The schumann proof, p.1
The Schumann Proof, page 1
The Schumann Proof
The Schumann Proof
Peter Schaffter
Text © 2004 by Peter Schaffter
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior consent of the publisher.
Front cover art and design by Résolutique Globale
We acknowledge the support of the Canada Council for the Arts for our publishing program.
Napoleon Publishing/RendezVous Press
Toronto, Ontario, Canada
08 07 06 05 04 5 4 3 2 1
National Library of Canada Cataloguing in Publication
Schafftet, Peter, 1957-
The Schumann proof / Peter Schaffter.
ISBN 1-894917-06-5
I. Title.
PS8637.C42S4 2004 C813’.6 C2004-903194-5
For James C. Potter, Esq., in memoriam
Antiqui milites non moriuntur
CONTENTS
Part I
One
Two
Three
Four
Five
Six
Seven
Part II
Eight
Nine
Ten
Eleven
Twelve
Thirteen
Fourteen
Fifteen
Afterword
PART I
Ich kann wohl manchmal singen
Als ob ich fröhlich sei.
“Though troubled in my heart I sing
With gladness seeming true...”
—Liederkreis, Opus 39, VII
One
Und keiner kennt mich mehr hier.
(“Unknown here, no kin shall I find.”)
—Liederkreis, Opus 39, I
I released the Steinway’s pedal slowly. It creaked a bit, but I doubted anyone could hear. The autumnal harmonies of Strauss’s “Allerseelen” lingered in the taut, steel strings, then faded like the song’s All-Saints-Day asters. I turned the page quietly, careful not to break the spell. “Zueignung”—the final number of our set.
Poised in the bow of the piano, Ulrike Vogel spun out the pause before she sang again. Slender arms in long white gloves hung motionless at her side. The cobalt satin of her gown shimmered gently with her breath. I put my fingers on the keys and waited for her nod telling me she was ready.
Beyond the margin of the stage, bodies shifted, seeking a position more comfortable than the last they’d tried. As they soughed and settled into silence, a slim grey-suited man rose from his aisle seat and slipped to the back of the hall. A few necks craned, but by and large, the well-heeled crowd affected not to notice.
Recital audiences are seldom as respectful as they seem. Even frozen into attitudes of rapt appreciation, they betray a curious indifference to the music they have come to hear. Fluttering programs used as fans skirl discordant eddies of aftershave and perfume through the room. Cough drops slip from crinkling sheaths, the sound as hard to pinpoint as a rustling in the grass. Watches beep and heads swivel, down to check the time, or sideways in reproach.
And inevitably, an Important Man gets up, lured away mid-concert by the promptings of his phone or pager.
At one time, cell phones and pagers used to chirp their bearers into action. Nowadays, they have a switch to silence them. Technology borrowed from women’s erotic hardware heralds urgent business with an insistent buzzing sensation on the skin. It’s a futile advance in courtesy. Important Men still vacate their seats the moment a call comes in.
No remote communications device had roused tonight’s Important Man, however. His own participation in the evening required that he leave. The retreating form in made-to-measure worsted flannel belonged to Nils Janssen, president of Toronto’s Royal Conservatory of Music, the institution in whose concert hall I was performing. Punctilious as always, Janssen had chosen to withdraw by the rear exit, the one that gives onto Bloor Street, instead of by the double doors at the front of the auditorium that lead directly to the lobby.
Less obligingly, he had not timed his departure to fall at what programs the world over call “a suitable break in the performance.”
Ulrike stiffened. Indignation rippled up the back of her gown and lodged between her shoulders. Turning toward me, she raised a gloved arm and rested her hand lightly on the rim of the piano. Abruptly, a frown snaked across her brow, while her index finger rapped irritably just inside the case. I tried hard not to smile. Strict professionalism had characterized our one and only rehearsal the day before, and her display of pique, artfully concealed from the audience, caught me unawares. For a brief moment, the misgivings I’d had since agreeing to this job subsided.
