On New Year's eve of the year
1736, a brilliant company was assembled
in the salons of the Count von
Bruhl, lord premier to the Elector of
Saxony. The mansion, opposite the
castle in Dresden, was illuminated so
brightly that the whole street in front
was light as day. In a shadow of
the castle wall stood a man wrapped
in a cloak, gazing up at the windows,
behind which could be seen the gay
confusion of guests. Presently one—a
lady splendidly dressed—came close
to one of the windows, opened it, and
stepped out upon the balcony. The
light gleamed on the jewels in her
coronet. She stood but an instant in
the air, being called back; the window
was closed, and she was lost in
the throng.
The solitary watcher outside, with
a deeply-drawn sigh, turned to depart.
His hand was seized as he did
so by a passer-by—a man in the dress
of the court pages.
"Good evening!" cried a cheery
voice. "How glad I am to find you
at last! What were you doing here?"
The other laughed, evading an answer,
and, drawing his cloak about
him, complained of the cold.
"Come to Seconda's!" cried the
page. "You will find plenty of hot
punch there."
The two walked on to the celebrated
Italian restaurant near the old
market. The scene there was as brilliant
as at the premier's. A gay company
was assembled in the largest
room, where the new-comers took
seats at the table. As they threw off
their hats and cloaks, the page was
seen to be a man of about forty years
of age, with a face deeply lined with
the marks of free living. His eyes
were bright and merry, and his mouth
was liberal in smiles. His companion
was a strikingly handsome man of
twenty-five, with a pale and haughty
countenance, and a form well proportioned
and majestic. His expression
was grave, and a satirical curl was in
his lip when he spoke; his large, dark
eyes were now fiercely flashing, now
dreamy and melancholy, and they
were often downcast and shaded by
long, heavy lashes.
"You are dull to-night, mon ami!"
cried the jovial page, whose name
was Von Scherbitz. "Banish your
gloom; it is no time for it."
"Have patience with me," said
the young man in a low tone, and
with an attempt at a laugh. "I cannot
always keep even with you. I
have served but a two years' brotherhood,
you know."
"In our club, yes; yet one year
has spread your fame in music over
all Europe! Friedemann Bach has
but one rival in renown—the admirable
Sebastian!"
A flush mounted to the young
man's brow.
"Call him not a rival!" he exclaimed.
"I have to thank my father for
all I have ever done; and I feel my
own insignificance beside his greatness.
I feel, too, how unworthy I am
of his love."
"Nonsense!" cried Scherbitz.
"Your good father is strict, perhaps;
pourquoi? he is old; you are young
and impetuous; you have your liberal
ideas and your adventures, and
keep them from his knowledge, to
spare him chagrin. Where is the harm
in this?"
Friedemann was leaning his head
on his hand, which he passed slowly
across his forehead, as if waving
away the trouble of discussing the
point. The punch was placed before
them, and the tankards were filled.
The guests at the round table drank,
as they did; and others came in;
among them military officers, painters,
and musicians. As a party of distinguished-looking
persons entered, the
page rose to greet one of them, calling
him "Signor Hasse." The gentleman
glanced around the company,
but declined a seat at the table, retreating
to a distant corner. Here
he bade the waiter remove the light
from a small table in front of him,
and bring him supper by himself.
The page called Friedemann's attention
to the solitude and gloom
chosen by the famous musician. Yet
he was well known to be fond of
good company, and was universally
respected.
"Is it on account of his wife?"
asked young Bach.
"Exactly; the brilliant Faustina
Hasse, the admired singer, the idolized
of all Dresden. They do not live
happily."
"You cannot help seeing," observed
Friedemann, "that strength is
wanting in his character—it is wanting
in his compositions. They have
softness and melody; but how little
of manly power!"
"Yet he is the favorite composer in
the world of fashion."
More guests came in, and the
general merriment waxed loud. The
glasses were rapidly filled and emptied.
The conversation among the
younger part of the company was
that of jovial revellers, intent on as
much amusement as they could obtain
out of a gayly-dressed officer of
the elector's guard, and a chamberlain
he had brought in to serve as a
butt for their jokes. Friedemann observed
them with haughty gravity,
stealing a glance now and then at
Signor Hasse in his corner.
The chamberlain was flippant with
tales of court scandal, at which there
were uproarious bursts of laughter.
Presently, half-drunk, he was reciting
some verses; and at the close he
filled his glass and toasted Signora
Hasse.
All were silent as Hasse rose and
approached the table.
"Gentlemen," he said with dignity,
"I have the honor to wish you all a
good evening, and farewell. To-morrow
morning I leave Dresden."
"To go whither?" asked Scherbitz.
"To Italy."
The company knew by his tone
that he meant not to return. There
was a moment's deep silence, and
then an officer asked:
"Does the signora go with you?"
"No; she remains in Dresden," replied
the composer.
Hasse then turned to Friedemann,
and grasped his hand.
"Commend me to your father,
Monsieur Bach," he said warmly.
"Tell him he shall yet hear something
good of Scarlatti's disciple."
There was a faltering in his tone
as he spoke these last words, and
turning away, he left the room. Friedemann
sighed deeply as he looked after
him, and pushed away his glass,
which Scherbitz had just filled.
The merry company was again convulsed
with the sallies of the intoxicated
chamberlain; and loud applause,
cries of "bravo!" and toast
after toast urged him on. When he
fell back, helplessly drunk, the young
men pulled off his court dress, put
on a dark one, carried him out, and
gave him to the watch as a drunken
vagabond to be taken to the guard-house.
Then they laughed to think
of his consternation at finding himself
in the cold cell, on New Year's
morning.
Midnight struck in the midst of
this boisterous revelry; the last hour
of the dying year. There was a wild
storm without, and clamorous shouting
and singing within. The revellers
reeled homeward; young Bach,
the only one whose gait was steady,
though he had drunk as deeply and
as madly as the rest.
When he rose on the following
morning, he saw a letter on his table,
in a well-known hand, which he quietly
opened and read with deep emotion.
Then he began to pace up and
down the room, till the door was abruptly
opened and Scherbitz came in,
wishing him the compliments of the
season. He read the letter Friedemann
handed him in silence.
"A charming old gentleman is that
good papa of yours," he said as he
gave it back. "His heart is full of
kindness. May his life be long and
happy! But look not so woe-begone,
mon ami! How is it possible for
you to satisfy the claims of such exalted,
old-fashioned virtue? The time
will come when we, madcaps as we
are, shall be pointed out as models
of propriety for our juniors. Let the
wheel of time roll on."
"To crush us in the dust!" moaned
Friedemann.
"Look at me—a page forty years
old! I have no fear of reverse as
long as I serve my lord faithfully. I
might have stood up heroically against
the all-powerful minister, and I should
have been hailed as one of her deliverers
by my country; but I kept
my place and pension, and remain
a page in comfortable quarters."
"You are not the first whose life is
a failure."
"Nor shall I be the last. Why
should I despair? Come, be reasonable,
mon ami! you are too self-condemnatory.
