About two weeks ago, Gyula Jenei invited me to take part in an event for the Eső literary magazine, of which he is the founder and editor in chief. Eső has been important to me since the fall of 2018, when I first became aware of it; I have many of the issues and have learned about many Hungarian writers by reading it and attending the events. He wanted me to play cello between the pieces, and a thought came to mind: what about playing a few Pilinszky miniatures—that is, Pilinszky poems set to cello? I hadn’t chosen the poems yet, or worked out the cello and singing parts, but I knew I could pull this together.
Gyula put me in touch with the event organizer, the kind and ebullient István Turczi, who had a grander plan: there should be five short Pilinszky pieces and a longer classical piece at the end. I had my work cut out for me for the next ten days or so.
I was going to play everything from memory, but for the classical piece, I needed to practice from sheet music at first, and that narrowed the choices considerably. I chose the first movement of Bach’s third cello suite, with some trepidation, because the piece is relentless and I don’t know that I have ever performed it. In addition, I had barely touched the cello all fall, because I have been working on two translation projects, one of which, the Jászberényi, is now done (a draft, that is).
So, on the days when I could, I practiced two to four hours. For the Pilinszky, I would hum and play rough drafts until something took hold. The five poems I chose were “A tengerpartra,” “Akár a föld,” “Amiként kezdtem,” “Metronóm,” and “Ez lesz.” The melodies and atmospheres did in fact take shape; once I had them in my mind, the real practicing began. Here’s a recording of one of them (it isn’t perfect, and I intend to make a better recording of all five, but it gives a basic idea).
As for the Bach, the challenge was different and in some ways much greater, since there was the piece, written centuries ago, and there were my fingers, not quite up to it. I worked on it from different angles and heard it getting better day by day, but didn’t know if it would be anywhere close to ready by Monday. On Sunday I felt a kind of panic and was tempted to contact István and cancel the Bach. But i didn’t.
Then came the event. Such a warm and interesting occasion, in the lovely Szigligeti Kanapé, a performance space with raked audience seats (sloping upward, so everyone can see), a carpeted stage (great for the cello, no chance that the peg will slip out of place), a great program, and the greatest audience in the world: Varga students, a few Varga teachers, and a few others. István Turczi interviewed the writers (Gyula Jenei, Magor Molnár, and Ahmed Amran), and each of them read from their work; at certain transition points, I played a piece. The Pilinszky went over beautifully, even better than I had hoped; it miraculously worked. I tried to relax in between the pieces and listen to the readings, but this was only partly possible; I was making sure in my mind that I remembered the upcoming piece. At one point I thought I had forgotten the third line of “Metronóm.” What was it? What could it be? Then it came back: “a szálkák mozdulatlan jelenét.” As it turned out, “Metronóm” may have been the best of all the pieces. But two pieces later, Ahmed Amran (a Yemeni author who has been living in Szolnok for about twenty-five years and writes in Hungarian) read his story “A földdombok,” which I had read a few times before, and I was surprised to realize that the very ending was going to connect perfectly with the Pilinszky piece that followed.
Azok a földdombok ereszkednek le hozzá, amelyek mellkasukat nyítottak neki, hogy meglelje gyermekkori örömét és a halal végtelen csendjét.
(Those hills descending down toward him are the ones that bared their breasts to him so that he could land upon childhood happiness and the infinite quiet of death.)
And then, immediately afterwards, and closing the Pilinszky series, “Ez lesz”:
Ez lesz
Oszlás-foszlás, vánkosok csendje,
békéje annak, ami kihűlt, hideg lett,
mindennél egyszerűbb csend, ez lesz.
(That Is to Be
Dithering-withering, the quiet of pillows,
the peace of a thing now chilled, gone cold,
a quiet simpler than everything: that is to be.)
And then, after some closing remarks and memories of Eső contributors who had passed away, it was time to finish up with the Bach. “What will be, will be,” I thought, and plunged in. It went a lot better than I had feared. It wasn’t perfect—mostly because I wasn’t anywhere close to perfect in my playing, but also because the cello needed new strings and a higher bridge, which I didn’t undertake before the evening because of all the adjustments involved (not to mention the necessary trip to Budapest). But I played it all the way through without breaking down or losing momentum, and there were some nice moments along the way. In retrospect, I see that I could have chosen something shorter and simpler. But I didn’t know that at the time. I think it was important to do this anyway, because every bit of practicing helped, and it helped the Pilinszky too.
People loved the evening: the readings, discussion, music, and whole atmosphere. Afterwards a few of us went out to a restaurant to talk for a little while. Someone suggested that I record the Pilinszky pieces. I had already thought of doing it, but now I am thinking of doing something other than a home recording, so that it really comes out well. We talked about this and that for at least an hour, and then Marianna and Gyula took me home. I am grateful that Gyula and István invited me to be part of this, and that Marianna took so many photos. And that we had such a good audience. In some way I feel part of Eső now, and the cello has been yanked back into my life in the happiest of ways.
P.S. Speaking of Pilinszky, do come to the online Pilinszky event (hosted by the ALSCW, and featuring special guests Sebestyén Czakó-Kuraly, Csenger Kertai, and Gergely Balla, with me as interviewer and moderator) on March 20! Here’s the informational website, and here’s the Facebook event page.
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