Sara Alexander - The Last Concerto

Throughout the summer Elias spun tales about numbers, their families, the way the notes were grouped together and why. Elias painted pictures with her voice and hands that described a cosmic symmetry. The mathematical patterns bewitched Alba, and the more Elias explained the more Alba yearned to know. At night, her terrors ebbed away as her fingers tip-tapped upon her sheets; up to five down to one, up to eight, down to one, one, skip to three, skip to five, down to three. She made up her own patterns too, which she showed Elias with great enthusiasm the next day. When the white notes sang out with confidence under her fingers, Elias introduced a few black ones too. This time the scale shifted mood. Here was a moonlit forest, a bad dream, something hidden in the dark. The scales peeled open like the pages of books, unfolding pictures of far-off places, imagined worlds, miniature stories of heroines in the wilderness. Elias showed Alba how to recognize the key notes within the scale, how they were all linked by intrinsic tone, vibration and mathematics. How it repeated up the keyboard, each eight notes resonating at double the speed as the same note eight notes below. Alba hung onto every word, every nuance, sepulchring the musical secrets, as if she and Elias were standing before an enormous map of the universe feeling her reassuring hand at her back that told Alba it was safe to sail.

Battaglia

battle. A composition that features drumrolls, fanfares, and the general commotion of battle

For the seven years that followed, Alba’s fingers were in perpetual motion. Giovanna gave up yelling at her to cease their incessant tapping. Over time the compulsive movement paled into mild irritation because Alba performed her duties at home. The silent melodies became just another tic to join her other obsessive behaviours, like wiping a clean counter, scouring a gleaming range, or checking the taps were twisted tight. The more her fingers percussed, the less Alba spoke. The silence cloaked her in a guarded invisibility, a cocoon from which she could witness the world at a safe distance. After dinner, she would sit beside the record player and piano albums Signora Elias had lent her and play them without stopping. When Giovanna started moaning about the constant music, Signora Elias also let her borrow some headphones. The pieces she studied wove into her mind like a dance, and after listening for an evening, several sections would escape from her fingers onto the keyboard with ease. It was like repeating a conversation, almost word for word, and where discrepancies remained Signora Elias took time to make the necessary corrections, of which there were often very few.

Each morning Alba rose with the dawn she was named after, striding down to the bakery and back up through the hills of obsidian and crimson-streaked winter sunrises and the peony-orange haze of the summers. Signora Elias greeted her like a cherished granddaughter each of those days, never once forcing conversation, nor prying. The space they created every morning was a secret Signora Elias and Alba held close, clasped in complicit trust like the two photographic faces of a snapped-shut locket.

When her teachers crowbarred their way into Alba’s personal and mental space, yelling from their desk, haranguing her out of her self-imposed silence, Alba replayed minute details of Signora Elias’s mornings on a loop. The images squared into view, ordered, yet singular, like the family slides her neighbours would project onto their white walls, the mechanical clicks between each image a metronome chasing time; scales, morning light, gleaming floors, fresh coffee, arpeggios, the taut strings of the piano, their vibration, their frequency, their power.

May of 1975 was in full bloom. The grasslands surrounding Ozieri were splattered yellow with blossom. In the crags between the granite along the roadside leading up to Signora Elias, rock roses grappled with gravity, their fuchsia-purple blossoms widening to the sun. Giant wild fennel swayed on the gentle breeze, scenting the air with anise. Tiny orchids appeared in the cracks between the boulders; Alba gazed at their petal faces, minuscule mournful masks. By Signora Elias’s gate, tufts of wild poppies greeted Alba, and each day she visited, another unfurled its bloodsplat petals.

Shafts of morning light cut through Signora Elias’s large room and across the open piano lid, striking a golden gleam across its polished top. Alba could feel its heat trace her outline and light up her fingers. She looked down at the keys. Her fingers sprang into action.

Signora Elias interrupted at once. ‘You took a breath, yes, but it was high in your chest, snatched. You cannot expect to be able to keep up with this Bach fugue in this way. Bach is stamina, precision, absolute clarity. He is the source.’

Alba tilted her head back, blowing a puff of air out from her lower lip, which lifted a few strands of hair that had fallen onto her forehead.

‘And there’s no use in succumbing to frustration either. We can’t create or practise from that place. Sorrow? Yes. Feel the pain of those notes escaping from under you. Then simply work out what you must do to fix it.’

Alba wanted to say sorry, but the words stuck in her throat, a knot of silence.

‘Don’t apologize,’ Signora Elias continued, as always, intuiting what Alba longed to say but couldn’t, ‘this is the work, Alba. This is the constant reminder that you are merely human. What Bach is laying out for us is the entire cosmos, layers of mathematics, interweaving with glorious symmetry. Then he twists it in on itself, revelling in the asymmetry of those rules. It’s a kaleidoscope of patterns. We know this. So we honour this.’

Alba was accustomed to Signora Elias’s tempo increasing as she charged through her corrections, sometimes striding beside the piano, then drawing to a curt pause when the pinnacle of her thought was reached, a mountaineer charging towards the peak. She stood still now, in the spotlight of the sun’s glow. ‘Will you return to the beginning?’

‘Slower.’

‘And?’

Alba swallowed. ‘Then I’ll play these first few measures, repeating at speed, playing with alternate rhythms.’

Signora Elias raised her eyebrows, waiting for the end of the thought.

‘Until my fingers play me,’ Alba whispered.

‘Until there is no space between those patterns and you,’ Signora Elias added. ‘I don’t want to see Alba Fresu play with her fingers. I want to see the music ripple out of you. That’s when we know that you truly know the piece. When we have stripped it to its core, asked what it is, why it is, what it needs to tell us, and then step inside.’

Alba looked at Signora Elias and allowed herself to smile in spite of a sinking in her stomach. When would these exercises become instinctive?

‘It’s about learning to control every minute movement of your body to produce the precise tone the piece requires,’ Signora Elias began, ‘and then, in performance, being able to shift that focus on control alone, and simply allow your technique to be in place, so your musicality can soar. We want to hear the music, not the practice. Music is about control and the loss of it at the same time; a beautiful contradiction. At this moment, from your flushed cheeks I see you are still grappling with the sensations of losing control in the first instance.’

The past seven years Signora Elias had sat beside her each and every morning leading her down these waterways of her music. Now, at eighteen, as Alba approached her final year at school, their lesson together was a cool balm before class. After it, Signora Elias would permit her to practise unguided.

‘I want to apologize,’ Alba replied, her voice dry.