Have you forgotten
Handel, whom you welcomed here
three years since?"
"How could I forget him?"
"Yet Handel is unlike your father.
His fantasy is more powerful, his
force more developed; he soars like
an eagle, while Sebastian Bach sails
over the calm waters like a majestic
swan. Bach's activity is calm, silent—the
offspring of concentrated thought.
Handel reaches his aim amid storm
and tumult—through strife to victory.
Can you blame him for the difference?
His path is your own. En avant,
mon ami!"
"Handel has had, indeed, a restless
and stormy life," replied Friedemann;
"but he has never lost himself."
"Had he been born in the present
century, instead of the last, his views
might have been more liberal. Before
he was of your age, he did as
others do. Faustina Hasse could
tell you some wild tales—"
"He never played the hypocrite
to his father!" said Friedemann bitterly.
"It was not worth while. Now,
my good fellow, do not flatter yourself
you can deceive a page forty
years old. Your so-called profligacy
and keen self-reproach have another
cause than that you choose to assign.
You dread the unmasking of what
you term your hypocrisy less than the
discovery of another secret!"
Friedemann started to his feet, and
his face glowed like fire. The page
laughed.
"You must govern your eyes better,
mon ami, if you want to keep your
secret when you hear the name of
'Natalie.' I did not need to witness
your behavior last night opposite the
minister's palace, to show me the
truth!"
Friedemann was now pale as death.
With a violent effort he mastered his
feelings, and said,
"You will be silent, will you not?"
"As the grave—assuredly! Only
be cautious before others. No more!
I am going to the guard-house to release
the victim chamberlain. Now
go to church, and afterward come to
Seconda's to breakfast. Au revoir!"
And Scherbitz went out.
Friedemann Bach had been organist
of the church of St. Sophia since
the elector, at the solicitation of his
father that he would befriend his boy,
had given him the appointment. He
hurried to his post, and splendidly
performed his part in the imposing
service. As the last tones of the organ
died along the vast arches, he
arose, closed the instrument, and descended
from the choir. At the door
a pair of vigorous arms were flung
around him, and, with a joyful cry, he
embraced his father.
The old man pronounced a solemn
blessing as he pressed his son to his
heart, and warmly praised his morning's
work. He had entered the
church alone, to enjoy the music of
his dearest pupil, whom he now declared
his best.
"To your lodgings now, Master
Court-organist!" he cried. "Philip is
there, and unpacking. We shall stay
a week with you." He took his son's
arm, and walked on, talking pleasantly
all the time.
Philip Emmanuel Bach had grown
a stately youth and a ripe scholar in his
art since Friedemann had left the paternal
home at Leipzig, three years
before. They chatted of the old
times, when their mother in her
snowy cap and apron smiled on their
boyish sport; when they roasted apples
on the stove of Dutch tiles, and
their young sisters chid them, and the
little Christopher laughed at them
from his mother's lap. Philip had
been lonely at school, and was delighted
at these reminiscences. The
two sons sympathized with the triumph
of the good Sebastian when he
told them again of his first summons
to Dresden, of the note that had come
to him from the Minister von Bruhl,
on the part of the Elector Augustus
of Saxony and Poland: an invitation
to play at the church in Dresden.
The rector in Leipzig had opposed
the departure of the organist of St.
Thomas's school; but the elector's
own carriage stood at Bach's door to
fetch him, and he saw future good for
both his sons. He felt that through
them the lovers of Hasse should hear
music more sublime than the voluptuous
melodies of Italy. Then the
reception at Dresden; the entrance
of the elector into the choir to greet
Bach; his words, "O master! if I
might hear you play thus at the hour
of my death"—all the scene was
lived over by the grateful old man.
Philip, then a stripling, remembered
how a beautiful lady—the famous
Faustina Hasse—had rushed in, and,
weeping, had kissed his father's hand;
Hasse's greeting too, he remembered;
and the elector's bidding to ask any
favor at his hands.
These recollections and the conversation
were interrupted by the entrance
of a servant in a rich livery, who presented
a note to Friedemann. The
young man blushed as he took the
note, which he opened and read hastily.
"I will come," he said to the servant,
"at the hour named."
The man withdrew.
Sebastian smiled.
"Our court-organist," he said, "appears
to have distinguished acquaintances."
"The livery was the lord premier's,"
remarked Philip.
"Indeed!" asked Sebastian. "You
know his excellency, my son?"
"The note came from his niece,
the Countess Natalie," answered
Friedemann, in a confusion which he
could not conceal.
"And you visit the young countess?"
"She is my pupil in music. She
has sent for me to arrange a concert,
which she is to give on her aunt's
birthday."
"I thought M. Hasse managed all
those matters."
"I can't well avoid the commission;
and such things help one's reputation,"
faltered the young man. "As to M.
Hasse, he has left Dresden."
"Hasse gone—the excellent Hasse!"
exclaimed Sebastian.
The good, pious composer was
grieved to hear of his unhappiness.
Then, changing the subject, he began
innocently to advise his son as to the
polished manners necessary in the
house of the premier. Friedemann
pressed his hand and thanked his unsuspecting
monitor.
When the elder Bach asked what
he had done lately in music, Friedemann
replied that what he had done
did not satisfy him. His father put
aside his plea that the highest and
best could alone avail in art.
"We have not reached that," he
said; "yet we can rejoice in the success
granted us. There is much that
I like in your Fughetten."
From music he passed to other
questions; and asked, smiling, how
long the court-organist meant to remain
unmarried.
"Dear father, I need not be in
haste."
"'Early wooed has naught rued.'"
"It is a serious step, father."
"Surely, and not to be taken precipitately;
but, dear son, let it not be
long. If my first grandchild is a boy,
I will teach him music. Ay, marriage
is a serious matter! I have
toiled hard to give bread to my boys
and girls, and brought you all up—have
I not?—to be good men and
skilful artists. From my great-grandfather,
all the Bachs have had
musical talent. I was once ambitious,
my boy, to write something that
might win enduring fame. Now, I
have but one wish. It is—that all the
Bachs may meet in the kingdom of
heaven, and join in singing to the
glory of God, among the hallelujahs
of the angels! Friedemann, child
of my heart, let me not miss you
there!"
With a sob of anguish, Friedemann
sank at his father's feet. Sebastian
laid both hands on his head, saying
devoutly,
"God's peace be with you, my son,
now and for ever!"
Unable to control his agitation—which
his pious father thought a burst
of filial emotion—Friedemann left the
room. Closing the door softly, he
rushed through the hall, out of the
house, and through the streets to the
open country, where he flung himself
on the frozen earth and wept aloud.
At dinner the father conversed with
his two sons, and much was said of
the splendors of the Polish-Saxon
court under the administration of the
luxurious and prodigal Count von
Bruhl. It was then time for Friedemann
to go to the minister's palace.
He changed his dress and hastened
there.