My name is Vikkan Lantry, and if you haven’t guessed, I’m a pianist. Or, more accurately, I play the piano. The distinction is important. The stage and I have never had an easy friendship. I dislike the minute scrutiny of the musical cognoscenti and distrust the fulsome praise of the less discerning. My playing must bring real pleasure to a few, though, and the assessments of my peers cannot all be bad, otherwise I would not have found myself accompanying Ulrike Vogel—das Vöglein, the little bird (to her acolytes); die Krähe, the crow (to her detractors)—on a warm evening in early May.
The occasion was the launching of the new Conservatory Alumni Gallery. After generations of gazing from the lobby walls, portraits of the school’s past principals—the same staidly framed oils that had surveyed my teenage years—were being taken down. In their place, images of former students who’d gone on to glorious international careers would now provide inspiration for young musicians. What’s more, visitors to “the Con” would have a constant reminder of the school’s world-class stature. Three paintings had been commissioned to seed the Gallery: heldentenor Jon Vickers, fiery and unpredictable opera star Teresa Stratas, and, of course, the incomparable keyboard wizard, Glenn Gould.
None of the honorees was in attendance that night. Vickers, still nursing a grudge against Canadian parochialism, could not be coaxed from his farm north of Toronto. Stratas was “recovering”. Gould, even had he not died in ’82, would never have consented to appear in public. To offset the absences, Janssen had convened an impressive roster of Conservatory staff and associates for a gala performance marking the Gallery’s inauguration.
Janssen himself would take part in the proceedings, but not as a performer. Although the CBC still aired his recordings of Grieg, the school’s former registrar had not concertized since taking on the mantle of president two years earlier. Tonight, his sole contribution would be to unveil the three canvases waiting on crepe-hung easels behind my back. This duty and its accompanying prefatory remarks were what obliged him to leave. In all likelihood, the ever-efficient Janssen had clocked himself against Ulrike’s final song, and found it gave him just the right amount of time to walk outside along Bloor Street, re-enter through the main doors, tour past the front desk and lobby and enter the greenroom, which gives the only access to the stage short of vaulting from the parterre.
Ulrike didn’t actually leave me much time to speculate on Janssen’s forethought. Having telegraphed her irritation at his departure, she nodded gravely and faced the audience again. A goad of adrenaline nudged me in the ribs as she drew a singer’s well-supported breath, and we began.
Ja, du weißt es teu’re Seele
Daß ich fern von dir mich quäle
Liebe macht die Herzen krank
Habe Dank...
Yes, dear soul, thou know’st it truly / Far from thee my heart’s unruly / Love inflicts such misery / Grateful be...
“Zueignung” is a crowd-pleaser, but its artless verses—a few lines about love’s turmoil followed by an exhortation to give thanks—transformed playing for Ulrike from an equivocal pleasure into a manifest nightmare. The conceit demands more skill from the singer than Strauss exercised when setting it to music. Ulrike rose to the challenge, urging the tempo passionately forward here, teasing it out for languid emphasis there. If we’d had more rehearsal, I might have enjoyed some of her tricks. As it was, I was too involved with guessing when, and by how much, she’d be speeding up and slowing down.
Worse, moments before we stepped on stage, she’d murmured: “I am not happy with “Zueignung”. It falls badly in the voice today. You will play it a semitone higher?” Her rich German accent turned the request into a command.
For a pianist, transposing—playing music in a key other than the one that appears on the page—requires a sort of voluntary schizophrenia, like reading aloud in English from a book that’s written in French. Singers rarely appreciate the mental, not to mention digital, gymnastics demanded by their ongoing search for flattering tessituras. My fingers grew slick as I grappled with Strauss’s restless triplets, while love’s sweet turmoil took a back seat to the inartistic task of converting flats to naturals and naturals to sharps.
Heilig, heilig, an’s Herz dir sank
Habe Dank!
