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Evelyn Remembered

Although I didn’t know it at the time, the teacher placement auditions at The New England Conservatory were a somewhat crooked version of the Sorting Hat at Hogwarts. The string faculty had already selected, argued over and assigned the plum students long before any of us arrived; the auditions were about the rest of us. I played badly, and despaired.

When I received my class schedule, I saw that I had been assigned to study with a woman whose name I didn’t recognize. Only two of us were to be her students, and she was supposed to contact us about when and where our lessons would take place. It was customary that lessons were given in the main Conservatory building across the street from our dormitory; permanent faculty had studios, while other teachers taught at conservatories across the country, and used whatever room they could reserve when they taught in Boston.

Maybe a month into the school year, on a Sunday, the buzzer in my dorm room sounded two short bursts – a message from the switchboard operator that I had a phone call. The phone was at the end of our hall, and, assuming that it was my parents, I put down the riveting history of keyboard sonatas I had been reading, and ran. Once connected, I heard not my mother’s voice, but, a raspy and jagged one, faintly breathless. “This is Evelyn Greely. I’m across the street. Can you come for a lesson at one?” It was bizarre, unfair, and hideously short notice.

“Uhm, sure.” I answered, looking down at my pink slippers, “Yeah. What room?”

“I don’t know yet,” she answered distractedly, “you’ll find me. Let Lanford know he’s at two.”

“Lincoln” I corrected automatically.

Lincoln,” she said with menacing precision. “Let Lincoln know.” Then she was gone.

At twelve forty-five I was searching through floors of practice rooms in the main building, carrying my cello, looking through glass doors at people singing, playing pianos, practicing flutes, and holding ensemble rehearsals. On the top floor, I spied a woman I recognized from my placement audition. She appeared to be at least 80 years old, with a face plaid with wrinkles and an emaciated body in sweat pants and a sweat shirt. She seemed to be scrubbing the floor around her chair with paper towels, and when I knocked, she looked up and gestured for me to come in.

“I’ve just,” she started, breathing hard, “had a little accident.” I smelled urine. I knew that she needed help, and I knew I could help her, but what did it mean that I had just met my teacher and she had just peed on the floor of a practice room?

“I’ll get more paper towels” I said, leaving my cello outside the door and sprinting to the ladies room. Not thinking was good. On my return, she took the fresh towels from my hands and handed me a wad of damp, brown paper, which I threw into the trash can. After a further swipe, she handed me the final batch of towels, sat in her chair with one leg over the other and motioned for me to retrieve my instrument.

“It’s amazing,” she said as I unpacked, “that you play as well as you do with such terrible technique.”

After which, she turned everything upside down. She descended from a different line of cellists from my high school teacher, and disliked my phrasing, my bowing of the Bach Suites, and my “ass-backwards” pivot shift. She had, in fact, been the protegeé of Pablo Casals, and had been very famous “back in the day;” although she had clearly not been floating through life on a gossamer cloud of fame and success. I subsequently learned that she had a drinking problem, that she hadn’t performed in years, and that (I was thrilled to learn)  she was the teacher assigned to the students no one else particularly wanted to teach.

Lincoln and I were trying to make the best of things, not ready to relinquish any idea of ourselves as valuable commodities, but it was hard work. After the first Sunday lessons, which lasted for several hours, Evelyn called Lincoln to say that she just couldn’t make the drive into Boston again; could we catch the bus out to Belmont and have our lessons at her place?

It was only 8 miles to Belmont, but on a city bus, with a cello, it was interminable. All the way there I fretted about having to have my lesson in front of  Lincoln, a lesson being the most harrowing kind of exposure of one’s frailties as a musician, particularly when one was required to un-learn everything that one had learned in the past 8 years. From the bus stop we had to walk to her house, and we waited on the cement stoop as she shuffled to the door. Inside it was both sickroom and cave; heavy curtains were drawn against the daylight, heavy furniture filled the visible rooms, and every surface was covered with dusty doilies and framed photographs, mostly of Casals and his colleagues. It smelled bad, like pills and urine and possibly mold. I sat in a horsehair armchair while Lincoln had his lesson, uncertain whether I was meant to be watching and listening, but having nothing else to do besides looking surreptitiously at  Casals beaming benignly from the photograph to my left. I barely survived my own turn, hands shaking as I played Bach for her, was stopped, felt my hands being moved manually into new and untenable shapes, played more, and felt the hot sting of tears as she raised both of her own hands in a gesture of frustration.

