Far-away Stories

"I've only run in, dear old maestro, to pass the time of day with you, and to give you a ticket for my Queen's Hall show. You'll come, won't you?"

"He asks if I will come! I would get out of my coffin and walk through the streets!"

"I think you'll be pleased," said Geoffrey. "I've been goodness knows how long over it, and I've put into it all I know. If it doesn't come off, I'll – "

He paused.

"You will commit no rashness," cried the old man in alarm.

"I will. I'll marry Sonia the very next day!"

There was laughing talk, and the three spent a happy little quarter of an hour. But Geoffrey went away without giving either of the others an inkling of the nature of his famous symphony. It was Geoffrey's way.

The fateful afternoon arrived. Angelo Fardetti, sitting in the stalls of the Queen's Hall with Sonia and her parents, looked round the great auditorium, and thrilled with pleasure at seeing it full. London had thronged to hear the first performance of his beloved's symphony. As a matter of fact, London had also come to hear the wonderful orchestra give Tchaikowsky's Fourth Symphony, and to hear Lembrich play the violin and Carli sing, which they did once in a blue moon at a symphony concert. But in the old man's eyes these ineffectual fires paled before Geoffrey's genius. So great was his suspense and agitation that he could pay but scant attention to the first two items on the programme. It seemed almost like unmeaning music, far away.

During the interval before the Symphony in E flat his thin hand found Sonia's, and held it tight, and she returned the pressure. She, too, was sick with anxiety. The great orchestra, tier upon tier, was a-flutter with the performers scrambling into their places, and with leaves of scores being turned over, and with a myriad moving bows. Then all having settled into the order of a vast machine, Geoffrey appeared at the conductor's stand. Comforting applause greeted him. Was he not the rising hope of English music? Many others beside those four to whom he was dear, and the mother and father who sat a little way in front of them, felt the same nervous apprehension. The future of English music was at stake. Would it be yet one more disappointment and disillusion, or would it rank the young English composer with the immortals? Geoffrey bowed smilingly at the audience, turned and with his baton gave the signal to begin.

Although only a few years have passed since that memorable first performance, the modestly named Symphony in E flat is now famous and Geoffrey Chase is a great man the wide world over. To every lover of music the symphony is familiar. But only those who were present at the Queen's Hall on that late October afternoon can realise the wild rapture of enthusiasm with which the symphony was greeted. It answered all longings, solved all mysteries. It interpreted, for all who had ears to hear, the fairy dew of love, the burning depths of passion, sorrow and death, and the eternal Triumph of Life. Intensely modern and faultless in technique, it was new, unexpected, individual, unrelated to any school.

The scene was one of raging tumult; but there was one human being who did not applaud, and that was the old musician, forgotten of the world, Angelo Fardetti. He had fainted.

All through the piece he had sat, bolt upright, his nerves strung to breaking-point, his dark cheeks growing greyer and greyer, and the stare in his eyes growing more and more strange, and the grip on the girl's hand growing more and more vice-like, until she, for sheer agony, had to free herself. And none concerned themselves about him; not even Sonia, for she was enwrapped in the soul of her lover's music. And even between the movements her heart was too full for speech or thought, and when she looked at the old man, she saw him smile wanly and nod his head as one who, like herself, was speechless with emotion. At the end the storm burst. She rose with the shouting, clapping, hand- and handkerchief-waving house, and suddenly, missing him from her side, glanced round and saw him huddled up unconscious in his stall.

The noise and movement were so great that few noticed the long lean old figure being carried out of the hall by one of the side doors fortunately near. In the vestibule, attended by the good Anton and his wife and Sonia, and a commissionaire, he recovered. When he could speak, he looked round and said:

"I am a silly old fellow. I am sorry I have spoiled your happiness. I think I must be too old for happiness, for this is how it has treated me."

There was much discussion between his friends as to what should be done, but good Mrs. Kirilov, once girlishly plump, when Angelo had first known her, now florid and fat and motherly, had her way, and, leaving Anton and Sonia to see the hero of the afternoon, if they could, drove off in a cab to Peckham with the over-wrought old man and put him to bed and gave him homely remedies, invalid food and drink, and commanded him to sleep till morning.

But Angelo Fardetti disobeyed her. For Sonia, although she had found him meekly between the sheets when she went up to see him that evening, heard him later, as she was going to bed – his sitting-room was immediately above her – playing over, on muted strings, various themes of Geoffrey's symphony. At last she went up to his room and put her head in at the door, and saw him, a lank, dilapidated figure in an old, old dressing-gown, fiddle and bow in hand.

"Oh! oh!" she rated. "You are a naughty, naughty old dear. Go to bed at once."

He smiled like a guilty but spoiled child. "I will go," said he.

In the morning she herself took up his simple breakfast and all the newspapers folded at the page on which the notices of the concert were printed. The Press was unanimous in acclamation of the great genius that had raised English music to the spheres. She sat at the foot of the bed and read to him while he sipped his coffee and munched his roll, and, absorbed in her own tremendous happiness, was content to feel the glow of the old man's sympathy. There was little to be said save exclamatory pæans, so overwhelming was the triumph. Tears streamed down his lined cheeks, and between the tears there shone the light of a strange gladness in his eyes. Presently Sonia left him and went about her household duties. An hour or so afterwards she caught the sound of his piano; again he was recalling bits of the great symphony, and she marvelled at his musical memory. Then about half-past eleven she saw him leave the house and stride away, his head in the air, his bent shoulders curiously erect.

