The Students' Concert
The time was drawing very near now for Herr Hoffmann's Students'
Concert, and whenever Mildred thought about it her heart descended
somewhere into the region of her boots. The Professor had been giving
her lessons at his own house in addition to those she took at St.
Cyprian's, and with the one exception of the day of the cricket match,
she had attended every Saturday afternoon at the Philharmonic Hall to
practise the "Fruehlingslied" with the students' orchestra. For the first
time in her life she was really working hard, and sometimes she almost
astonished herself at the progress she made. Technical difficulties,
which before had seemed impossibilities, smoothed themselves away, and
her supple fingers began to acquire a new mastery over her instrument.
That she needed all her best efforts she knew well. The fear lest she
should fail in her piece haunted her like a bad dream. The Professor was
not easy to satisfy. His ideal was so high that she continually fell
short of it, and in spite of incessant practising and extra music
lessons, so hard seemed the task which she was attempting that she
sometimes felt inclined to fling down her violin in despair, and give up
the concert altogether.
The one thing that upheld her was the remembrance of the story of her
father's life which her aunt had told her. The unknown father, whom she
had lost when she was still only a baby, had left her his Stradivarius
as a legacy, with his dying injunction to make the good use of it which
he had once hoped to do himself. The violin was her one link with him.
Often now, when she practised it, she thought how his fingers had played
on it before, and what beautiful music they must have brought from it.
To respect his last wish seemed to her a solemn obligation. What he
could not accomplish himself he had charged her to perform, and it was a
trust which she must strive faithfully to fulfil. She felt as if her
success might compensate for his failure. The talent which he had
trifled with she must foster to the utmost of her power. The Comte's
secret (solved, alas, too late!) should be her watchword for the future.
Her father's neglected genius was like a debt left owing to the general
good of the world, and on her shoulders must fall the burden of paying
it.
Added to this was the knowledge that she had a duty to the uncle and
aunt who had already spent much on her music lessons, and to the college
where she was receiving her education. Her playing at this concert was
an important point for St. Cyprian's, and she must think not only of her
own personal successes, but of winning laurels for the school. She knew
that Miss Cartwright had been disappointed in the result of the
Eisteddfod, and this was a golden opportunity of upholding the
reputation which that festival had slightly undermined. St. Cyprian's
must show to all Kirkton that its special system of music culture was
of real value, and that its training could produce a pupil worthy of its
high aims. Yet the very thought of how much depended upon her efforts
brought its own penalty.
"I wonder if everybody else is as nervous as I am?" she said, as she
talked the matter over with her aunt. "I've heard all the other students
now, down at the Philharmonic. We took a full rehearsal last Saturday. I
don't believe Mr. Frith, who plays the 'cello, minds at all. He never
cares in the least when the Professor's angry, he simply laughs and
shrugs his shoulders. Miss Buchanan, the pianist, told me she couldn't
sleep at night for thinking about the concert. It means so much to her,
because she hopes to get pupils of her own by and by. The orchestra will
manage best. The audience won't notice if one of them plays a wrong
note, though Herr Hoffmann's sure to hear it, and scold afterwards. I
hope the room won't be very hot, or I know I shall break a string. If I
did, it would upset me so dreadfully, I don't believe I should be able
to go on, even if the Professor handed me his own violin instead."
"We'll hope you may have a better fate than that," returned Mrs. Graham.
"Your little Strad. doesn't often treat you so unkindly. It's generally
a most faithful servant."
"I'm glad I've such a splendid instrument," continued Mildred. "It makes
the most enormous difference to one's playing. When I try some of the
other students' violins, they sound like banjos. I believe the Professor
likes my 'Strad.' far better than his own Amati. He often catches it up
and plays on it, just out of sheer enjoyment. It is a beauty, with its
lovely old Cremona varnish, and the wonderful label inside: 'Antonius
Stradivarius Cremonensis fecit'. There's no mistake about its
genuineness. By the by, Tantie, do you know the Mayor and Mayoress are
coming to the concert? Isn't it terrible?"
"I don't think you need mind them very much. They're probably kindly
people who will have nothing but praise for all the performers. I should
be much more afraid of the newspaper critics, who really know the points
of good playing, and will judge you by a musician's standard."
"If only there could be no audience!" groaned Mildred. "It's the feeling
that everyone will be looking at me that's so dreadful. We rehearsed in
the Town Hall last Saturday, and I quite enjoyed playing to rows of
empty benches!"
