“Very well indeed,” he said. “Now for ‘Good King Wenceslas.’ Wasn’t it—”
“Yes; I got awfully interested over it, Hermann. I thought I would try and work it up into a few variations.”
“Let’s hear,” said Falbe.
This was a vastly different affair. Michael had shown both ingenuity and a great sense of harmonic beauty in the arrangement of the very simple little tune that Falbe had made him exercise his ear over, and the half-dozen variations that followed showed a wonderfully mature handling. The air which he dealt with haunted them as a sort of unseen presence. It moved in a tiny gavotte, or looked on at a minuet measure; it wailed, yet without being positively heard, in a little dirge of itself; it broadened into a march, it shouted in a bravura of rapid octaves, and finally asserted itself, heard once more, over a great scale base of bells.
Falbe, as was his habit when interested, sat absolutely still, but receptive and alert, instead of jerking and fidgeting as he had done over Michael’s fiasco in the Chopin prelude, and at the end he jumped up with a certain excitement.
“Do you know what you’ve done?” he said. “You’ve done something that’s really good. Faults? Yes, millions; but there’s a first-rate imagination at the bottom of it. How did it happen?”
Michael flushed with pleasure.
“Oh, they sang themselves,” he said, “and I learned them. But will it really do? Is there anything in it?”
“Yes, old boy, there’s King Wenceslas in it, and you’ve dressed him up well. Play that last one again.”
The last one was taxing to the fingers, but Michael’s big hands banged out the octave scale in the bass with wonderful ease, and Falbe gave a great guffaw of pleasure at the rollicking conclusion.