As he passed into the hall, the door
of one of the side-rooms opened, and
the premier came out. He was a
small man, with marked and expressive
features, and keen, clear blue
eyes. He was sumptuously dressed,
and wore a star on his breast. Friedemann
stopped and bowed to him.
"Good day, M. Bach, and a happy
new year!" said the minister in bland,
soft tones. "My niece has sent for
you. I am pleased with your promptness.
I am grateful for your readiness
to meet our wishes at all times,
and shall remember it. The countess
expects you!"
He nodded, smiled graciously, and
walked lightly out of the front door,
entering his carriage, which presently
drove away.
Friedemann looked after him apprehensively.
"What does this mean?" he murmured.
"The smile of that man ever
bodes disaster. Let it be so! What
can make me more miserable than I
am?"
Crossing the hall, he passed on
through one of the galleries.
A female servant stood at the door
of the ante-room of the countess's
cabinet. She opened the door of the
inner room, and Bach entered.
A young girl of about twenty, in a
costume coquettishly pretty, reclined
on a sofa. Her form and her face were
both beautiful; a nose slightly aquiline,
and well-defined eye-brows, gave
her features a character of pride and
decision, contradicted by the soft tenderness
of the full, rosy lips, and the
languishing, violet eyes, shaded by
their long lashes. Her hair floated in
golden curls over her neck. A faint
rose-tint came to her pale cheeks as
she rose to receive Friedemann.
The young man stood still, and
did not raise his eyes. The countess
came nearer, laid her little white hand
on his shoulder, and said, almost tenderly,
"What were you doing, Bach, opposite
our house last night?"
One glance Friedemann darted from
his flashing eyes into her own, but
made no other answer.
"I saw you plainly," said Natalie,
"as I stepped out on the balcony.
You were leaning against the castle
wall. Were you waiting for any one?
Tell me."
The young man shivered with the
violent emotion that shook his whole
frame. After a pause, he said with
forced calmness,
"You sent for me, most gracious
countess, to honor me with your commands
respecting the arrangement of
a concert."
The countess turned angrily away.
"These are my thanks, proud man,
for my trust, for my love. Out upon
ingratitude!" she cried.
The young man flushed crimson at
these reproachful words.
"What can I say?" he answered in
a deep, hoarse voice, full of the wild
agony he was vainly striving to repress.
"Look at me, and enjoy your triumph!
You have made me wretched.
Leave me the only consolation that
remains—the conviction that I suffer
alone!"
"Friedemann," said the countess,
shocked to see him thus, "compose
yourself, I entreat you! Spare me!"
"I will not spare you!" burst forth
Friedemann, unable longer to master
his agitation. "You have torn open
my bleeding heart-wounds in cruel
sport! I will not spare you! I have
bought the right to speak with my
happiness here and hereafter. I gave
you all, Natalie—truth for falsehood,
pure, faithful love for frivolous, heartless
mockery!"
"I did not mock you!" cried Natalie.
"Did you love me, then?"
"I can not answer that."
"Tell me, Natalie—did you love
me?"
"What good can it do? Are we
not parted for ever?"
"No; by my soul, no! Nothing
shall part us if you love me! But, I
must be convinced of that. If you
have not—if you do not—I ask you,
why did you tempt the free-hearted
youth, who lived but for his art, with
encouraging looks and flattering
words?"
"Be silent!" cried the girl.
Friedemann's burst of grief was
convulsive, and he covered his face
with his hands.
At length Natalie said,
"I honored your genius—your
heart—"
"You loved me not then, and you
do not love me now. If you love me,
how can you bear to think of becoming
the wife of another?"
"Alas! you know; my station, the
will of my uncle—"
"My happiness, my peace is nothing
to you?"
"My affection is still yours. I
shall never love another. Will not
that content you?"
Friedemann's pale face crimsoned;
he stamped his foot fiercely.
"Hypocrite! liar! coward that I
am," he cried; "and all for a coquette!"
Natalie protested against his injustice.
She reminded him of her history:
her noble birth and orphaned
condition; the state and splendor
with which her uncle had surrounded
her; her scorn of mere pomp and
luxury; her isolation in the midst of
flatterers and smiling fools; her discernment
of the manhood in him—her
lover.
"Then be my wife, Natalie!"
She shook her head.
"You will not? You will marry
the creature of your uncle, whom you
regard with aversion?"
"You know, Friedemann, I do not
take this step from interest, but a sense
of duty."
"Duty! Toward whom?"
"Yourself! I could never be happy,
nor make you happy, as your wife.
You are a great artist; but you can
never rise to my sphere. And should
I sacrifice all for you, would not my
incensed uncle pursue us with his vengeance?
If we found shelter in solitude,
how long would you or I bear
this concealment?"
Friedemann grew pale, and looked
down.
"We could not be happy," resumed
the countess. "All I can do is to
keep my heart for you. You can live
for your art and me."
"And love you in secret?" asked
the young man bitterly.
"I would bear condemnation for
your sake."
"You shall not! The woman for
whose sake I am miserable, for whom
I have deceived father, brother, friends,
shall never know the world's scorn.
Farewell, Natalie! We never meet
again. Be unlike your future husband—be
noble and true. Crushed
as I am, you shall yet esteem me,
knowing that all virtuous resolution
has not left my heart!"
"O Friedemann! how I honor and
admire you," exclaimed the weeping
girl, as she flung her arms around his
neck.
The maid entered quickly, announcing
the minister.
Natalie retreated to the sofa.
"Ha! M. Bach," said the count, as
he came in. "I am delighted to see
you again."
"Is it all arranged about the concert,
my dear niece?"
"I hope so, uncle," answered Natalie.
"Charming, charming! Madame
von Bruhl will be enchanted, M. Bach.
You will certainly arrange all for the
best. Come very often to visit us;
very often. I assure you, my highest
esteem is yours."
Friedemann, somewhat bewildered,
bowed his thanks, and took leave.
The minister looked after him, while
he took a pinch from his jewelled
snuff-box.
"He has great, very great talent,"
he said musingly; and added other
praises. Then he chatted a little on
other subjects, and, looking at his
watch, touched the white forehead of
his niece with his lips, suffered her to
kiss his hand, and retired from the
room.
Friedemann left the house with confused
thoughts. Suddenly M. Scherbitz
ran round the corner, and seized
his hand.
"I am going home," said young
Bach.
"You are not! Come instantly
with me to Faustina Hasse's."
"Are you mad?"
"Not so near it as yourself, mon
ami! The blind bird will not see the
trap."
"What do you mean?"
"Sacré bleu! Come to Faustina's
with me, or you are to-night on the
road to Königstein. The lord minister
knows all!"
All that afternoon Sebastian had
spent in reading the latest exercises
and compositions of his son Friedemann,
handing sheet after sheet,
when he had read it, to Philip. They
called for lights as dusk came on.
At length Sebastian asked his younger
son what he thought of his brother.
Philip knew not what to answer.
"I admire Friedemann," he said.
"His works move me. I seem at
times to be reading your music, father;
then comes something strange and
different. I feel disturbed—I can not
tell why. I like these compositions;
but they give me not untroubled
pleasure."
