“That is Lydie,” replied Corentin, with what might be called an expression of paternal pride; “she is an admirable musician, and though she no longer writes down, as in the days when her mind was clear, her delightful melodies, she often improvises them in a way that moves me to the soul—the soul of Corentin!” added the old man, smiling. “Is not that the finest praise I can bestow upon her? But suppose we sit down here and listen to her. If we go in, the concert will cease and the medical consultation begin.”
La Peyrade was amazed as he listened to an improvisation in which the rare union of inspiration and science opened to his impressionable nature a source of emotions as deep as they were unexpected. Corentin watched the surprise which from moment to moment the Provencal expressed by admiring exclamations.
“Hein! how she plays!” said the old man. “Liszt himself hasn’t a firmer touch.”
To a very quick “scherzo” the performer now added the first notes of an “adagio.”
“She is going to sing,” said Corentin, recognizing the air.
“Does she sing too?” asked la Peyrade.
“Like Pasta, like Malibran; but hush, listen to her!”
After a few opening bars in “arpeggio” a vibrant voice resounded, the tones of which appeared to stir the Provencal to the depths of his being.
“How the music moves you!” said Corentin; “you were undoubtedly made for each other.”
“My God! the same air! the same voice!”