Posts Tagged PANK Magazine
The Undercover Soundtrack is a series where I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is classical oboist turned memoirist Marcia Butler @MarciaAButler
Soundtrack by Mendelssohn, Wagner, Elliott Carter, Keith Jarrett
I have always approached listening to music as an activity with dedicated purpose. When I YouTube the Violin Concerto by Felix Mendelssohn, recorded in 1949 by the great Russian violinist David Oistrahk, I sit quietly. I listen intently. Whereas many use listening to music as an aural inspiration to enrich a meaningful calling such as writing, I can only view music as a powerful life force which has had profound implications for me. Because music was, for over 25 years, my profession. My memoir, The Skin Above My Knee, tells of my experiences as a professional oboist in New York City during the 1970s, 80s and 90s, in which I attempt to unpack what it takes to be a hardworking classical musician. Juxtaposed to this, my personal narrative as a damaged young woman sings in opposition, accompanied by all the dangerous life choices I made. Ultimately, discovering and then performing music actually saved my life.
I was eager to write about events that elicited exceptional results, both professional and personal, both beautiful and awful. What does being on stage at Carnegie Hall really feel like; what must a musician endure to maintain excellence; what happens when things go very wrong in a concert; and what transpires when music takes over and musicians surrender to the sway of something more powerful than themselves? But also, how might writing about the music I love tell my readers something important about me in a way that further illuminates the personal narrative of my life. All this.
When something is a forever thing, such as music, it is natural to want to be enveloped by these wonderfully organized sounds and use music as a companion to almost any activity. When writing my book, my challenge was not to decide which music might inspire me and then coax out my best work. Rather, my task was to mentally catalogue all the music I’d ever played; all the musicians with whom I’d performed; all the teachers who taught me everything and very little; all the conductors I’d dismissed because they knew nothing, or revered because they understood absolutely everything; all the concerts that changed my life, or humbled me and brought me to my knees. I had to think deeply to remember, and also dredge up what I longed to forget.
Siegfried Idyll by Richard Wagner will always represent a song of prescience and possibility. Performing this music in a church in New York City literally gave me the courage to wrench myself from a violent husband. This profound composition, written for the birth of Wagner’s son, touched within me a place of naïve clarity. During the concert, I became aware that my current life would need to change. This notion – an urgent imperative, actually – washed over me while I was playing the oboe. Somehow, I was able to glean the realization only through music.
When one cannot do something, there is always the option to give up if results are not reached in a reasonable time frame. But for a musician, nothing creates more urgency to succeed than a concert engagement. When I was invited to perform the Oboe Concerto by American Composer Elliott Carter, I took this difficult music into my hands, practised it, lived it, hated it, and cried a lot. All because I couldn’t play the thing. Not even close. Panic quickly set in because I was certain I’d finally be identified as the fraud any artist deeply believes themselves to be. Trying to play Carter’s music is how I became bedfellows with pure, endless failure. I’d turn over during fitful sleep and kiss this devil on the lips. Finally, after many months the music showed me the way. I ultimately mastered it and thereby found my love for it. More importantly, I learned to not allow any difficulty to dictate my future. That music lesson was a life changer.
Rock-star jazz musicians are not always odd, or unapproachable, or just too big for their britches. Sometimes they are just the nicest people on the planet. And sometimes they hire a random oboist (you) to premiere and record their oboe concerto, solely on the basis of hearing a tape of your playing. That piece is played often on classical radio stations for years and years to come. And sometimes that is a boost you badly need, because many times you are facing the next impossible piece of music. And it makes you very humble and grateful because you’ve learned that music is the great equalizer among musicians. There is no low or high; no strata of fame. No. When musicians collaborate, music is simply the smartest thing in the room. And yes, thank you, Keith Jarrett.
Music is the conduit through which we can discover ourselves. It is always a willing and available companion. Because when music resonates, those sounds remain in the universe forever. Sound never fully dissipates. We know this because scientists are now listening to noise that originated over a million years ago. No other art form – not visual, not drama, not dance, not even writing – can claim this distinction of eternity. Simply put, there is not a person on Earth who hasn’t connected deeply, in some way and at some time, with music. It is an aural glue to feelings, memories and hope.