"You are right, Philip," said Sebastian,
with a grave and thoughtful
smile. "His works have something
in them strange and paradoxical. I
find this in his sketches more than
in his elaborate compositions. But I
am not disturbed thereby: I rejoice."
Philip looked surprised.
"Your own light, glad spirit, Philip,
accords not with the earnest, oft
gloomy character of Friedemann's
works. He is not yet settled. There
is something great in him, hardly yet
developed; the form of expression is
not defined. Friedemann seeks a new
path to the goal. Every strong spirit
has done so. Art ever advances, and
her temple is not yet finished. The
perfect dwells not on earth."
Philip suggested that his brother's
imagination, supplying nobler images
than his industry had produced, still
soared beyond the reach of practical
achievement, and thus left him unsatisfied.
There was a loud knock at the
door; two men entered, asked for the
court-organist, and, hearing that he
was expected every moment, sat down
to wait for him. Sebastian tried to
enter into conversation with them;
but their gruff monosyllables repelled
him, and an awkward silence ensued.
In about fifteen minutes the door
was opened unceremoniously, and M.
von Scherbitz entered. He saluted
the elder Bach and looked keenly at
the two strangers. He then announced
his name to the astonished Sebastian,
and said he was Friedemann's
friend.
"He will soon return," said the
father; "these gentlemen, also his
friends, are waiting for him."
"Friends!" echoed the page; and
placing himself in front of the two
men, he gazed at them searchingly.
After a while he said,
"Messieurs, his excellency has lost
no time in sending you, I perceive;
but you are too late. Give the lord
minister the compliments of the page,
M. von Scherbitz, and tell him he
will find the court-organist, M. Bach,
at the house of Signora Hasse. I
have just had the honor of leaving
him there. He will see the elector."
The two men started up without
speaking, and hastily left the room.
The page threw himself into a chair
and laughed long and loudly. The
father and son stood in blank surprise,
not knowing what to make of the
scene.
At last Scherbitz recovered his composure.
He addressed Sebastian, and
said he had something to communicate
to him in private.
"But where is Friedemann?" asked
both father and son.
"As I said, at the house of Signora
Hasse."
"What does he there?" asked the
father.
"That is what I came to tell you."
Philip was sent out of the room.
Sebastian seated himself, and with
dignity inquired what the gentleman
who called himself Friedemann's friend
had to communicate.
"I am his friend," replied the page,
"and have proved it not for the first
time to-day."
"And those two strangers—"
"Were officers sent to arrest him."
The page went on to tell his story,
the bold levity of his manner somewhat
subdued before the dignity of
the excellent old man, who sat with
his clear, searching eyes fastened upon
him. He began with a preamble
about the strict manner in which Sebastian
had brought up his sons, and
the difference between Friedemann
and his brothers. "You are too innocent
of knowing the world," he
continued, "to be able to shield him
against all the dangers that beset the
path of youth. Till he came to Dresden,
your son knew nothing of life
beyond the paternal dwelling and the
church of St. Thomas. He has been
received here as the son of an illustrious
artist; he has won a proud distinction
for himself. Can you wonder
that applause and flattery have
turned his head a little? He might
have got over that; but, as ill-luck
would have it, the Countess Von
Bruhl employed him as her music-master.
He fell in love with her."
"Is the boy mad?" exclaimed Bach,
rising from his chair.
"Friedemann's first thought afterward
was of his father. His union
with the girl he loved was impossible;
equally so his voluntary separation
from her society. Her uncle bade
her receive a rich and noble suitor.
Compelled to give up hope, the victim
of the wildest remorse and anguish,
Friedemann fled to dissipation
for relief. I strove in vain to help
him; but his grief was too new, too
fierce and consuming; I looked to
time only for the cure. In wild company
only could he find diversion
from maddening thoughts, and I feared
the worst if that resource were denied
him. Now he has taken a prudent
step. He has broken off his
acquaintance with the countess."
"Heaven be praised!" cried the
father clasping his hands.
"But her uncle, the minister, had
discovered their intimacy. He has
sworn the destruction of your son. I
have been fortunate enough to baffle
him. But Friedemann must instantly
leave Dresden."
"He shall!" cried Sebastian. "My
poor son needs comfort; he can find
it only at home."
"Then he may come to you?"
"Could a father repel his unhappy
child? I know, alas! his fiery soul,
his need of sympathy. Bring him to
his loving father's arms."
Scherbitz caught the old man's hand
and warmly pressed it.
"Friedemann is saved!" he exclaimed.
He left the room and the house,
promising soon to return. Sebastian
sat long in a mournful reverie. Then
seating himself at the piano, he played
a soft prelude, and sang a beautiful
melody by Paul Gerhard. The
music swelled into majestic harmony,
and many a passer-by in the street
stopped to listen, drinking in peace
and consolation from the heavenly
sounds.
Faustina Hasse, the most beautiful
woman in Dresden, and the
greatest dramatic singer not only of
her own, but perhaps of all times,
was reclining on a sofa in a luxuriously-furnished
room in her palace.
Flowers stood on a table beside her,
and several costly trifles were thrown
about; but she was simply dressed in
white muslin, with a necklace and
bracelets of pearls. Her little foot in
its satin slipper beat impatiently the
footstool on which it rested; there
was a tint of painful excitement on
her cheek; and a touch of melancholy
about her mouth softened the
pride that usually masked her lovely
features.
A waiting-maid had just presented
the card of a visitor on a silver
plate.
"I will see him," was the careless
answer.
The maid retired and ushered in
the Count von Bruhl, who made a
low and courtly obeisance. The signora
bent her head slightly, and motioned
the count to a seat.
"You are surprised at a visit so
late in the evening, signora?" the
minister asked gently, after an embarrassed
silence.
"I do not know its object," was
her calm reply.
"Easily explained," with a bland
smile. "I am known for a fond husband;
in a fortnight I shall give a
fête for my wife's birthday. It will
surpass all other fêtes in splendor, if
the Signora Hasse will favor it with
her presence. May I hope that she
will do so?"
"I do not sing, my lord minister."
"The signora has misunderstood
my humble petition. Even the elector,
whose admiration of the signora's
genius is well known, would not venture
to solicit such a favor."
"Will his highness be there?"
"He promised to honor me."
"I will come."
"Signora, my gratitude is unbounded!"
He raised her hand to his lips,
and retired with a low bow.
Faustina sprang to her feet, her
eyes flashing fire.
"Stop, monsieur!" she cried.
The minister stood still.
"Where is Friedemann Bach?" demanded
the lady.
The minister started visibly, but
suppressed all sign of emotion. With
a courtly smile he endeavored to
evade reply.
"Where is Friedemann Bach?"
still more angrily asked Faustina.
Something in her face warned the
count not to trifle with her.
"He is probably on his way to
Königstein," answered the premier.
"For what offence?" asked the
lady with a smile of scorn.
"Oh! he needs discipline. The
whole parish is disgusted at the scandalous
life led by their court-organist.
