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Tick-Tock

Tick-Tock

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From where I sit I hear three clocks ticking. There is the familiar cuckoo from the kitchen, the breath-in-breath-out grandfather between the windows, and the “bim bam” on the mantel, the fastest of the trio.

Listening to them all at once isn’t confusing; it’s multi-modal. It’s the solidity of braided ropes, a hammock of sorts, holding me in place.

It’s the calm center in the midst of the action: like listening to a Bach prelude or fugue, where you search for each voice amidst the harmony. Or like jumping rope, double dutch.

It’s all about the rhythm, about three adding up to one. Tick-tock. Tick-tock. Tick-tock.

Right Arm Disease

Right Arm Disease

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French horn player Barry Tuckwell, who passed away last week at the age of 88,  had a term for the allure of the conductor’s podium. He called it “right arm disease.”

From all reports, Tuckwell was an excellent conductor.  But it was as a horn player that he made his mark. Playing the instrument is “like driving a very fast car on an oily road. You have to anticipate the things that may go wrong,” Tuckwell said. But not many things did go wrong when he was playing the instrument.

My reference point for the difficulty of horn playing comes from my long-ago youth orchestra days, when we based our yearly program on the availability of passable horn players. If we had them, and only if we had them, would we play Beethoven’s “Eroica” Symphony.

Still, many have fallen prey to “right arm disease.” And I can understand. I engage in a little right-arm waving in the car, air-conducting, of course. But don’t worry. My left hand is firmly on the wheel.

(Photo: Imgartists.com)

Messiah Sing-Along

Messiah Sing-Along

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Tonight we gather again, the wavering sopranos, the alto who has a little sinus drainage and is wondering if she can hit the high notes, the tenor who hasn’t sung in public since high school, the baritone who does this every year and secretly wishes he could have a solo.

Tonight we gather to sing Handel’s great masterpiece, a most forgiving work, full of runs and other acrobatics but at heart a piece for the people— an egalitarian oratorio that welcomes all pilgrims.

I’m making educated guesses on the other singers, but I can vouch for this alto. I’ll take out my score tonight with joy and trepidation. “And He Shall Purify” is not for the faint of heart. Nor is the “Hallelujah Chorus” with its pause right before the end, a trap that has embarrassed more than one singer.  In fact, challenges lurk in every recitative, aria and chorus of this piece.

But I can also predict the joy and gladness that will flood our hearts at the finish — that we, a group of strangers at 7 p.m. will by 8:30 have sung a great masterwork together. Yes, there will be botched runs and missed entrances. But the “hallelujahs” will ring out loud and clear.

(No, we were not singing in National Cathedral … I wish!) 

Salute to Sunrise

Salute to Sunrise

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My classical radio station has begun playing a salute to the sunrise. Every morning at 7:14 (can it really be that late now?) or, eventually, 6:05 (ah, that’s better!), you can hear a flourish of strings and a fanfare of trumpets. Look out the window, the host says, at another glorious sunrise.

I like this because it reminds us of a meteorological miracle, a fact that can be ignored or noticed. We can stay in the darkness or turn toward the light. We can keep our eyes down, staring at our phone, or we can lift them up, to the heavens.

It’s easier to look down. Not just because gravity pulls us this way, but because we are busy. We have work email to check, social media to scan. But looking up just takes a minute, and in that minute we can reorder our day.

Eat Dessert First

Eat Dessert First

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Long ago, when I was a musical purist, I would have thought it gauche to listen to only one movement of a recorded symphony. In most cases, I enjoyed the entire piece anyway, but even if I didn’t, diligence kept me on task. If I was going to thrill with the allegro, then I would muse with the adagio.

For several years now, though, my approach to music has been the aural equivalent of “eat dessert first.”  If I feel like listening only to the last movement of Mozart’s Jupiter Symphony, then that’s what I do.

Maybe it’s a matter of time, or lack thereof. Maybe I’m just giving in to a need for immediate gratification. I could also blame it on Washington’s classical radio station, which routinely cherrypicks the most notable movements of a concerto or symphony and seldom plays a piece in its entirety.

No doubt about it, listening to an entire work is a different experience, more ennobling, a journey rather than a destination. But these days I’m discovering the particular pleasures of listening to what I love best. In other words, to co-opt the catchphrase … Life is uncertain. Last movements first.

