Why Concerts Make Me Sad

When my father died of lung cancer at fifty-three, his death wrenched me out of the ocean of music that I'd been swimming in since infancy. Even as a toddler, I was so immersed in his music that my mother found me on the potty one day, humming the third movement of the Beethoven violin concerto, which my father was preparing to perform.

I spent a major part of my childhood attending--more like being dragged to--concerts. Sunday mornings, in Barcelona, my mother would take me to Mass, and then to the symphony concert in the Palau de la música catalana. There, in the hallucinatory Art Nouveau hall, swinging my legs, which were too short to reach the floor, I would sit through endless programs. Once I'd located my father in the violin section, I would entertain myself by gazing at the plaster busts of long-haired muses that emerged out of the wall behind the orchestra.

When the Ecuadorian government imported a quartet of Catalan players to Quito, with my father as first violin, we all--the second violinist, the violist, the cellist, my parents and I--shared a house so the quartet could spend mornings practicing for their bi-weekly performances, which I was required to attend. At twelve years old, even though by then my feet did reach the floor, a late Beethoven quartet seemed to last an eternity.

By the time we came to the U.S. I was in high school, and had been playing the violin for several years. By sheer dint of exposure, I was finding it easier to sit through and even enjoy my father's symphony concerts, and his chamber music and solo performances.

Then, as I was finally maturing musically, my father died, and I stopped going to concerts. Half a century later, I still find it painful to attend live performances. As a result, over the years I have missed a lot of good music. In Vermont, there is a vibrant musical community, and magnificent players regularly spill out of New York looking for venues, but it's all wasted on me. I can enjoy listening to music on the car radio, or on CDs in my living room. But live performances bring tears to my eyes, and so I avoid them.

Why, I've been wondering, shouldn't I get the same joy out of going to concerts as so many of my friends do? What is it about live performances that plunges me back into a state of mourning, as if my father had just died? Why can I listen to music in my car but not in a concert hall?

And then it came to me. There is one sound that is never heard on a recorded piece, but that you always hear whenever a string player picks up his or her instrument, whether preparing to practice scales or to perform at Carnegie Hall: the sound of tuning up.

For the violin, it starts with the two highest strings, A and E, played together, then A and D, and finally D and G, the tones growing sharper or flatter with each turn of the pegs, the adjustments finer and finer until the three perfect fifths are reached.

Together with my parents' voices, the sound of a violin being tuned, that homely wah-wah without which no music can begin, was one of the first vibrations to reach me as I swam in my mother's womb. So that, to this day, hearing the search for those perfect fifths immerses me in my father's presence: his hyper-flexible, tobacco-stained fingers, the circular sore on his left jaw from too many hours of playing, the aroma of cigarettes that enveloped him.

But if I open my eyes and see someone else tuning the strings, my father is suddenly wrenched away from me, replaced by a stranger who may well be a better violinist than he was, but is not him. And I am plunged into mourning once again.

If for me my father's persona was inextricably identified with music, it's little wonder that music, which like smell bypasses the obtrusive medium of language, can bring him back so vividly. And just as vividly--since it's no longer him playing, nor will ever be--snatch him away. I don't suppose that there's much I can do to alter this, nor at this stage do I really want to. I simply accept it as a fair price for all the years that I spent floating in the warm currents of my father's music.

My father (mustache, violin) and the Catalan quartet in Quito, 1955

Pizzicato

“Would you like to do a pizzicato?” my father would ask, smiling under his black and bristly mustache. I would toddle over and he, taking care that my grubby fist did not graze the body of his violin, would put my finger on the E string and I would pluck it. Then he would wrap the violin in an old brown silk scarf of my mother’s and lay it carefully in its case, as if he were putting a doll to bed.

A violin being tuned—first the E and A strings together, then A and D, and finally D and G--followed by a warm-up scale was among the first sounds to reach me inside my mother’s womb. A couple of years later, when my father was practicing the solo part of the Beethoven Violin Concerto and I was being toilet trained, my mother found me on the potty one day, humming the opening bars of the third movement.

Not long after that, I started attending concerts. My father’s orchestra performed on Sunday mornings in the Palau de la Musica. My mother would first take me to Mass, and then to the concert. Those Sunday mornings required feats of self control on my part. First there was the sitting quietly at Mass, but at least that was interrupted by periods of kneeling and standing. But the sitting at the concert was unrelieved, and it seemed to go on for days. Fortunately, the concert hall was a near-psychedelic example of Art Nouveau architecture, and I entertained myself by gazing at the sculptures of the nine muses whose gigantic torsos protruded out of the wall behind the orchestra. Still, I conceived an early hatred of the Romantic composers, whose symphonies went on and on, fooling me into thinking that they were about to end only to rebound in cruel codas. Brahms and Schumann were especially bad that way.

In that pre-Suzuki era, music instruction was a serious, solemn business. When I was eight, before I was allowed to approach an instrument I did a year of solfeggio, a method to teach pitch and sight singing, and musical dictation. Nobody expected this to be fun, and it wasn’t.

When I was finally permitted to begin the piano I took lessons from my father’s sister, Maria Dolors, a gentle, skittish person, thin and wide-eyed as a gazelle. She was so tentative in her instruction that the closest to a correction she ever got was a whispered “perhaps you could try it like this...” I felt protective of my vulnerable aunt and worried that my mistakes gave her pain.

