Time and distance has conspired
to make our love brave concertina wire,
while this may be an over statement of our case,
nonetheless, you and I have the wounds to prove it.
Stairs fly as straight as hawks;
Or else in spirals, curve out of curve, pausing
At a ledge to poise their wings before relaunching.
Stairs sway at the height of their flight
Like a melody in Tristan;
Or swoop to the ground with glad spread of their feathers
Before they close them.
They curiously investigate
The shells of buildings,
A hollow core,
Shell in a shell.
Useless to produce their path to infinity
Or turn it to a moral symbol,
For their flight is ambiguous, upwards or downwards as you please;
Their fountain is frozen,
Their concertina is silent.
Arms at her sides
Hangin' like a noose loop
Radio music sporadic static
Choking on some air waves
Her heart is locked up
She keeps it in the bottom drawer
Her house is surrounded by chain-link
Shes too good for you
She has a picnic alone
Feeding crumbs to the ants
So grown up and independent
I thinks its just chemical imbalance
Are you still waking up
To the shotgun blast alarm clock
Sleeping in the pitch black
Washing dishes burning matches
Watching television addict
To have it all figured out
You'll choke on the pieces
Dog on a short chain
Too good for me
She's too busy curing cancer
And feeling sorry for herself
Someone told me what you said
I was a piece of shit hick
Drug addict rat
Because you know me?
I've got a strong chin
Been hit harder than that
There's the door
I learnt this week
that time and distance
can be friends to memory
their respective lengths
only wet and sharpen
the edge of love
but for us dear friend
we hold hard to hope
that we may
one day soon
share the present
and live each moment
in each other's heart.
Hearing you on Holkham beach
- whose soul is greater than the ocean
whose spirit stronger than the sea -
did I doubt for a moment
that you, though buffeted
by a cold east wind
would never age for me,
nor fade, nor die.
Nor you for me (she said)
Goodbye, my love,
a thousand times goodbye.
Write me well (she said)
and turned and ran.
The Reedham ferry was but a river's width
and yet I stood at the water's brink
and watched the reeds quiver in the wind,
watched the rain splatter on the puddled path.
All around to the human eye
this valley, a plain of grassland
broken only by reed-fringed pools,
was a gentle, unpeopled, easy place.
The absence of relief left
no fixed frame of reference.
Places apart from one another
would concertina and merge.
Tempted to cross I waved a no
to the ferryman in his quayside hut
then turned and walked quickly
back down the long, low road.
Hallelujah Simpkins, Syllogism Brown,
Wandered up to Barkingside to walk around the town.
Does it make you wonder, when they ring the bell,
How they press the organ keys and sing along as well?
Syllogism wondered so he climbed the tower to see;
Hallelujah, Simpkins said, I know that I am free.
Hallelujah Simpkins, Pendlebury Jane,
Hurried to the hospital and hurried home again.
Does it make you wonder, when they run so fast,
How they know they'll ever reach the hospital at last?
Pendlebury wondered even though she couldn't run,
Hallelujah, Simpkins said, today I have a son.
Hallelujah Simpkins, Academic Smith,
Never et an orange if they couldn't eat the pith.
Does it make you wonder, if oranges can float,
Why they catch the Underground and never catch a boat?
Academic wondered so he went and caught the train;
Hallelujah, Simpkins said, and said it once again.
Hallelujah Simpkins, Concertina Flight,
Hear the song the angels sing in Dagenham tonight!
Does it make you wonder, climbing Heaven's stair,
How you'd speak to Hallelujah Simpkins, if he's there?
Simpkins only wondered whom he followed as he soared;
Hallelujah, Simpkins said, and glory to the Lord!
Red jagged rocks are mirrored by a calming lake,
A boy stands there, restless, shrouded in a woolly jumper,
Above his head brooding clouds echo his unsettled mood,
They roll and roar across the sky, no purpose, no restraint,
Then, a moment of clarity—peace to the madness,
Then it falls,
Let it fall,
A perfect pure snow flake,
Swirling, curling….buffeted by cruel winds,
The boy now subdued, enchanted by this concertina of beauty,
In the scene’s ephemeral light he sees his desires,
This charming flake will quell his smouldering fires.
Now a drink fuelled room of pent-up angst and dumb excess,
The boy in the jumper observes a hedonistic scene,
Red eyes gleam, full of passion and lust,
But in this room full of people; just one caught his sight,
A brown curled beauty of the cold New Zealand night,
The boy, subdued now, in her eyes glimpses something,
Her brimming brown orbs flicker,
Let him fall,
Deep within he sees his reflection,
A boy in a woolly jumper looks back,
In HER eyes he sees it again,
Snow’s first flake, pure and right,
He is content.
RUM tiddy um,
tiddy um tum tum.
My knees are loose-like, my feet want to sling their selves.
I feel like tickling you under the chin-honey-and a-asking: Why Does a Chicken Cross the Road?
When the hens are a-laying eggs, and the roosters pluck-pluck-put-akut and you-honey-put new potatoes and gravy on the table, and there ain't too much rain or too little:
Say, why do I feel so gabby?
Why do I want to holler all over the place?. . .
Do you remember I held empty hands to you
and I said all is yours
the handfuls of nothing?. . .
