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Music and Writing

Music and Writing

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There was a time in my life when writing and music were neck and neck. I loved to write and loved to play piano, and, for a brief and shining time, I loved being a member of a youth orchestra, even though it meant learning to harrumph my way through the string bass parts of Brahms’ First Symphony, the Leonore Overture and other pieces I can still remember even though I played them decades ago.

In the end it came down to this: I could make a living as a writer but not as a musician, and wanting a roof over my head and clothes on my back I made what I think was the wiser choice. But music was always out there, a grand passion, and lately, with the new piano, a more fully engaged one.

What has occurred to me recently is how well the two go together. How music takes over when words fail. How words crystallize the feelings that music engenders, how in my re-engineered life, music and writing can work together. They can and, I hope, they do.

 

Unplugged

Unplugged

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While I would like to say I always walk bare-eared, open to the sounds of wind in the pines and birds on the bough, in truth I am usually plugged in, listening to music or a recorded book. 

Yesterday, I started out with one of these in mind, but as I began to amble along a forest path, I realized that I couldn’t pollute my ears. The only sounds that should enter them on such a pristine spring morning should be the sounds the morning itself produced.

It was a calm, quiet, meditative experience. I’m doing it again today. 

Back to Practicing

Back to Practicing

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When I bought the new piano last year, I told myself I would play whatever I wanted. No agendas.  No “practicing.” I only wanted to hear the sound of the instrument, which makes any kind of playing pleasant to the ear, even the rusty renditions of pieces I once played with ease. 

But I’ve reached the point in this renaissance (can I call it that? I think so) where something more is required, some sort of foundation for the playing that is to follow. 

That something is Hannon. Yes, Hannon, much reviled in my youth but now revealed for what he/it actually is: the means to an end. The stronger and more nimble my fingers, the better I can master the Brahms’ intermezzos and  Chopin nocturnes and Bach fugues I’m trying to play. 

At this point I begin to understand the purpose of those dreaded assignments of my youth, the scales and the Hannon and the other exercises I avoided whenever possible, teacher notes scribbled on the yellowing pages, usually the words “slow down.” Can it be that I’m now inflicting these exercises on myself? 

As a matter of fact, I am. I know that practice won’t make perfect. But it will make better. 

CODA

CODA

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Before last week the word coda primarily had a musical meaning for me. It was the part of a piece I looked forward to most: the ending. And not just because I might want a piece of music to end—perish the thought!—but because I enjoy the big bombastic finish. 

But last Wednesday, I looked up the Oscar Best Picture nominees to see which ones I’d missed that I might still be able to see … and there was CODA. I read a review. I watched the trailer. I was hooked. I even signed up for Apple TV in order to watch it (and I have notes to myself all over the place reminding me to cancel Apple TV before my trial period runs out). 

It was worth the effort: I finally had a pony in this race. I was pulling for CODA to win last night, enough that I crept downstairs and turned the TV back on not once, not twice but three times after trying in vain to fall asleep before the winner was announced. 

There will be talk this morning about how this was Apple TV’s movie, how Apple beat Netflix to become the first streaming service to boast an Oscar Best Picture. There will be analyses of how business models are changing. All of this is worth talking about. But in the end, it’s all about the story, whether we’re listening to it around an ancient campfire, watching it in a modern multiplex or streaming it alone on our home computer. CODA has a story that lifts us up — and that’s what we need most right now. 

The Very Thirsty Piano*

The Very Thirsty Piano*

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My new piano is a joy. Most every day I sit on its comfy bench and touch its lustrous keys and think to myself … what did I do to deserve this instrument? Not only have I continued to play old pieces, but I’m even attempting to learn new ones — a sure sign of devotion.

But the piano has developed one interesting habit. It’s thirsty — very, very thirsty. It has a humidifier, you see, with a light that comes on when the water drops below a certain level. When that happens, you fill it through a tube to avoid removing the front of the instrument. Doing this keeps the piano in tune, and is good for it in general. 

When the tuner showed me how this works, I imagined we’d be filling it up once or twice a winter. But it’s been a cold January, and the piano lights up about once a week. So now I water the ferns, I water the spider plants … and I water the piano. 

(*Apologies to the late Eric Carle for riffing on his title)

Christmas Oratorio

Christmas Oratorio

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Walking to a holiday playlist the other day, I made a merry discovery: the opening chorus of Bach’s Christmas Oratorio is just my speed. It’s a bouncy piece of music, and when I was striding down the W&OD trail, dodging the bicycles, it seemed just about perfect.

