LITMIR.BIZ

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and advice. It was Dove who had helped him over the embarrassments of the examination; it was through Dove's influence that he had obtained a private interview with Schwarz, and, in Dove's opinion, Schwarz was the only master in Leipzig under whom it was worth while to study; the only one who could be relied on to give the exhaustive TECHNIQUE that was indispensable, without, in the process, destroying what was of infinitely more account, the individuality, the TEMPERAMENT of the student. This and more, Dove set forth at some length in their conversations; then, warming to his work, he would go further: would go on to speak of phrasings and interpretations; of an artistic use of the pedals, and the legitimate participation of the emotions; of the confines of absolute music as touched in the Ninth Symphony: would refer incidentally to Schopenhauer and make Wagner his authority, using terms that were new to his hearer, and, now and then, by way of emphasis, bringing his palm down flat and noiselessly upon the table.—It had not taken them long to become friends; fellow-countrymen, of the same age, with similar aims and interests, they had soon slipped into one of the easy-going friendships of youth.

      A quarter to five! As the strokes from the neighbouring church—clock died away, the melody of Siegfried's horn was whistled up from the street, and looking over, Maurice saw his friend. He seized his music and went hastily down the four flights of stairs.

      They crossed the river and came to newer streets. It was delightful out-of-doors. A light breeze met them as they turned, and a few ragged, fleecy clouds that it was driving up, only made the sky seem bluer, The two young men walked leisurely, laughing and talking rather loudly. Maurice Guest had already, in dress and bearing, taken on a touch of musicianly disorder, but Dove's lengthier residence had left no trace upon him; he might have stepped that day from the streets of the provincial English town to which he belonged. His well brushed clothes sat with an easy inelegance, his tie was small, his linen clean, and the only concession he made to his surroundings, the broad-brimmed, soft felt hat, looked oddly out of place on his close-cut hair. He carried himself erectly, swinging a little on his hips.

      As they went, he passed in review the important items of the day: so-and-so had strained a muscle, so-and-so had spoilt a second piano. But his particular interest centred upon that evening's ABENDUNTERHALTUNG. A man named Schilsky, whom it was no exaggeration to call their finest, very finest violinist was to play Vieuxtemps' Concerto in D. Dove all but smacked his lips as he spoke of it. In reply to a query from Maurice, he declared with vehemence that this Schilsky was a genius. Although so great a violinist, he could play almost every other instrument with case; his memory had become a by-word; his compositions were already famous. At the present moment, he was said to be at work upon a symphonic poem, having for its base a new and extraordinary book, half poetry, half philosophy, a book which he, Dove, could confidently assert, would effect a revolution in human thought, but of which, just at the minute, he was unable to remember the name. Infected by his friend's enthusiasm, Maurice here recalled having, only the day before, met some one who answered to Dove's description: the genial Pole had been storming up the steps of the Conservatorium, two at a time, with wild, affrighted eyes, and a halo of dishevelled auburn hair.—Dove made no doubt that he had been seized with a sudden inspiration.

      Gewandhaus and Conservatorium lay close together, in a new quarter of the town. The Conservatorium, a handsome, stone-faced building, three lofty storeys high, was just now all the more imposing in appearance as it stood alone in an unfinished street-block, and as, opposite, hoardings still shut in all that had yet been raised of the great library, which would eventually overshadow it. The severe plainness of its long front, with the unbroken lines of windows, did not fail to impress the unused beholder, who had not for very long gone daily out and in; it suggested to him the earnest, unswerving efforts, imperative on his pursuit of the ideal; an ideal which, to many, was as it were personified by the concert-house in the adjoining square: it was hither, towards this clear-limned goal, that bore him, like a magic carpet, the young enthusiast's most ambitious dream.—But in the life that swarmed about the Conservatorium, there was nothing of a tedious austerity. It was one of the briskest times of day, and the short street and the steps of the building were alive with young people of both sexes. Young men sauntered to and from the cafe at the corner, or stood gesticulating in animated groups. All alike were conspicuous for a rather wilful slovenliness, for smooth faces and bushy hair, while the numerous girls, with whom they paused to laugh and trifle, were, for the most part, showy in dress and loudly vivacious in manner. On the kerbstone, a knot of the latter, tittering among themselves, shot furtive glances at Dove and Maurice as they passed. Here, a pretty, laughing face was the centre of a little circle; there, a bevy of girls clustered about a young man, who, his hands in his pockets, leaned carelessly against the door-arch; and again, another, plump and much befeathered, with a string of large pearlbeads round her fat, white neck, had isolated herself from the rest, to take up, on the steps, a more favourable stand. A master who went by, a small, jovial man in a big hat, had a word for all the girls, even a chuck of the chin for one unusually saucy face. Inside, classes were filing out of the various rooms, other classes were going in; there was a noisy flocking up and down the broad, central staircase, a crowding about the notice-board, a going and coming in the long, stone corridors. The concert-hall was being lighted.

