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Moonlight Sonata

Moonlight Sonata

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I learned from today’s Writer’s Almanac that Beethoven’s Moonlight Sonata was published on this day in 1802. This means that for 219 years young pianists — and those who live with them — have been tortured by this piece.

Even now, I can thrum the fingerings on the desk. The first few bars of the first movement of Moonlight Sonata along with the opening of Beethoven’s Fur Elise may well be the last knowledge to leave my brain. Yes, it’s that bad. 

I wore an aqua-colored dress with a white collar at the recital where I performed Moonlight Sonata. And I think I performed it relatively mistake-free. 

My teacher was unorthodox, so recitals were mercifully few and far between. But of the handful I had, on at least one or two occasions I had to start over when mistakes derailed me. 

Moonlight Sonata was not one of those times, though … because it was then and forever will be, embedded in my brain. 

(Title page of the first edition, courtesy Wikipedia)

The Soundtrack

The Soundtrack

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With slower walks closer to home, the soundtrack of the stroll grows in importance. Because as much as I would like to say that I walk in silence, the better to hear the faint voice of inspiration, I usually do not. In fact, the music often is the inspiration. At the very least, it’s the pace-setter.

Sometimes it’s Bach or Brahms or Dvorak coursing through my brain, and my cadence flows from the tempo of the movement, speedy during the prestos, slower for the adagios.  Other times, I play jazz or folk or show tunes; the latter have a lightheartedness especially appreciated these days. The soundtrack can be seasonal, too: Irish tunes are prepped and ready for next month. 

Music is a mood enhancer, amplifying good thoughts, soothing anxious ones. Often I come back in the house from an amble and keep the buds in my ears, finishing a movement or a song, prolonging the escape just a little longer. The soundtrack of the walk throws long shadows on the rest of the day.  

A Dog, a Pig and the Music

A Dog, a Pig and the Music

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It’s barely discernible but significant to me that at 5 p.m. there’s now enough light to play with Copper in the backyard. He enjoys it when I bounce on the trampoline, and one of the best ways I can think of to wind down the day is to close the computer, run outside and urge him to come with me so that I can watch him trot down the slight rise in the yard: his sturdy little legs, his mouth open with joy — or perhaps because he wants to bite me. 

Last evening I bounced to the last movement of the Saint-Saëns Organ Symphony, which I came to love after seeing the movie “Babe.” (The final theme of the symphony is the tune that rallies the little pig.) 

How lovely it is to bounce to that grand sound, looking up at the house, the windows dark in the room where I was just writing, so different from moving through the air, the glorious release of it all. And yet knowing that the experience of bouncing will come most alive for me when I try to get it down on the page. And that involves (you guessed it) … heading right back into that dark room.

(Photo: Universal Studios/Photofest and the Hollywood Reporter)

 

The Walking Listener

The Walking Listener

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For the last year I’ve been ambling not always silently and not always with music in my ears but sometimes with words in there too.  Thanks to the gift of Audible, I’ve walked to novels and meditations and nonfiction explications of our current economic woes. 

One day a neighbor stopped me on the street. I took out my ear buds to hear what she was saying. “You must be listening to a book,” she said. 

I wondered how she could tell. Did I have a furrowed brow of concentration? 

She could tell because she does, too. There must be some sort of aura we walking listeners give off that only other walking listeners can see. 

We chatted for a moment before going on our separate ways, at which point I put my ear buds back in and discovered that since I’d forgotten to push pause, the narrator was now several “pages” ahead of where I’d stopped. Just a small problem for the walking listener. 

The Ninth

The Ninth

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I hadn’t heard it in a while, and I caught only fragments on my drive to and from the post office last week. But there it was, the syncopated rhythm of the second movement on the way there and, on the way back, the first strains of the fourth movement.

Today is the 250th anniversary of Beethoven’s birth, and he will be well-represented on the radio —just as he would have been thundering through the concert halls, if those were open. If I’m lucky, I’ll find a way to hear his Ninth Symphony today, too.

