McGore, paling like a fetus in alcohol, cleared his throat and said, “There is no reason to conceal the truth from you, Colonel. Luciani never painted your Veneziana. It is nothing more than a magnificent imitation.”
The Colonel slowly rose.
“It was done by your son,” went on McGore, and suddenly the corners of his mouth began to tremble and drop. “In Rome. I procured the canvas and paints for him. He seduced me with his talent. Half the sum you paid went to him. Oh, dear God …”
The Colonel’s jaw muscles contracted as he looked at the dirty handkerchief with which McGore was wiping his eyes and realized the poor fellow was not joking.
Then he turned and looked at la Veneziana. Her forehead glowed against the dark background, her long fingers glowed more gently, the lynx fur was slipping bewitchingly from her shoulder, and there was a secretly mocking smile at the corner of her lips.
“I’m proud of my son,” calmly said the Colonel.
BACHMANN
THERE was a fleeting mention in the newspapers not long ago that the once famous pianist and composer Bachmann had died, forgotten by the world, in the Swiss hamlet of Marival, at the St. Angelica Home. This brought to my mind the story about a woman who loved him. It was told me by the impresario Sack. Here it is.
Mme. Perov met Bachmann some ten years before his death. In those days the golden throb of the deep and demented music he played was already being preserved on wax, as well as being heard live in the world’s most famous concert halls. Well, one evening—one of those limpid-blue autumn evenings when one feels more afraid of old age than of death—Mme. Perov received a note from a friend. It read, “I want to show you Bachmann. He will be at my house after the concert tonight. Do come.”
I imagine with particular clarity how she put on a black, décolleté dress, flicked perfume onto her neck and shoulders, took her fan and her turquoise knobbed cane, cast a parting glance at herself in the tri-fold depths of a tall mirror, and sunk into a reverie that lasted all the way to her friend’s house. She knew that she was plain and too thin, and that her skin was pale to the point of sickliness; yet this faded woman, with the face of a madonna that had not quite come out, was attractive thanks to the very things she was ashamed of: the pallor of her complexion, and a barely perceptible limp, which obliged her to carry a cane. Her husband, an energetic and astute businessman, was away on a trip. Sack did not know him personally.
When Mme. Perov entered the smallish, violet-lighted drawing room where her friend, a stout, noisy lady with an amethyst diadem, was fluttering heavily from guest to guest, her attention was immediately attracted by a tall man with a clean-shaven, lightly powdered face who stood leaning his elbow on the case of the piano, and entertaining with some story three ladies grouped around him. The tails of his dress coat had a substantial-looking, particularly thick silk lining, and, as he talked, he kept tossing back his dark, glossy hair, at the same time inflating the wings of his nose, which was very white and had a rather elegant hump. There was something about his entire figure benevolent, brilliant, and disagreeable.
“The acoustics were terrible!” he was saying, with a twitch of his shoulder, “and everybody in the audience had a cold. You know how it is: let one person clear his throat, and right away several others join in, and off we go.” He smiled, throwing back his hair. “Like dogs at night exchanging barks in a village!”
Mme. Perov approached, leaning slightly on her cane, and said the first thing that came into her head:
“You must be tired after your concert, Mr. Bachmann?”
He bowed, very flattered.
“That’s a little mistake, madame. The name is Sack. I am only the impresario of our Maestro.”
All three ladies laughed. Mme. Perov lost countenance, but laughed too. She knew about Bachmann’s amazing playing only from hearsay, and had never seen a picture of him. At that moment the hostess surged toward her, embraced her, and with a mere motion of the eyes as if imparting a secret, indicated the far end of the room, whispering, “There he is—look.”
Only then did she see Bachmann. He was standing a little away from the other guests. His short legs in baggy black trousers were set wide apart. He stood reading a newspaper. He held the rumpled page close up to his eyes, and moved his lips as semiliterate people do when reading. He was short, balding, with a modest lick of hair athwart the top of his head. He wore a starched turndown collar that seemed too large for him. Without taking his eyes off the paper he absentmindedly checked the fly of his trousers with one finger, and his lips began to move with even greater concentration. He had a very funny small rounded blue chin that resembled a sea urchin.