Several weeks passed, and I received the call on the community phone, telling me that it was too much for her to teach back-to-back lessons. She asked that I come alone, and that I stop at the “package store” on my way to her house, to pick up something for her. The following Saturday I made the long pilgrimage to Belmont alone, relieved that my shame would be hidden from Lincoln, hoping that I had made enough progress that she would be less impatient, and that maybe she would see me as a worthy part of the Casals lineage.

The package store was kitty corner from the bus stop in the center of Belmont, and it occurred to me as I hoisted my shoulder bag and cello that I was under age, and that they might not be willing to give me whatever she was expecting. I didn’t have much experience as a drinker, and imagined perhaps a bottle of wine, or of harder stuff. When I stepped out of the sun and into the dark, narrow shop, the man behind the counter took in the cello and gave me a pitying smile. “Here for Miss Greely?” he asked, bending down behind the counter. I nodded. He came up holding a big box. Whatever it was, it wasn’t a bottle of anything. “I’ll tie it up for you,” he said, “make it easier to carry over to the house.”

“I’m only 18,” I blurted, “I mean, you know, is it okay for me to take that?” He smiled again, busy with his twine.

“Are you going to drink it?” He asked, looking up.

“Uhm, no, but I was just worried…”.

“It’s okay” he said, coming out from behind the counter to hand me the box. “been doing this for years.” I put my bag’s strap high on my left shoulder and lifted the cello with my left arm; the man held the box under my right hand until I was ready to grasp the sturdy twine handle he had crafted. “Best to Evelyn” he said, holding open the door. I walked the two blocks to the house, bottles clanking, getting curious stares from strolling couples and dog walkers. Maybe this was what it was like to be an adult, maybe this was all normal, maybe other people did stuff like this every day, and I just didn’t know about it. I tried to cast myself as the lead of an eccentric art film, or a moralistic Dreiser novel in which the Perils of Dissolution were exposed. I yearned for my parents and my own home, which seemed to recede with every step.

After that lesson, my third, there were two more. Both took place at Evelyn’s house in Belmont, and on both occasions I was bidden to stop at the package store to pick up what I later learned was an astonishing quantity of Scotch whiskey. My last two lessons devolved mainly into long sessions of story-telling in which I heard about Casals, touring, concerts at Marlboro, and life as a classical musician in the 1950s and 60s. Evelyn had attended Smith College and done graduate work at Julliard, she was smart as a whip when focused, and clearly, and terribly sadly, seemed to have been in love with Casals. After some initial uncertainty about whether I was actually going to have A Lesson, I relaxed in my armchair, listened, asked questions, and joined her in the past.

It was a romanticized past well-suited to an 18-year-old girl, full of romantic intrigue, backstabbing quartet members and longing for love with an unattainable man. I longed to ask her whether she and Casals had actually been “together,” or whether she had just wanted him, but she wasn’t somebody you could just ask. She wasn’t a girlfriend, or a friendly stranger on a bus. She was, in her memories, an eminence, and the unfolding was at her discretion and on her schedule. There was no sentimental Tuesday Afternoons with Morrie about it. She was a messy, sad, drunk, and her stories were not even vaguely aimed at imparting to me valuable lessons which I might use as I moved through my own life. She needed to talk, and I was both disconcerted and thrilled that an adult was confiding in me, telling me “everything” in a way that had never happened in my sheltered existence. I forgot the smell, and the bottles, and the fact that I had to play a jury in May for which I was totally unprepared; I was part of something bigger, something that made sense to my soul in ways that chord progressions and sonata form never would.

Once I fell in love with Evelyn, she vanished. In April, apparently alerted to the fact that we had received essentially no instruction during the school year, Lincoln and I were given the option of playing our juries the following September, after studying with someone over the summer to “get up to speed.” Although I’ll never know, I suspect that my parents, or Lincoln’s, or both had called the school’s President to express their thoughts about paying thousands of dollars of tuition in exchange for minimal and eccentric private instruction. When we returned to school, we had a new teacher, a kind, sober man who gave regular lessons and useful advice about difficult orchestral passages and practice techniques. I lasted six months of that year before staging my own disappearance, packing my cello and my stereo and heading back home to apply to a “regular” college. The following February, while I was living at home and waiting to find out whether I would be admitted as a transfer student to Oberlin College, I got a late-night call from Lincoln. Evelyn had died, he said; a heart attack. Although she had seemed to me to be ancient,  she was barely 59.

