priorities lay.
Moving away from the instruments, Ben gazed at a couple of the portraits on the walls, both very obviously dating back to bygone centuries. One was of a man with a lean, gently thoughtful face, silky frills at his neck and cuff, a powdered wig like a judge’s on his head. The name plaque on the gilt frame said JOSEPH HAYDN. The other picture showed a heavier, more austere-looking jowly fellow with thick lips, a wedge of double chin, a frock coat and a slightly different kind of white wig, proffering in his one visible hand a small sheet of musical notation as if to say, ‘Here’s a little ditty I just wrote, especially for you. And you’d better like it.’
Ben peered closer and saw that this was the famous Johann Sebastian Bach, whose organ music he would be hearing Nick play that evening.
He found a different likeness of J.S. Bach elsewhere in the room, in the shape of a small alabaster bust resting on the glass shelf of a corner display cabinet. This Bach didn’t look very pleased at all, wearing an intense, challenging scowl that followed you wherever you went. He was just one of a number of collectables on display in the cabinet, mostly music related: other composer busts of all the usual suspects, Mozart, Beethoven, Schubert, and some that Ben knew less well such as Berlioz and Messiaen; then there was a metronome inlaid with mother of pearl, a violin bow, an ivory piano key, a framed lock of hair purporting to have belonged to Frederick Chopin.
On the middle shelf, propped up on a little stand, was an old handwritten music manuscript that resembled the one in the Bach wall portrait, though it was proportionally a shade larger and consisted of several sheets bound together with wax, instead of just one.
Ben moved close to the cabinet to peer at the manuscript. The paper was splotched, faded and yellowed with age but the handwritten musical notation was almost entirely legible, apart from a curiously shaped, russety-coloured stain that covered part of the right bottom corner and obscured some of the last stave and a few notes. Written music notation was double-Dutch to Ben at the best of times, and this looked like a scrawl. The only part of it he could make out was the composer’s signature at the top of the front page, which made his eyebrows rise.
J.S. Bach
‘Like a moth to the flame,’ Nick’s voice said behind him. Ben turned. Nick was returning with the coffee. The rich scent of some serious dark roast was already filling the room.
‘Everyone goes straight to that manuscript,’ Nick said, carrying the tray to a coffee table. ‘And they all ask me the same thing. What must it be worth, and aren’t I taking a massive risk not keeping such an obviously priceless relic locked up in a vault?’
‘So what’s it worth?’ Ben asked.
Nick chuckled. After a dramatic pause he replied, ‘It’s worth precisely zero. Zilch. Don’t be taken in. It’s a fake.’
‘You could have fooled me,’ Ben said. ‘It looks real enough. But then, I’m hardly an expert.’
Nick laughed as he set the things down on the coffee table and took a seat in a nearby armchair. ‘Join the club. I’m just a humble instrumentalist, not exactly one of your hardcore scholars or collectors who scour the earth ready to part with eye-wateringly vast sums for original manuscripts. I picked that up as a novelty for a few pennies in a crumbly old backstreet music shop in Prague when I was there for a concert last October. Believe me, if it was the genuine item, it’d probably be worth as much as this apartment and everything in it, plus that daft car outside. But it looks the part and is a great conversation piece among my musician pals. We’re a dull lot, I’m afraid.’
Ben peered back through the glass at the manuscript. ‘I suppose that stain on it would lower its value, though. If it was the real thing, I mean.’
‘I amuse myself by telling gullible souls that Bach spilled coffee on the paper while he was composing. You should see their faces at the idea that the great man would actually do such a thing as sit at the keyboard with a steaming mug next to him, like any other human being.’
‘Is that what the stain is, coffee?’ Ben asked, peering at it. Through the glass, it was hard to tell.
‘That’s what it looks like to me,’ Nick said. ‘One thing I do know, old Johann Sebastian was nutty about the stuff. Of course, coffee was very much the craze across Europe at that time. He loved it so much that he even wrote a piece of music as a homage to it, a mini comic opera called the “Coffee Cantata”.’
Ben glanced back at the stern face on the portrait. ‘He doesn’t strike me as the comic type.’
‘Oh, don’t let that austere front fool you,’ Nick said with a wave. ‘Bach loved nothing more than to have a good time, in all kinds of ways. He was the father of twenty-two children and he was extremely fond of his grub, not to mention wine and beer. He was sixty-three when he sat for that portrait, but he could still enjoy himself. I’m trying to remember how the “Coffee Cantata” goes. Oh, yes—’
Nick recited:
‘Oh, how sweet coffee tastes,
More delicious than a thousand kisses,
Milder than muscatel wine.
Coffee, I have to have coffee,
And, if someone wants to pamper me,
Ah, then bring me coffee as a gift!’
‘Sounds like he had it bad,’ Ben said. ‘Even I’m not that addicted to it, yet.’
Nick smiled and pointed at the cups on the table. ‘I’m willing to bet you soon will be, once you try this. Come and drink it while it’s hot.’
The coffee tasted as good as it smelled. Ben took it black, no sugar, the way coffee ought to be. He nodded his appreciation. ‘Now I am an expert in this department,’ he said. ‘And that’s no fake. It’s the real McCoy. Colombian?’
‘Brazilian Sierra Negra,’ Nick said, looking happy. ‘Something special, isn’t it? Better than the bilge water they serve in Hall, at any rate.’
Ben drank some more, then shook his head, thinking back to the manuscript. ‘It’s a strange world where someone would go to the trouble of counterfeiting something like that.’
‘Welcome to the music world. You’d be amazed at the fakery that’s out there. Do you seriously imagine, for instance, that I could afford a real lock of Chopin’s hair? There’s only one validated example in existence, and that’s in a museum in Warsaw.’ Nick motioned towards the cabinet. ‘That one there was most likely put together from the sweepings off the floor of a pet-grooming parlour.’
‘That’s one way to make use of dog hair,’ Ben said, thinking of the state of the floor of the Le Val office after four German shepherds had been lying around in there. ‘I was thinking of stuffing pillows with it.’
Nick smiled. ‘I should point out, however, that not everything I possess is phony. That harpsichord there, for example. Made by Jacob and Abraham Kirckman, London’s finest craftsmen of their day, circa 1775. Double manual, six hand stops, cabinet
