I.
CHOPIN'S OPUS 47
IT has been with the greatest reluctance that I have agreed to submit to the public all the details, so far as they are known to me, of my husband's seemingly miraculous change from an average man into a genius. Poor Tom! He was so happy as a phlegmatic, well-balanced, commonplace lawyer and clubman, devoted to his wife, his profession and his friends! But now, alas, his amazing eccentricities demand from me a presentation of his case that shall change censure into sympathy and malicious gossip into either silence or truth.
I am forced to admit at the outset that Tom is justified in attributing his present predicament to my own fondness for music. He had protested, gently but firmly, against the series of musicals that I had planned to give last season.
"They'll be an awful nuisance, my dear," he had remarked, gloomily, gazing at me appealingly across the table at which we were dining en tête-à-tête "Why not substitute bridge whist in place of the music? Why will you insist on asking a lot of people who don't care a rap for anything but ragtime to listen to your high-priced soloists? A musical, Winifred, is both expensive and tiresome."
"What a Philistine you are, Tom!" I exclaimed, protestingly, knowing, however, that my dear old pachyderm would not wince at the epithet I had hurled at him across the board. Tom's vocabulary is not large, and possesses a legal rather than a Biblical flavor.
"What's a Philistine?" he asked, indifferently. "If it's a fellow who objects to inviting a lot o' people that he doesn't like to listen to a lot o' playing and singing that they don't like, well, then, I'm it. But what's the use of my getting out an injunction? If you've made up your mind to give these musicals, Winifred, I might as well quash my appeal. I've no standing in this court."
One of the advantages of living with a man for ten years is that one is eventually confronted by a most fascinating problem. "Why did I marry him?" is a question that adds a keen zest to existence. We derive a new interest in life from the hope that the future may provide us with an answer to this query. I can remember now, to my sorrow, that I gazed across the table at Tom's heavy, immobile face, and longed for some radical, perhaps supernatural change in the man that should render him more congenial to me, more sympathetic, less practical, matter-of-fact, commonplace. A moment later I felt ashamed of myself for the disloyalty of my wish. It may be that subsequent events were preordained as a punishment to me for the internal discontent to which I had temporarily succumbed.
"Tom doesn't look quite fit, my dear," remarked Mrs. Jack Van Corlear to me early in the evening of my first—and last—musical. "Is he working too hard? Jack tells me that Tom has been made counsel for the Pepper and Salt Trust."
"It's not that," I answered, lightly, glancing at Tom and noting the unusual pallor of his too fleshy face. "He's expecting an evening of torture, you know. He hates music. He can't tell a nocturne from a ballad—and they both torment him. But he's an awfully good fellow, isn't he? See, he's trying to talk to Signor Turino. I hope he'll remember that Verdi didn't write 'Lohengrin.' I've been coaching Tom for several days, but it's hard, my dear Mrs. Jack, to make a man who doesn't play or sing a note remember that the Moonlight Sonata is not from Gounod's 'Faust,' and that it's bad form to ask Mlle. Vanoni if she admires 'Florodora.’"
My duties as hostess and the pronounced success of the earlier numbers of my program led me presently to forget Tom's existence. He had been cruelly unjust to my guests in asserting that they would prefer ragtime to the classics. The applause that had rewarded the efforts of both Turino and Vanoni had been spontaneous and genuine. Signorina Molatti had created an actual furor with her violin solo, intensified, no doubt, by her marvelous beatify. It was Molatti's success that presently recalled Tom to my reluctant consciousness. As the dark-eyed, fervid young woman responded smilingly to an insistent encore, I caught a glimpse of my unimpressionable husband, standing erect at the rear of the crowded music-room and watching the girl's every movement with eyes alight with interest and approval. I had not seen his unresponsive countenance so animated before in years.
Mrs. Jack Van Corlear had followed my glance, and a mischievous smile was in her face as she leaned toward me.
"Perhaps Tom is more musical than you imagine, my dear," she whispered, maliciously.
"Do you think it's the violin?" I returned, laughingly, ashamed of the feeling of annoyance that her playful pin-prick had given me.
Jealous of Tom! The idea was too absurd, I had so often wished to be, but his devotion to me had always been chronic and incurable. "It's really bad form," I had once said to him; "your indifference to other women, Tom, causes comment. Overemphasis is always vulgar. You underscore our conjugal bliss, my dear boy, in a way that has become a kind of silent reproach to other people. You must really have a mild flirtation now and then, Tom."
