"Excuse me, my dear," she said, "but the music of 'Esther' is not quite a drawing-room ballad. Not that you will not sing it charmingly—perfectly! There is no doubt about that. But there is a certain breadth—a certain style of phrasing, necessary for sacred music. It is most important that the accompanist should understand your reading of the air. Indeed, I am anxious to hear it myself. I have my own idea as to the proper rendering of the opening phrase, 'Hear, O King, and grant me my petition!' But I shan't say a word until I have heard you. Your idea may be better than mine; Ha, ha, ha! Who knows? 'Hear, O King, and grant——?' My own notion would be to begin softly—almost sotto voce—in a timid manner: 'Hear, O King;' and then to rise into a crescendo as the strain proceeds 'and grant me my Petition!' But I won't say a word. You must sing it as you feel it."
May was, by special favour, admitted to the rehearsal. She had called to see Clara Bertram on the afternoon of her arrival, and was ushered into the long, low, old-fashioned drawing-room, where she found Miss Piper seated at one end of it, amid a wilderness of rout-seats, and Mr. Sebastian Bach Simpson at the piano, near to which Miss Bertram was standing.
"Oh, it's dear May Cheffington!" said Miss Piper, who had turned round sharply at the opening of the door. "Yes, yes; come in, my dear. Not at home to anybody else, Rachel! Not to anybody, do you hear? Now come and sit down by me, my dear. She is going to try 'Hear, O King.' Very glad to see you; you are so sympathetic, and such a favourite with Clara! There now, don't make her talk! Nothing worse for the voice than talking. Come and sit down."
May was, indeed, scarcely allowed to exchange greetings with her friend, who whispered smilingly, "We'll have our chat by-and-by."
Then Mr. Simpson struck up the first chords of the symphony, and there was breathless silence. He had not played three bars, however, before Miss Piper jumped up and ran to the piano.
"Oh, I beg pardon, Mr. Simpson, for offering a suggestion to so sound a musician as yourself, but don't you think a little more stress might be laid on that chord of the diminished seventh? It prepares the way, you see, for the pleading tone of the composition. Le-da, de-da—like that! Oh, thank you! Quite my meaning. Please go on."
But Mr. Simpson did not proceed far without receiving another "suggestion."
"A little more force and fulness, don't you think, in that resolution of the discord? I should like a richer effect."
"I don't know how to make it richer," rasped out Mr. Simpson. "It is the simple common chord, just four notes—C, E, G, C. I sounded 'em all. I can play the bass as an octave, if you think that'll be any richer."
"Oh, thank you! Yes, I really think it will. You see 'Esther' was scored for full orchestra, and the composer's ear hankers after the instrumental effects. But that octave in the bass is a great improvement. Many thanks!"