THE MUSIC MASTER

BY

CHARLES KLEIN

NOVELIZED FROM THE
PLAY AS PRODUCED BY
DAVID BELASCO

ILLUSTRATED WITH SCENES
FROM THE PHOTOPLAY
A WILLIAM FOX PRODUCTION

NEW YORK
GROSSET & DUNLAP
PUBLISHERS

Copyright, 1909
By Dodd, Mead & Company

All rights reserved
Published, March, 1909

THIS BOOK IS DEDICATED
TO
David Warfield, Artist
BY THE AUTHOR

Table of Contents

List of Illustrations

Chapter One

Anton Von Barwig rapped on the conductor's desk for silence and laid down his baton. The hundred men constituting the Leipsic Philharmonic Orchestra stopped playing as if by magic, and those who looked up from their music saw in their leader's face, for the first time in their three years' experience under his direction, a pained expression of helplessness.

"Either I can't hear you this morning, or the first violins are late in attacking and the wood wind drags—drags—drags."

"What's the matter? We've played this a hundred times," growled Karlschmidt, the bass clarionet player, to Poons, the Dutch horn soloist, who sat at the desk next to him.

Karlschmidt was a socialist, a student of Karl Marx, and took more interest in communism than in his allotted share of the score of Isolde's Liebestodt. Indeed, nearly all the men were interested in something other than the occupation which afforded them a living. For them the pleasure of music had died in the business of attaining accuracy.

"What did he say?" asked Poons, losing Von Barwig's next remark in trying to hear what Karlschmidt was mumbling.

"He said it's his own fault," whispered the second flute.

"He's quite right," assented Karlschmidt.

"Hush, hush!" came from one or two others. Von Barwig was addressing the men again, and they wanted to hear.

"Let's play; cut the speeches out," growled Karlschmidt. "For God's sake, what's he saying now?"

"Damn it! How can we hear when you won't keep quiet?" blurted a Germanised Englishman who had an engagement at the old Rathaus and wanted to get away.

"We're dismissed," said Poons, who couldn't hear. But the men at the violin desks down front were rising and putting away their instruments, and the others were slowly following their example.

Karlschmidt's face expanded into a smile; the prospect of avoiding the unpleasant grind of rehearsal had restored him to good humour. The lines of men were now breaking up into knots; bows were being loosened, violins put into cases and brass instruments into bags, while laughing and chatting became general. Poons looked at Von Barwig, who still stood on the small dais, staring out into space, and he saw that something was the matter. He loved Von Barwig; for years before, when hard times had sent him over the border from Amsterdam toward the German music centres, Von Barwig had extended him a helping hand, indeed had almost kept him from starving until he got an engagement in one of the minor Dresden theatres; Poons was grateful; and gratitude is a form of love that lies deeper than mere sympathy.

"Can I do something for you, Anton?" he asked a few moments later, as he stood at the conductor's desk. Von Barwig did not answer; and with his round face, and smiling eyes glancing appealingly at his conductor, Poons stood waiting like a little dog that patiently wags his tall in hope of his master's recognition. Presently he shook his head gravely and sighed. Surely something was wrong, for Anton was not himself. Never before had he stopped rehearsal and dismissed his men on the morning preceding a concert night, and, moreover, the night of the first performance of a new symphony—Von Barwig's own work.

The men were rapidly disappearing, and the Gewandhaus concert platform was almost empty. Von Barwig seemed deeply interested in watching his men carry off their instruments, and yet, when Poons looked closely into his face, he knew that the leader did not see that which he was apparently watching so closely.

"Shall I wait for you, Anton?" ventured Poons finally. As if to remind Von Barwig of his presence, he touched him gently on the arm. Von Barwig started. A look of recognition came into his eye, and with it a smile that metamorphosed his homely, almost ugly face into something beyond mere beauty; a smile that transformed a somewhat commonplace personality into an appealing and compelling individuality. There is no need to describe the delicate, sensitive, rugged countenance, which, when he smiled, radiated love and sympathy for his fellow-beings and made him what is ordinarily described as magnetic.