"Try to forget that anybody is there. Just think of your piece, and
imagine you're playing it at school, or in Herr Hoffmann's study. It
will be time enough to remember the audience when people begin to clap.
Have you anything prepared for an encore?"
"I don't suppose I shall get one, but the Professor's making me practise
the D minor Polonaise, so that I could be ready. It's a bright little
thing, and not too long. Oh, how glad I shall be when it's all over! And
yet I don't want the day to come!"
The brief week left before the concert seemed to Mildred to run away
only too quickly. The date had been fixed for 16th July, for Herr
Hoffmann liked his recital to form a winding-up of his year of musical
tuition, which had commenced in September. It was probably as anxious a
time for him as for his quaking pupils, and he certainly spared no
trouble in coaching them for their performance, though he lost his
temper so often in the attempt that some of the students declared he
would never find it again.
At length the great day arrived. Mildred had had her final lesson from
her Professor, and a last word of encouragement from Miss Cartwright,
who, with many of St. Cyprian's teachers and music pupils, was to be at
the concert. Poor Mildred, who grew hourly more and more nervous, was
almost sick with apprehension as her aunt helped her to put on her white
evening dress before the long mirror in the spare bedroom, and tied the
wavy gold hair with a blue satin ribbon.
"Cheer up! You look like a little ghost!" said Mrs. Graham, pinching her
niece's pale cheeks. "It won't be half so bad as you expect. You make it
far worse by thinking too much about it. All the other performers are in
the same case as yourself. You'll have plenty of companions in
misfortune."
"I don't want to break down and disgrace you," said Mildred, gulping
back something in her throat that threatened to rise up and choke her.
"You won't do that. You've worked really hard, and if there's any truth
in the Comte's secret, I believe the Stradivarius knows it, and will
make you play well in spite of yourself. You've one great advantage over
the piano students, that you can bring your own instrument. Try to think
that though this is your first recital, your little violin is very well
accustomed to appear in public, and will feel so at home in the concert
hall that when you take the bow in your hand it will almost talk of its
own accord. It has been a long time in retirement, and to-night it's
anxious to show every one what it can do."
"I hope I shan't disappoint it!" said Mildred, laughing a little. "It's
rather hard on it to belong to a beginner, as it's accustomed to such
laurels. Tantie, I'm so glad you're sitting in the front row, so that I
know you're near me. I believe if I feel very bad, it will just help me
to see you there. I shan't think so much about other people if I can
look at your face."
The cab arriving at the door put an end to all further conversation.
Mrs. Graham wrapped Mildred in an evening cloak, Uncle Colin was ready
and waiting downstairs, and together they drove to the Town Hall.
"Good luck to you, lassie!" said Dr. Graham, kissing his trembling
little niece as he left her at the performers' entrance. "Don't you
worry yourself! You'll play quite well enough to please me, and a great
many other people besides. We don't expect a Paganini at fifteen. Do
your best, and you'll get through all right. Here comes Herr Hoffmann to
encourage you."
It was indeed the Professor himself, so resplendent in evening dress, so
bland and gracious, so overflowing with genial smiles and good humour,
that Mildred hardly knew him.
"Ach! you have got a fit of ze nerves!" he declared, leading his pupil
to a room at the back of the platform, where most of the students were
already assembled. "Take it not so to heart, lieb Kindlein! You will be
a good Maedchen, and play just as I have taught you. Frisch! Wohlan! Here
is a cup of coffee, very strong. Drink! It will give you courage.
Himmel! Did I not suffer myself like this once? But now it make me to
smile."
He patted her kindly on the shoulder as he handed her the cup of black
coffee. It was not nice, but Mildred felt better when she had swallowed
it, and, recovering her spirits a little, began to look round her, and
take some notice of her fellow performers. Some were anxiously tuning
their instruments, and some were chatting with affected carelessness. A
few of them she knew already, for she had spoken to them at the
orchestra rehearsals, and several came forward now to give her a word of
welcome. She was the youngest in the room. Most of the other students
were practised players, some of whom indeed were training for a musical
career. The Professor, anxious to keep up his deservedly high reputation
as a teacher, would allow none but his best pupils to appear at his
recitals.
"You get used to it in time," said one of the piano students, a tall,
pretty girl with chestnut hair, just out of her teens, who stood working
her fingers about as if to keep her joints supple. "I thought I should
have died at my first concert, and now I don't really care very much."