At home, when my mother sat next to me on the piano bench, my feelings were quite different. She had had some piano instruction herself, and she thought that she would help things along by correcting my technique while I practiced. But there was nothing tentative in her manner, and I resented her intrusion in what I perceived to be Maria Dolors’s and, by extension, my father’s domain.

The entire landscape of my life was ruled by my mother. She made me put on sweaters when I wasn’t cold, eat when I wasn’t hungry, go to bed when I wasn’t sleepy, and kiss ancient, black-clad relations who smelled funny. She supervised my prayers, scrubbed my face, braided my hair, put bows on my braids, and held my hand tightly while we crossed the street. Music, I had assumed, was outside her domain, but now she was invading that as well. Despite her having been my father’s student before their marriage, she knew very little about the violin, however. It occurred to me that, if I took up the violin, I would be safe. Even better, my father would be my teacher.

At eight or nine years old, I longed for my father’s attention. He was a benevolent but remote figure: “a saint,” according to his mother and sisters; “very busy, and not to be disturbed,” according to my mother. And he was busy, rushing from rehearsal to performance with his violin and sitting down to compose at the piano when he had five minutes to spare. I don’t think he ever once scolded me, partly because I was too much in awe of him to misbehave and partly, I suspect, because he didn’t notice me. For years I had racked my infant brains for ways to get him to focus on me. Now the solution was at hand: I would take up the violin, and he would have to give me lessons.

So after a year of piano, having mastered Schumann’s The Merry Peasant, I began to clamor for a violin.  My parents acquiesced, and on February 12, the Feast of Saint Eulalia, virgin and martyr, they presented me with my very own instrument. I couldn’t wait for my first lesson—which, as it turned out, also became my first lesson in the need to choose one’s wishes carefully. (To be continued)

Good-Enough Parenting--Her Story

As a baby, I never crawled.  I was held in someone's arms--my mother's, my grandmother's, my various aunts'--from birth until the day when I struggled out of that constant embrace and tottered across the room.

Our apartment in  Barcelona was large, which meant that I could gallop top-speed down the hallway that ran from one end to the other.  That was the only place where I could run.  Outdoors, on the street, I was always holding somebody's hand.  It was a big city, after all.  I could have run out into traffic, or gotten lost in the crowds.  I can still feel my mother's convulsive grip whenever we stepped off the curb.

While my five-year-old future husband was in the kitchen making pancakes for his lunch (see http://mygreenvermont.blogspot.com/2013/05/good-enough-parenting-his-story.html ), I hardly ever entered our kitchen.  There was always water boiling, or hot oil spattering, not to mention the bottle of lye lurking under the sink.  And I don't think I ever helped myself to a piece of food until I was a teenager and living in the U.S.  Food was handed to me at regular intervals by a responsible adult, like Communion, and I ate it obediently, whether or not I was hungry.

I was never out of sight of an adult.  Although I had my own bedroom in the apartment, I did not sleep there until I was in second grade.  Before that, I slept next to my parents' bed.  (This may be why it took them sixteen years to have another child.)

I spent my early years going places with my mother.  On Sundays I would walk with her to Mass, where I entertained myself by looking at the statues of the Virgin Mary and, as a last resort, at the Stations of the Cross.  Then we would take the metro to hear my father's orchestra play their weekly concert.  I sat as quietly as I could through endless Brahms, Beethoven, Mahler.  I stared at the extravagant Art Nouveau decorations of the hall, and tried to catch a glimpse of the only woman in the orchestra, the harpist, who was always stuck way in the back. 

On weekdays I went to the fish market with my mother, or out on the wide avenues to look at the windows of fancy shops that sold exquisite leather purses and silk scarves, or to dusty fabric stores that I hated almost as much as the Mahler symphonies.  All too often we would go to visit people, usually frail elderly ones who had to be kissed and who expected me to sit quietly for the whole endless afternoon.

My bodily safety was of great concern to the adults around me.  I was told when to put on a sweater, button my coat, take off my gloves.  I was advised to breathe through my nose and not run too fast lest I should fall.  When we moved to Ecuador our house was on a two-way street, and my mother would send the maid to take me across to meet the school bus, much to my embarrassment.  I was twelve years old.

The only physically adventurous thing that happened to me as a child took place one summer on my grandparents' farm.  My uncle, who was barely out of his teens, was leading the cart horse back to the barn and he let me ride, warning me to hold on to the collar.  He was walking alongside, singing Oh, Susanna! (Con mi banjo y mi caballo, a Alabama me marche!), forgot himself and slapped the horse on the rump.  The horse broke into a trot and I let go of the collar and for a delicious moment flew through the air until my uncle caught me.  He made me swear not to tell anybody, and in September I returned to my life of buttoned sweaters, symphony concerts, and apartment life.

Thanks to an accident of fate--I was the only child of an intense mother in a close-knit family--I didn't just have a pair of helicopter parents but two full sets of grandparents, a great-aunt and -uncle, four single aunts and a young uncle rotating above my head at all times, offering cautions and advice.

And yet, I made it.  I did not grow into a recluse or an idiot or a particularly fragile flower.  My pancake-making husband and I could hardly been brought up more differently from each other. But we were both, in our parents' respectively quirky ways, truly loved.  And it appears that, with that as a given, kids will prosper no matter what.

Alphabet

I've always loved those Art Nouveau alphabets in which a single motif is
carried through and adapted to each letter.  For those days when words fail, I've begun an alphabet of my own.  Here is the first letter: