A Walker in the Suburbs

We’re hearing a lot about Russians these days: What do they know? What are they doing? How much influence did they have over our recent election?

But the Russians I’ve been thinking about have nothing to do with Putin.

They’re the Russians whose music has thrilled me since I was young. To listen to them after long absence is to think of Dad and his record collection, the albums of Khachaturian, Borodin and Rimsky Korsakov. Dad air conducting while their music blared on the stereo.

I came upon two Russian pieces on my iPod the other day: a Prokofiev piano concerto and Shostakovich’s Festive Overture.  Big, fresh, urgent — these pieces have great hearts and big sounds. I felt Dad’s spirit in them. I walked faster. And I smiled.

(a hill that seems vaguely steppe-like)

The skies were stormy and the air was leaden, but the legs needed to be moving and the W&OD was right there. So on the way home from work yesterday I slipped off my jacket and necklace, laced up my running shoes and took to the trail.

The music was beside the point when I started. I knew that movement alone would work its magic. So I let my little iPod do its own thing. And what it did was play Brahms.

He’s my man, of course, but I don’t turn to him like I used to. He is a bit, well, heavy. And you have to be in the mood for him. But I was, and he delivered.

It was the last movement of the First Symphony, which my high school youth orchestra played the year I joined. Brahms is not easy, especially when you’ve only just taken up the string bass. My stand partner wrote “a la fakando” beside the notes of one especially difficult run. Let’s just say I did little for that piece but provide a low hum.

But being part of an orchestra that could play such music was enough to explode my adolescent brain. And now, when I listen to Brahms, those early memories of music-making create a powerful listening experience. I was lucky that the final moments of listening happened in the car, after the walk was over. There I could air conduct to my heart’s content.

It was a very good walk, with a perfectly Brahmsian coda.

Just back from a run with Mozart in my ears. Last movement of his last (41st, Jupiter) symphony. What a piece of music this is! Listen closely and you can hear the Romantic period bursting right through the Classical form, mowing down the guard rails with its energy and passion.

Bold, contrapuntal, complex — the sound comes from so many different directions that it feels like the inside of my head will explode, that my earphones must be smoking as I jog along sedate suburban lanes.

But they’re not, of course, and I try to maintain a poker face, offering no clue to the musical miracle taking place between my ears,  to the near dissonance at minutes 5:40 and 8:40, to what some describe as a “cosmic” coda.

Instead, I exert every effort not to air-conduct as Mozart carries me surely from the first clean melody all the way to the exuberant and triumphant finale. Every time I listen I’m enlarged, calmed, emboldened, amazed.

My little iPod is a treasure. The size of a large postage stamp, it clips onto a sweatshirt or slips into a pocket. It holds most of my collection and keeps a charge for hours.

But the music it provides is nameless, faceless. It arrives via iTunes or a thumb drive. A bit comes from CDs but none of it, absolutely none, from vinyl. I have records, scores of them, and at one time I had a gizmo that would translate them to digital files. But even that music becomes anonymous once it’s assimilated.

One doesn’t sit and listen to music while staring at a CD cover or the tiny image of one I see on my iPod screen. What will never be the same again is the visual dimension of music, the way the album’s cover art became a part of the listening experience — became part of the music itself.

I’m taking these and other albums from Dad’s collection home with me. Not just for the music — but for the memories.