“Don’t be surprised,” said Sack, “he is a barbarian in the literal sense of the word—as soon as he arrives at a party he immediately picks up something and starts reading.”
Bachmann suddenly sensed that everybody was looking at him. He slowly turned his face and, raising his bushy eyebrows, smiled a wonderful, timid smile that made his entire face break out in soft little wrinkles.
The hostess hurried toward him.
“Maestro,” she said, “allow me to present another of your admirers, Mme. Perov.”
He thrust out a boneless, dampish hand. “Very glad, very glad indeed.”
And once again he immersed himself in his newspaper.
Mme. Perov stepped away. Pinkish spots appeared on her cheekbones. The joyous to-and-fro flicker of her black fan, gleaming with jet, made the fair curls on her temples flutter. Sack told me later that on that first evening she had impressed him as an extraordinarily “temperamental,” as he put it, extraordinarily high-strung woman, despite her unpainted lips and severe hairdo.
“Those two were worth each other,” he confided to me with a sigh. “As for Bachmann, he was a hopeless case, a man completely devoid of brains. And then, he drank, you know. The evening they met I had to whisk him away as on wings. He had demanded cognac all of a sudden, and he wasn’t supposed to, he wasn’t supposed to at all. In fact, we had begged him: ‘For five days don’t drink, for just five days’—he had to play those five concerts, you see. ‘It’s a contract, Bachmann, don’t forget.’ Imagine, some poet fellow in a humor magazine actually made a play on ‘unsure feet’ and ‘forfeit’! We were literally on our last legs. And moreover, you know, he was cranky, capricious, grubby. An absolutely abnormal individual. But how he played …”
And, giving his thinning mane a shake, Sack rolled his eyes in silence.
As Sack and I looked through the newspaper clippings pasted in an album as heavy as a coffin, I became convinced that it was precisely then, in the days of Bachmann’s first encounters with Mme. Perov, that began the real, worldwide—but, oh, how transitory!—fame of that astonishing person. When and where they became lovers, nobody knows. But after the soirée at her friend’s house she began to attend all of Bachmann’s concerts, no matter in what city they took place. She always sat in the first row, very straight, smooth-haired, in a black, open-necked dress. Somebody nicknamed her the Lame Madonna.
Bachmann would walk onstage rapidly, as if escaping from an enemy or simply from irksome hands. Ignoring the audience, he would hurry up to the piano and, bending over the round stool, would begin tenderly turning the wooden disc of the seat, seeking a certain mathematically precise level. All the while he would coo, softly and earnestly, appealing to the stool in three languages. He would go on fussing thus for quite a while. English audiences were touched, French, diverted, German, annoyed. When he found the right level, Bachmann would give the stool a loving little pat and seat himself, feeling for the pedals with the soles of his ancient pumps. Then he would take out an ample, unclean handkerchief and, while meticulously wiping his hands with it, would examine the first row of seats with a mischievous yet timid twinkle. At last he would bring his hands down softly onto the keys. Suddenly, though, a tortured little muscle would twitch under one eye; clucking his tongue, he would climb off the stool and again begin rotatin
g its tenderly creaking disc.
Sack thinks that when she came home after hearing Bachmann for the first time, Mme. Perov sat down by the window and remained there till dawn, sighing and smiling. He insists that never before had Bachmann played with such beauty, such frenzy, and that subsequently, with every performance, his playing became still more beautiful, still more frenzied. With incomparable artistry, Bachmann would summon and resolve the voices of counterpoint, cause dissonant chords to evoke an impression of marvelous harmonies, and, in his Triple Fugue, pursue the theme, gracefully, passionately toying with it, as a cat with a mouse: he would pretend he had let it escape, then, suddenly, in a flash of sly glee, bending over the keys, he would overtake it with a triumphant swoop. Then, when his engagement in that city was over, he would disappear for several days and go on a binge.