Poons caught this smile, and his own broad grin deepened as he recognised his old friend again.

"Come, let's go," Von Barwig said briefly; and without another word they walked out of the Gewandhaus. They passed the statue of Mendelssohn erected in front of the building, walking down the August Platz as far as the University. Poons noticed that unusual things were happening that morning. First, his friend was walking rapidly, so rapidly that he himself almost had to trot to keep up with him; second, he was muttering to himself, a most unusual thing for Von Barwig to do; third, every now and then a look of intense hatred beclouded his face; and last, he was not talking over the events of the morning with his friend. Furthermore, so engrossed was Von Barwig in his own thoughts that he passed Schumann's monument without lifting his hat, and Bismarck's monument without shaking his fist; and these two things Von Barwig had done, day in and day out, ever since Poons had known him. Finally, when at the Thomas Kirche Poons ventured to ask, "Where are we going?" Von Barwig stopped short in the middle of the street he was crossing.

"That's it, that's it!" he said excitedly; "where am I going? Where am I going?" and he looked at Poons as if he expected that his frightened friend would answer his question.

Poons took his friend's arm and pushed him out of the road on to the pavement just in time to save him from being grazed by a cab which rapidly whisked by them. Then he stopped and laid his hand on Von Barwig's shoulder.

"What's the matter, Anton?" he said soothingly. "Can't you tell me? In God's name, what has happened?"

Anton looked at Poons. The unexpected had happened; his devoted follower had dared to question him. The shock almost awoke him to a sense of his surroundings, and the ghost of his old smile stole over his face as he shook his head slowly.

"That's it!" he gasped. "I don't know! I don't know! It's the uncertainty that is killing me. By God, August, I'll kill him! I'll kill him!" And then Poons understood.

They walked on in silence, whither neither of them knew. It was now Poons's turn to walk faster than his companion and to mutter to himself. His face had lost its grin, and he was no longer conscious of his immediate surroundings. After they had passed Auerbach's cellar he could contain himself no longer, and an explosion took place. He stopped Von Barwig in the middle of the pavement, grabbing him by the arm, and in a hoarse, gutteral voice, choked with emotion, shouted, "Anton! Anton!"

Von Barwig looked at his friend in mute surprise. Poons, oblivious of the bystanders—who were looking to see why a man should shout so unnecessarily—went on:

"By God, Anton, I kill him, too!"

This appealed to Von Barwig's sense of humour, and he burst Into laughter, a laughter perilously near to tears. It never occurred to him to ask Poons what he knew or what he had heard. The fact that what was preying on his mind, his carefully guarded secret, was common property did not strike him at that moment. He merely thought that his friend was agreeing with him in the sentiment of killing "some one" as he agreed with him in all matters of music, philosophy and art. In Anton Von Barwig's condition of mind at that moment, had it occurred to him that Poons knew the awful fact that was confronting him, he would have taken him by the throat and then and there compelled him to confess what he knew or thought he knew; but he walked on in silence, followed by his devoted friend.

They turned up a small side street of the August Platz and stopped in front of the house where Anton Von Barwig lived. It was the centre of a row of large modern apartment houses where lived for the most part the art world of Leipsic, and this world included beside the rich, professional element, the wealthy publishers, of whom in this important centre of Germany there were a large number. As Von Barwig stood waiting for Poons to enter with him, he noticed Poons's outstretched hand.

"Aren't you coming in?" he asked. Poons shook his head.

"I'd better not," he said simply.

"Why not?" asked Von Barwig.

"Because," Poons faltered. He did not want to tell his friend that at such times as these it is better for a man to be alone with his thoughts.

"Why not?" cried Von Barwig; but Poons did not speak. He stood like some dumb animal awaiting his master's lash; and then Von Barwig knew that Poons knew.

