Flute case in hand, I took another look at the scribbled directions and made my way from Kannai Station, down an alleyway that, in the U.S., most would consider uncomfortably dark. The only source of light was from a “Calpis” beverage vending machine. A Japanese mecca for instant liquid fulfillment, inside the machine were cold cans of soda, warm plastic bottles of tea, and piping hot cans of sweet coffee. At night, similar machines announced themselves in the same way on nearly every street corner, urban and suburban. I looked at my watch. Ten minutes to seven. Better not to blow any of that sugary crap into my flute. I put a 100 yen coin in and got a cold bottle of water.
At the front door of the prefectural government practice hall, a security guard stood and stared at me from inside his booth, blinking a few times as I smiled at him.
“Pa-to-ri-ku-ri-do-n”. I hadn’t been practicing my Japanese lately, so my name in Japanese syllables was all I could come up with.
The guard looked at his clipboard and scratched his head for a moment before his nearly-closed eyes popped to life. The short, cute, elderly man hurried out from behind his glass barrier and bowed, quickly, slightly, pointing down a set of stairs.
“Yoko-kyo? o-lukey-stula?” He nodded at me.
A few seconds of gears turning and I responded “hai,” bowed awkwardly, and hurried down the stairs, taking a seat in the very back of the rehearsal room, past the last row of violins and french horns.
I observed.
From the back of the room, Maestro Kazuhiro stood waist-deep in a sea of black hair; his own short, lanky body and strong cut, yet drooping facial features were topped with a magnificent unwieldy mess of silver hair. I think, If you were to see him outside of this room — perhaps in a subway train filled with other black-suited, briefcase-toting salary men — he might look somehow out of place. Admittedly, his attire would be the same as any other man; it was his face that was perhaps overly bitter in its relaxed state. I pictured Kazuhiro san walking along the streets of Yokohama, vulnerable to those who did not understand his artform. During most waking hours, the inhabitants of the city moved like the wind and I could see them striking him, hard, crisp, and sufficiently chilled, wrapping around his body, through his black wool overcoat, penetrating him to the bone.
In the rehearsal room however, downstairs in the basement of a Kanagawa governmental building, he was Kazuhiro san the Maestro and his face and body came alive: grimacing, winking, flailing, eyes sparkling as he waved his baton fiercely and rapidly.
Up! Down! Out! The motion would go, each time with more and more urgency as the orchestra surged, layered, grew out in every way. His motions seemed to pull sound outward, and then he would reach, delicately stretch, and flick it back. It’s as if the sounds were a pulsing bubble, growing, ever more magnificent, his job to expand it yet make sure it didn’t… POP! went a sound and the whole ensemble stopped abruptly. The black sea of heads tilted up to meet his critical, if now slightly sleepy gaze.
Something had gone wrong in the piece, the bubble had burst. It was apparent that Kazuhiro-san held himself partially responsible. In fact, it may be said that all of the orchestra members, mistake or not, held themselves responsible too. There was immediate tension and subsequent attention.
“DeeeDaaDeeeDaa” he mimicked the phrase the orchestra has just played, cocking his head to one side, he added a slew of Japanese, none of which I understood.
Straightening his head and raising his chin, Kazuhiro fixed his gaze on the imaginary point where the bubble had been. He repeated his musical mimicry, although slightly different this time “DeeeDADeeeDA” he said.
The sea of black heads nodded in agreement.
His baton came up.
The sea of black heads tilted down.
They began the section over.
DeeeDADeeeDA, it went.