Various reasons were given for his success, no one being willing to believe that it was due to his merits as a teacher. Some said that he recognised in a twinkling the weak points of the individual with whom he had to deal. He humoured foibles, was tender of self-conceit. He also flattered his pupils by giving them music that was beyond their powers of execution: those, for instance, who had worked long and with feeble interest at Czerny, Dussek and Hummel, were dazzled at the prospect of Liszt and Chopin, which was suddenly thrust beneath their eyes. Other ill-wishers believed that his chief bait was the musical SOIREES he gave when a famous pianist came to the town. By virtue of his journalistic position, he was personally acquainted with all the great; they visited at his house, and his pupils had thus not merely the opportunity of getting to know artists like Rubinstein and d'Albert, and of hearing them play in private, but, what was more to the point, of themselves taking part in the performance, and perhaps receiving a golden word from the great man's lips. And though no huge parchment scroll was forthcoming on the termination of one's studies, yet Schrievers held the weapon of criticism in his hand, and, at the first tentative public appearance of the young performer, could make or mar as he chose. He lived on good terms, too, with his fellow-critics, so that wire-pulling was easy—incomparably more so than were the embarrassing visits, open to any snub, which were common if one was only a pupil of the Conservatorium, and which, in the case of the ladypupils, included costly bouquets of flowers.
Among those who had deserted Schwarz were some, like Miss Martin, malcontents, who had flitted from place to place, and from master to master, in the perpetual hope of discovering that ideal teacher who would estimate them at their true worth. These were radiantly satisfied with the change. Miss Martin bore, wherever she went, an octave-study by Liszt, and flaunted it in the faces of her friends: and Miss Moses, who had been under Bendel, could not say two sentences without throwing in: "That Chopin ETUDE I studied last," or: "The Polonaise in E flat I'm working at;" for, beforehand, she too had been a humble performer of Haydn and Bertini. James had the prospect of playing a Concerto by Liszt—forbidden fruit to the pupils of the Conservatorium—in one of the concerts of the LISZTVEREIN, and was sure, in advance, of being favourably criticised. Boehmer wished to specialise in Bach, and if Schwarz set himself against one thing more than another, it was a one-sided musical taste: within the bounds of classicism, the master demanded catholic sympathies; those students who had romantic leanings towards Chopin and Schumann, were castigated with severely classical compositions; and, vice versa, he had insisted on Boehmer widening his horizon on Schubert and Mendelssohn. And there were also several others, who, having been dragged forward by Schwarz, from inefficient beginnings, now left him, to write their acquired skill to Schrievers' credit. Furst was the greatest riddle of all. It was he who, on subsequent concert-tours, was to have extended the fame of the Conservatorium; he was the show pupil of the institution, and, in the coming PRUFUNGEN, was to have distinguished himself, and his master with him, by playing Beethoven's Concerto in E flat.
Other teachers besides Schwarz had been forsaken for the new-comer, but in no case by so large a body of students. They bore their losses philosophically. Bendel, one of the few masters who spoke English—it was against the principles of Schwarz to know a word of it: foreign pupils had to learn his language, not he theirs—Bendel, frequented chiefly by the American colony, was of a phlegmatic temperament and not easily roused. He alluded to the backsliders with an ironical jest, preferring to believe that they were the losers. But Schwarz was of a diametrically opposite nature. In the short, thickset man, with the all-seeing eyes, and the head of carefully waved hair, just streaked with grey—a head at once too massive and too fine for the clumsy body—in Schwarz, dwelt a fierce and indomitable pride. His was one of those moody, sensitive natures, quick to resent, always on the look-out for offence. He was ever ready to translate things into the personal; for though he had an overweening sense of his own importance, there was yet room in him for a secret doubt; and with this doubt, he, as it were, put other people to the test. The loss of the flower of his flock made him doubly unsure; he felt himself a marked man, for Bendel and other enemies to jeer at. Aloud, he spoke long and vehemently, as if mere noisy words would heal the wound. And the pupils who had remained faithful to him, gathered all the more closely round him, and burned as he did. If wishes could have injured or killed, Furst's career would then and there have come to an end: his ingratitude, his treachery, and his lack of moral fibre, were denounced on every hand.
One day, at this time, Maurice entered Schwarz's room. The class was assembled; but, although the hour was well advanced, no one had begun to play. The master stood at the window, with his back to the grass-grown courtyard. He was haranguing, in a strident voice, the three pupils who sat along the wall. From what followed, Maurice gathered that that very afternoon Schwarz had been informed of the loss of four more pupils; and though, as every one knew, he had hitherto not set much store by any of them, he now discovered latent talent in all four, and was, at the same time, exasperated that such nonentities should presume to judge him.
To infer from the appearance of those present, the storm had raged fora considerable period. And still it went on. After the expiry of a further interval, Krafft who, throughout, had sat shading his eyes with his hand, woke as though from sleep, yawned heartily, stretched himself and, taking out his watch, studied it with profound attention. For the first time, Schwarz was checked in his flow of words; he coughed, fumbled for an epithet, then stopped, and, to the general surprise, motioned Krafft to the piano.
But Heinrich was in a bad mood. He stifled another yawn before beginning, and played in a mechanical way.
Schwarz had often enough made allowance for this pupil's varying moods; he was not now in the humour to do so.
"HALT!" he cried before the first page was turned. "What in God's name is the meaning of this? Do you come here to read from sight?"
Krafft continued to play as if nothing had been said.
"Do you hear me?" thundered Schwarz.