There’s the timpani pounding out the beat, the flutes trilling in response, the trumpets soaring above it all, and then, of course, the chorus, entering in unison before breaking into various voices throughout the movement.

I looked up the English translation later. “Shout for joy, exult, rise up, glorify the day.”  The kind of words angels might use when announcing the birth of Jesus to shepherds in the fields. 

But even before I knew the meaning, the melody and meter passed through my ears to my feet, in that way that only music can.

The Concert

The Concert

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It had been a while since I sat in a concert hall. There was Wolftrap last summer, always fun, but open-air, even when you have seats. 

Last night was the whole experience: the Kennedy Center itself, the approach and the entry, picking up the tickets, walking down the long hall, and then, in the hall, the chandeliers above and instruments tuning below. There were the black ties and tails, a hush when the lights went down. 

And then, there was this young man with a clarinet, swaying with it, bending with it, reminding me of James Galway on the flute, that same elfin charm.

The clarinetist, Lin Ma, played the Mozart Clarinet Concerto as if he was born to do it, so softly in parts of the Adagio that I felt myself lean toward the stage in order to hear it better. When he finished, the audience leapt to their feet.

Last night’s concert was not only all Mozart; it was all late-vintage Mozart, every piece written in 1791, the last year of the composer’s short life. And it ended with this: bliss. 

Immersed in Van Gogh

Immersed in Van Gogh

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“I am not an adventurer by choice but by fate.”

Vincent Van Gogh

The Van Gogh immersive experience begins as soon as you walk in the door and are greeted with a wall of sunflowers, or, I should say, a larger-than-life Van Gogh-like depiction of them. A few steps away is a bust of the painter that morphs from black and gray shadows to the swirled blues and lavenders of his flowers.

You pass a re-creation of the room at Arles, complete down to the washstand and window and hat hanging from a peg on the wall. Take a photo of the room and you’ve created a masterpiece.

There are videos on the artist’s life, his hospitalization, self-mutilation and eventual suicide. And there is music: Vivaldi’s Four Seasons, something by Debussy, others I couldn’t place, all soaring and emotive.

But the best is saved for last, when you walk into the final gallery and find yourself a part of the paintings. You stand or sit or recline on the floor while the art comes alive around you, pages slide off easels, stars explode in the night, and a hundred sunflowers bloom against a lapis lazuli sky. 

Of Time and Art

Of Time and Art

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I don’t always explore the Google doodles, but I did today, lured on by the picture of a woman playing a grand piano in a room filled with art and light. 

The woman, I learned, is Fanny Mendelssohn Hensel, born on this day in 1805. She’s the sister of Felix, a composer I’ve come to appreciate ever more as the years go on, and was herself a gifted pianist and composer. She composed over 450 pieces of music, including many lieder (songs) and piano works.  As a 14-year-old she could  play 24 Bach Preludes from memory. 

Fanny died of a stroke at the age of 41. Her brother died of the same cause six months later, after composing a quartet in her memory. 

What the musical world gained from these two talented siblings cannot be measured. But what more it would have gained had they lived 200 years later, when they could have been on high blood pressure medication. Of course, had they been born 200 years later, they probably would have been writing rap music. Such is the nature of time and art. 

(Photo: Fanny Mendelssohn Hensel’s music room in her home in Berlin, courtesy Wikipedia)

Beethoven’s Seventh

Beethoven’s Seventh

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An open door, a world of light — and a piano. Scarcely a day passes that I don’t play it, or wish I had. To touch the keys and realize, I own this thing, I can walk over here and pound out a Brahms Intermezzo or a Bach Prelude whenever I want — well it’s been months since I bought this piano but it still thrills me. 

Writing about the playing is something else entirely, though. That’s because music is the other, the part that can’t be pinned down by precision. It flows where the words won’t go. 

A few nights ago, I found a book of music I’d forgotten I had, transcriptions of orchestral works, including the second movement of Beethoven’s Seventh Symphony, which I took out and played. 

This was a piece popularized by an impressive scene from “The King’s Speech,” but whenever I hear it I will always remember the University of Kentucky’s Piano Institute the summer before my junior year of high school. There was a young assistant professor there who taught music theory, and for one class he had us sit in a dingy room in basement of the Performing Arts building with big clunky earphones on our ears and our heads down on our arms listening to this music. 

I can’t remember now what lesson we were to take away from that experience. All I know is that in the darkness and with the earphones, the soft dirge of the opening chords built slowly to the crescendo at the piece’s midpoint in a way that made my heart fill near to bursting. And somehow, the other night, I was able to capture a bit of that feeling again … on the new piano.