The answer could determine how much worse the conflict becomes.

    Because if Ji-hye chooses the second explanation, Jeong-yo may become the target for problems that began long before he entered Pi-o’s life.

    Is Ji-hye Repeating the Same Cycle?

    There may also be a larger theme developing here.

    Pi-o desperately wants recognition from his grandfather.

    At the same time, Ji-hye appears deeply affected by her own relationship with Kang Seung-woon.

    That creates the possibility of an emotional cycle passing from one generation to the next.

    A daughter struggles with her father’s expectations and judgment.

    Then she places enormous expectations on her own son.

    The son begins measuring his worth through the approval of the same grandfather.

    And eventually, Pi-o begins breaking under that weight.

    If this interpretation is correct, Jeong-yo is not the cause of the family conflict at all.

    He is the outsider who accidentally reveals it.

    Why Does Pi-o’s Mother Hate Jeong-yo?

    So why is Ji-hye so hostile toward Jeong-yo?

    It is probably not because Jeong-yo has personally done something terrible to her.

    Jeong-yo threatens the system of achievement, approval and control that Ji-hye has built around Pi-o.

    His natural musical instinct attracts Kang Seung-woon.

    His friendship changes Pi-o.

    And his presence forces Ji-hye to face the possibility that years of planning and pressure cannot guarantee the future she wants.

    That is what makes Jeong-yo dangerous to her.

    But Episode 4 leaves us with an even more important question.

    After finding her son unconscious, will Ji-hye finally realize that Pi-o needs something other than another victory?

    Or will her fear of Jeong-yo push Pi-o even further away from the music — and the friend — that once made him happy?

    More Four Hands, Two Sonatas Explained

    Read Why Did Pi-o Collapse in Episode 4? for our explanation of the shocking final scene.

    Read Why Is Pi-o Jealous of Jeong-yo? to understand why Grandpa’s recognition affects Pi-o so deeply.

    And see Pi-o vs Jeong-yo: Who Is the Better Pianist? for our analysis of training, instinct and the musical difference between the two characters.