"I think a good audience is rather inspiring," said a violoncellist, a
self-conscious young fellow whose long waving hair and artistic necktie
proclaimed him a budding professional. "I can always play better from a
platform. A little applause seems to spur one on."
"Yes, if you get it," said another, nervously rubbing resin on his bow.
"That generally remains to be seen."
"I've never missed an encore at any concert I've played at," returned
the first confidently. "I shall be astonished if my Barcarolle is not a
success, though one can't expect much real musical appreciation from
town councillors and an ignorant public. I believe they'd applaud a
German band!"
"Not so ignorant as you seem to think," said a third student, coming up
to join the group. "I don't know any audience that can tell good music
from bad better than a Kirkton one. It needs your best work to give
satisfaction, and there's always a full and most intelligent criticism
in the _Herald_ next day."
"I suppose the old Professor's exploiting you," said the violoncellist,
turning to Mildred. "He isn't keen on juvenile prodigies as a rule. The
last he had was little Mathilde Zimmermann, and she did nothing after
all! Do you go out to 'At Homes'?"
"Oh, no!" replied Mildred. "This is the first concert I've ever played
at--except just at school. I don't want to now, only Herr Hoffmann says
I must."
"They aren't running her professionally, so she won't interfere with you
or your engagements," put in the piano student. "She's the Professor's
pet pupil at present, that's all. But if you don't wake up, she'll take
the shine out of you some day, so look to your laurels!" Then, speaking
to Mildred, she added kindly: "Don't mind him, dear! You'll find when
you begin to play in public that you'll meet with a good deal of
jealousy from other performers, but you mustn't let it worry you. The
music's the only thing to care about, and if one can interpret that, one
feels it's something to live for, in spite of all."
"Are you ready, ladies and gentlemen?" cried the Professor, entering in
a perfect whirlwind of excitement. "Ze hall is already full! It is ze
hour! Ze audience await us. Come, we commence!"
The first selection on the programme was an "Overture to Lucretius", and
as nearly all of the company were members of the students' orchestra,
Mildred found herself left alone with the few piano pupils. She had
often attended concerts, but so far had always been numbered among the
audience. This was her first peep behind the scenes, and it seemed
strange to listen to the music from the back of the platform. She could
hear the applause at the conclusion of the overture, and the duet for
violin and violoncello which followed.
"It will be my turn next," said her friend of the chestnut locks.
"There's one comfort in coming on early, you get it over,--though I
always find the audience cold at first. I suppose they think if they
call for encores too soon, they'll never get through the programme. I
see you're three-quarters down. That's the best place you could possibly
have, just when everyone has got enthusiastic, and before it's time to
begin and think about catching trains. You couldn't have been more
lucky. There's the last bar! Now for my ordeal! Good-bye!"
Sitting waiting with her violin in her hand, poor Mildred felt as if no
concert had ever dragged along so slowly. She wished she could take a
peep into the hall, and see where her uncle and aunt were sitting. That
the room was very full she knew from the remarks of the other students,
but so far the audience, though fairly appreciative, could hardly be
described as warm. Piece followed piece, then came the ten minutes'
interval; the second part of the programme commenced, and at length the
"Fruehlingslied" drew near. As the finale of the orchestral movement
which preceded it died away, Mildred took her violin, and summoning all
her courage went with a beating heart up the steep little staircase
which led to the platform. The Professor stood at the top, his broad
face beaming encouragement.
"So far it goes sehr gut," he announced. "No one have break down or
spoil anything. Remember, mein Kind, not to hurry ze time in ze legato
passage, and to wait in ze allegretto till ze 'cello begin."
He tested her Stradivarius himself to see that it was in tune with the
other instruments, then handed her between the rows of violin stands to
her place in front of the piano, and taking up his baton rapped smartly
on the conductor's desk, as a signal for the orchestra to be in
readiness. For the first time in her life Mildred found herself face to
face with a public audience. She stood there for a moment, such a
childish little figure in her white dress, with her golden hair falling
over her shoulders, and a frightened look in her dark eyes, that a wave
of sympathy seemed to pass through the hall, and a few people began to
clap. She started at the sound, and so great a panic of fear seized her
that she felt as though she could scarcely draw her breath; but at that
instant, looking down in front, she caught her aunt's eyes fixed upon
her with a hope and confidence in them which calmed her, notwithstanding
the knowledge that hundreds of listeners were waiting for her first
notes. Suddenly the remembrance of Mrs. Graham's words came back to
her--the Stradivarius had been in public before, and could make her
succeed in spite of herself. It was the bird of the "Fruehlingslied". She
had only to draw the bow, and it would surely sing.
