# How Chopin came to Remsen/Chapter 4
### IV SIGNORINA MOLATTI

Two days went by, and while I still pondered the great mystery and kept a close watch on Tom, I had begun to hope that the exactions of his profession had led him to abandon his effort to explain what he had called his "seizure." He had been busy of late with the technicalities involved in the formation of a new trust, and his mind seemed to be wholly engrossed by this gigantic task. By tacit consent we had both avoided all reference to my recent musical and its weird and inexplicable outcome. At times I was almost inclined to believe that Tom had forgotten Chopin and all his works.
As for myself, I could not recover a normal state of mind. For the first time in my life I felt an admiration for the very characteristics of my husband's make-up that hitherto had annoyed and wearied me. His ability to rebound at once from the shock that he had sustained filled me with both envy and amazement. I had begun to realize that the mental poise of an unimpressionable, unimaginative man is a very desirable and praiseworthy possession.
I regretted at times that I could not throw myself into some despotic occupation that should demand all my physical and mental energies. As yet I had not found the courage to face the world and its questionings. For two days I had denied myself to even my most intimate friends, not excepting Mrs. Jack Van Corlear, who had hurried to me on the day succeeding my musical. I knew that my callers were actuated by a not unnatural curiosity, and I lacked the nervous energy to face people who would politely claim the right to know why Tom had always concealed his genius as a pianist. I think I fully understand the set in which I move. We dearly love a new sensation. Without leaving my house or receiving a single visitor, I could readily grasp the fact that the leading topic of conversation in society at the moment revolved round Tom Remsen as a masterly interpreter of Chopin.
Chopin! I had begun to hate the name. But I had not been able to resist the temptation to spend many hours in the library poring over the books that dealt, directly or indirectly, with his personality and achievements. The temporary enthusiasm that Tom had displayed for research into the life of Frederic Chopin bade fair to become a permanent passion in my case. I devoted whole afternoons to playing, in my amateurish way, his waltzes, mazurkas, nocturnes and ballads. One of the latter, his Opus 47, I had not the audacity to attempt. Somehow Tom's recent rendition of the piece seemed to stand as a barrier that it would be sacrilege for me to cross. Nevertheless, I longed to hear the ballad again, and was almost tempted to ask Tom to play it to me alone. That he was wholly incapable of repeating his recent performance my mind refused to believe. I had returned, almost unconsciously, to my first conviction, that my husband had wilfully deceived me for years regarding his musical ability.
I sat poring over an English criticism of Chopin's posthumous works late one afternoon when a card was brought to me in the library that tempted me to come out of my self-imposed retreat. It bore the name:
Signorina Molatti.
In the half-light of the drawing-room the girl looked handsomer than in the glare of evening lamps. Her dark, oriental beauty was at its best in the subdued glow of early twilight. She was dressed in a rich but quiet Parisian costume, and I felt that her attractiveness increased the further she was removed from Signor Turino, Mlle. Vanoni and the other noted artists with whom she associated. Nevertheless, I realized that my manner was cold and unsympathetic as we seated ourselves and I awaited her pleasure. Having had business dealings with the signorina I was not willing to admit that she could assume the right to call on me as a social equal.
But patrician blood must have flowed in Molatti's veins, for she sat there silent and calm, and my skirmish line was driven back. I spoke first. The self-confidence in the girl's smile hurt me.
"It is a pleasure, signorina, to have an opportunity I had not hoped for, to thank you again for the great pleasure you afforded my guests the night before last."
"But it is me, signora, who is in the debt of you," said Molatti, in her soft, musical, broken English. "I hava coma to you to thanka you and to ask a leetle favor. Signor Remsen! oh, eet was so wonderful—so vera wonderful! I hava waited all my leetle life for eet."
I stared at the girl in astonishment. Her enthusiasm, her gestures, the brilliant glow in her dark eyes offended me. And "eet!" What was "eet," for which she had waited all her life?
"Yes?" I remarked, interrogatively. Her fervor was not cooled by the iced water of my question-mark.
"Leesten to me, signora. I hava worsheeped Chopin since I was a leetle girl. I hava heard alla the great interpretaires of the maestro. But I hava nevaire heard Chopin. In my dreams—si, signora, but nevaire in my hours that are awake. But I cama here! Signor Remsen—he playa Chopin! Eet was no dream. Eet was the soul of the maestro speaking to the soul of me. Eet was wonderful—so vera wonderful!"