It seemed to me that the vivacious Molatti had noted Tom's too apparent enthusiasm, for she smiled and nodded to him as she made ready to coax her Cremona into giving her silent auditors new proof of her most amazing genius. I, a lover of music, had been carried into unknown, blissful realms by the magic of her bow, my whole being throbbing with the joy of strange, weird harmonies that lured my errant soul away from earth, away from my duties as a hostess, my worries as a wife. I came back to my music-room with a thump. Something unusual, out of the common, was taking place, but at first I could not concentrate my faculties in a way to put me in touch with my environment. Presently I realized that Signorina Molatti had left the dais and—could I believe my senses?—that Tom, brazenly, nonchalantly, before the gaze of two hundred wondering eyes, had seated himself at the piano.
"What's the matter with him?" whispered Mrs. Van Corlear to me in an awe-stricken tone,
"Wait," I answered, irrelevantly; "maybe he won't do it."
"Do what?" she returned, almost hysterically.
"I don't know," I gasped; and the thought flashed through my mind that possibly Tom had been drinking.
There lay the hush of expectancy on the astonished throng. Here and there furtive glances were cast at my program cards in search of Tom's name on a little list made up wholly of world-famous artists. But the large majority of my guests knew as well as I that Tom had never touched a piano in his life, that his ignorance of music was as pronounced as his detestation of it. But he might have been a Paderewski in his total absence of all awkwardness or self-consciousness as he sat motionless at the instrument for a moment, coolly surveying us all, in very truth like a master musician sure of himself and rejoicing in the delight that he was about to vouchsafe to his auditors.
I cannot recall now without a shudder the sensation that cut through my every nerve as Tom raised his large, pudgy hands above the keyboard, his small gray eyes turned toward the ceiling just above my throbbing head. He looked at that instant like the very incarnation of Philistinism poised to hurl down destruction on the centre of all harmonies.
"It's revenge," I groaned, under my breath, and felt Mrs. Jack's cold hand creep into mine.
Down came the paws of Nemesis, and lo, the injustice that I had done to Tom was revealed to me. His touch was masterly. I could not have been more amazed had I seen an elephant threading a needle. The whole episode was strangely blended of the uncanny and the realistic. I found myself noting the angle at which Tom held his chin. He always raised it thus when his man shaved him, his head thrown back and his eyes half-closed.
Then gradually it dawned on me that I was taking keen delight in his rendition of that marvelous ballad in A flat major that Chopin dedicated to Mlle. de Noailles. There is nothing more thoroughly Chopinesque in all the master's works than this perfect exposition of the refined in art. Tom's rendering of the lovely theme in F major, one of the most delicate in the world of music, thrilled me with startled admiration. But a chill came over me. What would he do with the section in C sharp minor, with its inverted dominant pedal in the right hand while the left is carrying on the theme? Without both skill and passion on the part of the performer the interpretation of this passage is certain to be commonplace. But hardly had this doubt assailed me when I knew that Tom had triumphed over every obstacle of technique and temperament, that he was approaching the harmonic grandeur of the finale with the poise and power of genius in full control of itself and its medium.
I have never fainted. Swooning went out of fashion long before my time, and I am devoted to the modern cult of self-control, but if it hadn't been for Mrs. Jack, who is really fond of me at times, I think that the last bar of Tom's Opus 47 would have seen my finish. The room had begun to whirl in a circle, like a merry-go-round in evening dress, when she steadied me by whispering:
"It's all right, my dear. Tom wins by four lengths, well in hand."
I came to myself in the very centre of a storm of applause. Our guests had forgotten the conventionalities pertaining to a well-ordered musical. The men were on their feet, cheering. The women waved fans and handkerchiefs, and pelted Tom with violets and roses. The poor fellow sat at the piano in a half-dazed condition. A bunch of flowers, deftly thrown, struck him on the forehead, and he put his gifted hand to his brow as if he had just been recalled to consciousness.
"Encore! Encore!" cried our guests. Turino was gesticulating frantically, while Mlle. Vanoni and Signorina Molatti smiled and clapped their hands in exaggerated ecstasy. I was worried by the expression that had come into Tom's face, and made my way quickly toward the piano.
"Aren't you well, my dear?" I asked, bending toward him, while the uproar behind me decreased a bit.
"What have I been doing, Winifred?" he asked, sheepishly, like one who wakens from a dream. "Get one of your damned dagos to sing, will you? I've got to have a drink or die!"
Standing erect abruptly, Tom cast a defiant glance at the chattering throng behind me and hurriedly made his way through a side door from the music-room. As I turned away from the piano I saw that Signorina Molatti's eyes were fixed on his retreating figure with an expression that my worldly wisdom could not interpret. There was more of wonder than of admiration in her gaze, a gleam of questioning and longing that might, it seemed to me, readily flame into hot anger.