He edifies the devotional with his organ-playing
on Sunday morning; but
joins his fellow-rioters in the wildest
orgies at Seconda's, on Sunday
night."
"What have you done with his fellow-rioters?"
"They belong to high families,"
answered the count with a significant
shrug.
"And pass uncensured. Very fair,
my lord minister! But you are mistaken.
Bach is not on the road to
Königstein. He has just had an interview
with his highness, here, in my
house. I am known to have some
influence with the elector; and have
used it."
"What have you done, signora?"
exclaimed the minister, shocked into
a real expression of his feelings.
"Silence!" said Faustina haughtily.
"His highness knows all; knows
why you have persecuted the unhappy
youth, why you would bring misery
on the whole family—such a family!
Heartless courtier! What can
you know of the worth of such a
man? Friedemann leaves Dresden;
but you must provide him with another
place, and one worthy of his
genius. The elector wills it so."
She passed out of the room. The
count walked to the window, looked
out into the dark night, and drummed
on the pane in some embarrassment.
There was a storm in his breast, but
it was necessary to suppress all agitation.
Presently he turned around,
and saw Friedemann Bach and the
page, Von Scherbitz, standing in the
room. The minister walked toward
them, and said in a gentle tone,
"Monsieur Bach, I am concerned
that you must leave us; but it is necessary.
You will go as soon as possible
to Merseburg. The place of
organist in that cathedral is vacant,
and I have appointed you to it. I
wish you a pleasant journey."
And with a bow he retired.
"Bravissimo, mon comte!" cried
the page, laughing heartily. "Roscius
was a bungling actor to him.
Come now, mon ami," turning to
Friedemann—"to your father. He
knows all."
Friedemann followed him out with
a look of despair. It was a clear,
starry winter night. As they came to
Bach's house, they heard the hymn
Sebastian was singing. As they entered
the room, he rose and bade his
son welcome.
"Can you forgive me, father?"
murmured Friedemann gloomily.
"I have forgiven you; for I trust
in your ability to amend."
"No word of reproach?"
"Your conscience does that; my
part is to comfort you. Come home
to Leipzig."
"No," said Friedemann resolutely;
"I will not go home till I am again
worthy to be received there."
"Are you so resolved?"
"My life henceforward shall show
that I am true to you, father. I will
strive to overcome the anguish and
remorse that have wrecked me. If
I succeed, all will be well. If I fail
in the struggle—"
"Then come to my heart, Friedemann!"
"I will."
The son threw himself into his father's
arms.
The next morning Sebastian and
Philip returned to Leipzig, while
Friedemann set out on his journey
to Merseburg.
Madam Anna Bach, the wife of
Sebastian, was at home in Leipzig
with her daughters and her youngest
son, Christian, waiting for the father
to join them after he had dismissed
his pupils for the day. Thirteen years
had elapsed since the occurrences related.
Johann Sebastian Bach came in
presently. He was still a stately and
handsome man, bright-eyed, and steady
in his carriage; but the once
smooth forehead was furrowed with
care; his cheeks had fallen in, and
their livid hue betrayed internal disease.
He held out his hand to his wife,
as he placed himself in his arm-chair.
"You seem exhausted to-day," Madame
Bach remarked. "I am glad
the lessons are over."
Sebastian smiled.
"I have strength left," he said, "to
make good scholars; and so long as
I can work, none shall find me remiss.
You look so pleased; what
have you there?"
"A letter for you, from Philip."
"Ho! ho!" cried Sebastian joyfully;
"has the scapegrace at last
found time to write to his old father?
I have sometimes thought he has forgotten
how to write since he has been
concert-master in the service of his
Majesty of Prussia! Well, what says
he?" And he opened and read the
letter.
It was a dutiful but rather stiff
epistle from a young man unused to
literary composition. He described
life in Berlin, and the concerts given
at court two or three times a week,
with the private musical entertainments
the king had in his cabinet,
where Philip Emmanuel accompanied
on the piano his majesty's performance
on the flute. The king, he
wrote, played the flute surprisingly;
but was capricious as to time, following
the notes less than his own will
and pleasure.
"He always," the letter concluded,
"inquires after my esteemed father;
and often says, 'Will not your papa
come once more to Berlin?' I can
promise that if my dear and esteemed
father will visit us, he will be received
with joy and honors by all. Be pleased
to pardon my hasty writing; convey
my best love and duty to my
most honored mother, my beloved
brothers and sisters, and make me
happy with a speedy answer.
"Your dutiful son,
"Philip Emmanuel Bach."
As Sebastian refolded the letter, his
wife asked what he thought of another
visit to Berlin.
"It would do me good," said Sebastian.
"I would gladly see the
king once more. Twice in my life
have I believed there was something
good in me: the first time was in the
year 1717, when my contest was appointed
with M. Marchand, and he
took himself quietly off the evening before
it; the second time was three years
ago, when the great King of Prussia
came into the antechamber to welcome
me, and when some rude chamberlains
laughed at my expressions
of duty and homage, his majesty chid
them with, 'Messieurs, voyez vous,
c'est le vieux Bach.' That pleased
Friedemann so much!"
"Then you will go to Berlin?"
"If I can get leave of absence, and
if I find a small overplus of money in
the purse. Strange, that in my old
days I should be seized with a roving
propensity! I had nothing of it in
youth. Well, let us go in to dinner."
It was near the close of day,
and Sebastian sat outside the door of
his dwelling, surrounded by his family,
under the stately lindens that shaded
the avenue leading to the old
Thomas's school. The mother and
her daughters were occupied in needlework
and knitting; the younger
sons were listening to their father's
anecdotes of the old organist, Reinecken,
his instructor in Hamburg.
The setting sun shone on a lovely
picture.
Caroline, who had her eyes turned
toward the corner of Cloister street
and Thomas's churchyard, suddenly
uttered a cry of joy, and sprang to
her feet.
The others rose and asked what
was the matter; the venerable father
alone kept his seat. A tall figure
was seen crossing the churchyard;
and now Sebastian rose, for he recognized
his son Friedemann.
"Father," cried Friedemann, "I
have come to stay with you!"
The father stretched out his arms
and warmly embraced his son. The
others crowded round him, bidding
him a joyous welcome. Nearly an
hour passed in the delightful confusion
of such a reunion.
Later in the evening, Sebastian was
alone with his son, and asked what
had brought him home so suddenly.
Friedemann had overmastered the
sorrow that had crushed his spirit
thirteen years before. But a thousand
difficulties were in his way, and
the struggle preyed on his mind. He
began to despair of ever doing any
thing truly great in art. He had
wished to strike out a new path; the
motive of his efforts was pure, and he
did not design to neglect the excellent
old school.
"But I have been slandered, insulted!"
he exclaimed bitterly. "My
aim has been ridiculed, my endeavors
have been maliciously criticised, my
merits decried."
"By whom, Friedemann?"
