Orson Scott Card - Unaccompanied Sonata

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UNACCOMPANIED SONATA

by Orson Scott Card

When Christian Haroldsen was six months old, preliminary tests showed a

predisposition toward rhythm and a keen awareness of pitch. There were other tests,

of course, and many possible routes still open to him. But rhythm and pitch were the

governing signs of his own private zodiac, and already the reinforcement began. Mr.

and Mrs. Haroldsen were provided with tapes of many kinds of sound and instructed to

play them constantly, whether Christian was awake or asleep.

When Christian Haroldsen was two years old, his seventh battery of tests pinpointed

the path he would inevitably follow. His creativity was exceptional; his curiosity,

insatiable; his understanding of music, so intense that on top of all the tests was

written "Prodigy."

Prodigy was the word that took him from his parents' home to a house in deep

deciduous forests where winter was savage and violent and summer, a brief, desperate

eruption of green. He grew up, cared for by unsinging servants, and the only music

he was allowed to hear was bird song and

wind song and the crackling of winter wood; thunder and the faint cry of golden

leaves as they broke free and tumbled to the earth; rain on the roof and the drip of

water from icicles; the chatter of squirrels and the deep silence of snow falling on

a moonless night.

These sounds were Christian's only conscious music. He grew up with the symphonies

of his early years only distant and impossible-to-retrieve memories. And so he

learned to hear music in unmusical things-for he had to find music, even when there

was none to find.

He found that colors made sounds in his mind: Sunlight in summer was a blaring

chord; moonlight in winter a thin, mournful wail; new green in spring, a low murmur

in almost (but not quite) random rhythms; the flash of a red fox in the leaves, a

gasp of sudden startlement.

And he learned to play all those sounds on his Instrument. In the world were

violins, trumpets, and clarinets, as there had been for centuries. Christian knew

nothing of that. Only his Instrument was available. It was enough.

Christian lived in one room in his house, which he had to himself most of the time.

He had a bed (not too soft), a chair and table, a silent machine that cleaned him

and his clothing, and an electric light.

The other room contained only his Instrument. It was a console with many keys and

strips and levers and bars, and when he touched any part of it; a sound came out.

Every key made a different sound; every point on the strips made a different pitch;

every lever modified the tone; every bar altered the structure of the sound.

When he first came to the house, Christian played (as children will) with the

Instrument, making strange and funny noises. It was his only playmate; he learned it

well, could produce any sound he wanted to. At first he delighted in loud, blaring

tones. Later he began to learn the pleasure of silences and rhythms. And soon he

began to play with soft and loud and to play two sounds at once and to change those

two sounds together to make a new sound and to play

again a sequence of sounds he had played before.

Gradually, the sounds of the forest outside his house found their way into the music

he played. He learned to make winds sing through his instrument; he learned to make

summer one of the songs he could play at will. Green with its infinite variations

was his most subtle harmony; the birds cried out from his Instrument with all the

passion of Christian's loneliness.

And the word spread to the licensed Listeners:

"There's a new sound north of here, east of here: Christian Haroldsen, and he'll

tear out your heart with his songs."

The Listeners came, a few to whom variety was everything first, then those to whom

novelty and vogue mattered most, and at last those who valued beauty and passion

above everything else. They came and stayed out in Christian's woods and listened as

his music was played through perfect speakers on the roof of his house. When the

music stopped and Christian came out of his house, he could see the Listeners moving

away. He asked and was told why they came; he marveled that the things he did for

love on his Instrument could be of interest to other people.

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