“Aubade” — a short story by Jeff Bakkensen

April 13th, 2020




“Aubade,” a story by Jeff Bakkensen, was a short-listed entry in our recently concluded 53rd Short Fiction Contest. It is published with the permission of the author





Image by Matteo Ferrari from Pixabay







Jeff Bakkensen



…..Doesn’t every house have its own unique smell? How is that, when everyone’s mom cooked the same pot roast, used the same cleaning powder? And why is it that you never notice your own house’s smell, but you’ll recognize it. Like a false memory. Deja vu. This in spite of all the world’s other smells, despite sinus infections, broken noses, cocaine, despite confusing your wife’s and daughter’s birthdays. You could forget your own name, forget your address, but stumble through the doors and catch the first note of that smell, and you’re home.

…..David’s childhood had been blessed with three homes, one each for mom, dad, and spinster Aunt Margaret. His parents’ places were long since disposed of, but he still owned Margaret’s, an honest-to-goodness mansion, Federalist, Republican, upright atop a high point overlooking the center of Jamaica Plain in south Boston. Thank God for Margaret, and for the market that cratered just as she passed. Every cloud.

…..He reached down and plucked the realtor’s sign from the husking grass beside the driveway. In his other hand, he carried his violin case and a plastic bag with essentials like a small bottle of rescued Scotch. He laid the sign by the front door and got out his keys and as the door opened, there it was, baked behind closed glass all summer long. That smell.

…..He’d lived perhaps the better part of his life out of suitcases. This would be no different. Another temporary stay while Helene caught her breath in their South End apartment. A caesura, nothing more. He laid the violin on the plastic-sheeted couch in the living room and continued on into the kitchen. Set his bag on the counter. There would be no ice; the appliances were all unplugged. But there were glasses. He realized as he brought the first sip to his lips that he’d been holding his breath for as long as he could remember, breathed in, choked, settled himself, and drained the glass.

…..He went back out to the car and brought in a suitcase with the things he’d thought to throw in at the last minute: toiletry case, phone charger, some underwear. He checked his phone. Nothing from Helene. He poured another drink, began to feel more himself. He moved the violin to a table, peeled the plastic from the couch, and sat down.

…..A week went by with no sign of a thaw from the South End. Sorties made to raid the place for clothes were met with no resistance. This wasn’t just another temporary stay. It was as if Helene had disappeared herself from their marriage. David spun himself in circles launching volleys of texts that swung out into the targetless ether. He breathed in the mold-marbled air of Margaret’s house. He came to recognize the shift changes behind the counter at the deli down the street. Late summer deepened and then dripped away. With gravity, he switched from takeout to groceries, contracted for cable and internet. He began deleting texts before sending them, and settled down to wait her out.

…..David’s wasn’t the only life in flux. In August, his standmate Brendan had failed his tenure review. The orchestra’s version of a pink slip. He’d been given a final season to send out auditions while they searched for his replacement. He was still young, unattached; he’d find something somewhere. But his days with the Big Five, the symphonies in Boston, New York, Chicago, Philadelphia, and Cleveland, were over.

…..Brendan had regressed since being hired the year before. Alone, his tone was tinny and lacking confidence. Submersed within the concert of violins, David sometimes caught him faking, playing simpler phrases that were close enough to the melody to not be noticed by anyone sitting farther away than right next to him, but which were still, unmistakably, wrong.

…..“A painter with eye strain,” David told him over the phone. “A sommelier with a cold. That’s all.”

…..“Yips,” said Brendan.

…..It didn’t feel like the right time to talk about the separation.

…..Labor Day came and with it a return to a regular schedule. Rehearsals, performances, plus lessons for students at Berklee College of Music. The orchestra gathered in the performance space at Symphony Hall and talked through the weeks they’d spent apart. Pictures were shared, trips discussed. From behind a curtain at the side of the stage the conductor appeared, a spindly man whose black shirts seemed purposefully unironed, and the musicians sifted towards their sections and seats.

…..The fall season played forward like a trip down a slide that got progressively narrower. They cycled through Brahms, Beethoven, Strauss, and Shostakovich. Soloists from Central Europe came and went. In the chair next to David’s, Brendan reliably faked his way through another difficult motif while offstage, the massive apparatus of the orchestra administration creaked towards the search for his replacement. Numbers whispered around the edges of the strings: three hundred applications, eighty passed to the audition round. You might hear now and then about a timpanist retiring early, a bored bassoonist leaving to write jazz, but Big Five openings were rare. The vast majority of them would expire or nearly so still nominally occupying their named and endowed chairs.