Friedemann colored as he answered,
"I know I am wrong to be disturbed
by the malignity of a shallow fool;
but I cannot help it. There is a critic
in Halle, one schoolmaster Kniffe,
who passes for a luminary in the musical
horizon, and writes reviews."
"I have seen them; they are absurd,"
said Sebastian. "He must
cause some sport in Halle."
"On the contrary, he is dreaded
on account of his malice; and his
base libels please the ill-natured and
envious."
"And know you not," asked his
father, "that only the base and evil
array themselves against the good?
Is there a more certain proof of elevated
worth than the impotent rage
and opposition of the vicious? I never
taught you to look with pride or
arrogance on your equals or inferiors;
but to be calm and self-possessed, and
to maintain your ground in reliance
on Him to whom alone you are accountable.
Do that, Friedemann, and
no stupid or malicious critic can make
you dissatisfied with yourself."
Here Caroline came in, announcing
that a stranger wished to speak
with her father.
"He would not," she said, "give
his name."
Sebastian bade her bring him in.
Presently a sharp voice called out,
"Bon soir, mon cher papa!" and
the stranger entered and took the old
man's hand. "Do you not know me?"
Friedemann recognized him, and saluted
Monsieur von Scherbitz.
"Ha! our ex-court-organist. The
same ill-boding frown between the
brows as in 1737! You are little
changed in thirteen years. And I, at
fifty-three, am grown to be a first
lieutenant."
"You proved a friend to my son
in his danger," said Sebastian, "and
are therefore welcome to me and
mine. To what lucky chance am I
indebted for this visit to my quiet
home?"
"To the most unlucky, my dear
sir! I was so careless, at the prime
minister's last court, as to tread on
the left fore paw of his lady consort's
lapdog. The beast cried out; the
countess demanded satisfaction; and
in punishment for my misdeed I am
marched as first lieutenant to Poland
in the body-guard of his excellency."
Sebastian felt a horror creep over
him at the sarcastic, misanthropic wit
of his visitor, and sought to change
the conversation. But Scherbitz went
on jesting in his bitter way about his
tragical destiny, concluding with the
information that he had come over
to Leipzig simply to see Papa Bach
once more in his life; for, on the
word of a first lieutenant, he had loved
and honored him since the first time
he had seen him thirteen years ago.
The next morning Scherbitz walked
in the little garden behind Thomas's
school, bounded by its high
wall. He saw Caroline fastening a
vine to an espalier, and came to assist
her. In a conversation with her, he
learned that none of the daughters of
Bach had any talent for music. The
charming singing he had heard early
in the morning was by Madam Bach.
But Caroline had a poetic taste, and
was Friedemann's favorite sister.
In talking with Friedemann, his
friend could not fail to discover the
morbid state of his mind. Scherbitz
thought it came from thinking too
deeply.
"Not the will," he said, "but action
removes mountains. We are
but philosophers, and the slaves of
circumstances. Had not the minister
played the spy on you and his pretty
niece, had not I stepped on the lapdog's
foot, we might both have been
at this moment sitting quietly in
Dresden; you beside Natalie, witching
the world with music; I as a
merry page of fifty-three, jesting and
enduring."
"Do you know," said Friedemann,
and as he spoke his countenance altered
strangely, "I have often prayed
that I might be mad, for a time—not
for ever!" In a quick, vehement
tone, "Oh! no—no—not for ever;
but mad enough to forget. And yet,
the memory of what I have suffered
would even then cling to me!"
He pressed his hands with a wild
gesture over his eyes.
"You must not talk so wildly,"
said the lieutenant soothingly. "You
are yet young, and can accomplish
much."
"What can I do?" cried Friedemann
with harrowing laughter. "Nothing,
nothing! At eight and thirty
all is dead with me; I am older than
you! Ha! mark you not where
madness lurks yonder behind the
door, making ready to spring upon
my neck as I go out? He dares
not seize on me when my father is
near; he shrinks up till he is little,
and hides himself in a spider's web
over the window. But he shall not
get hold of me! Ha, ha, ha! I am
cunning. I will not leave the chamber
without my father. Look you,
old page, I understand a feint as well
as you!"
"Mon ami! mon ami! what is the
matter?" cried the lieutenant, and,
seizing his friend by the shoulders, he
shook him violently. "Friedemann
Bach! do you not hear me?"
Friedemann stared at him vacantly.
At length his face lost its unnatural
expression; his eyes became like living
eyes, and he asked softly what
M. von Scherbitz wanted.
"What makes you such an idiot,
man? Recollect yourself!" cried
Scherbitz.
Friedemann gave a forced laugh.
"You take a jest deeply," he said.
"And you really believe that I am
sometimes mad? Not yet, friend!
I am more rational than ever."
"Well, mon ami, it was your jest;
but one should not paint the devil on
the wall. Sit down, and play me
something till I get over my fright.
You acted your part so naturally!"
Friedemann sat down to the instrument
and began to play.
"I did not dream of this," muttered
the lieutenant; while Friedemann,
after playing half an hour, suddenly
let his hands drop, sank back, and
fell fast asleep.
On the morning of the 21st of July,
1750, the church-bells were ringing a
solemn yet cheerful peal, inviting the
pious to the house of God. The sun
shone brightly; the old man's heart
was renewed in love and devotion,
and even Friedemann's gloomy breast
was penetrated with the beam of
comfort, joy, and love. He had
spent a part of the night in studying
a masterpiece of his father's, the
great Passion music. Full of the grandeur
of the work, his face animated,
he was walking to and fro in his father's
chamber, pondering a similar
work which he thought of undertaking.
Sebastian sat in his arm-chair, with
folded arms, dressed ready for church.
He followed with his eyes, smiling affectionately,
the movements of his son.
After a while, he said,
"I am glad the Passion music
pleases you so well. I have a work
of quite another kind, finished, the
first idea of which I got from your
Fughetten. And you are the first,
after me, that shall see it."
He went to his desk, opened it,
took out a sealed packet, and gave it
to his son. It was inscribed, "To my
son Friedemann."
"I meant it for you, in case of my
death before I saw you," said the old
man. "You may break the seal."
Friedemann opened the packet. It
contained that nobly conceived, admirably
executed work which from
the day of its appearance has commanded
the reverent admiration of
all the initiated—The Art of Fugues,
by Johann Sebastian Bach.
Friedemann looked over the manuscript
with sparkling eyes.
"And my poor attempt," he cried,
"has suggested a work destined to
immortalize its author! I have not
lived in vain. O my father! thanks.
You have made me a noble present."
"You have rewarded me, Friedemann."
Sebastian went on to pour into his
son's heart the kindly words of wisdom.
"While you labor to deserve the
appreciation of your equals," he said,
"strive to instruct those who cannot
thus repay you. It is for man only
to show to the best that he belongs
to the best. Let your light shine—else
you lower yourself, and rebel
against your Master."
The chime of the bells, that had
ceased, now recommenced; and Madam
Bach came in with her daughters,
young Christian, and the lieutenant.
All were ready for church.
Madam Bach gave her husband his
prayer-book and a bunch of flowers;
Caroline brought his hat.