Rock On!

Rock On!

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Last night we went to hear my cousin Marty’s band, Rockville Station, play the hits of the 70s and 80s at a dive bar in Bethesda. They opened with “I Feel the Earth Move,” an apt tune since I was sitting close enough to the stage that I could fill my insides move with each beat.

Once I’d adjusted to this strange phenomenon, I sat back and enjoyed the show. Here were people my age and older rocking the night away with a lead singer belting out the old tunes and, in a break, introducing her parents to the crowd. They were visiting from Hawaii and had to be in their 90s. The drummer, which turned out to be her husband, looked a little like the angel in “It’s a Wonderful Life.” His face had the same innocent rapture as Clarence’s did when he showed George Bailey his vintage copy of Tom Sawyer. But unlike Clarence, he was so intense that he broke one of his drumsticks during a long riff.

Marty, who played guitar and sang, was one of the younger ones on the stage. Who knew he had these talents? He wore a white cowboy-style shirt and confessed before the show went on that he had once dreamed of being a country-western singer.

Here are people following their bliss. They have day jobs, of course, but they also have alternative lives where they can … rock on.

Brahms to the Rescue

Brahms to the Rescue

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Brahms came to the rescue yesterday. He didn’t ride in on a white horse, but he was there with his complex melodies and lyricism, with his passion and playfulness.

He was there in the morning when I walked, he was there in the evening when I bounced on the trampoline. And he stayed with me as I sautéed squash and onions and mixed it with farfalle pasta, as I broiled and plated the chicken, as I remembered I had fresh basil to season it all.

What a utilitarian composer! Brahms is not just for bedtime or funerals or academic processions. If you give him a chance, he will stay with you all day long.

(Photo courtesy New York Public Library Digital Collection)

Come with Thy Grace

Come with Thy Grace

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I often go to a Saturday-evening church service that “counts” for Sunday (it’s a Catholic thing), and was surprised when I arrived to see the red wall hangings and vestments. I had forgotten that it was Pentecost, or more technically, it was Pentecost Eve. Turns out, I had unwittingly worn orange, and so was semi-appropriately decked out for the feast day.

I’ve written about Pentecost before, noting that it was a celebration of clarity, that from the many voices came one.  What spoke to me this time, though, was the jubilation of it all: the extra prayers (a sequence before the gospel), the special blessing, and, of course, the music.

It dawned on me, then, and not for the first time, that one of the needs church meets for me is singing aloud. I’m not saying I don’t go for spiritual strengthening and inspiration. But to join voices with hundreds of others is not an opportunity I’m given every day.

We opened with “Come, Holy Ghost.” Thanks to my parochial schooling, I know the words so well that I didn’t even crack the hymnal till the second verse. “Come with thy grace and heavenly aid, to fill the hearts which thou hast made. To fill the hearts which thou hast made.” I could almost hear my seventh- and eight-grade classmates belting it out with me, struggling as usual to reach that high “D.”

This is dedicated …

This is dedicated …

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A spring walk yesterday took me from ugh-it’s-a-Monday to I’m-glad-to-be-alive.

It was about 65 degrees with a brilliant blue sky and leaves that seemed to have their own power source, so brilliant was the green they were flashing.

Their power source, of course, was the sun, which was flooding the day with light and warmth. My winter-weary bones were soaking it up (through properly applied sunscreen, of course) and my work-weary mind was jetting off in several directions: how beauty sustains, how I wished everyone I love could be in my skin experiencing it with me.

Especially those no longer on this side of the ground, I wanted them to have it, too, to be back long enough to feel warmth on their skin and see a redbud tree in flower. So this walk, like the song says … was dedicated to the ones I love.

Transcendence

Transcendence

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A friend sent me an electronic Easter card, the kind that comes with music and motion, with sweet scenes of birds and bunnies.

Only this one played the powerful “God So Loved the World” by John Stainer.

I’ve heard this piece before and marveled at it, but something about the animation of the dove — a pure white bird flying heavenward, spreading flowers in its wake — and the dynamics of this hymn, the great swells of its sound, the ache in its harmonies — spoke powerfully of the mystery and the promise of this day.

I write these words in the office, a room I don’t often sit in this time of day. I don’t know why not — because it sits in the front of the house, the one the light touches first.

It is not just Resurrection we celebrate on this day, but transcendence.