The habitués of the dubious little taverns burning venomously amid the fog of a gloomy suburb would see a small stocky man with untidy hair around a bald spot and moist eyes pink like sores, who would always choose an out-of-the-way corner, but would gladly buy a drink for anybody who happened to importune him. An old little piano tuner, long since fallen into decay, who drank with him on several occasions, decided that he followed the same trade, since Bachmann, when drunk, would drum on the table with his fingers and, in a thin, high voice, sing a very exact A. Sometimes a hardworking prostitute with high cheekbones would lead him off to her place. Sometimes he tore the violin out of the tavern fiddler’s hands, stamped on it, and was thrashed in punishment. He mixed with gamblers, sailors, athletes incapacitated by hernias, as well as with a guild of quiet, courteous thieves.
For nights on end Sack and Mme. Perov would look for him. It is true that Sack searched only when it was necessary to get him in shape for a concert. Sometimes they found him, and sometimes, bleary-eyed, dirty, collarless, he would appear at Mme. Perov’s of his own accord; the sweet, silent lady would put him to bed, and only after two or three days would she telephone Sack to tell him that Bachmann had been found.
He combined a kind of unearthly shyness with the prankishness of a spoiled brat. He hardly talked to Mme. Perov at all. When she remonstrated with him and tried to take him by the hands, he would break away and hit her on the fingers with shrill cries, as if the merest touch caused him impatient pain, and presently he would crawl under the blanket and sob for a long time. Sack would come and say it was time to leave for London or Rome, and take Bachmann away.
Their strange liaison lasted three years. When a more or less reanimated Bachmann was served up to the audience, Mme. Perov would invariably be sitting in the first row. On long trips they would take adjoining rooms. Mme. Perov saw her husband several times during this period. He, of course, like everybody else, knew about her rapturous and faithful passion, but he did not interfere and lived his own life.
“Bachmann made her existence a torment,” Sack kept repeating. “It is incomprehensible how she could have loved him. The mystery of the female heart! Once, when they were at somebody’s house together, I saw the Maestro with my own eyes suddenly begin snapping his teeth at her, like a monkey, and you know why? Because she wanted to straighten his tie. But in those days there was genius in his playing. To that period belongs his Symphony in D Minor and several complex fugues. No one saw him writing them. The most interesting is the so-called Golden Fugue. Have you heard it? Its thematic development is totally original. But I was telling you about his whims and his growing lunacy. Well, here’s how it was. Three years passed, and then, one night in Munich, where he was performing …”
And as Sack neared the end of his story, he narrowed his eyes more sadly and more impressively.
It seems that the night of his arrival in Munich Bachmann escaped from the hotel where he had stopped as usual with Mme. Perov. Three days remained before the concert, and therefore Sack was in a state of hysterical alarm. Bachmann could not be found. It was late autumn, with a lot of rain. Mme. Perov caught cold and took to her bed. Sack, with two detectives, continued to check the bars.
On the day of the concert the police telephoned to say that Bachmann had been located. They had picked him up in the street during the night and he had had an excellent bit of sleep at the station. Without a word Sack drove him from the police station to the theater, consigned him like an object to his assistants, and went to the hotel to get Bachmann’s tailcoat. He told Mme. Perov through the door what had happened. Then he returned to the theater.
Bachmann, his black felt hat pushed down onto his brows, was sitting in his dressing room, sadly tapping the table with one finger. People fussed and whispered around him. An hour later the audience began taking their places in the huge hall. The white, brightly lit stage, adorned by sculptured organ pipes on either side, the gleaming black piano, with upraised wing, and the humble mushroom of its stool—all awaited in solemn idleness a man with moist, soft hands who would soon fill with a hurricane of sound the piano, the stage, and the enormous hall, where, like pale worms, women’s shoulders and men’s bald pates moved and glistened.
And now Bachmann has trotted onstage. Paying no attention to the thunder of welcome that rose like a compact cone and fell apart in scattered, dying claps, he began rotating the disc of the stool, cooing avidly, and, having patted it, sat down at the piano. Wiping his hands, he glanced toward the first row with his timid smile. Abruptly his smile vanished and Bachmann grimaced. The handkerchief fell to the floor. His attentive gaze slid once again across the faces—and stumbled, as it were, upon reaching the empty seat in the center. Bachmann slammed down the lid, got up, walked out to the very edge of the stage, and, rolling his eyes and raising his bent arms like a ballerina, executed two or three ridiculous pas. The audience froze. From the back seats came a burst of laughter. Bachmann stopped, said something that nobody could hear, and then, with a sweeping, archlike motion, showed the whole house a fico.