Marcia Butler is the debut author of the nationally acclaimed memoir, The Skin Above My Knee. She was a professional oboist for 25 years until her retirement in 2008. During her musical career, she performed as a principal oboist and soloist on the most renowned of New York and international stages, with many high-profile musicians and orchestras – including pianist Andre Watts, and composer and pianist Keith Jarrett. Marcia was a 2015 recipient of a Writer-in-Residence through Aspen Words and the Catto Shaw Foundation. Her work has been published in LitHub, PANK, Psychology Today Magazine, Aspen Institute, BioStories and others. She lives in New York City. Her website is here, her Facebook page is here and you can tweet her as @MarciaAButler
Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week’s guest is fiction editor and creative writing teacher Tawnysha Greene @TawnyshaGreene
Soundtrack by Harold Arlen, EY Harburg, Yann Tiersen, Ludovico Einaudi, Michael Nyman, Alexandre Desplat, Hans Zimmer
My narrator is hard of hearing like myself, so many of the scenes including music in A House Made of Stars are ones in which the music is felt rather than heard. For example, the narrator’s cousin earns a part in The Wizard of Oz, and as she practises her songs in her room, the narrator and her deaf sister watch, hands placed on the stereo to feel the rise and fall of the music.
Similarly, as I wrote these scenes, I played Over the Rainbow by Harold Arlen and EY Harburg on my laptop and turned the music up loud, so that I could close my eyes and listen with my hands to feel the same notes the characters in my novel did. This way, I could be closer to my narrator, a girl who struggles through poverty and abuse and who wishes for a better life for her and her family.
While writing the majority of A House Made of Stars, the music I listened to was usually instrumental. One of my favorite musical collections was The Most Beautiful Soundtracks (No. 2), and guided by these songs, my novel began to take shape. The following individual songs from this compilation were especially helpful — Comptine d’un autre été by Yann Tiersen, I Giorni by Ludovico Einaudi, and The Promise by Michael Nyman. The quickness of these pieces, especially The Promise and the way the notes would domino into one another helped me with the pacing of my novel, because I wanted each scene to tumble into the next so that the story’s momentum would be constantly moving forward as the narrator and her family’s situation become more and more dire.
However, in some cases, it was necessary for me to slow down the scene and concentrate on smaller details. My narrator is very observant and what she lacks in hearing, she compensates in what she sees and understands. The song Childhood by Alexandre Desplat played on repeat while I wrote these scenes, and the way the song is composed is appropriate for the realisations the narrator makes during these instances — Childhood is slow with distinct piano keys forcefully played one at a time in a way that causes each note to be almost jarring. Similarly, during the moments in which I chose to listen to this song, the narrator makes discoveries about her family — read in a diary hidden underneath the stairs and glimpsed through the wooden slats of a bedroom closet — moments that are jarring for her as well.
Regardless of the scene, music served as a catalyst for the general mood of A House Made of Stars, and towards the end when I wrote the last act in which the narrator and her family are homeless and starving, I listened to Hans Zimmer’s To Zucchabar. The duduk’s haunting melody is accompanied by isolated drum beats in the background, an interesting progression from the pronounced notes of Childhood, because these notes are more subdued and allow the duduk’s voice-like melody to take center stage. The music is appropriate for this final leg of my narrator’s journey, because she, too, is finally finding her voice and speaking for herself and her family against all odds.
When I wrote the last scene, I did not play just a single song. I played all of them. The compilation of The Most Beautiful Soundtracks (No. 2) sounded in the background as I wrapped up the story with my narrator looking up into the night sky. By then, she was all those songs. She was the drum beats, the piano notes, and the duduk’s melody as she reached for the stars and made them her own.
Tawnysha Greene received her PhD from the University of Tennessee where she currently teaches fiction and poetry writing. She also serves as an assistant fiction editor for Cutthroat: A Journal of the Arts and is a regular reader for the Wigleaf Top 50 series. Her work has appeared in PANK Magazine, Bellingham Review, and Necessary Fiction among others. A House Made of Stars is her first novel. Find her on Twitter @TawnyshaGreene, on her website and on Facebook.
GIVEAWAY Tawnysha is excited to sponsor a giveaway of A House Full of Stars. To enter, simply share this post – and then comment here to let us know. The more platforms you share on, the more entries.