Sebastian rose, gave his arm to his
wife, and walked to the door. Turning
back an instant, he glanced at
the window shaded with vine-leaves
glistening in the sunlight, and said,
"What a lovely morning!"
As he went out of the room, he
stopped suddenly, and let fall the
flowers and the prayer-book. The
women screamed with fright. The
old man struggled for a few moments,
then sank back lifeless into the arms
of his son.
Thus died Johann Sebastian Bach,
by a stroke of apoplexy.
Three years had passed. The wealthy
Baron von Globig celebrated the
feast of the vintage at his magnificent
villa not far from Dresden. Gilded
gondolas, with long and many-colored
pennants, were gliding to and fro
over the bosom of the Elbe, landing
the distinguished guests. The profuse
splendor that marked all the preparations
was worthy of the favorite of
the Count von Bruhl. Nothing the
most fastidious taste could suggest
was wanting.
Few in the aristocratic company
seemed to notice the host; but his
lovely wife was the observed of all.
She was dignified and courteous, but
appeared to take little interest in any
thing.
As twilight came on, colored lamps
were lighted in the gardens, and gorgeous
illuminations were displayed.
Bands of musicians played alternately;
stately men and beautiful women
moved in the merry dance, and general
hilarity prevailed.
When the company returned to the
great drawing-room, the Prussian ambassador
presented to the lady of the
house a distinguished-looking man as
Philip Emmanuel, the second son of
the great Sebastian Bach.
The baroness colored, and gave a
furtive glance around her. After a
few words of conversation, she asked
Bach, in a careless tone, where was
his elder brother.
"We do not know," answered Philip
sadly. "None of us has seen
Friedemann since the day of our father's
death, when he suddenly quitted
Leipzig."
"Have you heard nothing of
him?"
"Nothing—except that he had
been at times before subject to fits
of melancholy, which threatened his
reason. We fear the worst."
The baroness turned away in silence.
The baron came up, and presented
a petition for a little piece of
music from the celebrated Monsieur
Bach.
"We are to have some variety,"
he added; "a bit of fun, by way of
enhancing the effect of your divine
playing. A poor, half-crazy musician
from the Prague choir, who plays
dances in the villages, will be permitted
to give us a tune in the antechamber.
The doors may be opened;
but he must not come into the
light, for his dress is shabby and disordered."
The music sounded from the ante-room.
A servant threw open the
doors, and in the imperfect light the
guests saw a meanly-dressed man sitting
at the piano, his back toward
them. They had expected a joke;
the baron having told many of them
what a surprise he had in store. But
when they heard the playing—the
wonderful, entrancing melody, now
towering into passion, now sinking to
a harmonious plaint, which the poor,
unknown musician drew from the instrument—all
were deeply touched.
The baroness and Philip stood, pale
as death, looking inquiringly yet
doubtingly upon each other. At a
bold turn in the music, the baroness
leaned toward him, whispering,
"'Tis he!" and Philip exclaimed
aloud,
"It is my brother—Friedemann!"
The musician turned, sprang up,
and rushed into Philip's arms. At
sight of the baroness, he started back
with the exclamation—"Natalie!"
The baroness sank back in a
swoon. Friedemann tore himself from
Philip's arms, forced his way through
the crowd, and rushed from the house.
The shock had brought on another
attack of his awful malady.
An old man, past three score and
ten, sat in a room in the upper story
of a house in one of the suburbs of
Berlin. He was reading a pile of
music that lay on the table, making
notes on the margin with a pencil.
The room was poorly furnished, and
lighted by a single lamp that flared
in the currents of air, flinging fitful
shadows on the wall. The storm
raging without shook the loose panes
in the window, and twisted the weather-cocks
on the roof till they creaked
as they swung. The cold had
penetrated the chamber, and the fire
in the grate was scanty. It was the
last night of the year.
But all absorbed sat the old man,
and heeded not cold or tempest as
he read the music. His form was
tall and emaciated; his pale face
showed the ravages of age and disease.
His thin, white locks fell back
from his temples; but his large eyes
had the brightness of youthful enthusiasm.
The bell struck midnight. The
sounds of festal music, singing, and
shouting came from the streets; and
faintly on the wind came the swell
of the Te Deum chanted in a neighboring
church.
The old man looked up from his
reading, and listened attentively.
There was a dreamy, far-away look in
his eyes.
The door opened, and a young
man, with a pale and melancholy
face, and a form more meagre than
the other's, came into the room.
"What hour struck?" asked the
old man.
"Midnight. You had better go to
bed."
"I do not need sleep. Look, I
have been reading this legacy of my
father. Ah! if you, poor Theodore,
could have had such a father. What
year has just begun?"
"Eighty-four."
"Eighty-four! Forty-seven years
ago.... We will not speak of
that."
"Poor old friend! Will you never
tell me who you are?"
"You did not ask me the day I
first saw you; when I found a madman
just about to take his own life.
I pulled away the weapon; I bade
you live!"
"You saved my life; but what is it
worth? You see me old even in
youth."
"You will live many years yet."
"No. I suffer a great deal; I feel
that my hours are numbered. But
why not tell me your name?"
"He who composed that noble
work," said the old man, pointing to
the music, "was my father."
"The name was on the first leaf,
with the title of the music, and you
have torn it out! I do not understand
music, you know. Tell me,
old friend, what to call you?"
"'The Old Musician.'"
"So the few who know you in this
great city always call you. But your
other name?"
"I have promised to reveal it only
to an artist in music."
Then, noticing the pallid and sunken
cheek of his young companion,
he said,
"Has the new year brought you
nothing, Theodore?"
Theodore took a roll of money
from his vest pocket, and threw it on
the table.
"Gold!" exclaimed the old man.
"Yes—when we need it no longer!"
He drew out a flask from the pocket
of his cloak.
"Wine, too; the best of Johannisberger!
You have tasted no wine
lately; drink to the new year."
The old man turned away; for bitter
recollections came up, associated
with the season.
Theodore took two glasses from
the buffet, drew up a chair, sat down,
and uncorked the flask. He filled
the old man's glass and his own with
the wine, which diffused a rich fragrance.
The old man asked, at length, how
he came by such luck.
"I sold my paintings to a lord travelling
through the city."
"What a pity you could not exhibit them!"
"Those sketches cost me seven
years of more than labor: all I have
thought, lived, suffered; the early
dreams of youth; the stern repose
after the struggle with fate! I sacrificed
all. I spared not even the glimmering
spark of life; and thought
when the work was finished the laurel
would deck my brow in death.
All fancies! Wherever I offered my
work, I was repulsed. The publishers
thought the undertaking too expensive.
Some advised me to paint
scenes from the Seven Years' War;
others called my sketches wild and
fantastic."
"Ay, ay!" murmured the old
man. "Lessing, who died three years
ago, said to me rightly, 'All the artist
accomplishes beyond the appreciation
of the multitude, brings him
neither profit nor honor! The highest
must grovel with the worm.'"