But I doubt it will compare with last week’s performance. After arriving home, I rushed out for a walk, headphones in, classical station blaring, so that I could move through space as that sublime music moved through my brain. 

There was the first “Freude!” “Joy!” The soloists’ voices entwined and melodious, the pulsing timpani and the chorus filling my head with sound. And in that way, the ordinary walk became a celebration of life.

Tick Tock Tick…

Tick Tock Tick…

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I write to the sound of one clock ticking. That would be a lot of ticks in some houses, but in this house, it means we’re down by two clocks. It’s the cuckoo clock this time, the cuckoo I mourned in an essay long ago.

A year ago, when I was home alone for a couple weeks, I remember writing in my journal about the sound of three clocks ticking. It was like jumping rope double-Dutch or playing all three contrapuntal parts of a Bach fugue, the satisfying finger-twisting struggle of it all. 

It isn’t difficult to vibrate to one chord, to rock to one beat. I like to think that having multiple ticks and tocks keeps me limber, aurally speaking.

Time for the cuckoo clock repair shop.

Musical Chores

Musical Chores

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I’m always listening to music while walking with my iPod, but until recently I’d lost the ability to blare symphonies or musicals or folk tunes at home. But now, a jerry-rigged system is once again filling the house with sound. 

On Saturday morning, while putting away the groceries, it was Simon and Garfunkel’s “Old Friends.” “Bye-bye Love”  is a surprisingly apt tune for wiping down packages of peppers and strawberries and finding a place for them in the fridge. The “bye-bye” part is good for jettisoning leftovers.

Later in the day, I listened to Benny Goodman while chopping vegetables for potato-leek soup. “Sing, sing, sing” mimicked “Chop, chop, chop,” the driving bass beat perfect for making quick work with the potato peeler. Dad must have been behind the scenes for this pick, loving both food and Big Band.

And finally, while making pot roast in the crockpot, I matched the cool, foggy weather outside with the Hernon Brothers’ “Across the Sound,” an album picked up two summers ago on the isle of  Inishmore. 

Chores fly when they have a musical accompaniment. 

Playing a Scale

Playing a Scale

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In the meditation group at work, we’re beginning a two-week session on focus. It’s a skill many of us have lost, given the nature of the modern workplace, with emails, instant messages and other notifications pinging and zinging around us. All the more reason to give it a go. 

In the session that just ended we imagined the body as a scale, with various points — the ankles, solar plexus, chest and brow — as the notes. I struggled to visualize these “notes” in a way that wouldn’t bring PTSD from reliving the most difficult scales from my life as a piano student. (E major? B flat minor? I’ve forgotten so much that I no longer even remember which were most difficult!)

But never mind. The only “performance” that matters now is visualizing a light, like a bulb inside a shade, the narrator says, airy and spacious, touching all the “notes” along the scale. In time, we’ll be able to play this scale at will, simultaneously softening and sharpening our attention. In time, we’ll acquire focus. It sounds lovely — but I’ll believe it when I feel it.

Metronomic

Metronomic

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Today I was idling at an intersection, turn signal on, when I noticed how the tick-tick of the signal was in perfect sync with the meter of the Bach on the radio. I enjoyed the music even more with the pulse of 4/4 time reinforced in the car.  

My days of musical study are long since over, but I still find myself tapping out beats. If it’s not convenient to nod my head or tap my fingers, I move my toes quietly inside my shoes, as we were taught to do long ago in orchestra class. 

What strikes me then, and still seems true now, is how we live in rhythms of our own making and how music merely makes us aware of that lovely fact. It’s the rhythm of life — and it’s ours for the tapping. 

Brahms Second

Brahms Second

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A morning errand, almost there, the radio on a news station. It would be a long segment about something I didn’t want to hear, so I pushed button six on the dial. 

The car filled with Brahms, the Second Symphony, the finale. I hadn’t heard it in a while, had forgotten how sonorous Brahms can be, how you get swept up in the sound so that nothing else seems to matter.

I only heard the last 10 minutes of the work … but it was enough.