My gardening plans have had to be postponed, for today. I woke up this morning to rain: not just the typical Yorkshire mizzle but the sort of downpour which permeates your very bones if you’re not careful.
Rather than launch straight into the day’s housework, I turned to my rainy day alternative, and left the lid of the piano up once Ilse had finished her morning practice. As soon as the house had emptied, I pressed down the soft pedal and began to play.
There is a reverence to mornings that I don’t lightly break. Speaking to a neighbour I might explain my habits in other terms: the beds need time to air, or the daily doesn’t arrive until ten. In truth, I need a peaceful start to my days. With four children I can’t stay in bed with a pot of tea and a book, or go for a pre-breakfast wander. So I wait until the house is quiet to begin my little rituals.
I am learning a gavotte, by Bach. From the hesitation, the stopping and starting and wrong notes, this may not seem like a particularly soothing activity. Yet I can think of nothing else, as I play. I am absorbed. I am tested and stretched, and play the same short passage over and over before the clock strikes quarter to and I resurface. Then I take a deep breath, shut the lid gently, and put the kettle on for Mrs P. She will be cold and damp from the rain.
Sometimes, in my lessons, I feel a terrible dunce, my hands stumbling and head wooly when faced with the simplest exercises. But that feeling never lasts. Each week (my teacher assures me) I am, ever so slightly, better. I wish that my childhood self had never given up. Much stronger that my regret, though, is my delight that I am learning anyway.
I normally play the piano in the evenings, after the supper dishes have been wiped and left, standing ready, for the morning. I play my flute in the late afternoon, when the hotpot is in the oven and the vegetables are boiling on the top. By late afternoon I am ready for its surprisingly penetrating timbre, the high notes and the semi-quavers. I am fully awake, by then, and I need to be. At present, I am working on Mozart’s quartet in D, and even straightforward phrases are often rudely interrupted by wrong notes and missed accidentals. I wonder whether I will ever get it up to speed.
When the children were babies, before I had begun to take piano lessons, I would practise once they were all in bed. I had no choice: the time before supper was consumed by fretful babies and fractious toddlers. I would long for John’s return. Once he was home and the children tucked up, full-bellied, I would assemble my flute to play soft airs, country dances and lilting Irish lullabies. Sometimes it was only for five minutes, sometimes longer, but that twilight music is lodged in their subconscious. Fliss still alters when I play after supper, dragging a blanket into a chair and listening, eyes closed. Even now I play to her, from downstairs, when she is sleepless.
Nowadays, my turn at the piano is the last of the day. It is certainly not the most impressive, but probably the best-enjoyed. Occasionally (only occasionally) I have to remind the children that they’ll be glad of all this practice, later. As an adult, I just do it because I want to. And that changes everything.— October 19, 1930