Hide And Seek. Amy Bird

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       Chapter Twelve

      -Will-

      I can see Ellie thinks that she’s convinced me.

      But she hasn’t.

      I just don’t want any more of those dreams. As I walk to the station, I feel like I’ve only slept for twenty minutes. And of course, that could be true. But it must all have been REM phase, otherwise I don’t know how I managed so many nightmares.

      And there’s the counting to ten mentality. In other words, the need to indulge your pregnant wife. I was furious last night, when we got home. Really, I was. It was on the tip of my tongue to say that I couldn’t stand to look at her any more that night, to go and sleep on the sofa. But you can’t do that, can you? You can’t run away from the mother of your child, however mad she is. And half of the madness must be hormone-induced. Can’t ever say that of course – I’d be lynched, or divorced, or both. But it’s true, I’m sure. So half the stuff that Ellie comes out with isn’t her at all; she’s just a mouthpiece for raised progesterone. I’ve got to be the strong, stable one in the centre of this. To take responsibility for keeping our marriage on track until that baby’s out. It will all be much better then.

      At first, though, I couldn’t sleep at all. I was just too angry. At myself, just as much as at Ellie, for rising to her bait. I’d put my arms round her to spoon her, like we usually do – she can’t stand it when I sleep with my back to her – but my heart wasn’t in it. Then came the remorse. I shouldn’t be lying in bed projecting anger into the home of my little boy. Ellie, in her own peculiar way, is just looking out for me. She gets these odd ideas. That’s why I love her. She must know I was still angry. In anyone less strong, these arguments might cause mental turmoil, even a miscarriage. In fact perhaps they had. I raised my head from the pillow to listen for signs of distress. No. There she was, snoring gently to herself. Which made me a bit angry again, given she was the one who’d stopped me sleeping.

      So I went downstairs instead, rather than lying next to her, simmering in resentment. And I tried to sleep. But how can you sleep when your wife has decided that your father isn’t your father? How can you not replay all the conversations you remember? And try to find in your memories the ones that you can’t? I tried and I tried to think of Max Reigate being there when I was little. But there’s nothing. Nothing before that eating of the daffodil outside the house in Kingston, captured by Kodak.

      And if your wife is claiming that your real father is in fact an eminent musician, how can you stop yourself from replaying his music as well? So I got out the CD and played it to myself. I really listened this time. To the orchestra all together at the start, quiet, mellow, but expectant. Then in it comes. The third voice. The Reigate voice. Strident, unapologetic, like the voice of some eternal truth. You can almost tell he wrote the concerto himself. It is designed to show off the piano. No little tinkling tunes. Straightaway, there’s this intense mood. All these heavy notes and accents. Every three notes, there’s one really powerful one. Like a war march, or something. Every so often, the orchestra will get a look in. Or the orchestra such as it is – he doesn’t even seem to be using the full one, just strings and woodwind, so there’s nothing to compare with the weight of the piano. In the first movement, there are just two voices – orchestra and piano. But later, in the second and third movements, it’s like a three-way conversation, violins fiddling and oboes whining against the weight of the piano. But they cannot win. Not against all that force, all that violence. You feel like you’re becoming the piano, its music is so far inside you. It’s a wonder they managed to record it live, the way he hammered at the strings of the piano. You’d think they’d split and break. Maybe that’s part of his skill; exerting just enough pressure with the hammers so that the instrument can go on functioning. He gives it a bit of a rest in the second, slower movement – saves himself for that soul-wrenching final cadenza at the end of the third. Then the piano tuners lift the lid and see the real damage.

      The second track, or movement, whatever it’s called, is a bit softer at first. And he’s allowed the string section a bit more of a look in. There are three ingredients then, in an uneasy harmony – him, the violins and the woodwind. Still that brutal and haunting central tune though, carried across the three of them. And even though it’s slower, the second movement, you are constantly in suspense about where the piano will take you next. But it’s nothing to the last movement. The sheer pulsating violence of those runs, the anger, almost, with which the piano answers the violins. It’s like some kind of defiance – yes, yes, YES goes the piano. No, no, NO, say first the strings, then the woodwind. The piano gets the last word though. Heroically, brilliantly, romantically, it comes in with this final flourish. Think of the fingers that play that. The brain that composed it. Think of being fathered СКАЧАТЬ