…..“A friend of mine from college was just in for her audition,” said Dawn, who sat in the row behind David. “I think you’d like her.” And then fell silent as Brendan made his way towards his seat.

…..They were those rarest birds: salaried artists. They could spot each other at a distance by the black nylon cases they carried from their cars or the train to the staff entrance at Symphony Hall. They chatted in the locker room and assembled onstage, 94-strong. When each of them played well, they produced a harmonious whole. When they did not play well, they lurched, four bars and stop, four bars and stop, forward and backward until the sections in question played themselves like nonsense words. Usually, there was little disagreement on what was meant to be played. The challenge was letting someone else coaxing it out of you.

…..Sometimes after practice, David crossed Huntington Avenue and walked through the South End on a looping path to the Orange Line. It was still his neighborhood after all, still the same trees shading the sidewalk, the blinds in his apartment’s bay window waving as he passed.

…..“Why is mom saying you won’t be at Thanksgiving?” asked their daughter Tonja, calling from Brooklyn. A shiver like he’d been caught in a lie.

…..“What’s that?”

…..“When were you going to tell me?”

…..He wasn’t sure he’d known.

…..It had been too early to confide in Brendan and now it was too late. He spent Thanksgiving eating off styrofoam in Jamaica Plain. And then it was December, and Christmas with its round-the-clock commitments to Handel and Tchaikovsky, really too late and too awkward to explain why he hadn’t told him to start with.

….. Tonya came to see the Christmas Eve performance and he took her to dinner afterwards, both of them purposefully avoiding the obvious topic.

…..The guilty truth, he was finding, was that there was nothing wrong with being alone. Aloneness meant the ability to choose: to sleep in, to eat out, to meet friends post-performance drinks. He asked Tonja for help finding healthy recipes for beginners. He bought a vacuum cleaner and actually used it. He began to plan more than a few weeks ahead at a time.

…..By early spring they had a name: Julia Malkin. Dawn’s college friend. David found her picture and bio on the faculty page of a prep school in the suburbs. Studied at Rochester, a few second-tier professional affiliations. She was young for the orchestra but not exceptionally so, with reddish brown hair and a thin face. Dawn gave him her email, and he sent an invitation to coffee. She accepted.

…..As a kid, he rode out to Aunt Margaret’s on the old elevated Orange Line along Washington Street. It made for a grand tour exiting the tunnel at Back Bay, holding your backpack to your chest as you passed over Dudley Square’s profusion of ethnic storefronts, and then finally letting out a train-brake sigh of relief at the Forest Hills terminus. They’d sunk the elevated underground in the ‘80s, when he’d been in New York. Now, riding the other way, all he could see was tunnel wall lit gray where the cut of the track was exposed to the sky.

…..Julia was waiting for him in a window of the Starbucks a block from Symphony Hall. David guided her to a table towards the back. They sorted through their hellos.

…..“I can’t believe it,” she said, indicating the direction of the Hall. “It’s so close.”

…..He nodded, and he realized he had no idea what he was hoping they’d talk about. Maybe Dawn could have given him topics. Instead, he found himself describing his relationship with Brendan, as if that’s what she wanted to hear about, “You develop a certain allegiance to each other, almost a fraternal – ”

…..“Or sororal,” she said, which made him stop and smile.

…..“You never want to see it happen to someone you care about,” he said sotto voce. “But he wouldn’t have been happy if he stayed. It’s – things can get difficult when you’re no longer contributing.”

…..She had broad shoulders that folded in over the table as she blew on her coffee. Her glasses kept sliding down her nose. He wondered if she wore contacts when she played.

…..“It does feel a bit like the first day of school,” he said. “Still. Meeting your new deskmate. Hoping you don’t end up with the kid who eats paste.”

…..“You think I don’t eat paste?”

…..He checked both ways as he left Starbucks and continued on to rehearsal. Brendan was already in his seat, studying the page of Brahms in front of him as if he intended to actually play it.

…..“Diversity hire,” he whispered. David glanced towards Dawn’s empty seat, and then tried to meet Brendan’s eyes.


…..“You know the difference between a bull and an orchestra.”

…..“I’ve heard this one.”

…..“Like most animals, but unlike an orchestra, a bull has its horns at the front and its ass in the rear.”

…..In bed that night, he Googled her name again. Her head shot showed her seated, shoulders back and head erect, instrument held upright by the neck, face and turtleneck front lit against a black background.