"Come!" said Von Barwig in a low, hard voice, with such firmness and determination that Poons, in spite of himself, was compelled to go forward. Silently they walked up three flights, neither of them noticing the salute of the porter as they passed him. Anton took out his keys and opened a door which led into a magnificently furnished musical studio, the largest apartment in Koenigs Strasse. It was here that he and Madam Elene Von Barwig, his wife, held their musical receptions and entertained the great German and foreign artists that came to Leipsic. These receptions were famous affairs, and invitations were eagerly sought, not only by musical celebrities, but by such of the nobility as happened to be in town. Members of the royal family had been known to grace more than one of these affairs; for though a conductor of the Leipsic Philharmonic is not necessarily a rich man, his social position is unquestioned.

Perhaps some such fleeting thoughts as these—glimpses into the past like those of a drowning man—came into Anton Von Barwig's consciousness as he stepped quietly to the door leading from the reception-room and studio and passed into the corridor toward the living apartments. He listened intently; but hearing nothing, closed the door quietly, and somewhat to Poons's alarm turned the key in the lock.

"Now tell me," he demanded, in a voice that was as strange as it was determined; "what do you know? Sit down." This last was a direct command.

Poons felt that nothing was to be gained by silence. He had, so to speak, put his foot in it by allowing himself, through sympathy in his friend's affairs, to betray the fact that he knew what was troubling him. He felt, therefore, that by making a clean breast of it, he might not only mitigate Von Barwig's sufferings but enable him to see what the world, or at least the world of Leipsic, had seen for some time.

Poons was not a rapid thinker, but these thoughts flashed through his mind in less time than it took him to obey Von Barwig. He sat down in the chair indicated by his friend and tried to collect his thoughts.

"What do you know?" repeated Von Barwig. Poons moistened his lips with his tongue, as if to enable him to speak; but words would not come. He loved Anton; he knew that what he had to say would make him suffer; and that he could not bear to see. He tried to speak, faltered "I cannot, I cannot!" and burst into tears. Von Barwig walked up to the window and gazed steadily into the street.

"It's more serious than I thought," he said after a few moments' pause, giving Poons time to recover in some slight degree from his emotion. "It is serious, eh?"

"Yes," assented Poons, relieved that Anton's question required only a monosyllable for an answer.

"Very serious, eh?" asked Von Barwig, steeling himself for the answer he expected.

"Yes, I think so," nodded Poons, gulping down a sob.

"The worst, eh?"

"God, you know what scandal-mongers are; what people say—when they do say—how they talk! They have no mercy, no brains, no sense! What is a woman's reputation to them? They repeat, they—they—the wretches—the murderers—" Poons seemed to be trying to shift the blame on a number of people; it was easier for him to generalise at this moment than to answer his questioner straightforwardly.

"Do they say that my wife—that Madam Von Barwig neglects her home?"

"Yes."

"And her child?"

"No, no!" eagerly interrupted Poons, quite joyous at being able to deny something at last.

"Do they say that she—neglects me, that she doesn't care for me, that—" Von Barwig spoke now with an effort; "that she no longer loves me?"

Poons nodded affirmatively. He was summoning up all his courage for the question that he knew was coming; and it came.

"Do they say, do they mention—his name?"

Poons again nodded affirmatively.

"Ahlmann?"

"Yes."

Von Barwig held his breath for a moment; then literally heaved a sigh. What he most feared had indeed come upon him. The world knew; his heart was on his sleeve for daws to peck at.

"How long have you known this?"

Poons hung his head, he could not answer. He was longing to throw his arms around his friend's neck and cry on his shoulder; and he could think of nothing to say but "Poor Anton! Poor Anton!"

"Don't pity me, damn you! don't pity me!" burst out Von Barwig. "And don't sit there bleating like a lost sheep of Israel! I'm not a woman—tears are no panacea for suffering like mine. Put the world back five years, restore for me the past few months; then I could live life over again, then I could see and know and act differently. Don't sit there like a wailing widow, moaning and moping over other people's miseries! That isn't sympathy, that's weakness! If you want to help me, tell me to be a man, to face my troubles like a man; don't cry like a baby!"

"That's right," assented Poons, "go on; it does you good. Give it to me, I deserve it!"

"Poor old Poons, you do your best! Ah, your love does me good, old friend; but there's hell to face! She threatens to leave me, to leave me because I refused to allow him to come here. I've warned him! And if he shows his face in Leipsic again, I'll kill him! Look!" Von Barwig felt in his inner pocket. "Now you can understand why I couldn't hold the men together at rehearsal this morning. My mind was with her, with him. Ha! the mother of my little girl, my little Hélène! That's the pity of it, Poons, that's the pity of it!" and now it was Von Barwig's turn to show weakness. "That's what I can't understand. A woman's love for a man, yes, it can go here, there, anywhere; but the mother instinct, how can that change?"

"Doesn't she love her little girl any more?" asked Poons in simple astonishment.

"She loves him," said Anton. "Can there be room for the mother love with such love as he inspires?"

He looked at the letter in his hand and passed it to Poons. "This morning, just as I was leaving for rehearsal, the servant handed me this. My little girl is all I have left now." His voice choked with emotion as he turned once more toward the window.

At the sight of his friend's suffering Poons could no longer contain himself, and he fairly blubbered as he read the following:

"DEAR ANTON: Henry Ahlmann is in Leipsic and I have seen him. I cannot live a lie, so I am going away with him. Believe me, it is better so; I feel that you can never forgive me and that we can never again be happy together. Kiss my darling Hélène for me, and oh, Anton, don't tell the little one her unhappy mother's miserable history until she is old enough to understand!

"ELENE VON BARWIG."

"Well, that's conclusive, isn't it?" asked Von Barwig grimly as soon as Poons finished reading.

Poons's voice failed him. Hot, scalding tears were fairly raining down his cheeks as the letter fell out of his trembling hands and fluttered to the floor.

"Well, what's to be done; what's to be done?"

"Then she has gone?"

Von Barwig nodded. "I suppose so! I don't know, I can't tell," he said helplessly. "I didn't try to stop her," he went on after a pause. "What's the use, to what end? Oh, I don't want the entire blame to rest on her shoulders! A beautiful woman, twenty-five years of age, a pampered, petted, spoiled child, craving constant excitement; and he, a handsome, young American, rich and romantic. I, as you know, am a mature man of forty, devoted to an art in which she takes little interest. I introduced them. Ha! that's the irony of it! I brought them together, I left them together, I—it's my fault, Poons—my fault! I neglected her for my work. With me, all was music: the compositions, the rehearsal, the concert, the pupil, the conservatory, the opera, the singer, the player. He used to take her to my concerts; and I,—fool, fool—encouraged him, for it gave me more time to devote to my art. An artist is a selfish dog! He must be, or there is no art. What could I expect? I am fifteen years older than she; ugly——"

"No, no!" blurted out Poons.

"Misshapen, undersized——"

"No, no!"

"My friend can lie, but my looking-glass doesn't. I know, I know! God, how will it all end? How will it all end?"

At this point the door shook a little as though some one were trying to get in.

"She's come back!" almost gasped Anton, and walking firmly to the door, he unlocked and opened it. As he did so, a little fairy creature between three and four years of age, with golden, flaxen curls and blue eyes, bounded into the room, calling out, "Papa! Papa! Where is oo? Where is oo?"

Von Barwig was on his knees in a moment, and the child threw her left arm around his neck and hugged him so tightly that the little doll she held in her right hand was almost crushed between them.

"Hélène, Hélène! my poor, motherless little baby!" And then for the first time Von Barwig gave way to tears.

"We are alone, alone, alone! Oh, God! Oh, God!" he sobbed as he rocked from side to side in his agony. Poons crept softly out of the room and closed the door gently after him.

Chapter Two

It was past seven o'clock that evening when Poons returned to Von Barwig's apartment on his way to the Gewandhaus concert. His old overcoat buttoned tightly over his well-worn dress suit covered a palpitating heart; for Poons was afraid. A few minutes before, when he had kissed his motherly wife good-bye and told her to take good, extra good care of their little son August, she had noticed that his hand was trembling. And when he tried to account for his nervous condition by reminding her that Anton Von Barwig's new symphony was to be played that night and that a member of the Royal family was to be present on the occasion, she had shaken her head gravely, accusing him of being a foolish, timid old boy. It needed all the courage he could muster up to enable him to ring the door-bell of Von Barwig's dwelling. There was such a death-like stillness that Poons thought for a moment no one was there; he dreaded he knew not what. As he stood listening to the silence, he thought he heard a child's laughter, and he sighed in relief. The servant came to the door, a sleepy-eyed German mädchen as strong as an ox and nearly as stupid. "Oh, it's Herr Poons," she said. "Come in. I tell Herr Von Barwig——"

"Is he—is he? How is he?" faltered Poons, much relieved that the girl showed no evidence of acquaintance with the real condition of her master's mind.

"I tell him," repeated the girl stolidly, without answering his question.

Closing the hall door, she ushered him into the studio and left him standing there. Poons looked at his watch; it was a quarter past seven. He still had fifteen minutes to spare before the concert engagement, which began at eight o'clock, called him to the Gewandhaus.

While he was wondering what he could say to his friend, the servant opened the door leading to the living apartments of the family and intimated that he should come in. Poons passed through a magnificently furnished drawing-room and library, and thence into the dining-room.

"This way," said the girl, opening the dining-room door, beyond which was a passage leading to the kitchen and bedrooms. Poons looked surprised, and the girl hastened to say:

"Herr Von Barwig is in the nursery."

"Ah, of course," nodded Poons, as he followed her.

Not very observant usually, Poons noticed that the dinner table was set for two persons. Both places were undisturbed and the food was untouched.

"He has not eaten," thought Poons. "Of course she is not here! Oh, God! that is the tragedy of it! The empty chair, always the empty chair—it is like death!"

As the nursery door opened Poons heard the sound of voices and laughter and, to his utter astonishment, saw his friend Von Barwig on the floor playing with little Hélène's dolls' house. Hélène was shrieking with childish laughter because Von Barwig pretended to be angry with one of her dolls which would not eat the cake he tried to make it swallow.

As Von Barwig saw his friend, a look of intense pain crossed his face, but he forced himself to smile and say:

"Come in, Herr Doctor Poons, and mend this little girl's eye. See, I've given her cake to eat, but it won't do her eye any good!"

Hélène laughed gleefully at the idea of cake being good for a broken eye.

"Good gracious, how did the eye fall out?" said Dr. Poons, shaking his head gravely.

"She fell down and I kicked it," lisped the little one. "I kicked it," she laughed, unconscious that she had committed an unprovoked assault on her plaything. "Mend it; oh, please mend it!"

Poons shook his head gravely. The child mistook this for a confession of his inability to do what she wished.

"Mamma 'll fix it when she comes home. She won't be long, will she?" said the child, somewhat tearfully. She had asked the question many times, and her father seemed unable to answer her.

"I am trying to make her forget," said Anton savagely to Poons, in answer to his look of painful inquiry. "She must forget soon; I've been with her ever since you left me this morning." His arm stole around the child's neck, and drawing her to him gently, he kissed her again and again with such sad, lingering tenderness that the ever-ready tears welled up into Poons's eyes, and he turned his head to conceal them. The child struggled to free herself.

"Papa so rough, eh? Well, he won't be, or Herr Poons will beat him, eh?"

"Surely," assented Poons.

"Papa will be so gentle and so kind," went on Von Barwig tenderly. "He'll love his little girl as no little girl in this wide, wide world was ever loved before, eh?"

