The year is 2006; my friend Jon Appleton, composer and professor, and I are at his piano in Jon's former home in Vermont. These pictures were taken before my husband and I moved to Montreal and several years before Jon moved to Hawaii, taking his piano with him. Jon and I look quite a bit younger; the piano, of course, always looks just the same. It's an 1895 Steinway B, and is my favorite instrument among those I've had the pleasure of playing.
Jon loves to give dinner parties, and during those evenings back in Vermont he'd often sit at the piano and play for a while, before or after the meal. Sometimes it was serious, but there was always some goofing around too. If other musicians were present, which was often the case, he'd get them to play or sing something. That's where I met the master shakuhachi player Kojiro Umezaki, several Russian friends of Jon's, and many other people who came through town and stopped to visit their former teacher, friend and colleague -- Jon traveled widely, and had musical friends from all over the world.
My husband was a student at Dartmouth College around the time Jon first came there as a professor, so they knew each other, but our acquaintance deepened when we began doing design and advertising work in the 1980s for New England Digital, the developer and manufacturer of the Synclavier, one of most successful music synthesizers. The hardware and software geniuses behind the Synclavier were Sydney Alonso and Cameron Jones, and Jon was the musical adviser. These three were the founders of the company, but Jon didn't stay on as an active business partner -- instead he became a pioneer in electro-acoustic music, composing and performing on the Synclavier all over the world, and developing an influential electro-acoustic music program and state-of-the-art studio for study at Dartmouth. In the summers, New England Digital hosted a summer seminar for users, with technical workshops by the company staff, and concerts and lectures at Dartmouth given by invited guests and Synclavier users such as Lorrie Anderson, Pat Metheny, Oscar Peterson, and John McLaughlin. There was always a picnic at Jon's house where everyone could talk and mingle. Needless to say, it was an exciting time, and we were fortunate to have been involved in it.
I think it was after those years, and after New England Digital had gone out of business, when Jon and I really got to be close friends. in spite of the fact that his international reputation was based on his electro-acoustic compositions and recordings, Jon was a classically-trained pianist who had been a prodigy as a child, but suffered from stage fright and eventually gave it up in favor of composing. All the while he was doing the electronic music, he kept practicing piano for his own pleasure, and wrote compositions that he termed "neo-classical." As we began to know each other better, he learned that I was a serious amateur piano student, and we would talk about classical piano music, sharing favorite recordings and listening together. It was hard for him to get me to play, though, because I was very shy about it and, I'm sure, intimidated. I hated giving recitals and had always had trouble with nerves during solo performances -- my hands would shake and sweat. But Jon understood this, and he kept after me, in a gently encouraging way. For some reason, I also felt drawn to his beautiful piano, and rarely visited him without touching the keys, but seldom sat down to actually play.
The breakthrough was four-hand piano music. Jon loved playing four-hand pieces, and he had composed some marvelous works for his friends Julia and Galina Turkina, a famous Russian four-hand duo in Moscow. He gave me a couple of books of much-easier four-hand pieces and suggested that I learn one part, and we could try playing them together. I'd heard him play four-hand with other people, and I was secretly dying to try it, so I dutifully took the scores home and practiced, and the next time I was up at his house -- not at a big party -- we played. It was such fun, I began to relax and enjoy it. Jon was, as always, very encouraging. "Don't worry about the mistakes!" he'd say. "You play really well! Just have fun!" Of course, nobody could be harder on themselves than he was -- he hated making mistakes! But over time, largely because of his help (I had a very good teacher but she wasn't nearly as kind or gentle as Jon) I gained confidence, and eventually I was able to play in front of other people, both four-hand pieces and on my own -- things like Brahms Intermezzi, Scarlatti sonatas, or Bach Partitas that I'd been working on in my lessons. Sometimes I brought my flute, and Jon would play the piano part. He loved Scarlatti's piano sonatas, and Bach, and we often played favorite passages for each other and talked about the technical difficulties. We worked hard on a suite of four four-hand pieces he had written called Quatre regards sur le Parc du Roy d'Espagne, and hoped to perform it as a farewell party Jon gave for us at his house when we moved to Montreal, but the birth of his grandson intervened. Eventually, I would produce three CDs of Jon's music through Phoenicia Publishing, including his Scarlatti and Couperin Doubles.
Almost all of Jon's neo-classical compositions were composed at his Steinway, and one of my great pleasures during those years was hearing the latest progress he'd made on a composition, and sometimes sitting down to play through parts of it myself -- that's what's going on in these pictures (all taken by my husband Jonathan Sa'adah.) The painting in the background is by Matt Bucy, and to the right in the upper pictures is a print by Matisse. I like how this third picture reminds me of Matisse's own "Piano Lesson," minus the rather ominous but universal figure of the teacher in the background!
I always loved playing that instrument. It had the rich, warm sound that older Steinways are known for, and a fairly light action that made it easier to play music like Scarlatti or Bach than on my own stiffer-actioned Schimmel upright; plus, it had personality -- it's a fine piece of woodworking, and always occupied a central place in Jon's home; it felt like a member of his family, to be greeted and touched and given its share of attention during any visit, to which it responded by helping to make beautiful music and nurture relationships between people.
A few days ago, Jon posted a video on FB in which he says goodbye to his beloved piano, which he is donating to his alma mater, Reed College. The movers were coming later to pick it up. Now in his 80s, and having had some health problems, he says he's not composing anymore, and soon he's moving from Hawaii back to a smaller apartment in Vermont. I read his news about the piano with bittersweet sadness. Because I witnessed the relationship he had with this instrument firsthand, I know how painful it must be for him to let it go, while I also know he's glad to have found a good home for it. I'm also a little wistful because it means I'll never play it again myself. So, along with Jon, I wish this beloved instrument a safe trip to its new home, and I hope many generations of Reed students will appreciate it and perhaps sense a little of the history and love that have been absorbed by those keys. As Jon says in his poignant video, "Goodbye, old friend."