Sometimes, in a fit of self-righteousness, I have believed that Evelyn failed me completely. If she had been sober, alert and interested, my first year might have gone better, and I might have stayed there. If only she’d been the adult and let me be the kid, I say to myself, if only she’d done The Right Thing, I might really have succeeded as a musician. Lately, though, I think that she did all that she could do. She gave me more, in those long, dreamy conversations, than any other teacher gave me in hours of drill and encouragement. Perhaps, behind the alcoholism, the illness, and the dissolution, there was still a discerning person who saw that I wasn’t meant to be a professional musician.  Maybe she abandoned any hope of whipping me into shape, choosing instead to beguile our time together with stories that needed to be heard and kept. There was no “fixing” her, at that late date, and probably no way to Svengali me into the next Yo Yo Ma, and neither one of us tried to do the impossible. Instead, we gave each other something outside any regular rules of student-teacher engagement, and of immeasurable value.

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About imagineannie

I am a 40-something Midwestern wife, mother and lawyer with a passion for cooking, reading about food, eating food...you get the picture.

11 responses »

  1. I love this touching story, your insight into Evelyn, and the good you retrieved from the acquaintance and what you gave to her. Your writing . . . captivating and pleasurable. Thumbs up on the dialogue!

    Reply
    • Thank you. :) It took me a loooooong time to have that insight; I sort of buried the whole thing for almost 30 years. It doesn’t look so bad in the light of day…..

      Reply
  2. Ann,

    Congratulations on finding this stuff. Its been in there a while, only improving. Told you it never was about the food. Don’t slow down now…….

    Reply
    • Can’t, although I fear it may confuse the usual suspects to have me go all poetical on them. I guess I gots to write for myself?

      Reply
  3. You had me at “a face plaid with wrinkles”…

    Ann, this is SO good…is this an older piece, or did you just crank this out (on assignment)…?!

    Great story, great dialogue…made me laugh and…shudder! (Which chapter of *your book* will this be?…somewhere in the middle, closer to the front, or nearer to the end? Can’t wait to read the whole thing!)

    This resembles my experience in music college in many obtuse ways…I arrived with voice as my “principal instrument”, never having actually had a voice lesson in my entire life…

    Invariably, my private teacher would give me an “A” or a “B”, but the “judges” for “the juries” each semester (comprised of the entire the voice faculty, minus my own teacher) would give me a just barely passable rating.

    I lost a self confidence and comfort with singing that has never returned.

    One of the most valuable lessons I learned from one of my bitter-former-wiz-kid teachers was that “the world isn’t going to end if some singer-songwriter doesn’t get his/her songs heard”…and that “if a musician is easier to get along with, shows up on time and is more polite, they will get a gig over a better player more often than not”…

    Reply
    • Thank you; I did just crank it out after you asked about dialogue, although why this story, I don’t honestly have any idea.I guess you made me think about the fact that i tend to distance myself from my writing, and that if I was really “in it,” there would be dialogue…so I experimented.

      The conservatory pretty much wrecked me for music, although I think I was headed out anyway…juries were just the most God-awful, painful thing in the world; I could sorta kinda be “good enough” until i got my jury comments, then they confirmed that I was a giant sink-hole of Non Talent. Still burns, actually.

      I don’t care that you barely passed juries; I knew you were good when I was 14.

      Reply
      • It was suggested to me that I seek out a book called “The Inner Game of Music” (or was it “singing”?)…that there was a series of “Inner game” books for athletes, and that this was like that…at the time, though, I saw *no* connection whatsoever between music and sports, so I never sought out those books…they probably would’ve helped!

        All these years later, having suffered very much from the effects of “performance anxiety”, I see the connection to sports now: music performance is extremely physical, and singing is especially personal…nervousness always put me at my worse (not quite causing what happened to your teacher upon your first meeting, but you get the picture!), causing a bad performance. Didn’t matter if they were talking about “lack of breath support (diaphragm)” or “lack of control, vibrato, etc.”, they were judging *me*…*my voice*…*my feelings*…but their judgements were also producing much of what they were hearing.

        And, ditto…I knew you were good at 14, too! The above is just more proof of it.

  4. Ann,

    This really happened? Omigawd, you have to start from the very beginning and give us the whole story–that was just freakin’ fantastic. A magical musical life — you’re holding out on us, my dear, and that’s not the first time I’ve said this.

    Reply
    • It really happened. Very tough at the time (!) but she deserves to be remembered. Stick with me – more stories to come, although it’s a pretty emotionally rough business to dredge up all that weird s**t.

      Reply
  5. Great, great story. More weird s**t please!

    Reply

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