…..When he’d met Helene at Berklee, the Starbucks was a hardware store. The hippie era was swinging down to its muddled end. After graduation, they moved to New York, where David worked his way up the orchestral hierarchy while Helene played with a series of self-cannibalizing bands that flitted between the darkened bars around Washington Square Park. Coming back to Boston had been like emerging from the pool of youth into the becalmed air of middle age. They acquired in quick succession a car and a dog, and then had a child. The dog and car were long gone; the child was on the phone again.

…..“Dad, she wants you to come back. What are you waiting for?”

…..They weren’t not talking. He called her after an evening giving notes as one of Berklee’s latest rising stars flawlessly executed Bartok’s Violin Concerto #2.

…..“I should feel proud, but I just feel old,” he said. “I feel left behind.”

…..“You are old.”

…..“We’re both old.”

…..“That’s not charitable.”

…..He pressed his phone against his ear as if looking through the bay window. He could see her on their bed, head resting on a stack of pillows, a younger version of his own hand running his fingers through her hair until it lay spread down the back side of the pillows like the root system of a great tree.

…..Or maybe he’d only remembered them speaking some other time. He couldn’t, he realized, put an exact date on their last conversation.

…..“Have you considered the role of resentment?” he asked Tonja.


…..“Two musicians, equally talented.”

…..They waited while each section tuned. They waited for the conductor to make his way to the podium. They waited while he instructed and bantered. There was nothing wrong with waiting. You learned to trust the insight made while you waited.

…..He and Brendan closed out the season with a trip to a dive bar overlooking I-90 on its way past Symphony Hall.

…..“What do all great musicians have in common?” asked Brendan, watching through a chain-link fence as the traffic stalled beneath them.

…..“You’ll figure it out,” said David. “There’s pressure in the tank but the faucet’s blocked.”

…..“Symphony reject falls flat.”


…..And then he was gone, off to a trial period at the Buffalo Philharmonic and a lifetime, no doubt, of tutoring neurotic teens until they began to complain of finger soreness and then disappeared.

…..David left a voicemail for Helene as he packed for the summer season.

…..“I was thinking, if you’re in the neighborhood. I could be in the neighborhood.”

…..Each spring, HR circulated a list of rentals available near Tanglewood, their summer venue in western Massachusetts. David usually went for the cheapest place he could find, but this year settled on a grand old vacation home befitting the owner of the mansion in Jamaica Plain. He arrived to a musty, rambling place with rows of dead bugs lining the window sills. Mismatched furniture suggested the successive waves of redesign happening at some other home.

…..Tanglewood was classical music removed from the rarified air of Symphony Hall. The selections were more accessible, the orchestra itself more democratic. And yet, released from formality, old relations seemed only to grow stronger. At a kickoff barbeque hosted by the concertmaster and his wife, David watched the hosts circulate between groves of pale, hairless legs sorted by habit into strings, woodwinds. The conductor arrived late, dressed in black pants and a black shirt made of something like crepe paper. He began to make his own way amongst the tables and the concertmaster and wife stood again and joined him, a super-giant trapping smaller bodies in orbit.

…..They performed twice a week at the main open-air stage. Other nights might feature collaborations with pop stars or a classic movie with the orchestra as live accompaniment. David’s began with a late breakfast and a walk. Then rehearsal or solo practice, and on non-performance days, a routine of studied leisure. He raced through a shelf of beach reads sitting on the back porch, drink in hand, the back yard sloping down into a wooded ravine. Sometimes he played for the trees, imagining confused hikers trying to follow the music. Dinner, more reading, another drink or two, bed, and in the morning a hearty breakfast to sop up the effects of the night before.

…..Tonja called, and he let her go to voicemail. He could imagine the conversation. They were both being stupid, stubborn. How could he break to her the tragedy of coupled life, that you adapted until neither of you liked the people you’d become?

…..There were workshops, lectures. A youngish trumpeter organized a hike up Lenox Mountain and at the top, in the shadow of a cell phone tower, they passed around a joint.

…..“Why did Shostakovich take his 14th Symphony to the doctor?” David asked the trumpeter. “Its movements were irregular.”

…..Walking down, he felt the summer sun sweating his back and grounded heat through his shoes and even the mountain rolling its shoulders, thrusting him up as he descended.

…..Another party followed their performance led by a visiting luminary. Dressed in his tux, David funnelled to his table through a maze of small function rooms hemmed into coherence, left his name card at an empty seat, and headed to the bar. He got two vodka sodas and downed one as he turned towards a row of windows giving out onto the main lawn. The sun was slowly setting and the heat released the smell of dry cleaner’s chemicals buried in his jacket.

…..He felt someone standing next to him and turned to find Dawn.

…..“Slow down there cowboy,” she said. “You missing your better half?”