A deafening ovation assaulted the ultimate thanksgiving, which, miraculously, we’d arrived at simultaneously, and in the same key. The barrage seemed out of place—we’d performed Strauss, not sunk a killing sword into the neck of a Spanish bull—but Ulrike drank it in like a parched flower in heavy rain. Utterly still, she bathed in the sound until a sixth sense told her it would momentarily abate. Only then did she acknowledge her audience, tilting her chin modestly and dipping her shoulders.
The clamour continued. Ulrike waited, then extended her arm in my direction. The din grew fractionally louder when I rose and took her proffered hand. Bowing from the waist, I concocted a smile while Ulrike nodded once more and dipped her shoulders. The gesture reminded me of Glenn Close doing the Marquise de Merteuil in Dangerous Liaisons. Bravas! peppered the applause as we descended the narrow steps into the greenroom.
Janssen stood to one side to let us pass, then mounted the steps and waited for the commotion to subside. It took over a minute, giving him time to check the set of his half-Windsor, adjust his lapels, consult his watch and study a small notecard. Ulrike regarded his movements without expression. At length, the accolade thinned to a sporadic staccato and died out. Janssen squared his already perfect posture and stepped onto the platform.
There’d been no question of an encore. Janssen had made that perfectly clear during the run-through. No one was to divert attention from the concert’s real stars, the Gallery portraits. Given the restriction, Ulrike had prolonged her ovation with considerable skill. There’s a knack to keeping people clapping when no showy tidbit will reward their perseverance. After more than a decade out of the public eye, she evidently hadn’t forgotten how.
I wanted a cigarette, but the concert’s participants had to remain in the greenroom until final bows. Eleven musicians milled about in the inadequate space. In one corner, backed by a full-length mirror, a flautist in slinky red confided something to her accompanist. The members of a string quartet flanked an antique practice keyboard. A brawny tenor with hockey-player eyebrows idly depressed its silenced keys. The unrecycled air smelled of soap and shampoo. No colognes. It wouldn’t do to have the cellist sneezing at the oboe’s Karl Lagerfeld.
The stress of waiting settled in my shoulders. I flexed them and leaned against the wall. Hard plaster cooled my skin through the back of my suit. The jacket no longer fit; the black serge tugged uncomfortably through my chest and arms. I’d grown some muscle in the past four years. When I’d stowed the outfit away, I thought I’d never need an all-purpose concert black again. The last ten months had proved me wrong. I’d have to buy a replacement.
Undoing a button, I took a deep breath. Across the room, a gnome-ish, grey-haired man looked up from the book he’d brought to kill time. Pierre Sabourin. I wondered if he still taught in three-sixteen, the studio next to Zoltan Berényi. Sabourin’s requests for boiling water from my former teacher’s electric kettle had been a regular feature of my lessons.
Beyond the stage door, now closed, Janssen was warming to his speech. Crisp consonants and fluid vowels conveyed his theme authoritatively.
“...our reputation is unquestioned. The excellence of our program is admired throughout the world. Our teachers, gifted artists in their own right, are gathered from around the globe. The seeds of genius flourish in the fertile soil we provide.”
Beside me, Ulrike smoothed her gloves. One by one, she pulled the fingers tight, then massaged loose material over her hands and up her arms. The movement attracted glances that strayed to me and lingered. Should I know him? What’s his connection with her?
“And while not every student is destined for greatness, the Gallery seeks to inspire all, paying tribute to those whose fame will not be forgotten in the passage of time.”
The passage of time. My eyes wandered to a schoolroom clock over the door to the greenroom’s small washroom. A quarter to ten. Add fifteen minutes, subtract thirty-six hours, and an early morning call from Elly Gardiner was waking me from sound sleep...
“You do know about tomorrow night’s concert?” she’d begun, as usual without preliminaries. Her voice held the customary undertone of reproach as well: you should pay more attention to the goings-on at the Con. Understandable, I suppose, from someone who’s taught voice there longer than I’ve known how to speak.
