I’m also aware that I’m cherishing what hearing I still have in my right ear. It makes every piece of music that much more precious, something I tried to put into words last time. And with a good set of headphones that give a full rich sound, my mind can even begin to imagine that all is as it used to be. By chance, since writing my last blog, I’ve found in a charity shop Oliver Sacks’ remarkable book Musicophilia: Tales of Music and the Brain. In it he describes the experiences of people who have lost their hearing function in one ear. One person, a composer, found that what he could hear with his ‘bad’ ear was out of tune with his ‘good’ one, as I found myself when this all began. Sacks talks about how the human brain has the extraordinary ability to make up for the loss of function in one ear (or eye). It can’t heal it. But it can, so to speak, begin to reconstruct your sound (or sight) world, restore some sense of spatial awareness so that in time, the loss is partially compensated for.
It’s funny how the right book falls into your lap just when you need it. And in another strange way, as I browsed classical music recordings on the web, I came across an album cover that was so familiar that I exclaimed out loud, even though I hadn’t set eyes on it for fifty or more years. It’s Joseph Keilberth’s recording of two Mozart symphonies with the Bamberg Symphony Orchestra. Actually I’m cheating slightly. The image I found on ebay (above) is of the 1960 stereo recording. Ours at home was the 1956 mono disc, but the scarlet Telefunken covers were identical. I think it may have been the first LP my parents owned. If it wasn’t that, then it was Beethoven’s Eroica or Schubert’s Winterreise.
At the age of six or seven, I fell in love with the Mozart disc, especially the 39th. It’s still my favourite Mozart symphony. I think it was the slow introduction that seduced me. Those few portentous bars, full of rich brass and woodwind, seemed to presage something miraculous. E flat was a key that brought forth some of Mozart’s most wondrous music - think of The Magic Flute or the Gran Partita whose slow movement Salieri so envied according to the film Amadeus. The solemn rising violin scales of the symphony’s introduction, together with one of the sharpest and most sustained discords in all of 18th century music captivated me. And when the clouds finally parted and the sun broke through in some of the happiest music in the classical repertoire, it was a revelation.
Today I’ve found the stereo version online, thanks to the ever-obliging Spotify. Listening to it for the first time in decades, I’m aware that it’s probably not among the greatest of Mozart recordings. The Bamberg play with tremendous conviction, but tuned as we are to the delicacy of authentic performances on period instruments, it now sounds a bit rough in places. Joseph Keilberth (1908-1968) was the Bamberg’s chief conductor at the time, but he was best known for his opera interpretations, especially Wagner. His Wagner performances were famous; poignantly he died in the middle of conducting Tristan und Isolde. I doubt if you can be a truly great Mozartian and a Wagnerian conductor, though in modern times many conductors have made a convincing showing of both. Some might say you can’t really love Wagner’s music if you love Mozart’s, but that’s a different question. It would be some years before I came to Wagner but when I did, the revelation was as unforgettable as my childhood discovery of Mozart.
But now that I’ve rediscovered it, I shall treasure this recording till I die. It represents so much that was joyous in my childhood: parents who loved me and encouraged me in everything that fascinated me, whether it was riding my tricycle and not long afterwards, my 18 inch pavement bike, my first Brownie camera, my Hornby ‘0’ gauge model railway (which would be worth a fortune nowadays), reading Alice, Pooh, the Grimm brothers’ fairy tales (I always preferred them to Andersen’s - they were darker and more complex and didn’t always have happy endings) and - I admit it - Enid Blyton.
But before all these, my parents wanted me to love music as they did. My grandmother would sit me down at the piano and we would pick out Schubert melodies like Heidenröslein. It was probably thanks to her that Winterreise found its way into our home because it was she who told me about Schubert’s unhappy wanderer as we sat and listened. Piano lessons must have begun about then, though I was too lazy to practise very much (and regret it even today). I was not too young to have a go at Bach’s Notebook for Anna Magdalena, my introduction to the other great musical passion of my life.
So many musical memories to be thankful for. I’ve written about some of them before on this blog. But today they have been rekindled afresh as a result of seeing that LP sleeve on the web and hearing once again that much-loved disc. I suppose that when we grow old, such glowing memories become all the more precious, of remembered childhood days and the people who loved us and our awakening to God’s wonderful world as it seemed to blossom all around us.
And maybe too, early inklings of pain and mortality in the music I was learning to love? I don’t know. I hear them now clearly enough in the introduction to Mozart’s 39th. And in adulthood, it does make me feel for the many whose memories of childhood are far from happy, whose upbringing has been occluded by pain, abandonment, cruelty or illness. How innocent and protected, how secure and happy my early childhood was, and I never knew it at the time. There is so much to learn about the world and our own selves as we grow up. What matters is that we don’t unlearn what was important to us in childhood, that we don’t, as a psychoanalytic writer once put it, lose the capacity for flowering and instead find we are unripening, shrivelling to a bud. With my one good ear, I’m trying to reflect on that for a while too.