“All right,” said Lavender; “you’ll find me in the next room on the left when you will get tired of your music and want a cigar. I think you used to beat me at chess, didn’t you?”
“I do not know. We will try once more to-night.”
Then Sheila and he went into the drawing-room by themselves, and while she took a seat near the brightly-lit fire-place, he opened the piano at once and sat down. He turned up his cuffs, he took a look at the pedals, he threw back his head, shaking his long brown hair; and then, with a crash like thunder, his two hands struck the keys. He had forgotten all about that sonata; it was a fantasia of his own, based on the airs in Der Freischutz, that he played; and as he played Sheila’s poor little piano suffered somewhat. Never before had it been so battered about, and she wished the small chamber were a great hall to temper the voluminous noise of this opening passage. But presently the music softened. The white, lithe fingers ran lightly over the keys, so that the notes seemed to ripple out like the prattling of a stream, and then again some stately and majestic air or some joyous burst of song would break upon this light accompaniment, and lead up to another roar and rumble of noise. It was a very fine performance, doubtless, but what Sheila remarked most was the enthusiasm of the lad. She was to see more of that.
“Now,” he said, “that is nothing. It is to get one’s fingers accustomed to the keys you play anything that is loud and rapid. But if you please, madame, shall I sing you something?”
“Yes, do,” said Sheila.
“I will sing for you a little German song which, I believe, Jenny Lind used to sing; but I never heard her sing. You know German?”
“Very little, indeed.”
“This is only the cry of some one who is far away about his sweetheart. It is very simple, both in the words and the music.”
And he began to sing, in a voice so rich, so tender and expressive that Sheila sat amazed and bewildered to hear him. Where had this boy caught such a trick of passion, or was it really a trick that threw into his voice all the pathos of a strong man’s love and grief? He had a powerful baritone, of unusual compass and rare sweetness; but it was not the finely-trained art of his singing, but the passionate abandonment of it, that thrilled Sheila, and, indeed, brought tears to her eyes. How had this mere lad learned all the yearning and despair of love that he sang?
Dir debt die Brust,
Dir schlägt dies Herz.
Du meine Lust!
O du, mein Schmerz!
Nur an den Winden, den Sternen der Höh,
Muss ich verkünden mein süsses Weh!—