“It happened so suddenly,” went Sack’s account, “that I could not get there in time to help. I bumped into him when, after the fig—instead of the fugue—he was leaving the stage. I asked him, ‘Bachmann, where are you going?’ He uttered an obscenity and disappeared into the greenroom.”
Then Sack himself walked out on the stage, to a storm of wrath and mirth. He raised his hand, managed to obtain silence, and gave his firm promise that the concert would take place. Upon entering the greenroom he found Bachmann sitting there as though nothing had happened, his lips moving as he read the printed program.
Sack glanced at those present and, raising a brow meaningfully, rushed to the telephone and called Mme. Perov. For a long time he could get no answer; at last something clicked and he heard her feeble voice.
“Come here this instant,” jabbered Sack, striking the telephone book with the side of his hand. “Bachmann won’t play without you. It’s a terrible scandal! The audience is beginning to—What?— What’s that?— Yes, yes, I keep telling you he refuses. Hello? Oh, damn!—I’ve been cut off.…”
Mme. Perov was worse. The doctor, who had visited her twice that day, had looked with dismay at the mercury that had climbed so high along the red ladder in its glass tube. As she hung up—the telephone was by the bed—she probably smiled happily. Tremulous and unsteady on her feet, she started to dress. An unbearable pain kept stabbing her in the chest, but happiness called to her through the haze and hum of the fever. I imagine for some reason that when she started pulling on her stockings, the silk kept catching on the toenails of her icy feet. She arranged her hair as best she could, wrapped herself in a brown fur coat, and went out, cane in hand. She told the doorman to call a taxi. The black pavement glistened. The handle of the car door was wet and ice-cold. All the way during the ride that vague, happy smile must have remained on her lips, and the sound of the motor and the hiss of the tires blended with the hot humming in her temples. When she reached the theater, she saw crowds of people opening angry umbrellas as they tumbled out into the street. She was almost knocked off her feet, but managed to squeeze throug
h. In the greenroom Sack was pacing back and forth, clutching now at his left cheek, now at his right.
“I was in an utter rage!” he told me. “While I was struggling with the telephone, the Maestro escaped. He said he was going to the toilet, and slipped away. When Mme. Perov arrived I pounced on her—why hadn’t she been sitting in the theater? You understand, I absolutely did not take into account the fact that she was ill. She asked me, ‘So he’s back at the hotel now? So we passed each other on the way?’ And I was in a furious state, shouting, ‘The hell with hotels—he’s in some bar! Some bar! Some bar!’ Then I gave up and rushed off. Had to rescue the ticket seller.”
And Mme. Perov, trembling and smiling, went to search for Bachmann. She knew approximately where to look for him, and it was thither, to that dark, dreadful quarter that an astonished driver took her. When she reached the street where, according to Sack, Bachmann had been found the day before, she let the taxi go and, leaning on her cane, began walking along the uneven sidewalk, under the slanting streams of black rain. She entered all the bars one by one. Bursts of raucous music deafened her and men looked her over insolently. She would glance around the smoky, spinning, motley tavern and go back out into the lashing night. Soon it began to seem to her that she was continuously entering one and the same bar, and an agonizing weakness descended upon her shoulders. She walked, limping and emitting barely audible moans, holding tightly the turquoise knob of her cane in her cold hand. A policeman who had been watching her for some time approached with a slow, professional step and asked for her address, then firmly and gently led her over to a horse cab on night duty. In the creaking, evil-smelling murk of the cab she lost consciousness and, when she came to, the door was open and the driver, in a shiny oilskin cape, was giving her little pokes in the shoulder with the butt of his whip. Upon finding herself in the warm corridor of the hotel, she was overcome by a feeling of complete indifference to everything. She pushed open the door of her room and went in. Bachmann was sitting on her bed, barefoot and in a nightshirt, with a plaid blanket humped over his shoulders. He was drumming with two fingers on the marble top of the night table, while using his other hand to make dots on a sheet of music paper with an indelible pencil. So absorbed was he that he did not notice the door open. She uttered a soft, moanlike “ach.” Bachmann gave a start. The blanket started to slide off his shoulders.