Archive for the ‘synaesthesia’ Category

On listening to Rimsky-Korsakov…

September 14, 2012

Yesterday, Martha, who is disassembling her life here and moving to London, brought me a plasti-bag full of music CDs she is de-accessioning. “Keep what you want,” she said.  “Most of these are from a time when I was trying to develop a taste for classical music, but no longer play regularly.” In spite my promise to myself to acquire no more possessions, on studying the labels of each CD, and what composer and piece of music was exampled on the different discs, these gifts from Martha seemed appropriate to where my head and heart are these days, reveling in memory, revisiting long-assumed to be dormant pleasures of sensory nature. Perhaps because it is September, a treasured time of the year for me, when memory causes me to anticipate the joys of this season, that aides memoires such as the sound of winds in the late afternoons, and specific passages of sound make me revel in being alive.

So, I popped onto my player the Scheherezade of Rimsky-Korsakov as I prepared hot water and vinegar with which to wash the tile floors in my apartment. I should know myself better by now, because, all of my life I have been unable to multi-task, especially when music is a component of what must compete for attention. After hearing about the fourth bar of the overture, I collapsed into a heap on the couch, dripping scrubbing cloth clutched in my hand – and all ears.

Memories arose, unbidden.  Of kneeling on the floor in my childhood home, right next to the radio, of a late September dusk, Anyu and Apu sitting close-by in the scuffed leather chairs, Idiko perched on the piano bench, all of us silent as Scheherazade piped through the cloth covering the radio speaker.  A few years later, coming home alone  in the afternoon from Catholic school in Kingston, after parting from Ildiko at the church where she had her daily piano practice session, letting myself into the empty brownstone parlour and for company putting on the Rimsky-Korsakov record which had arrived as donation in a box of household goods from our church. On hearing the second movement, my eyes filled with tears of gratitude in the memory of how that music had helped me then assuage feelings of nostalgia for my lost homeland, and how it had kept me wonderful company when I was feeling particularly alone.

After an unexpected lassitude overcame me, my thoughts strayed to doing guided meditation sessions while recovering from Leukemia treatment, which involved the therapist verbalizing a scenario in a soothing voice – so sound and meaning implied by word content and context was able to transport one beyond quotidian concerns into a place of respite. That fleeting moment of puzzlement was replaced by a sense memory of holding my new-born son and a reminder of the special place of safety and oneness a mother and infant shared moment can be.

At some points in the music the sound made me experience temperature change, taste sensations, colour variations and the texture of varied fabrics.  Sinewy arabesque threads wound along the lines of melody Instrument sounds implied tapestries woven of different weight and colours of fibres. A taste of fresh figs, honey, acrid sweetness of plums vied with pungently spiced  taste tidbits, the texture of roasted almonds. I was awash in sensations.

Sudden silence when the music stopped brought me back to the clammy touch of the cool washrag in my hand, the sunlight streaming through the windows, the sound of wind teasing through the aspens outside. The noises of nearby construction re-asserted itself. My tile floors remained uncleaned, but after relaxing in my newfound sense of comfort and pleasure, I tackled that chore with a vigour which surprised me.

I do wonder though, do creators of works of art ever comprehend the effect of their creations, because they are ever varied, and largely unpredictable. But the riches bestowed on the individual appreciator are thousand-fold.  Was Scheherezade an artist? She of the Thousand and One tales, the one Rimsky-Korsakov references as muse, to aid us in reviewing tales of our own, read about, told to us, or directly experienced. Hmmm…