…..She looked at him quizzically.

…..“I mean since Brendan’s gone. Who’s Helene?”

…..He’d never worn a ring. It would have impeded his left hand.

…..“You’re kidding,” she said.

…..She had no idea he was married.

…..He milked his morning, watching the room take shape as the sun rose above the trees. He’d had an idea of himself that he thought more or less overlapped with the way that other people thought of him. At their next performance, he ran his bow soundlessly over his strings, gritted his teeth and shifted his fingers in imitation of a classical violinist. No one said a word.

…..He made up his mind.

…..Driving back to Boston after the season’s close, he called Tonja.

…..“I suppose you could say I haven’t always been honest,” he heard himself say, “or maybe clear is a better word. I haven’t shared.”

…..She told him she was impressed.

…..“This doesn’t sound like you talking,” she said.

…..He left a voicemail for Helene. She had to call back eventually.

…..Later that week, he rode the Orange Line down to Symphony Hall beneath a sunless white sky. He breathed in the smell of the offices, which must have grown on him while he was away. A few forms to complete while a phone rang unanswered in another room. And a final walk through the performance hall with its polish, lingering rosin, seats waiting to be filled.







Jeff Bakkensen lives in Boston. Recent work has appeared in A-Minor Magazine, Oblong Magazine, Smokelong Quarterly, and The Antigonish Review.




Short Fiction Contest Details





Share this:

Comment on this article:

Your email address will not be published. Required fields are marked *

In this Issue

photo courtesy John Bolger Collection
Philip Clark, author of Dave Brubeck: A Life in Time, discusses the enigmatic and extraordinary pianist, composer, and band leader, whose most notable achievements came during a time of major societal and cultural change, and often in the face of critics who at times found his music too technical and bombastic.

Greetings from Portland!

Commentary and photographs concerning the protests taking place in the city in which I live.


Mood Indigo by Matthew Hinds
An invitation was extended recently for poets to submit work that reflects this time of COVID, Black Lives Matter, and a heated political season. 14 poets contribute to the first volume of collected poetry.


photo by Russell duPont
The second volume of poetry reflecting this time of COVID, Black Lives Matter, and a heated political season features the work of 23 poets

Short Fiction

photo FDR Presidential Library & Museum
Short Fiction Contest-winning story #54 — “A Failed Artist’s Paradise” by Nathaniel Neil Whelan


Red Meditation by James Brewer
Creative artists and citizens of note respond to the question, "During this time of social distancing and isolation at home, what are examples of the music you are listening to, the books you are reading, and/or the television or films you are viewing?”


Ornette Coleman 1966/photo courtesy Mosaic Images
In a Jerry Jazz Musician interview, Ornette Coleman: The Territory And The Adventure author Maria Golia discusses her compelling and rewarding book about the artist whose philosophy and the astounding, adventurous music he created served to continually challenge the skeptical status quo, and made him a guiding light of the artistic avant-garde throughout a career spanning seven decades.

Spring Poetry Collection

A Collection of Jazz Poetry – Spring, 2020 Edition There are many good and often powerful poems within this collection, one that has the potential for changing the shape of a reader’s universe during an impossibly trying time, particularly if the reader has a love of music. 33 poets from all over the globe contribute 47 poems. Expect to read of love, loss, memoir, worship, freedom, heartbreak and hope – all collected here, in the heart of this unsettling spring. (Featuring the art of Martel Chapman)

Publisher’s Notes

On taking a road trip during the time of COVID...


photo by Veryl Oakland
In this edition of photographs and stories from Veryl Oakland’s book Jazz in Available Light, Dexter Gordon, Art Farmer and Johnny Griffin are featured


A now timely 2002 interview with Tim Madigan, author of The Burning: Massacre, Destruction, and the Tulsa Race Riot of 1921. My hope when I produced this interview was that it would shed some light on this little-known brutal massacre, and help understand the pain and anger so entrenched in the American story. Eighteen years later, that remains my hope. .


Michiel Hendryckx / CC BY-SA
"Chet Baker's Grave" is a poem by Freddington


painting of Louis Armstrong by Vakseen
In Dig Wayne's "Iconolast," Louis Armstrong is responsible for saving the lives of every man, woman and child on the ball bearing line at the Radio Flyer wagon factory...


photo by John Vachon/Library of Congress
“Climate Change” — Ten poems in sequence by John Stupp

Book Excerpt

In the introduction to Dave Brubeck: A Life in Time – the author Philip Clark writes about the origins of the book, and his interest in shining a light on how Brubeck, “thoughtful and sensitive as he was, had been changed as a musician and as a man by the troubled times through which he lived and during which he produced such optimistic, life-enhancing art.”