I ask you for white blossoms.
I bring a concertina after sunset under the apple trees.
I bring out "The Spanish Cavalier" and "In the Gloaming, O My Darling."
The orchard here is near and home-like.
The oats in the valley run a mile.
Between are the green and marching potato vines.
The lightning bugs go criss-cross carrying a zigzag of fire: the potato bugs are asleep under their stiff and yellow-striped wings: here romance stutters to the western stars, "Excuse ... me...". . .
Old foundations of rotten wood.
An old barn done-for and out of the wormholes ten-legged roaches shook up and scared by sunlight.
So a pickax digs a long tooth with a short memory.
Fire can not eat this rubbish till it has lain in the sun.. . .
The story lags.
The story has no connections.
The story is nothing but a lot of banjo plinka planka plunks.
The roan horse is young and will learn: the roan horse buckles into harness and feels the foam on the collar at the end of a haul: the roan horse points four legs to the sky and rolls in the red clover: the roan horse has a rusty jag of hair between the ears hanging to a white star between the eyes.. . .
In Burlington long ago
And later again in Ashtabula
I said to myself:
I wonder how far Ophelia went with Hamlet.
What else was there Shakespeare never told?
There must have been something.
If I go bugs I want to do it like Ophelia.
There was class to the way she went out of her head.. . .
Does a famous poet eat watermelon?
Excuse me, ask me something easy.
I have seen farmhands with their faces in fried catfish on a Monday morning.
And the Japanese, two-legged like us,
The Japanese bring slices of watermelon into pictures.
The black seeds make oval polka dots on the pink meat.
Why do I always think of niggers and buck-and-wing dancing whenever I see watermelon?
Summer mornings on the docks I walk among bushel peach baskets piled ten feet high.
Summer mornings I smell new wood and the river wind along with peaches.
I listen to the steamboat whistle hong-honging, hong-honging across the town.
And once I saw a teameo straddling a street with a hayrack load of melons.. . .
Niggers play banjos because they want to.
The explanation is easy.
It is the same as why people pay fifty cents for tickets to a policemen's masquerade ball or a grocers-and-butchers' picnic with a fat man's foot race.
It is the same as why boys buy a nickel's worth of peanuts and eat them and then buy another nickel's worth.
Newsboys shooting craps in a back alley have a fugitive understanding of the scientific principle involved.
The jockey in a yellow satin shirt and scarlet boots, riding a sorrel pony at the county fair, has a grasp of the theory.
It is the same as why boys go running lickety-split
away from a school-room geography lesson
in April when the crawfishes come out
and the young frogs are calling
and the pussywillows and the cat-tails
know something about geography themselves.. . .
I ask you for white blossoms.
I offer you memories and people.
I offer you a fire zigzag over the green and marching vines.
I bring a concertina after supper under the home-like apple trees.
I make up songs about things to look at:
potato blossoms in summer night mist filling the garden with white spots;
a cavalryman's yellow silk handkerchief stuck in a flannel pocket over the left side of the shirt, over the ventricles of blood, over the pumps of the heart.
Bring a concertina after sunset under the apple trees.
Let romance stutter to the western stars, "Excuse ... me..."
In Nana’s bedside drawer
I slipped some in my pocket
To even up a score
He came knocking
With that smirk upon his face
Yet another tawdry night of being
Ways are always here
Taking you for granted
Having my way
I set the scene
Thought I was finally coming out to play
He drank the drink
Vermillion visions slice through the stagnant air
Cleansing me of
She doesn't know
That bottle of wine
A Cyanide pill
Something’s not quite right
I have a
Why am I experiencing
Evil starts to slither on my heated skin
Maybe he just slipped me a dirty Mickey Finn?
Feeling now bedeviled
I take another sip of wine
Bachus sits there laughing
Regal and divine
Where did this migraine come from?
But I am here laughing
As she drinks her fall
Damn, I feel sleepy
Could she have?
She wouldn't be that shrewd
Women can't out think a man
So she smiles with me
Rubbing her eyes
I ask her to dance
It will be her last dance
I sense strong arms caress me
Music fills the air
Fluidity of movement
Lays my soul stark bare
I beseech the cold dark eyes of this man that I abhor
Concertina to the floor
She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves. A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber organ (seeing it’s a Mass I’m writing). Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting pot, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
This is to be a congregational Mass, but one that has a role for a 4-part choir and organ and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line. It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
And so: to the task in hand. His objective: to focus on the whole rather than the particular. Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more. His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the bodily movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys. Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time. His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they weren’t) in the conservatory, so warm and sleep inducing after an afternoon of sunshine. Then out in the early evening to walk along the estuary edge or up to Beacon Lagoon. Either way he would put aside all thoughts of the day, and because she was in his company, and he in hers, he would look and look as if every gaze held something new to be revealed. She was mostly elsewhere, still writing up the day’s events into mental lists for tomorrow and thinking about the phone calls she’d make whilst he made supper. She’d be jolted out of these deliberations momentarily to call his attention to a bird or bush. Conversation would happen much later when she’d settled everything she could. Meanwhile he was as happy as he had known himself to be for quite some time – because he had rediscovered silence.