Growing up in the Metropolitan Museum: Part II

The view from the balcony

As I mentioned in my last post, every Friday and Saturday night, a group of chamber musicians play on the balcony of the Metropolitan Museum lobby. Museum-goers can sit at little round tables along the balcony and enjoy an apertif while listening to the music.

When Bob and I first listened to the music, we would just sit across the balcony for a few minutes during our weekend evening trips to the museum. We didn't expect a four-year-old to be patient or quiet enough for us to sit down and order anything. But soon we started to wander timidly through the area, child in tow. (I've seen many, many parents doing this since.) Then one weekend Bob and I went there by ourselves and tried out the bar itself.

Eventually we ventured to take CZ in to sit with us. To keep her entertained Bob had her play "guess the century" with the music. CZ, age five, barely knew what a century was. But her friend from the Chinese Scholars' Court played violin, and it turned out CZ liked the music. It may have also helped that the first violinist was a woman. For the next year, CZ begged me for lessons until I decided she was serious.

CZ, age six, watching the pianist at the balcony bar

The balcony bar became a part of our Upper East Side weekend routine. You could tell the musicians had seen everything: One night someone's napkin caught fire right next to the musicians. At the same table, soon afterwards, a man fell flat on his back as he started to leave. Another time, still at the same table, a tipsy group of women clapped loudly, not only between movements, but every time the musicians played a whole note. The most reaction any of this got were some politely raised eyebrows for the applause--the first couple of times, at least. Bob's mother remains the only person I ever heard actually get shushed by the musicians. She was right up next to the velvet rope explaining something to CZ, because our table was rather far back that night, and she had insisted that they go closer. Her voice does carry.

Once by the end of the first year or so, the cellist leaned over to the violinist as we sat down and muttered, "Here comes your fan club," indicating CZ.

There were other regular listeners, too, including a man we called "the cormorant," because he always sat listening to the music with his head cocked up in the air. There was a disheveled man who always carried a bag of papers that looked like a long-awaited dissertation. And there were people we saw only once, but were memorable, like a little boy who'd busked with his fiddle for a train fare to the city; a Mennonite woman and her daughter; a Mary McFadden look-alike wearing a long, wrapped crepe dress; and a man in a long linen caftan with a mandarin collar whom we dubbed "The Future," because he looked like a character from a science fiction movie. But these are just a cross section of the typical crowd.

We learned a lot about chamber music while listening to the balcony bar musicians over the years. During this time, CZ's skill on the violin was growing, as was our collection of CDs. "Name the century" grew into "Name the composer," and then "analyze the music." I discovered Dvorak's kinship to Brahms, and that I liked Brahms' chamber pieces even better than Dvorak's.

At least for me, the experience of listening to the balcony bar musicians was always somewhat synesthetic. I was coming at this experience from many years of enjoying drawing and painting, so my understanding of the music was colored by what I had just seen in the galleries. And after we'd make our escape before the final flourish (the group had a habit of ending with a waltz, which we never liked as much as the previous piece), the colors in the galleries (especially the Degas pastels in their darkened rooms) seemed more vibrant from the music.

The Singer in Green, ca. 1884

Edgar Degas (French, 1834–1917)

Pastel on light blue laid paper

23 3/4 x 18 1/4 in. (60.3 x 46.4 cm)

Once we moved to Morningside Heights, though, the museum was too far away to visit every weekend. And once CZ started music school on Saturdays, our museum experience was almost eclipsed altogether. We'd mostly go once or twice during the summer. CZ was also becoming a teenager, and once while we were looking at Chinese ceramics, she confided, "This gallery reminds me of wanting to go home." It seemed we were moving on.

But this weekend, knowing that we'd be literally moving on soon, I asked to go back to the museum for one last Saturday evening. When we got there, CZ wanted to wander through the galleries by herself with a camera. Bob thought it might mean she didn't like us, but I understood that it meant she wanted one experience of the museum that was entirely her own. We agreed to meet at the balcony bar at 7:15.

When Bob and I got there, it was almost as though the musicians were waiting for us. We got a table very close to the group (minus the first violinist, who was on vacation), and they were just playing the first notes of my favorite Brahms piano quartet (No. 2). There were no noticeable patron antics that evening, and we simply sat and listened to the whole quartet while CZ took some photos.

As we left, I wanted CZ to go up and thank the musicians for introducing her to chamber music. "Otherwise we'll just disappear, and they'll never know why," I said. I didn't think it was my place to tell them for her, as I've spoken for CZ too long already and I think it's time for her to speak for herself. But she didn't want to, so we left without saying goodbye.

Maybe we'll go back one more time before we move to Italy. Maybe we'll move back here one day. Maybe CZ will move back by herself. Or maybe the years will roll by, everything in the museum will be remodeled, the balcony bar will be discontinued, and our ghosts will be exorcised altogether. But in my mind, the Metropolitan Museum will always be an important part of our family memories, one that spanned three apartments and may have, in the long run, been the place our daughter grew up.