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The Brimming Cup

Page 37

Mr. Marsh remarked speculatively, as though they were speaking of some

quite abstract topic, "It may also be possibly that you are succumbing

to habit and inertia and routine."

She was startled again, and nettled . . . and alarmed. What a rude thing

to say! But the words were no sooner out of his mouth than she had felt

a scared wonder if perhaps they were not true. She had not thought of

that possibility.

"I should think you would like the concerts, anyhow," suggested Mr.

Welles.

"Yes," said Marise, with the intonation that made the affirmation almost

a negative. "Yes, of course. But there too . . . music means so much to

me, so very much. It makes me sick to see it pawed over as it is among

people who make their livings out of it; used as it so often is as a

background for the personal vanity or greed of the performer. Take an

ordinary afternoon solo concert given by a pianist or singer . . . it

always seems to me that the music they make is almost an unconsidered

by-product with them. What they're really after is something else."

Marsh agreed with her, with a hearty relish, "Yes, musicians are an

unspeakable bunch!

"I suppose," Marise went on, "that I ought not to let that part of it

spoil concert music for me. And it doesn't, of course. I've had some

wonderful times . . . people who play in orchestra and make chamber-music

are the real thing. But the music you make yourself . . . the music we

make up here . . . well, perhaps my taste for it is like one's liking

(some people call it perverse) for French Primitive painting, or the

something so awfully touching and heart-felt that was lost when the

Renaissance came up over the Alps with all its knowingness."

"You're not pretending that you get Vermonters to make music?" protested

Marsh, highly amused at the notion.

"I don't know," she admitted, "whether it is music or not. But it is

something alive." She fell into a muse, "Queer, what a spider-web of

tenuous complication human relationships are. I never would have

thought, probably, of trying anything of the sort if it hadn't been for

a childhood recollection. . . . French incarnation this time," she said

lightly to Marsh. "When I was a little girl, a young priest, just a

young parish priest, in one of the poor hill-parishes of the Basque

country, began to teach the people of his parish really to sing some of

the church chants. I never knew much about the details of what he did,

and never spoke to him in my life, but from across half the world he has

reached out to touch this cornet of America. By the time I was a young

lady, he had two or three big country choruses under his direction. We

used to drive up fist to one and then to another of those hill-towns,

all white-washed houses and plane-tree atriums, and sober-eyed Basques,

to hear them sing. It was beautiful. I never have had a more complete

expression of beauty in all my life. It seemed to me the very soul of

music; those simple people singing, not for pay, not for notoriety, out

of the fullness of their hearts. It has been one of the things I never

forgot, a standard, and a standard that most music produced on platforms

before costly audiences doesn't come up to."

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