      Maurice slowly made his way through the midst of all these people, while Dove loitered, or stepped out of hearing, with one friend after another. In a side corridor, off which, cell like, opened a line of rooms, they pushed a pair of doubledoors, and went in to take their lesson.

      The room they entered was light and high, and contained, besides a couple of grand pianos, a small table and a row of wooden chairs. Schwarz stood with his back to the window, biting his nails. He was a short, thickset man, with keen eyes, and a hard, prominent mouth, which was rather emphasised than concealed, by the fair, scanty tuft of hair that hung from his chin. Upon the two new-comers, he bent a cold, deliberate gaze, which, for some instants, he allowed to rest chillingly on them, then as deliberately withdrew, having—so at least it seemed to those who were its object—having, without the tremor of an eyelid, scanned them like an open page: it was the look, impenetrable, all-seeing, of the physician for his patient. At the piano, a young man was playing the Waldstein Sonata. So intent was he on what he was doing, that his head all but touched the music standing open before him, while his body, bent thus double, swayed vigorously from side to side. His face was crimson, and on his forehead stood out beads of perspiration. He had no cuffs on, and his sleeves were a little turned back. The movement at an end, he paused, and drawing a soiled handkerchief from his pocket, passed it rapidly over neck and brow. In the ADAGIO which followed, he displayed an extreme delicacy of touch—not, however, but what this also cost him some exertion, for, previous to the striking of each faint, soft note, his hand described a curve in the air, the finger he was about to use, lowered, the others slightly raised, and there was always a second of something like suspense, before it finally sank upon the expectant note. But suddenly, without warning, just as the last, lingering tones were dying to the close they sought, the ADAGIO slipped over into the limpid gaiety of the RONDO, and then, there was no time more for premeditation: then his hands twinkled up and down, joining, crossing, flying asunder, alert with little sprightly quirks and turns, going ever more nimbly, until the brook was a river, the allegretto a prestissimo, which flew wildly to its end amid a shower of dazzling trills.

      Schwarz stood grave and apparently impassive; from time to time, however, when unobserved, he swept the three listeners with a rapid glance. Maurice Guest was quite carried away; he had never heard playing like this, and he leaned forward in his seat, and gazed full at the player, in open admiration. But his neighbour, a pale, thin man, with one of those engaging and not uncommon faces which, in mould of feature, in mildness of expression, and still more in the cut of hair and beard, bear so marked a likeness to the conventional Christ-portrait: this neighbour looked on with only a languid interest, which seemed unable to get the upper hand of melancholy thoughts. Maurice, who believed his feelings shared by all about him, was chilled by such indifference: he only learned later, after they had become friends, that nothing roused in Boehmer a real or lasting interest, save what he, Boehmer, did himself. Dove sat absorbed, as reverent as if at prayer; but there were also moments when, with his head a little on one side, he wore an anxious air, as if not fully at one with the player's rendering; others again, after a passage of peculiar brilliancy, when he threw at Schwarz a humbly grateful look. While Schwarz, the sonata over, was busy with his pencil

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