for a second, it met mine. My two seats were in the first row of the stalls, and I could see every slightest change of his face. So that at length I felt that Diaz was real, and that he was really there close in front of me, a seraph and yet very human. He was all alone on the great platform, and the ebonized piano seemed enormous and formidable before him. And all around was the careless public—ignorant, unsympathetic, exigent, impatient, even inimical—two thousand persons who would get value for their money or know the reason why. The electric light and the inclement gaze of society rained down cruelly upon that defenceless head. I wanted to protect it. The tears rose to my eyes, and I stretched out towards Diaz the hands of my soul. My passionate sympathy must have reached him like a beneficent influence, of which, despite the perfect self-possession and self-confidence of his demeanour, it seemed to me that he had need.
I had risked much that night. I had committed an enormity. No one but a grown woman who still vividly remembers her girlhood can appreciate my feelings as I drove from Bursley to Hanbridge in the cab, and as I got out of the cab in the crowd, and gave up my ticket, and entered the glittering auditorium of the Jubilee Hall. I was alone, at night, in the public places, under the eye of the world. And I was guiltily alone. Every fibre of my body throbbed with the daring and the danger and the romance of the adventure. The horror of revealing the truth to Aunt Constance, as I was bound to do—of telling her that I had lied, and that I had left my maiden’s modesty behind in my bedroom, gripped me at intervals like some appalling and exquisite instrument of torture. And yet, ere Diaz had touched the piano with his broad white hand, I was content, I was rewarded, and I was justified.
The programme began with Chopin’s first Ballade.
There was an imperative summons, briefly sustained, which developed into an appeal and an invocation, ascending, falling, and still higher ascending, till it faded and expired, and then, after a little pause, was revived; then silence, and two chords, defining and clarifying the vagueness of the appeal and the invocation. And then, almost before I was aware of it, there stole forth from under the fingers of Diaz the song of the soul of man, timid, questioning, plaintive, neither sad nor joyous, but simply human, seeking what it might find on earth. The song changed subtly from mood to mood, expressing that which nothing but itself could express; and presently there was a low and gentle menace, thrice repeated under the melody of the song, and the reply of the song was a proud cry, a haughty contempt of these furtive warnings, and a sudden winged leap into the empyrean towards the Eternal Spirit. And then the melody was lost in a depth, and the song became turgid and wild and wilder, hysteric, irresolute, frantically groping, until at last it found its peace and its salvation. And the treasure was veiled in a mist of arpeggios, but one by one these were torn away, and there was a hush, a pause, and a preparation; and the soul of man broke into a new song of what it had found on earth—the magic of the tenderness of love—an air so caressing and so sweet, so calmly happy and so mournfully sane, so bereft of illusions and so naïve, that it seemed to reveal in a few miraculous phrases the secret intentions of God. It was too beautiful; it told me too much about myself; it vibrated my nerves to such an unbearable spasm of pleasure that I might have died had I not willed to live. … It gave place momentarily to the song of the question and the search, but only to return, and to return again, with a more thrilling and glorious assurance. It was drowned in doubt, but it emerged triumphantly, covered with noble and delicious ornaments, and swimming strongly on mysterious waves. And finally, with speed and with fire, it was transformed and caught up into the last ecstasy, the ultimate passion. The soul swept madly between earth and heaven, fell, rose; and there was a dreadful halt. Then a loud blast, a distortion of the magic, an upward rush, another and a louder blast, and a thunderous fall, followed by two massive and terrifying chords. …
Diaz was standing up and bowing to his public. What did they understand? Did they understand anything? I cannot tell. But I know that they felt. A shudder of feeling had gone through the hall. It was in vain that people tried to emancipate themselves from the spell by the violence of their applause. They could not. We were all together under the enchantment. Some may have seen clearly, some darkly, but we were equal before the throne of that mighty enchanter. And the enchanter bowed and bowed with a grave, sympathetic smile, and then disappeared. I had not clapped my hands; I had not moved. Only my full eyes had followed him as he left the platform; and when he returned—because the applause would not cease—my eyes watched over him as he came back to the centre of the platform. He stood directly in front of me, smiling more gaily now. And suddenly our glances met! Yes; I could not be mistaken. They met, and mine held his for several seconds. … Diaz had looked at me. Diaz had singled me out from the crowd. I blushed hotly, and I was conscious of a surpassing joy. My spirit was transfigured. I knew that such a man was above kings. I knew that the world and everything of loveliness that it contained was his. I knew that he moved like a beautiful god through the groves of delight, and that what he did was right, and whom he beckoned came, and whom he touched was blessed. And my eyes had held his eyes for a little space.
The enchantment deepened. I had read that the secret of playing Chopin had died with Chopin; but I felt sure that evening, as I have felt sure since, that Chopin himself, aristocrat of the soul as he was, would have received Diaz as an equal, might even have acknowledged in him a superior. For Diaz had a physique, and he had a mastery, a tyranny, of the keyboard that Chopin could not have possessed. Diaz had come to the front in a generation of pianists who had lifted technique to a plane of which neither Liszt nor Rubinstein dreamed. He had succeeded primarily by his gigantic and incredible technique. And then, when his technique had astounded the world, he had invited the world to forget it, as the glass is forgotten through which is seen beauty. And Diaz’s gift was now such that there appeared to intervene nothing between his conception of the music and the strings of the piano, so perfected was the mechanism. Difficulties had ceased to exist.
The performance of some pianists is so wonderful that it seems as if they were crossing Niagara on a tight-rope, and you tremble lest they should fall off. It was not so with Diaz. When Diaz played you experienced the pure emotions caused by the unblurred contemplation of that beauty which the great masters had created, and which Diaz had tinted with the rare dyes of his personality. You forgot all but beauty. The piano was not a piano; it was an Arabian magic beyond physical laws, and it, too, had a soul.
So Diaz laid upon us the enchantment of Chopin and of himself. Mazurkas, nocturnes, waltzes, scherzos, polonaises, preludes, he exhibited to us in groups those manifestations of that supreme spirit—that spirit at once stern and tender, not more sad than joyous, and always sane, always perfectly balanced, always preoccupied with beauty. The singular myth of a Chopin decadent, weary, erratic, mournful, hysterical, at odds with fate, was completely dissipated; and we perceived instead the grave artist nourished on Bach and studious in form, and the strong soul that had dared to look on life as it is, and had found beauty everywhere. Ah! how the air trembled and glittered with visions! How melody and harmony filled every corner of the hall with the silver and gold of sound! How the world was changed out of recognition! How that which had seemed unreal became real, and that which had seemed real receded to a horizon remote and fantastic! …
He was playing the fifteenth Prelude in D flat now, and the water was dropping, dropping ceaselessly on the dead body, and the beautiful calm song rose serenely in the dream, and then lost itself amid the presaging chords of some sinister fate, and came again, exquisite and fresh as ever, and then was interrupted by a high note like a clarion; and while Diaz held that imperious, compelling note, he turned his face slightly from the piano and gazed at me. Several times since the first time our eyes had met, by accident as I thought. But this was a deliberate seeking on his part. Again I flushed hotly. Again I had the terrible shudder of joy. I feared for a moment lest all the Five Towns was staring at me, thus singled out by Diaz; but it was not so: I had the wit to perceive that no one could remark me as the recipient of that hurried and burning glance. He had half a dozen bars to play, yet his eyes did not leave mine, and I would not let mine leave his. He remained moveless while the last chord expired, and then it seemed to me that his gaze had gone further, had passed through me into some unknown. The applause startled him to his feet.
My thought was:
