VI
Alphonse de Sterny! The name in those days exercised an enchantment that was mingled with awe upon the ears of every one, be he artist or amateur, who cared for music. In our coldly critical times we can form no idea of the insane idolatry that was addressed, during the decade of the fifties to one or two piano virtuosos. De Sterny was among the most famous of these. The Sterny craze appeared like an epidemic in every town where he gave his concerts. At the same time the riddle of his power was hard to solve. His envious contemporaries asserted bluntly that he owed his triumphs not so much to the artistic excellence of his playing as to his agreeable person and gracious manners. He was the perfection of a homme à succès. Gloved and cravated with just precision enough for elegance, sufficiently careless to appear distinguished, ready and malicious enough to pass for witty, dissipated and extravagant enough to be credited with genius, he was also very handsome, wore his hair parted low in the middle of his forehead, and always dressed with quiet correctness in the latest fashion but one, as became a person of the best gentility, avoiding all artist eccentricities. His conversation was amusing, his manners unimpeachable. He was the natural son of a French diplomat, called himself de Sterny after his birthplace, and had inherited an income of twenty-five thousand francs, as the world knew; from an Italian princess--as the world did not know. His piano playing was beautifully finished, a shower of pearls, a chain of flowers, with a masterly balanced technique, carried out in a dignified execution, never one false note, never any vulgar pounding.
Certainly the great Hungarian pianist, to whose performance a handful of false notes belonged as part of the effect, was wont to remark bitingly that "de Sterny played like a countess." But de Sterny, to whom the speech was brought by kind friends, only smiled amiably, and continued, at least in the beginning of his career, to delicately caress an instrument which the other pianists maltreated, and electrified a public satiated with musical orgies, by his moderation. He moved almost exclusively in the best social circles, yet he always showed himself ready to do a service for a fellow artist.
Altogether he was, when Gesa first became acquainted with him, a perfectly shallow, perfectly selfish, uncommonly talented, very good-humored, very vain man who loved to hear himself talked about. Charlatan he only became later, in order to maintain himself upon the pedestal whither public adulation had driven him. The pedestal was too high! Many another might have found himself growing dizzy up there.
He loved to patronize, and for that reason did not content himself with pressing Gesa's hands, but gave him his address, and invited him to call upon him next morning at the Hotel de Flandres, "so that we can talk over your future," said he, cheeringly. Then he was very amiable to the other artists assembled in the green-room, then he held out his hand to Delileo, over whose cheeks the tears were running down, then he clapped the debutant on the shoulder, wished him "good luck!" and disappeared.
At the little artist supper, which the manager had arranged for the performers, Gesa sat, ate not a mouthful, and spoke not a word. With pale cheeks and fixed eyes he gazed before him into the future,--a future in which the trees bore golden leaves, and their fruit sparkled like diamonds--a future in which dust and mold were unknown things, where forms of radiant beauty wandered among thickets of thornless roses, and the laurel trees bowed before him.
In those days Gesa von Zuylen's eyes were not contracted like the eyes of a wild beast that shuns the light; they were wide open, like a young eagle's whom the sun itself does not blind.