As this blog has observed before, I have to cross the Irish Sea on a regular basis for work. Despite being in possession of a number of unwanted (and, if I’m honest, fairly useless) superpowers, I have yet to master unaided flight and so I am forced to rely on commercial airlines – and mostly FlyBe – to effect these journeys. For the first year or so of my migrations, this process worked improbably smoothly but more recently delays, cancellations and unexpected visits to Cardiff (only its airport, so far…) have become a more regular feature of my life.
On Tuesday evening, I headed out into the torrential rain to catch the bus to the airport. All was well as my bus arrived at the airport, but by the time I had dashed the few tens of yards from the bus stop to the terminal FlyBe had cancelled my flight. This late decision-making is not unusual, it is almost a trope that they will wait until I have arrived at the airport to cancel my flight – though I strongly suspect that the decision is made much earlier. On Tuesday, while no reason was given I suspect it was down the heavy snow that was alleged to be coating the whole of Northern Ireland.
Having re-booked on a flight the following morning, I decided that my evening, and at least some of my journey to the airport, should not be wasted. My ride home takes my past the Turner Sims concert hall, so I stopped off there to enjoy an evening of piano mastery by Marc-André Hamelin. This was a great deal more enjoyable than a flight in a Dash 8 Q400 – though unlike the flight, there were no announcements telling me to sit back and enjoy the experience. The Dash 8 is basically a rather cramped bus with wings and any enjoyment I find in the experience will have been provided by myself: in the form of a book, some music or some iPlayer content. I will admit that on the rare occasions when I am not in a seat from which the view of the outside world is largely obscured by the aircraft itself, and when spared heavy cloud cover or darkness, there is some enjoyment from looking out of the window – but again, I feel FlyBe have made only modest contributions to the beauty of the British countryside.
The programme of music was particularly fine and my favourite was probably the 4th Sonata (in E flat Minor/G flat Major) by Samuil Feinberg – a composer entirely new to me. However, the concert was perhaps most significant for a change in the author. I have for many years (>20) attempted to sit on the left-hand side of concert halls for piano music, so that I can see the pianist’s hands. I’m not entirely sure what insights I have been expecting to obtain from this observation, but I think my piano playing makes clear that few, if any, have arisen. However, on Tuesday I found myself – for the first time – devoting significant CPU time observing his feet! Truly, I have started to integrate use of the pedals into my core identity.
My observations that evening led me to two new insights. The first is that I am excessively lead-footed when using the sustaining pedal: for me it is a very binary option – no shades of grey. The second followed from the first and is that I find that I am – or at least can imagine being – better than my digital piano. This was not a situation in which I ever expected to find myself. I know that the piano sound is sampled and so not entirely like that of a real piano. I also know that the keys are only pretending to have the haptic feedback of hammers striking strings. However, I never expecting that my own dull senses would ever become aware of these compromises for the sake of convenience (and cost and space). I lay the blame for the unanticipated discernment of my ears and hands on my piano teacher: he it was who let me loose on a grand piano. It may represent a continuing, serious risk of head injury and not be particularly grand – but it has opened my senses to a bigger (dare I say, grander) world. The grand still manages to shock me whenever I use the una corda pedal and the entire keyboard shifts slightly to the side. However, the main issue is that the sustaining pedal on my instrument seems to be either off or on, but I want to play with more nuance. I also think I’m reaching the point when playing Scarlatti where I want better feedback from the keys to improve the musicality of my performance. This is particularly true when playing the same note multiple times, especially when responsibility has to shift from one hand to t’other.
It comes as something of a shock at my advanced age to find that I am rather less lumpen than I had always believed: it feels quite late in the day to start editing my self-image. However, after returning from another gig last night where the Steinway D was in action, I did find myself searching on-line for digital pianos with more convincing keys and pedals and a better soundscape than the Kawai CA65 can provide. What has happened to me? Am I turning into an audiophile? Am I about to start buying vinyl? I’d assumed at this point I could focus my efforts on settling into the slow decline to the grave, but instead I seem to be wallowing in the new and acquiring unexpected skills. Maybe there is still hope for unaided flight!
To finish this tale, I should report that the following morning FlyBe did manage to successfully transport me to Belfast. I was disappointed to find the city snow free – though there was a dusting on the surrounding hills – and no need to attach tennis rackets to my feet so that I could yomp into the city. To be honest, I needed a boat more than snow shoes given the torrential rain that afflicted the city for much of my stay. I did finally directly encounter snow on the Thursday – though this was in the car park of the Banbridge Outlet shopping centre which, to the best of my knowledge, does not double as a regional airport.