2. The Composer in Independence. Under this head may be placed his various instructions relative to tempo, expression, and the like. The signature, three sharps, was set down by the editor, as the result of an answer to his inquiry. But the time--six-eight--was written in (on the editor"s request) by the Composer himself. It was a distinct and separate effort, for which the pencil was put in the slate and the slate placed beneath the table. The time was set down before the notes themselves were secured. The six-eight sign was clearly and neatly written on the proper staff, in correct relation to the G-clef and to the signature; and the two figures were also in correct relation to each other. The word "Moderato" was written in by the Composer"s direction, without any request from the editor. Later, the words "With feeling"
and the mark of expression "pp," were obtained in the same way. Ties, grace-notes, and staccato-marks were insisted upon, here and there, with great vigor and earnestness.
Two further examples of the Composer"s independence will perhaps suffice. In the sixth measure there was a run of three eighth-notes in the treble, exactly above a corresponding run of three eighth-notes in the ba.s.s. In making his revision the Composer directed that each of these three pairs of notes should be joined by stems. This took the treble notes down to the ba.s.s, and left the last half of the treble bar empty--a fact unnoticed by the editor and beyond the purview of the psychic. The Composer, however, observed the hiatus, and directed the insertion of two rests.
One other instance: The bar at the end of the first measure, as originally drawn by the Composer, cut off two notes on leger-lines and gave them to the succeeding measure. Another little colloquy: Editor: "Shall I draw the bar where it belongs?" Composer: "_Yes, if you please._" Editor: "Here?" Composer: "_No._" Editor: "There?" Composer: "_Yes. Thank you._"
3. The Composer in Opposition. Numerous interesting cases of cross-purposes between the Composer and the circle developed during these two days. A number of salient examples follow:
On the first opening of the slate, the seventh measure of the treble contained but two notes, which the Composer presently declared to be quarter-notes. This left the first third of the measure vacant; and the Composer, interrogated, directed the insertion of a quarter-rest. The editor objected that this gave the measure a three-quarter look, instead of the proper six-eighth look. "_That is a liberty I take_," came the answer, like a flash.
At one stage the Composer requested that a certain note should have a "dot" added. The editor placed the dot to the right of the note, thus lengthening its value by one-half. "_No, no_," objected the Composer; "_put it on top, above the staff_." His intention had been, once more, to make a note "staccato," and he had been misunderstood.
The editor, in setting down the signature of sharps on the second page of the slate, intentionally placed the last sharp a third below its proper position. He was at once brought to book by "Dr. Cooke," the "control." "_We are being fair by you, and you must be fair by us._"
In the eighth and last measure, which did not appear to be satisfactorily completed, the Composer called for the insertion of a figure 2. This meant, as became clear enough through a subsequent reference to his published scores, that he wished two quarter-notes to receive the value of three eighth-notes, but was not understood at the time by his helper. "_Never mind_," said the Composer, graciously, "_I will write it differently_." He cancelled the figure 2, and completed the measure with a rest.
A similar instance occurred in the fifth measure, where the Composer called insistently for a double sharp (). The editor ventured to object, and the pa.s.sage was tried on the piano, at the Composer"s request. The double sharp was felt by him to be unsatisfactory, and was sacrificed. "_It won"t make much difference, anyway_," was his whispered comment.
A curious point, to finish with: On the first day the editor inquired about doubtful notes by name, as, A, C-sharp, and the like, while the Composer indicated their position by specifying lines and s.p.a.ces--as, third s.p.a.ce, second line, and so on. The next day, when the editor made his inquiries on the basis of lines and s.p.a.ces, the Composer oftenest named the notes by letter.
Toward the end of the last sitting, "Dr. Cooke" once again came to the fore and hinted that the result of our endeavors might perhaps be not a reproduction of one of the Composer"s ma.n.u.scripts, but of a mental picture in the Composer"s mind. The "picture," as secured by us, was not, it must be admitted, without distortion. The Composer himself used the word "scattered" in such a way as to imply that he had sketched out his ideas in life on various detached bits of paper. He added that a certain member of his family "would know." The hopes raised by this declaration have not been realized.
"_No more music to-day_," whispered "Dr. Cooke"; and the sitting--the sittings--ended.
THE END