I left my seat in the far corner and dropped into a chair beside the window, nearer to the piano. Isley, I then noticed, had also turned to watch him. But it was George Isley not quite as he was now. I felt rather than saw the change. Both men had subtly altered. They seemed extended, their outlines shadowy.
Isley, alert and anxious, glanced up at the player, his mind of earlier years—for the expression of his face was plain—following the light music, yet with difficulty that involved effort, almost struggle. ‘Play that again, will you?’ I heard him say from time to time. He was trying to take hold of it, to climb back to a condition where that music had linked him to the present, to seize a mental structure that was gone, to grip hold tightly of it—only to find that it was too far forgotten and too fragile. It would not bear him. I am sure of it, and I can swear I divined his mood. He fought to realise himself as he had been, but in vain. In his dim corner opposite I watched him closely. The big black Blüthner blocked itself between us. Above it swayed the outline, lean and half shadowy, of Moleson as he played. A faint whisper floated through the room. ‘You are in Egypt.’ Nowhere else could this queer feeling of presentiment, of anticipation, have gained a footing so easily. I was aware of intense emotion in all three of us. The least reminder of To-day seemed ugly. I longed for some ancient forgotten splendour that was lost.
The scene fixed my attention very steadily, for I was aware of something deliberate and calculated on Moleson’s part. The thing was well considered in his mind, intention only half concealed. It was Egypt he interpreted by sound, expressing what in him was true, then observing its effect, as he led us cleverly towards—the past. Beginning with the present, he played persuasively, with penetration, with insistent meaning too. He had that touch which conjured up real atmosphere, and, at first, that atmosphere termed modern. He rendered vividly the note of London, passing from the jingles of musical comedy, nervous rag-times and sensuous Tango dances, into the higher strains of concert rooms and ‘cultured’ circles. Yet not too abruptly. Most dexterously he shifted the level, and with it our emotion. I recognised, as in a parody, various ultra-modern thrills: the tumult of Strauss, the pagan sweetness of primitive Debussy, the weirdness and ecstasy of metaphysical Scriabin. The composite note of To-day in both extremes, he brought into this private sitting-room of the desert hotel, while George Isley, listening keenly, fidgeted in his chair.
‘“Après-midi d’un Faune,”’ said Moleson dreamily, answering the question as to what he played. ‘Debussy’s, you know. And the thing before it was from “Til Eulenspiegel”—Strauss, of course.’
He drawled, swaying slowly with the rhythm, and leaving pauses between the words. His attention was not wholly on his listener, and in the voice was a quality that increased my uneasy apprehension. I felt distress for Isley somewhere. Something, it seemed, was coming; Moleson brought it. Unconsciously in his walk, it now appeared consciously in his music; and it came from what was underground in him. A charm, a subtle change, stole oddly over the room. It stole over my heart as well. Some power of estimating left me, as though my mind were slipping backwards and losing familiar, common standards.
‘The true modern note in it, isn’t there?’ he drawled; ‘cleverness, I think—intellectual—surface ingenuity—no depth or permanence—just the sensational brilliance of To-day.’ He turned and stared at me fixedly an instant. ‘Nothing everlasting,’ he added impressively. ‘It tells everything it knows—because it’s small enough——’
And the room turned pettier as he said it; another, bigger shadow draped its little walls. Through the open windows came a stealthy gesture of eternity. The atmosphere stretched visibly. Moleson was playing a marvellous fragment from Scriabin’s ‘Prometheus.’ It sounded thin and shallow. This modern music, all of it, was out of place and trivial. It was almost ridiculous. The scale of our emotion changed insensibly into a deeper thing that has no name in dictionaries, being of another age. And I glanced at the windows where stone columns framed dim sections of great Egypt listening outside. There was no moon; only deep draughts of stars blazed, hanging in the sky. I thought with awe of the mysterious knowledge that vanished people had of these stars, and of the Sun’s huge journey through the Zodiac....
And, with astonishing suddenness as of dream, there rose a pictured image against that starlit sky. Lifted into the air, between heaven and earth, I saw float swiftly past a panorama of the stately temples, led by Denderah, Edfu, Abou Simbel. It paused, it hovered, it disappeared. Leaving incalculable solemnity behind it in the air, it vanished, and to see so vast a thing move at that easy yet unhasting speed unhinged some sense of measurement in me. It was, of course, I assured myself, mere memory objectified owing to something that the music summoned, yet the apprehension rose in me that the whole of Egypt presently would stream past in similar fashion—Egypt as she was in the zenith of her unrecoverable past. Behind the tinkling of the modern piano passed the rustling of a multitude, the tramping of countless feet on sand.... It was singularly vivid. It arrested in me something that normally went flowing.... And when I turned my head towards the room to call attention to my strange experience, the eyes of Moleson, I saw, were laid upon my own. He stared at me. The light in them transfixed me, and I understood that the illusion was due in some manner to his evocation. Isley rose at the same moment from his chair. The thing I had vaguely been expecting had shifted closer. And the same moment the musician abruptly changed his key.
‘You may like this better,’ he murmured, half to himself, but in tones he somehow made echoing. ‘It’s more suited to the place.’ There was a resonance in the voice as though it emerged from hollows underground. ‘The other seems almost sacrilegious—here.’ And his voice drawled off in the rhythm of slower modulations that he played. It had grown muffled. There was an impression, too, that he did not strike the piano, but that the music issued from himself.
‘Place! What place?’ asked Isley quickly. His head turned sharply as he spoke. His tone, in its remoteness, made me tremble.