I mumbled yes, and rolled onto my back. Elly likes to call when I’m still in bed. She knows I’ll agree to anything then, too dopey to invent a reason for turning her down.
“Ulrike Vogel will be singing.”
I pulled the sheets up over my legs. “Is that supposed to mean something?” I knew the name: a reclusive voice teacher who taught from her home on Castle Frank instead of using a Conservatory studio. Periodically, I came across CDs of hers at HMV. The covers featured out-of-date glamour shots with heavy makeup and airbrushed skin. Listening to the CBC, I’d sometimes hear her name in connection with this or that rising vocal star. Opinion about her had been divided when I was at the Con. Her pupils, a tight-knit lot, worshipped her. Those not in the clique tended to be skeptical.
“She hasn’t sung in public in over ten years,” Elly said.
“Are you saying I should go?”
“In a manner of speaking. She needs an accompanist.”
I sat up. “What? She doesn’t have one?”
“He had to cancel.”
Elly sets me up with two kinds of jobs: busywork, like voice exams and student recitals, and engagements no one else will agree to. It’s her way of chastising me for the time I spent away from Toronto.
“What’s she singing?” Bad question—it sounded as if I were interested. What had I been thinking, installing a phone up here in my loft?
“Strauss.”
“Not Johann, I hope.”
She greeted the sarcasm with a moment of silence. “Five songs,” she said finally. “You know them all, I imagine.”
“I wouldn’t be so sure.”
“Pitching bales of hay for three years can’t have left that many holes in your repertoire.”
“It wasn’t hay. I worked at a co-op.” Feed sacks and salt licks were more like it. “Which songs?”
“You’ll do it, then?”
“It’s pretty short notice.”
“You’ll manage.”
“Can I call you back?”
“After you make arrangements. I have Ulrike’s number here.”
I wasn’t being given a choice. Nothing new there. I kicked off the sheets, climbed down from the loft and picked up the phone by the piano. “Shoot.”
I scribbled the number she gave on a scrap of manuscript paper. “I’m in the studio with a pupil,” she concluded. “If you need to call me back, wait till eleven.”
I hung up both phones, then ducked into the compact kitchen underneath the loft. Fifteen minutes later, synapses reamed by two mugs of Kenyan and a cigarette, I dialed Ulrike’s number. She recognized my name immediately. Yes, she’d been expecting my call; did I know the material well? and could I come by her home that afternoon? I bent the truth a little on the first, and demurred on the second. She sounded put out but agreed to meet at the Conservatory concert hall. Our conversation ended with an abrupt “Till this afternoon, then.” In German.
I started hunting around for my volume of Strauss songs as soon as she rang off. Much of my music was still in boxes. As I went through them, I began to wonder what had prompted das Vöglein to call Elly Gardiner for an accompanist. Elly was a minor player at the Con, more interested in teaching music than training stars. Ulrike, to judge from the success of her students, was big league.
“I thought it was odd, too,” Elly said when I phoned her back. “I hardly know the woman. I was quite surprised when she called. Even more so to find out for sure she’d be singing. There’s been talk for a while now.”
“Talk?”
“That she’s planning a comeback.” Elly made the very notion sound tawdry. “And since you ask, it wasn’t me who gave her your name. She had it already. She merely wanted to know the best way to get in touch with you.”
“How did she even know about me?”
“From a mutual acquaintance.”
Elly being coy with intelligence—always a bad sign. I waited for her to fill me in. “Dieter Mann,” she said at last.
“You can’t be serious.”
If I were a physicist and Stephen Hawking had just nominated me for the Nobel Prize, I couldn’t have been more surprised. Mann was possibly the greatest piano teacher alive. Octogenarian son of the twentieth century’s most revered interpreter of Beethoven, he visited Toronto once a year, sharing his prodigious knowledge of piano and art-song repertoire through a week’s worth of master classes and lessons.
