Over the Plum Pudding Part 14

"Then one of two things must happen," said Von Karlingtongs. "Either by our absence the people of this town must be deprived of good music, which would be very ungrateful of us, who have gained so much profit from them, or they must discover that there are others who can play as well as we do, whereby we would cease to be the greatest in the world--which strikes me as bad policy."

"Von Karlingtongs," said Heinrich Flatz, with tears of joy in his eyes, "you are not only a musician, you are a thinker."

"Do not flatter me, my dear Flatz," said Von Karlingtongs, modestly.

"You do not know what a struggle it is to me to keep from giving way to pride."

"Well, I agree to all that you have said," said Herr Teutonstring; "and I have to add that, as we are only young in spirit, and as my ba.s.s-viol is very heavy, I think we should be content to remain at home."

"Particularly," added Heinrich Flatz, "in view of the fact that there can be but one result. We should succeed. Now where is the gratification in success? Simply in the knowledge that you have succeeded. We know that now. Wherefore why should we put ourselves to inconveniences simply to find out what we already know? Does a man with a pantryful of tarts go seeking tarts? He does not--"

"If he is wise," said Herr Teutonstring.

"And we are wise," added Herr von Karlingtongs.

"Which settles the point. We'll stay at home," said Herr Flatz.

And they did, and subsequent events showed the wisdom of their course, for in less than a year's time the King came to Schnitzelhammerstein-on-the-Zugvitz.

Some said that he stopped there merely because there was a better luncheon-counter at the railway station than anywhere else along the road. Others persisted that his Majesty had heard of the marvellous powers of the three musicians, and, being fond of music, had travelled all the way from the capital, a distance of more than a hundred miles, to hear them. However this was, the fact remained that the King announced that for two hours he would be the guest of the little city concerning which we have spoken so much. The town naturally was all of a flutter, and great preparations were made to receive his Majesty.

"I will make a speech," said the Mayor, "and our orchestra can serenade his Majesty."

"The serenade is a good idea," said Hans Pumpernickel, innocently.

"Shall I inform Herr Teutonstring and his fellow-players that that is your opinion?"

"As a rule, I avoid having opinions," said the Mayor, "but in this instance I think it is safe to hazard one. You may inform the gentlemen."

"And the speech?" suggested Hans.

"We'll see about that," said the Mayor. "If I can get a good one, I shall deliver it."

"Very well," said Hans. "I'll try to think of something for you to say.

Meanwhile I'll see Von Karlingtongs."

Hans did as he said, and, despite their wisdom, the three musicians were as much in a flutter as the rest of the city. To play before the King was an unexpected honor, although Heinrich Flatz affected to treat it as quite an ordinary thing.

"He is a very fair judge of music," said Flatz, patronizingly, "for a King. I think that, after all, we'd better do our best."

"Yes," said Von Karlingtongs, "you are right, as usual, though I will say right here that, in doing my best, I am actuated as much by my loyalty to my art as by any other motive. I _always_ do my best."

"And I also," put in Teutonstring. "Now the question that arises is what is our best?"

"That _is_ indeed the question," said Herr Flatz. "I, having already had the honor to play before his Majesty, am perhaps better fitted than either of you to say what he likes. When I was so distinguished I played Djorski's Symphony in B Minor. Therefore I contend that that is what we should play. His Majesty remarked that he had never heard anything like it before. He would doubtless like to hear it again. Therefore I say that is the thing for us to play."

"Ordinarily," said Teutonstring, "I can agree with Herr Flatz, but this time I cannot. _I_ am at my best in Darmstadter's Oratorio. There can be no question about it that the ba.s.s-viol is at its highest, most enn.o.bling point in that composition, which is why I say let us have the Oratorio. The King, having heard the Symphony in B Minor, would naturally rather hear something else. The Symphony, no doubt, would awaken pleasant memories, but the Oratorio would give him something new to remember in the future."