"Are you ready? Now!" whispered the Professor. He waved his baton, and
the piece began.
Once the ice was broken, Mildred forgot the hall and the rows of people.
There was something inspiring in the subdued accompaniment of the
orchestra, her violin was like a living creature that thrilled under her
fingers, and so well did it respond to her touch that all the springtime
seemed to ring in the full, clear tones. She had got at the heart of the
musician's meaning, and those who listened felt that throb of pure
delight which comes to us sometimes with the sight of the dawn or the
early song of a thrush, that sense of freshness, of oneness with Nature
at her gladdest, that can raise our commonplace lives for the moment to
the level of the skies above.
It was an astounding performance for a girl of scarcely sixteen. The
piece not only demanded extreme facility of execution, but the maturest
thought and feeling, and to many it appeared incredible that so young a
player could have assimilated so much of the life and the mystery of
things as to enable her thus to interpret the mind of a great composer.
The audience seemed to hold its breath as the last crisp chord resounded
and died away; then it broke into a perfect storm of applause. There was
no mistaking the warmth of the reception, for instead of subsiding, the
clapping grew louder, and shouts of "Brava!" and "Encore!" echoed
through the hall. Suddenly realizing that she was the centre of all
eyes, Mildred made a frightened acknowledgment, and fled precipitately
to the staircase, to be brought back by her triumphant master, who,
taking her hand, led her once again to the front of the platform.
"Courage, mein Kind!" he whispered. "One little effort more! You will
not fail now? Ze encore!"
How Mildred played the "Polonaise" she never quite knew. She only
afterwards retained a confused remembrance of glaring light, a sea of
faces before her, and a sense that the notes came of themselves, urged
somehow from her fingers by the knowledge that they gave pleasure to her
hearers. It seemed a dream, a strange, bewildering unreality, an
exhilaration such as she had never before experienced, but which ended
in so great a revulsion of feeling that as she turned from the
applauding audience to leave the platform she could control herself no
longer, and, breaking down utterly, burst into tears.
"There, there!" said the Professor soothingly, patting the subdued
golden head; "it is finished now, and you are my very good pupil. Wait
in ze anteroom till I come, for I would speak to you after ze
performance."
"It was beautiful--beautiful!" cried the piano student, kissing Mildred
as she helped her down the staircase. "Don't cry, dear! It was worth the
effort. Such music is only granted to a few. Be thankful the talent is
yours, and that you are able to give it to the world. We, who are less
gifted, can only envy the future that lies before you."
The rest of the programme was soon finished, and the orchestra,
returning, crowded round Mildred to congratulate her on her success,
while some members of the audience, invited by Herr Hoffmann into the
anteroom, added kind words of approval and praise.
"Let us go, Tantie!" said Mildred, clinging to her aunt, who had come to
fetch her, and longing unspeakably for the quiet of home again; "I want
to get away from all this!"
"The cab's waiting, darling! We're going now," said Mrs. Graham, hastily
making Mildred's adieux and her own, and trying to edge her way through
the crowded room. A group of people talking together blocked their
progress at the door, and as they paused for a moment to find an
opportunity of passing, a lady sprang forward and shook Mildred warmly
by the hand, a lady whom she recognized at once as the stranger who had
spoken to her at Herr Hoffmann's on the day she had first visited his
house, and had waited so long for her music lesson.
"My dear, I am charmed! Your master ought indeed to be proud of you! I
should have known you the minute you came on to the platform, even
without your name on the programme. I am going to Westmorland to-morrow,
and I shall be sure to tell your uncle what a clever niece he has. Such
music would be enchanting in a drawing-room. I hope I may see you again
before long."
"Come, Mildred!" said her aunt, hurrying her away from the effusive
stranger. "Here is Herr Hoffmann waiting to say good-bye."
"Mein Freundchen!" cried the Professor, holding his pupil's little hand
in a bearlike grip, and relapsing into German in his excitement. "Is it
not worth while to have taken trouble? Ze exercises, ze scales, you did
not like them at ze time, but they are ze all-necessary foundation of
true art. To-night you have shown me that you can make progress. Go on!
There is much remaining to be done. Do not let one little applause cause
you to think that you can yet play. It is try each time a something more
difficult till you can master it, and some day you will thank ze old
Professor that he has made you work. Auf Wiedersehen!"