Soon came the clatter of a cab stopping at the front door, and Geoffrey Chase, for whom she had been watching from her window, leaped out upon the pavement. She ran down and admitted him. He caught her in his arms and they stood clinging in a long embrace.

"It's too wonderful to talk about," she whispered.

"Then don't let us talk about it," he laughed.

"As if we could help it! I can think of nothing else."

"I can – you," said he, and kissed her again.

Now, in spite of the spaciousness of the house in Formosa Terrace, it had only two reception-rooms, as the house-agents grandiloquently term them, and these, dining-room and drawing-room, were respectively occupied by Anton and Mrs. Kirilov engaged in their morning lessons. The passage where the young people stood was no fit place for lovers' meetings.

"Let us go up to the maestro's. He's out," said Sonia.

They did as they had often done in like circumstances. Indeed, the old man, before now, had given up his sitting-room to them, feigning an unconquerable desire to walk abroad. Were they not his children, dearer to him than anyone else in the world? So it was natural that they should make themselves at home in his tiny den. They sat and talked of the great victory, of the playing of the orchestra, of passages that he might take slower or quicker next time, of the ovation, of the mountain of congratulatory telegrams and letters that blocked up his rooms. They talked of Angelo Fardetti and his deep emotion and his pride. And they talked of the future, of their marriage which was to take place very soon. She suggested postponement.

"I want you to be quite sure. This must make a difference."

"Difference!" he cried indignantly.

She waved him off and sat on the music-stool by the piano.

"I must speak sensibly. You are one of the great ones of the musical world, one of the great ones of the world itself. You will go on and on. You will have all sorts of honours heaped on you. You will go about among lords and ladies, what is called Society – oh, I know, you'll not be able to help it. And all the time I remain what I am, just a poor little common girl, a member of a twopenny-halfpenny ladies' band. I'd rather you regretted having taken up with me before than after. So we ought to put it off."

He answered her as a good man who loves deeply can only answer. Her heart was convinced; but she turned her head aside and thought of further argument. Her eye fell on some music open on the rest, and mechanically, with a musician's instinct, she fingered a few bars. The strange familiarity of the theme startled her out of preoccupation. She continued the treble, and suddenly with a cold shiver of wonder, crashed down both hands and played on.

Geoffrey strode up to her.

"What's that you're playing?"

She pointed hastily to the score. He bent over and stared at the faded manuscript.

"Why, good God!" he cried, "it's my symphony."

She stopped, swung round and faced him with fear in her eyes.

"Yes. It's your symphony."

He took the thick manuscript from the rest and looked at the brown-paper cover. On it was written:

"The Song of Life. A Sonata by Angelo Fardetti. September, 1878."

There was an amazed silence. Then, in a queer accusing voice, Sonia cried out:

"Geoffrey, what have you done?"

"Heaven knows; but I've never known of this before. My God! Open the thing somewhere else and see."

So Sonia opened the manuscript at random and played, and again it was an echo of Geoffrey's symphony. He sank on a chair like a man crushed by an overwhelming fatality, and held his head in his hands.

"I oughtn't to have done it," he groaned. "But it was more than me. The thing overmastered me, it haunted me so that I couldn't sleep, and the more it haunted me the more it became my own, my very own. It was too big to lose."

Sonia held him with scared eyes.

"What are you talking of?" she asked.

"The way I came to write the Symphony. It's like a nightmare." He rose. "A couple of years ago," said he, "I bought a bundle of old music at a second-hand shop. It contained a collection of eighteenth-century stuff which I wanted. I took the whole lot, and on going through it, found a clump of old, discoloured manuscript partly in faded brown ink, partly in pencil. It was mostly rough notes. I tried it out of curiosity. The composition was feeble and the orchestration childish – I thought it the work of some dead and forgotten amateur – but it was crammed full of ideas, crammed full of beauty. I began tinkering it about, to amuse myself. The more I worked on it the more it fascinated me. It became an obsession. Then I pitched the old score away and started it on my own."

"The maestro sold a lot of old music about that time," said Sonia.

The young man threw up his hands. "It's a fatality, an awful fatality. My God," he cried, "to think that I of all men should have stolen Angelo Fardetti's music!"

"No wonder he fainted yesterday," said Sonia.

It was catastrophe. Both regarded it in remorseful silence. Sonia said at last:

"You'll have to explain."

"Of course, of course. But what must the dear old fellow be thinking of me? What else but that I've got hold of this surreptitiously, while he was out of the room? What else but that I'm a mean thief?"

"He loves you, dear, enough to forgive you anything."