"As long as I can remember, old
friend, I have had but one passion—for
my art. Yet must I degrade art
to the rabble; must paint apish faces,
while visions of divine loveliness float
before me; must feel the genius within
me comprehended by none; must
be driven to despair of myself! With
all my gifts, I must ask myself, at
five and twenty, Wherefore have I
lived?"
"Live on; the answer will come."
"Has it come to you? Had I
gained the prize, I might have been
like Raphael; you, like some great
master of your art. Success was not
for us; and we are doomed to insignificance."
"Silence!" cried the old man; "that
leads to madness. I know the horror
of madness. They tell me I was
a long time so."
"No fear of that, old friend. We
are both too near a sure harbor.
Come, fill up your glass! Hark to
the music and shouting in the streets.
Here we sit, like the gods on the
summit of Olympus, sipping nectar,
and laughing at the fools below us.
Drink as I do. No more? Well,
yonder is your bed, and here is mine.
Good-night to you."
They retired to rest. The storm
ceased to beat on the window-panes;
but the bell-ringing and music continued
throughout the night.
The bright sunshine of morning
flooded the chamber. The old man
arose and went to the window. It
was a clear, cold morning; the air
was keen, the sky cloudless; the frost
had wrought delicate tracery on the
panes.
The old man threw his cloak over
his shoulders, and stood some time at
the window. Then he went to awaken
his young friend.
He touched the hand that lay outside
the bed-covering; it was cold
and stiff! Poor Theodore had fainted
in the struggle with destiny. Long
the prey of heart-disease, he had died
in the night.
The old man stood as if paralyzed,
gazing on the face of his dead friend.
His last stay was broken!
Sitting down by the body, he remained
motionless the whole day.
Late in the afternoon, the woman
who kept the house came in with a
message to Theodore, and found the
old man exhausted and shivering with
the cold. She led him into a warm
room, and gave him nourishment.
When Theodore was buried, the
gold he left was given to the old
man, with whom he had lived two
years, supplying the wants of both
by his scanty earnings as a portrait-painter
and the sale of a drawing now
and then. Now that he had no resource
for the future, the people of
the house advised the old man to go
to the overseer of the poor-house. He
shook his head, saying, "No; I will
go to Hamburg."
"To Hamburg!" echoed the housekeeper.
"Hamburg is a long way
from Berlin; you could not bear such
a journey."
But the old man soon forgot his
purpose. He resumed his wanderings
through the streets of Berlin—his
practice before he met with Theodore—stopping
to listen whenever he
heard music. He would sometimes
go into the houses where concerts
were given; and all who remembered
him were glad to see "the Old Musician"
once more.
One evening as he walked about
the streets, he stopped to listen to
music sounding from the windows of
an illuminated palace. He went up
the steps and was going in; but the
porter, a Swiss, pushed him rudely
back. So he stood without in the
cold and cutting night wind, and listened,
his whole soul absorbed in the
music.
A servant in livery came out, and
ran against him. "Ha!" he exclaimed
in surprise; "is that you, Old
Musician? How long it is since I
have seen you. Why do you stand
there shaking in the cold?"
"Monsieur Swiss would not let me
pass," answered the old man.
"Monsieur Swiss is an idiot! Come
in with me, old friend; you shall thaw
your old limbs, and have some refreshment.
My lord gives a grand
concert." To the porter he said,
"You must always let in the Old Musician;
my lord has given orders that
it shall be so. He comes to enjoy
the music."
He led the old man to a seat near
the fire in one of the ante-rooms, and
drew a folding screen before him.
"You are out of view here," he said;
"but you can hear every thing. I
will bring you a glass of wine."
All that evening the old man listened
to music that thrilled his inmost
heart. It was late when the concert
ended. Then the man who had
brought him in, came and told him
it was time to go, offering to send a
boy home with him.
"That was admirable music," said
the old man drawing a deep breath.
"It was," replied the servant. "All
you heard was composed by the same
master, who is staying with my lord at
present."
"What is his name?"
"It is Master Naumann, chapel-master
to the Elector of Saxony."
"Let me speak with him, if he is
in the house."
"Certainly, if you want to ask any
thing."
"I want to thank him."
"Well, come to-morrow morning."
The next morning the strange visitor
was announced to the composer
Naumann.
"Who is the Old Musician?" he
asked. The man could not tell. He
had been known by that name for
years in Berlin, and was thought to
be partially insane at times. But he
was said to have a thorough knowledge
of music.
"Bring him in," said Naumann.
The old man entered the room. He
had a dignity of mien that inspired
respect, in spite of his poor apparel;
and Naumann rose and advanced to
meet him.
"You are welcome, my good friend,
though I know not your name—welcome
as a lover of our noble art.
Take this chair."
The old man, still standing, answered,
"I come to thank you, sir,
for the pleasure of hearing your concert
last evening. I was a listener,
privately, and understood that your
latest compositions were performed.
I will not conceal my name from you.
I am Friedemann Bach."
Naumann stood petrified with astonishment.
"Friedemann Bach!"
at length he repeated; "the great
son of the great Sebastian. How
strange, indeed! I saw your brother
Philip at Hamburg, only last year.
The excellent old man mourns you
as dead."
"I would be dead to all who knew
me in better days," was the melancholy
reply. "It would grieve them
to know how sad a failure my life has
been. Even in Berlin none know
that Friedemann Bach yet lives; not
even Mendelssohn, the friend of Lessing.
While he lived, I had no fear
of starving."
Naumann was deeply affected. Philip
had told him his brother's history;
his sorrows, his disappointments, his
terrible suffering for years. "What
can I do for you?" he asked mournfully.
"Nothing," answered Bach. "You
have done every thing in showing
me what I could and should have
done. You know how I failed; how
my life was wasted; how I fell short
in all my bold and burning schemes.
I fainted, and did not reap. But you
need not the warning of my history.
You walk securely and cheerfully in
the right path. I can only thank you
for your magnificent works. The
blessing of God be with you! I feel
now that I have nothing more to do
in this world."
He turned away, and was gone before
Naumann could recover from the
emotion his words called forth. He
called the servant to ask where he
could be found; but no one could tell
him. The boy who had escorted the
old man home had not been suffered
to go to his door. At length he met
with Moses Mendelssohn, and told
him what had happened.
Mendelssohn was astonished to
learn that Friedemann Bach yet lived,
and in Berlin. The only clue he
had was his knowledge of Lessing's
old dwelling, where the old musician
lived some time before.
The next morning the two went
to the Friedrichstadt, and found Lessing's
house. The housekeeper opened
the door.
"Does M. Friedemann Bach live
here yet?" asked Mendelssohn.
The woman shook her head, lifting
the corner of her apron at the same
time to wipe her eyes.
"Pardon me," she cried; "but I
cannot help it! Just at this time yesterday
they carried away my poor
friend, the Old Musician. He died
three weeks after his young friend, the
painter."
Her voice was choked with tears.
There was no need of further inquiry.
Poor Bach was a wanderer
no more.