"There is much in what you say, Herr Teutonstring," put in Von Karlingtongs. "There is also much in what my dear friend Flatz says; but it seems to me that there is more in what I have to say than in the combined suggestions of both of you. The Symphony in B Minor is excellent, the Oratorio is quite as excellent, but neither of them comes up to Dboriak's Moonlight Sonata, which, when I play it, makes me feel as though the whole world lay at my feet--as if I were the King of all creation. Now I am a man; the King is a man; we are both men. It is but natural to suppose that if this Sonata makes me, a man, feel like the King of all creation, it will also make that other man, the King, feel the same way. What is our object in playing before the King? To please him. How can we best please him? Simply by making him feel that he is the King of all creation. Perfectly simple, my dear Flatz. Plain as a pikestaff, Teutonstring. Therefore let us play Dboriak's Moonlight Sonata."

It was thus that the three musicians, who had always. .h.i.therto agreed, came to have the first difference of their lives, and what made it seem worse than all was that this difference occurred at a time which seemed to them in their secret hearts to be the greatest event of their lives.

Perhaps it was the very importance of this event that made each of them firm in his belief that he was right and the others wrong. Neither would yield to the others, and an hour before the arrival of the royal train found Flatz determined to play the Symphony, Teutonstring determined to play the Oratorio, and Von Karlingtongs equally immovable in his determination to play the Moonlight Sonata, and nothing else. They labored with one another in vain. Doctor Teutonstring tried to win over Herr Flatz, saying that if together they should play the Oratorio they could let Von Karlingtongs render the Sonata without much harm, since the ba.s.s-viol and 'cello together could drown the sounds of the violin.

Herr Flatz would agree to a combination of two against one only in case the Symphony were selected, and when the King arrived no change whatsoever had been made in the determination of the musicians. Ruin stared them in the face, but each preferred ruin to a base surrender of what he thought to be for the best.

Of course, as the King alighted from the train the people cheered, and, when the Mayor rose to greet him with the speech he had to make, they cheered again, but these cheers were as nothing to those which greeted the appearance of the musicians. Many nations had kings; all cities had mayors; what city had such an orchestra? No wonder they cheered.

And then the serenade began.

Herr Flatz resined his bow and began the Symphony in B Minor, while Von Karlingtongs and Teutonstring, equally determined, started in on the opening measures of the Sonata and Oratorio respectively.

[Ill.u.s.tration: "THE THREE FIDDLED WITH ALL THEIR STRENGTH"]

"It's something new they've got up for the occasion," whispered the people, as the three men fiddled away with all their strength.

"A most original composition!" said the King to the Chancellor.

"I never heard such discord in my life," said a small boy on the outskirts of the crowd.

Still they kept on. The Symphony and the Oratorio were longer than the Sonata, so that Von Karlingtongs soon found himself outdone by his fellow-players, but, nothing daunted, he played the Sonata over again.

And so it went, until, with a final grand burst of notes (I was almost about to say harmony), they stopped.

"Magnificent!" said the King.

"A really cla.s.sic composition," murmured the Chancellor.

And the people shrieked with delight.

The musicians, perspiring with excitement, stood overcome with surprise.

They had succeeded beyond their wildest hopes, but the King brought them to their senses in a minute by asking:

"What is the composer's name?"

"What'll we tell him?" moaned Teutonstring. "It will never do to confess what we have done now."

"I'm sure I don't know," returned Flatz, with a s.h.i.+ver.

"The composer's name, sir," replied Von Karlingtongs, more ready of wit than the others--"the composer's name is--ah--is--"

"Well?" said the King, impatiently.

"It is Karlingteutonflatz," said Von Karlingtongs.

"Give him a thousand marks," said the King, "and distribute a thousand more to these gentlemen," he added.

And then the royal party proceeded on its way.

As for the composer, Karlingteutonflatz, he was never heard of again; but several other eminent musicians modelled their music after his, and obtained a renown that was not only world-wide, but has lasted until this day.

The three musicians of Schnitzelhammerstein-on-the-Zugvitz, when they had recovered from their surprise and excitement, began to smile, and never stopped until they died--and I am not certain that they stopped then--nor did they ever confide their secret to any one but Hans Pumpernickel, who in turn confided it to me, so that this is really the first time the public has been let into the secret origin of what was then the music of the future and what is to-day the music of the present.