What’s on the music stand on Mila’s Steinway?
Mila Nessian is often at the piano. The Steinway in the sunroom at the lakehouse is a battered old instrument, much loved, ringed with wine stains and imbued with memories of her mother. It is a solace and she falls into it when she’s in need of comfort, when she’s in pain and when she’s in love.
Mila’s choice of music definitely tends toward the romantic – in the classical music tradition this refers to the period from around 1840 to 1900 and includes such giants as Beethoven, Chopin, Brahms, Mahler and Tchaikovsky. These guys were into seriously chunky sound, with grandiose melodies over heart-rending and complex accompaniment. When they were writing for orchestra, it was all about sweeping strings, proud horns and extravagant use of the percussion section. On the piano, it was virtuosic.
But Mila has a particular fondness for the Russians – Glinka, Mussorgsky and Tchaikovsky – probably because of her father’s influence, and perhaps because her mother played these pieces when she was younger. She’s also fascinated by the composers of the late romantic period, which is when the music gets really interesting. At this end of the period, we’re talking about Rachmaninoff, Scriabin, and her other fave from Finland, Sibelius.
There’s something in this music that Mila really connects with. Just as her universe is breaking all the rules but at the same time revealing a wealth of mystery and intricacy for her to explore (what with the 1936 discovery of subatomic particles), the late romantics were exploring the disintegration of traditional musical form. The familiar cadences and progressions that had been the foundation of the baroque composers (Bach, Telemann etc) and the classical writers (Mozart, Hayden, Schubert) were being picked apart. It was a new music that reflected the chaos of the period – industrialism was changing age-old roles in society, wars raged across the continent, science challenged faith and nothing felt solid or secure.
For some, this was frightening. For others, exciting.
For Mila, the descent of culture and society into Nazi extremism is reflected in the anguish and the really crunchy harmonies of the late romantics. In the same sounds, she hears hope, beauty and an extravagant freedom – exactly the things her heart yearns for.
The Playlist — Once in Berlin on Spotify
I’ve put together a playlist of Mila’s fave pieces. It’s a mixed bag of Rachmaninov, some gentle Scriabin, some lyrical Glinka and some intriguing Sibelius. You can find it here on Spotify.
For those who don’t Spotify, here is a general run-down plus a few youtubes I’ve managed to collate.
Angry Rachmaninov
Cissie first hears Mila play when she is hurt and angry. “No angry Russians at breakfast,” Jack shouts. He can only be talking about Rachmaninov. The most well-loved ‘angry Rach’ piece is his Prelude in C sharp minor Op.3 No.2. I’d like to add that it is a total bitch to play, and while I had the notes a few years ago, I’ve decided to let it go. I still love it to death though.
Valentina Lisitsa’s performance is divine.
Lyrical Scriabin
Later, Mila entrances Cissie with some lyrical Russian stuff on the morning after their first night together. She’s playing a few of ‘the nicer Scriabin preludes’.
Scriabin can be both a joy and a complete mind-fuck. The gossip says he believed he was god and actually tried walking on water on a lake in Switzerland, but he also had synesthesia and saw music in colours. For all his weirdness and apparent attitude, he had the musical chops to back it up.
Listening to Scriabin is best done with a gin and tonic in hand, preferably dangling your legs over the edge of the pool and in the firm knowledge you have nothing to do tomorrow.
The ‘nicer preludes’ include his 24 Preludes for piano, Op 11. Start with Numbers 2, 5, 11, 12, 21 and 22. Here is Yuja Wang playing numbers 11 and 12. No. 11 starts at the beginning, No. 12 starts at 3.28.
Valentina Lisitsa plays numbers 2, 5 and 22 very nicely indeed. Check the timecodes in the description to jump to the individual works.
Gorgeous delicate Russian stuff
On a certain morning before Mila subcombs to the first of her science brain fugs, she plays something lyrical and Russian while the others discuss the Austrian Anschluss. She’s probably playing The Lark, a piece by Mikhail Glinka and arranged by his student, Balakirev. This piece breaks my heart – and my fingers.
And some Sibelius
For when Jack is sick of the Rachmaninov.
Mila’s recital – all the pieces on the Spotify playlist
The Lark, Mikhail Glinka, arr. Balakirev
Variations in E Minor on the The Nightingale part III, Mikhail Glinka
Elegie: Op. 3, No.1, Sergei Rachmaninov
3 pieces, Op. 2, Prelude No. 2 in B major, Alexander Scriabin
24 Preludes, Op. 11 No. 5 in D major, Alexander Scriabin
24 Preludes, Op. 11 No. 11 in B, Alexander Scriabin
5 pieces, Op. 75, “The Trees” Spruce, Jean Sibelius
6 Impromptus, Op. 5, No. 5 in B minor, Jean Sibelius
13 Preludes, Op. 32, No.12 in G-sharp minor, Sergei Rachmaninov
Prelude in C-sharp minor, Op. 3, No. 2, Sergei Rachmaninov
Yes! The Resi Casino was real. Where is my time machine? Read about the real-life characters
from Once in Berlin.
A Spotify playlist of all the classical music from Once in Berlin.