"It's the Unforgivable Sin. I'm wiped out. I cease to exist as an honest man. But I had no idea," he cried, with the instinct of self-defence, "that I had come so near him. I thought I had just got a theme here and there. I thought I had recast all the odds and ends according to my own scheme." He ran his eye over a page or two of the score. "Yes, this is practically the same as the old rough notes. But there was a lot, of course, I couldn't use. Look at that, for instance." He indicated a passage.

"I can't read it like you," said Sonia. "I must play it."

She turned again to the piano, and played the thin, uninspired music that had no relation to the Symphony in E flat, and her eyes filled with tears as she remembered poignantly what the old man had told her of his Song of Life. She went on and on until the music quickened into one of the familiar themes; and the tears fell, for she knew how poorly it was treated.

And then the door burst open. Sonia stopped dead in the middle of a bar, and they both turned round to find Angelo Fardetti standing on the threshold.

"Ah, no!" he cried, waving his thin hands. "Put that away. I did not know I had left it out. You must not play that. Ah, my son! my son!"

He rushed forward and clasped Geoffrey in his arms, and kissed him on the cheeks, and murmured foolish, broken words.

"You have seen it. You have seen the miracle. The miracle of the good God. Oh, I am happy! My son, my son! I am the happiest of old men. Ah!" He shook him tremulously by both shoulders, and looked at him with a magical light in his old eyes. "You are really what our dear Anton calls a prodigy. I have thought and you have executed. Santa Maria!" he cried, raising hands and eyes to heaven. "I thank you for this miracle that has been done!"

He turned away. Geoffrey, in blank bewilderment, made a step forward.

"Maestro, I never knew – "

But Sonia, knowledge dawning in her face, clapped her hand over his mouth – and he read her conjecture in her eyes, and drew a great breath. The old man came again and laughed and cried and wrung his hand, and poured out his joy and wonder into the amazed ears of the conscience-stricken young musician. The floodgates of speech were loosened.

"You see what you have done, figlio mio. You see the miracle. This – this poor rubbish is of me, Angelo Fardetti. On it I spent my life, my blood, my tears, and it is a thing of nothing, nothing. It is wind and noise; but by the miracle of God I breathed it into your spirit and it grew – and it grew into all that I dreamed – all that I dreamed and could not express. It is my Song of Life sung as I could have sung it if I had been a great genius like you. And you have taken my song from my soul, from my heart, and all the sublime harmonies that could get no farther than this dull head you have put down in immortal music."

He went on exalted, and Sonia and Geoffrey stood pale and silent. To undeceive him was impossible.

"You see it is a miracle?" he asked.

"Yes," replied Geoffrey in a low voice.

"You never saw this before. Ha! ha!" he laughed delightedly. "Not a human soul has seen it or heard it. I kept it locked up there, in my little strong-box. And it was there all the time I was teaching you. And you never suspected."

"No, maestro, I did not," said the young man truthfully.

"Now, when did you begin to think of it? How did it come to you – my Song of Life? Did it sing in your brain while you were here and my brain was guiding yours, and then gather form and shape all through the long years?"

"Yes," said Geoffrey. "That was how it came about."

Angelo took Sonia's plump cheeks between his hands and smiled. "Now you understand, my little Sonia, why I was so foolish yesterday. It was emotion, such emotion as a man has never felt before in the world. And now you know why I could not speak this morning. I thought of the letter you showed me. He confessed that old Angelo Fardetti had inspired him, but he did not know how. I know. The little spark flew from the soul of Angelo Fardetti into his soul, and it became a Divine Fire. And my Song of Life is true. The symphony was born in me – it died in me – it is re-born so gloriously in him. The seed is imperishable. It is eternal."

He broke away, laughing through a little sob, and stood by the window, once more gazing unseeingly at the opposite villas of Formosa Terrace. Geoffrey went up to him and fell on his knees – it was a most un-English thing to do – and took the old hand very reverently.

"Padre mio," said he.

"Yes, it is true. I am your father," said the old man in Italian, "and we are bound together by more than human ties." He laid his hand on the young man's head. "May all the blessings of God be upon you."

Geoffrey rose, the humblest man in England. Angelo passed his hand across his forehead, but his face bore a beautiful smile.

"I feel so happy," said he. "So happy that it is terrible. And I feel so strange. And my heart is full. If you will forgive me, I will lie down for a little." He sank on the horse-hair sofa and smiled up in the face of the young man. "And my head is full of the andante movement that I could never write, and you have made it like the harmonies before the Throne of God. Sit down at the piano and play it for me, my son."

So Geoffrey took his seat at the piano, and played, and as he played, he lost himself in his music. And Sonia crept near and stood by him in a dream while the wonderful story of the passing of human things was told. When the sound of the last chords had died away she put her arms round Geoffrey's neck and laid her cheek against his. For a while time stood still. Then they turned and saw the old man sleeping peacefully. She whispered a word, he rose, and they began to tiptoe out of the room. But suddenly instinct caused Sonia to turn her head again. She stopped and gripped Geoffrey's hand. She caught a choking breath.

"Is he asleep?"

They went back and bent over him. He was dead.

Angelo Fardetti had died of a happiness too great for mortal man. For to which one of us in a hundred million is it given to behold the utter realisation of his life's dream?