Conflicting emotions warred within me. I hardly dared speak lest I should either laugh or cry hysterically. With lips compressed I sat motionless, staring at the girl, into whose eloquent eyes there had come a pleading look that suggested tears.
"Signor Remsen," she murmured, presently, like a devotee who breathes the name of an idol—"do you thinka, signora, that he would let me hear him play again? Peety me, signora! I cannot sleep. I cannot eat. I crave only the music of the maestro—music that I hava heard only once in my leetle life. Signor Remsen! Eef he would permeet me—justa once—to accompany him on my leetle violin—oh, signora, I coulda then die happy. I should hava leeved just a leetle while, and then I would not care. But now, I am so unhappy—so vera miserable!"
I was too nervous to stand this kind of thing any longer. I rose, and Molatti faced me, erect at once.
"You pay my husband's talent a great compliment, signorina," I said, coldly; "but I cannot take it on myself to answer you in his name. However, I shall present your request to him and let you know at once what he says." A diabolical impulse came over me, and I added: "Of course, Mr. Remsen would not wish you to starve, signorina, nor to die a horrible death from insomnia."
The girl spiked my guns—if that be the right expression—by a merry, musical laugh.
"You are so vera kind!" she cried. "I kissa your lovely hand."
Before I could prevent it she had touched my outstretched hand with her red, smiling lips; then she took her departure. I returned to the library in a condition that verged dangerously on complete nervous collapse.
At dinner that evening Tom was unwontedly silent. As I glanced at him over my soup there was something in his face that suggested thoughts not connected with the Pepper and Salt Trust. I was soon to become accustomed to this expression and to identify it in my mind as "Chopinesque."
"Aren't you feeling well to-night, Tom?" I ventured presently, noting that he was drinking more wine than usual.
"A bit tired, Winifred," he answered, absently. Then his eyes met mine, and I saw that he was worried. I had planned to fulfil conscientiously my promise to Signorina Molatti, but the time seemed inopportune. I was glad, presently, that I had refrained from mentioning my caller and her mission. As we were sipping our coffee Tom tossed an envelope across the table to me.
I opened it with a chill misgiving. It ran as follows:
Mr. Thomas Remsen.
Dear Sir: As it has come to the knowledge of the Executive Committee of the Chopin Society of New York that your rendition of the works of our master is unexcelled by any living performer, we humbly beg of you to accept the hospitality of our association at an early date, to be chosen by you. Our members and their guests would consider it the highest of privileges could they be permitted to hear you play such selections from Chopin as you might wish to perform. Thanking you in advance for the great joy that you will vouchsafe to us by accepting this invitation, we remain, etc.
There lay a wan smile on Tom's face as he met my gaze. "Kind, aren't they?" he muttered. "What the deuce'll I write to 'em, Winifred?"
"You can't accept, of course," I said, confidently. Then I hesitated, surprised at the queer gleam in Tom's eyes. "Can you?" I added, weakly.
"I can, I suppose," he remarked, with an effort at playfulness. "There's no law against it."
His answer struck me as strangely unlike him. If he had cried, "The Chopin Society be damned!" I should have felt more at ease, less oppressed by a sensation of nameless dread. There was something distinctly uncanny in Tom's manner.
"It would be a good joke on 'em, wouldn't it, if I should accept their bid?" he remarked as he lighted his cigar. "Confound their impudence! That's what they deserve."
"But—but—Tom, would you try to—to play?" I gasped, in dismay.
Tom laughed in a way that shocked my overwrought nerves. It was a shrill, unnatural note of merriment, that struck me as diabolical. "Play?" he repeated, sardonically. "Why not? Do you imagine, madam, that the marvelous genius of Thomas Remsen, interpreter of Frederic François Chopin, is to be confined strictly to your musicals? That would be a gross injustice to the music-loving world, would it not? But come into the library with me, Winifred. I must resume my studies as a student of 'the master.’"
I followed Tom mechanically, fascinated by his gruesome mood. For the life of me I couldn't tell whether he was joking or in earnest, whether it was his mind or mine that had lost its poise.