NBC Radio-photo by Ray Lee Jackson / Public domain
In a Jerry Jazz Musician interview, acclaimed biographer James Kaplan (Frank: The Voice and Sinatra: The Chairman) talks about his book, Irving Berlin: New York Genius, and Berlin's unparalleled musical career and business success, his intense sense of family and patriotism during a complex and evolving time, and the artist's permanent cultural significance.

Book Excerpt

In the introduction to Maria Golia’s Ornette Coleman: The Territory and the Adventure – excerpted here in its entirety – the author takes the reader through the four phases of the brilliant musician’s career her book focuses on.


Art by Charles Ingham
"Charles Ingham's Jazz Narratives" connect time, place, and subject in a way that ultimately allows the viewer a unique way of experiencing jazz history. This edition's narratives are "Nat King Cole: The Shadow of the Word," "Slain in Cold Blood" and "Local 767: The Black Musicians’ Union"


Library of Congress, Prints & Photographs Division, Carl Van Vechten Collection
Richard Crawford’s Summertime: George Gershwin’s Life in Music is a rich, detailed and rewarding musical biography that describes Gershwin's work throughout every stage of his career. In a Jerry Jazz Musician interview, Crawford discusses his book and the man he has described as a “fresh voice of the Jazz Age” who “challenged Americans to rethink their assumptions about composition and performance, nationalism, cultural hierarchy, and the racial divide.”

Jazz History Quiz #140

photo by William Gottlieb/Library of Congress
Although he had success as a bandleader in the 1930’s, he is best known for being manager of Harlem’s Minton’s Playhouse (where Thelonious Monk was the pianist) during the birth of bebop. Who was he?


photo unattributed/ Public domain
In a Jerry Jazz Musician interview with The Letters of Cole Porter co-author Dominic McHugh, he explains that “several of the big biographical tropes that we associate with Porter are either modified or contested by the letters,” and that “when you put together these letters, and add our quite extensive commentary between the letters, it creates a different picture of him.” Mr. McHugh discusses his book, and what the letters reveal about the life – in-and-out of music – of Cole Porter.


photo by Fred Price
Bob Hecht and Grover Sales host a previously unpublished 1985 interview with the late, great jazz saxophonist Lee Konitz, who talks about Miles, Kenton, Ornette, Tristano, and the art of improvisation...


photo by William Gottlieb/Library of Congress
Con Chapman, author of Rabbit's Blues: The Life and Music of Johnny Hodges discusses the great Ellington saxophonist

Pressed for All Time

A&M Records/photo by Carol Friedman
In this edition, producer John Snyder recalls Sun Ra, and his 1990 Purple Night recording session


photo by Bouna Ndaiye
Interview with Gerald Horne, author of Jazz and Justice: Racism and the Political Economy of the Music

Great Encounters

photo of Sidney Bechet by William Gottlieb/Library of Congress
In this edition of "Great Encounters," Con Chapman, author of Rabbit’s Blues: The Life and Music of Johnny Hodges, writes about Hodges’ early musical training, and the first meeting he had with Sidney Bechet, the influential and legendary reed player who Hodges called “tops in my book.”


The winter collection of poetry offers readers a look at the culture of jazz music through the imaginative writings of its 32 contributors. Within these 41 poems, writers express their deep connection to the music – and those who play it – in their own inventive and often philosophical language that communicates much, but especially love, sentiment, struggle, loss, and joy.

“What are 4 or 5 of your all-time favorite Blue Note albums?”

"What are 4 or 5 of your all-time favorite Blue Note albums?"
Dianne Reeves, Nate Chinen, Gary Giddins, Michael Cuscuna, Eliane Elias and Ashley Kahn are among the 12 writers, musicians, and music executives who list and write about their favorite Blue Note albums

In the Previous Issue

Interviews with three outstanding, acclaimed writers and scholars who discuss their books on Irving Berlin, George Gershwin, and Cole Porter, and their subjects’ lives in and out of music. These interviews – which each include photos and several full-length songs – provide readers easy access to an entertaining and enlightening learning experience about these three giants of American popular music.

In an Earlier Issue

photo by Carol Friedman
“The Jazz Photography Issue” features an interview with today’s most eminent jazz portrait photographer Carol Friedman, news from Michael Cuscuna about newly released Francis Wolff photos, as well as archived interviews with William Gottlieb, Herman Leonard, Lee Tanner, a piece on Milt Hinton, a new edition of photos from Veryl Oakland, and much more…

Contributing writers

Site Archive