Little Hélène did not understand, and as she had nothing at this precise moment to occupy her attention, she answered him by asking the one question that absorbed her mind, "Where's mamma?"

Von Barwig and Poons looked at each other helplessly. Apart from the tragedy of two men trying to comfort a little child that had lost its parent, there remained in Von Barwig's mind a sense of the utter inability of the masculine individuality to fill the place of mother in the child's heart. In after years, Von Barwig always remembered the sinking sensation he felt when this fact came home to him in full force.

"Well, one thing," said Anton, as he swallowed something that came in his throat and threatened to choke him, "one thing, she was kind to the little one; the was a kind mother, eh?"

"Kind? kind?" began Poons fiercely. "Is it kind to——"

Von Barwig silenced him with a look.

"Yes, she was a good mother," he admitted conciliatingly. "But, by God, if we don't go we shall be late! Phew!" he whistled as he looked at his watch, "half past seven." Von Barwig sat still for a moment.

"Half past seven? Yes." Then, as if it were slowly dawning upon him that he had duties, he arose, dusting his knees mechanically.

"Half past seven, yes. It begins at eight, eh? and I must dress. Yes, I suppose I must dress!"

The little girl was now putting her dolls back into the dolls' house; the doorway was blocked up and she was pushing one through a broken window in the little house as Von Barwig caught her in his arms and caressed her.

"How can I leave her? Good God, how can I leave her?" he groaned. He stroked her face, her hair, and kissed her again and again.

"She's all I have, all; she's all I want. I won't go to-night, I won't leave her, do you hear? Let Ruhlmeyer conduct to-night. I can't go, I can't leave her alone! Suppose something were to happen to her?"

"But you must go!" said Poons firmly; desperation had given him courage. "You must go!"

Von Barwig looked at him in surprise; Poons's tone sobered him a little.

"For her sake you must work," went on Poons, gaining courage as he saw that his words had an effect on his friend.

"Yes, I must work," assented Von Barwig, feeling the force of Poons's words. "Shall I go, little Hélène, my little darling? Shall I go?"

"Yes, go and tell mamma to come," was the little one's reply.

"Come, hurry, Anton! You must dress, you have barely five minutes: five to dress, ten to get to the Gewandhaus."

"Ha! they can wait!" said Von Barwig grimly. "Prince Mecklenburg Strelitz, the Kaiser, all Germany can wait, while I mend the strings of my heart!"

The nurse-maid came in and suggested that it was time to put little Fräulein to bed. Poons looked at her closely; her eyelids were red, for she had been crying.

"Take good care of the little Fräulein," said Von Barwig as he handed her over to the maid. It was long past her bedtime, and the little child had almost fallen asleep in her father's arms.

"Let me kiss her just once more; I won't wake her up!"

The girl burst into tears as Von Barwig bent over the child, kissing her tenderly; then she hurried into the next room with her precious charge.

"She knows?" inquired Poons.

"Yes," nodded Von Barwig; and then, with a sigh, "She knows."

Five minutes later, Von Barwig, accompanied by Poons, left the house and hurriedly took a cab to the concert hall.

Chapter Three

It was noticed by more than one member of the Leipsic Philharmonic Orchestra that Herr Director Von Barwig was in unusually high spirits that evening. Many attributed it to the fact that he was nervous because of the first production of his new symphony. Karlschmidt hinted to his deskmate that Von Barwig was nervous and was trying to conceal it by pretending to be delighted with everything and everybody. This was probably true in a measure; at all events, when he came into the artists' room at the Gewandhaus at about five minutes to eight, he shook hands with everybody, joked with his men, and talked almost incessantly, as if he wanted to keep at high pressure. Poons watched him closely. Von Barwig was unusually pale, and as he slapped his concert meister on the back Poons noticed that, though his face wore a smile, his lips quivered.

"For heaven's sake," he heard him say to the leader of the second violins, "don't play the pizzicato in the third movement as if you were picking up eggs!" Poons rejoiced that his friend could forget so easily.

