THE
Michael Round wrestles with Vilia-Lobos - and
the inhabitants ofthe local residential home
WEDNESDAY 15TH Get email
attachments containing accompaniments
for home rehearsal with soprano later in
week. Illegible: scrambled in transit and
filled with squiggles instead of notes, but
title reveals familiar and much-loved
piece: Villa-Lobos's "Aria' from Baci?ianas
Brasileiras no.5. Extract own full score
from !;belf. Bit daunting (massed
semiquavers in tenor clef). Arrange for
friend to post voice-and-piano copy.
SATURDAY 18TH Ponder own Villa-
Lobos full score while awaiting post.
Recall massed semiquavers in tenor clef:
hope don't bave to use. Soprano (v
pretty, v serious) arrives for rebearsal,
produces Vitla-Lobos voice-and-piano
score, just bought and unexamined.
Unfeasibly simplified accompaniment,
sounding nothing like original. Look up
perpetrator's name: turns out to be
composer. Amazed that publishers (i)
accepted it, (ii) never botbered to replace
it and (iii) charge huge price for it.
Soprano dismayed by printed piano part,
and unmollified by explanation or
attempts to play more recognisable
accompaniment from full score (massed
semiquavers in tenor clef not a
speciality). Cbilly atmosphere: is poised
to sweep out in buff when post arrives,
including score loaned from friend. A
different edition (Brazilian): plead with
soprano (v pretty, after all) for fresh start.
Resume rebearsal: arrangement as bad as
before, plus rebearsal numbers in totally
different places from original. Terminate
rebearsal, and let soprano depart.
MONDAY 20TH Off to residential bome
to accompany violinist. Organisation
bapbazard and fee negligible, but always
happy to alleviate residents' boredom.
No advance programme forthcoming:
am assured is mixed bag of light pieces
plus Beethoven. Secretly bope for
anything but 'Spring' Sonata, especially
first movement, wearyingly over-familiar
from endless exams and auditions.
Violinist waiting in lobby. Elects to
play first movement of'Spring' Sonata
and agrees running-order of remaining
pieces. Track down performance/
sitting-room. Open door labelled
'association area' - is rigbt place. Elderly
residents mostly present, many asleep:
arrival of remainder awaited. Divert
violinist with story of Kreisler on stage,
preparing to doze through introductory
'Violin string snaps. Insert ad hoc piano solo while
replacement fitted: dog breaks wind and leaves room.
Harsh critic, I think...'
three minutes of Beethoven concerto
tutti, only to be shaken awake by
bar-and-halfof E minor (entire
introduction to Mendelssohn) instead.
Balance of residents wheeled in. Young
nurse (very pretty) winks at me.
Promising. Have first item ready, piece
with long piano intro: violinist nods,
prepares to play immediately. Instant
panic: pieces in wrong order? Lean
across, check title on violin-stand.
Identical to mine: shrug, start playing,
proves to be right piece after all. Shall
ask later: continue playing to
accompaniment of loud rumbles.
Traceable to resident, snoring. Is quietly
wheeled out of earsbot by nurse, who
winks at me again. Next item announced
by violinist as 'perfect to dance to'.
Embarrassing, as many listeners in
wheelchairs, but at least one resident
capable: grabs violinist in mid-piece and
tries to dance witb him. Swiftly led back
to seat by staff.
Tben piece "by guy called Beetboven'.
Start playing. Pages of piano part start to
close, so bold flat with one hand while
attempting musical précis with other.
(Other option: leaning forward and
head-butting pages into place while
playing, rarely works.) Man in audience
approaches piano witb determined look
in eye: hope does not want to dance. Led
away by nurse, witb another wink.
Continue Beethoven, enjoying chance to
add out-of range and inautbentic high
notes tbat composer may nevertheless
have wanted. Loud rumbles recur. Look
round: snorer absent. Notice dog -
another resident, presumably - sniffing
at violinists beels and growling. Violinist
distracted, loses place. Synchronisation
restored, eventually. Dog settles down,
programme proceeds. Violin string
snaps. Insert ad hoc piano solo while
replacement fitted: dog breaks wind and
leaves room. Harsh critic, I think.
Remainder of programme uneventful,
largely obscured anyway by loud
clattering from kitcben (post-concert tea
and cake in preparation).
TEA Violinist explains tbat had
deliberately got ready to play first piece
well in advance, so as not to get caught
like Kreisler. Make mental note to
monitor jokes in future. Man from
audience approaches again, purposefully.
'Young man' (enjoy 'young' but mildly
fearful of what may follow), 'Noticed
you added top G's not available on
Beethoven's piano- and colleague
skipped a line just before recap.' Truly,
one never knows wbo is listening.
Continues, Td have turned pages for
you, but wasn't allowed.' Nurse
approaches, speaks to man. 'Now tben,
don't botber guests witb chatter.' Winks
at me. 'Don't know what he's talking
about, most of time.' Leads bim away
before I can reply. Finisb tea. dog
reappears: appease with cake-crumbs,
and depart. Enquire name of nurse at
reception. 'Ob, the one witb eye trouble.''
is reply. Go home. Message on answer-
machine asking me to accompany
Beethoven 'Spring' Sonata.
May/June 2010 Internation,il I'iano 19
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