LITMIR.BIZ

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not go on like that. Kohn would try hard to be silent: but he could not do it: at once he would begin again to sniffle, sigh, whistle, beat time, hum, imitate the various instruments. And when the piece was ended he would have burst if he had not given Christophe the benefit of his inept comment.

      He was a queer mixture of German sentimentality, Parisian humbug, and intolerable fatuousness. Sometimes he expressed second-hand precious opinions; sometimes he made extravagant comparisons; and then he would make dirty, obscene remarks, or propound some insane nonsense. By way of praising Beethoven, he would point out some trickery, or read a lascivious sensuality into his music. The Quartet in C Minor seemed to him jolly spicy. The sublime Adagio of the Ninth Symphony made him think of Cherubino. After the three crashing chords at the opening of the Symphony in C Minor, he called out: "Don't come in! I've some one here." He admired the Battle of Heldenleben because he pretended that it was like the noise of a motor-car. And always he had some image to explain each piece, a puerile incongruous image. Really, it seemed impossible that he could have any love for music. However, there was no doubt about it: he really did love it: at certain passages to which he attached the most ridiculous meanings the tears would come into his eyes. But after having been moved by a scene from Wagner, he would strum out a gallop of Offenbach, or sing some music-hall ditty after the Ode to Joy. Then Christophe would bob about and roar with rage. But the worst of all to bear was not when Sylvain Kohn was absurd so much as when he was trying to be profound and subtle, when he was trying to impress Christophe, when it was Hamilton speaking, and not Sylvain Kohn. Then Christophe would scowl blackly at him, and squash him with cold contempt, which hurt Hamilton's vanity: very often these musical evenings would end in a quarrel. But Kohn would forget it next day, and Christophe, sorry for his rudeness, would make a point of going back.

      That would not have mattered much if Kohn had been able to refrain from inviting his friends to hear Christophe. But he could not help wanting to show off his musician. The first time Christophe found in Kohn's rooms three or four little Jews and Kohn's mistress—a large florid woman, all paint and powder, who repeated idiotic jokes and talked about her food, and thought herself a musician because she showed her legs every evening in the Revue of the Variétés—Christophe looked black. Next time he told Sylvain Kohn curtly that he would never again play in his rooms. Sylvain Kohn swore by all his gods that he would not invite anybody again. But he did so by stealth, and hid his guests in the next room. Naturally, Christophe found that out, and went away in a fury, and this time did not return.

      And yet he had to accommodate Kohn, who had introduced him to various cosmopolitan families, and found him pupils.

      * * * * *

      A few days after Théophile Goujart hunted Christophe up in his lair. He did not seem to mind his being in such a horrible place. On the contrary, he was charming. He said:

      "I thought perhaps you would like to hear a little music from time to time: and as I have tickets for everything, I came to ask if you would care to come with me."

      Christophe was delighted. He was glad of the kindly attention, and thanked him effusively. Goujart was a different man from what he had been at their first meeting. He had dropped his conceit, and, man to man, he was timid, docile, anxious to learn. It was only when they were with others that he resumed his superior manner and his blatant tone of voice. His eagerness to learn had a practical side to it. He had no curiosity about anything that was not actual. He wanted to know what Christophe thought of a score he had received which he would have been hard put to it to write about, for he could hardly read a note.

      They went to a symphony concert. They had to go in by the entrance to a music-hall. They went down a winding passage to an ill-ventilated hall: the air was stifling: the seats were very narrow, and placed too close together: part of the audience was standing and blocking up every way out:—the uncomfortable French. A man who looked as though he were hopelessly bored was racing through a Beethoven symphony as though he were in a hurry to get to the end of it. The voluptuous strains of a stomach-dance coming from the music-hall next door were mingled with the funeral march of the Eroica. People kept coming in and taking their seats, and turning their glasses on the audience. As soon as the last person had arrived, they began to go out again. Christophe strained every nerve to try and follow the thread of the symphony through the babel; and he did manage to wrest some pleasure from it—(for the orchestra was skilful, and Christophe had been deprived of symphony music for a long time)—and then Goujart took his arm and, in the middle of the concert, said:

      "Now let us go. We'll go to another concert."

      Christophe frowned: but he made no reply and followed his guide. They went half across Paris, and then reached another hall, that smelled of stables, in which at other times fairy plays and popular pieces were given—(in Paris music is like those poor workingmen who share a lodging: when one of them leaves the bed, the other creeps into the warm sheets). No air, of course: since the reign of Louis XIV the French have considered air unhealthy: and the ventilation of the theaters, like that of old at Versailles, makes it impossible for people to breathe. A noble old man, waving his arms like a lion-tamer, was letting loose an act of Wagner: the wretched beast—the act—was like the lions of a menagerie, dazzled and cowed by the footlights, so that they have to be whipped to be reminded that they are lions. The audience consisted of female Pharisees and foolish women, smiling inanely. After the lion had gone through its performance, and the tamer had bowed, and they had both been rewarded by the applause of the audience, Goujart suggested that they should go to yet another concert. But this time Christophe gripped the arms of his stall, and declared that he would not budge: he had had enough of running from concert to concert, picking up the crumbs of a symphony and scraps of a concert on the way. In vain did Goujart try to explain to him that musical criticism in Paris was a trade in which it was more important to see than to hear. Christophe protested that music was not written to be heard in a cab, and needed more concentration. Such a hotch-potch of concerts was sickening to him: one at a time was enough for him.

      He was much surprised at the extraordinary number of concerts in Paris. Like most Germans, he thought that music held a subordinate place in France: and he expected that it would be served up in small delicate portions. By way of a beginning, he was given fifteen concerts in seven days. There was one for every evening in the week, and often two or three an evening at the same time in different quarters of the city. On Sundays there were four, all at the same time. Christophe marveled at this appetite for music. And he was no less amazed at the length of the programs. Till then he had thought that his fellow-countrymen had a monopoly of these orgies of sound which had more than once disgusted him in Germany. He saw now that the Parisians could have given them points in the matter of gluttony. They were given full measure: two symphonies, a concerto, one or two overtures, an act from an opera. And they came from all sources: German, Russian, Scandinavian, French—beer, champagne, orgeat, wine—they gulped down everything without winking. Christophe was amazed that these indolent Parisians should have had such capacious stomachs. They did not suffer for it at all. It was the cask of the Danaïdes. It held nothing.

      It was not long before Christophe perceived that this mass of music amounted to very little really. He saw the same faces and heard the same pieces at every concert. Their copious programs moved in a circle. Practically nothing earlier than Beethoven. Practically nothing later than Wagner. And what gaps between them! It seemed as though music were reduced to five or six great German names, three or four French names, and, since the Franco-Russian alliance, half a dozen Muscovites. None of the old French Masters. None of the great Italians. None of the German giants of the seventeenth and eighteenth centuries. No contemporary German music, with the single exception of Richard Strauss, who was more acute than the rest, and came once a year to plant his new works on the Parisian public. No Belgian music. No Tschek music. But, most surprising of all, practically no contemporary French music. And yet everybody was talking about it mysteriously as a thing that would revolutionize the world. Christophe was yearning for an opportunity of hearing it: he was very curious about it, and absolutely without prejudice: he was longing to hear new music, and to admire the works of genius. But he never succeeded in hearing any of it: for he did not count a few short pieces, quite cleverly written, but cold and brain-spun, to which he had not listened very attentively.

      * * * * *

      While

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