It was, however, when Von Barwig walked out on the platform to the dais, bowed to the immense audience, and turned to his men, that the deadly pallor of his face was most apparent. Some of the audience noticed it as he acknowledged the applause he received. There was not a tremor of hand or muscle, not an undecided movement; merely a deadly pallor of countenance as if he no longer had blood in his veins, but ice. The men felt the absence of the compelling force that always emanated from him, that seemed to ooze from his baton; that psychic something that compelled the player to feel as his director felt—the force we call magnetism. The firmness of mouth showed that the determination to dominate was still there, but the absence of that mental power left only the automatic rhythm and swing, sans heart, sans soul, sans feeling. The beat was the beat of the finely trained academic conductor, but the genius of it was gone. The ghost of a departed Von Barwig was beating time for the Von Barwig that had lived and died that night.

Perhaps the audience did not feel this as much as the men did, for they applauded heartily at the end of the opening number. They did notice that Von Barwig did not acknowledge their applause and seemed to be oblivious of their presence. The fact that an ultra-fashionable audience was present, including a prince and princess of the Royal Family, and the élite of Leipsic, to say nothing of the American Ambassador, Mr. Cruger, apparently did not affect Von Barwig in the least. This appealed very much to the democratic instinct of Mr. Cruger, and at the end of the first part he asked his friend, Prince Holberg-Meckstein, to present him to the conductor.

"I will present him to you," said his highness, carefully readjusting the pronouns; and he sent for Von Barwig.

"A curious personality!" remarked Mr. Cruger to the prince as Von Barwig bowed himself out of the box a few minutes later.

"Yes, and a fine musician," said the prince. "But he's not at his best to-night."

As Von Barwig passed through the artists' room, Poons approached him. Anton motioned him away as if to say, "Don't speak to me," and Poons walked sadly away.

The second part of the programme was to begin with Von Barwig's latest work.

"Quick, put the score of the symphony on my desk," he said to the librarian, who happened to be passing at the moment. "I intended to conduct it from memory; but I have forgotten."

As the librarian placed the score on the conductor's desk, he thought it strange that a man who had been rehearsing from memory for weeks should so suddenly forget.

Von Barwig opened the score a few moments later, raised his baton, and the wood wind began the new work. He conducted as mechanically as before, for his dead heart could pump no enthusiasm into his work, and the audience suddenly felt a sense of disappointment. But after the first few passages had been played the leader lost his self-consciousness and forgot his surroundings. He began to feel the music, to compose it again, and the mechanism of the conductor was lost in the inspiration of the composer. It was a beautiful movement marked andante sostenuto—pathos itself, and Von Barwig drew from his men their very souls, forcing them in turn to draw out of their strings all the suffering he had been going through for the past few days. Then a curious psychic phenomenon took place. Von Barwig completely forgot himself, his audience, his orchestra; he was living in his music, and the music took him back to the precise moment of inspiration. Once more he was in his studio, seated at his work table, looking up from his score into the face of his beloved Elene. She was smiling at him, encouraging him to go on with his work, the work that she had prophesied would make him famous and her the happiest of women. This dream had almost the appearance of reality to Von Barwig. Indeed it was real, as real as reality itself, until the wild applause of an enthusiastic audience awoke him alike to the consciousness of the success of his work and the hopeless misery of his present position; his success in his music only accentuating the failure his life had become.

The playing of this movement made such an impression that Von Barwig was compelled again and again to acknowledge the plaudits of the audience. Indeed, they wanted him to repeat it, but this he steadfastly refused to do. There was a slight intermission between the playing of the first and the second parts of the symphony, and during this pause the librarian handed a note to Von Barwig, whispering to him, "You must read it. The woman is outside in hysterics."

"What woman?" demanded Von Barwig, his thoughts reverting to his wife.

Trembling and fearful of he knew not what the leader read the following hastily scrawled note: