The Mount Holly news. [volume] (Mount Holly, Burlington Co., N.J.) 1891-1942, 1899-02-14
HIS TOP NOTE.

was toward the front because he de-
served to be there, for he was good
fellow, bright and earnest albeit guilty
of harmless vanities, not to say the self
conceit with which some people charged
him. His one dangerous rival was the
concert master of the Bradford orches-
ira, Theodore Schreiner Schreiner ap-
parent lead in the race for Miss Emer-
sons affections was due wholly to his
boundless assurance The proof of this
came to him with unpleasant clearness
on the day when he proposed, only to be
rejected. Mary let him understand dis
tinctly that she was promised to Char
ley Norton and that her accepted lover
had her entire affection and trust
For day or two Schreiner was mo-
rose and inclined, so he said, to suicide
Then came the annual charity concert,
for which long programme had been
arranged. Norton, who was a popular
fellow and good singer, was down for
song, and the piece he had chosen
was one of his own compositions. AS
manager of the enterprise had encour-
aged him to sing the thing. hadn't
heard it and, to tell the truth, cared
very little whether or not it was meri-
torious. 1t struck me simply as a good
feature to advertise a song by popular
local composer, written for the occa-
sion. = as unblushingly announced in
big type on the billboards.
The fact was that Charley had ham
mered out the music in the ecstasy fol-
lowing his acceptance by Miss Emerson,
and the piece was privately dedicated
to her. The accompaniment was ar
ranged for the string band, and as it
was a simple thing there was no neces-
sity for a conductor. Schreiner, as first
violin, marked the time from his desk
as well as played his part in 1t.
At the rehearsal the song went well.
The violinists read their parts without
an error, and Charley sailed up to the
climax, very high note, in the most
effective style. We were all sure that it
would be the hit of the evening and
that Charley would score brilliant
success with that fetching top note
81 hope so, he said good naturally,
''for if they want higher note than
that they will be disappointed. It's my
limit. l couldn't sing half tone high
er to save my life.
Evening came and there was crowd
ed house Miss Emerson was in a con-
spicuous box with the members Of the
family. There were an overture, two OF
three arias by important talent, and a
violin solo by Schreiner before it came
Norton s turn. Norton was in the green
room while Schreiner's solo was In
progress, and then he was approached
by Gustave Mollenhauer, the first clar-
met of the orchestra. Mollenhauer
looked worried.
Charley, said he, Ibid you mean
it when you said you couldn't sing
higher than that top note In your song2"
tFact, +" replied Norton composedly.
"It is B fiat. Why do you askf"
Because those fool violinists, led on
by that i'll tempered coxcomb Schreiner.
won t let you sing B fat
What the mischief do you mean,
Gus2"
"You may well use the word mis-
chief, Charley. Schreiner has put up
job on you. When it comes your turn,
every stringed instrument in the band
will be tuned upa whole note. Schrei
ner tells 'em that you want it that way
in order to make more brilliant eli
max. He wants you to break
Mollenhauer stopped abruptly, for
Charley was pale as ghost. He had
awful visions of the break in his voice.
the ridiculous squeak that would occur
if he tried his top note at the high
pitch set by Schreiner, the laughter Of
the audience, the modification, but,
above all, the exhibition of himself be-
fore pretty Mary Emerson in the pro-
scenium box.
Cant it be stoppedf" he gasped.
Mollenhauer shook his head II tried
to say something he answered, "but
the conductor called me down for max
ing noise The thing wasn't cooked
up till after the men got on the stage
You'll have to sing some other note"
''And ruin the climaxP It won't dol
1t would spoil the song But, confound
1t, what can 1 DOR
For moment Mollenhauer was in as
great despair as Charley was. Then his
face lightened.
"Have you another copy of the songf"
he asked. Charley shook his head
gloomily.
"How many measures is it from the
beginning to the top note1"
The composer singer counted his
manuscript and answered. ''Sixty
seven.
"All right, then" said the clarinet
ist, ''you go ahead and sing your song
for 81 measures; then open your mouth
as if you were going to lift the roof and
keep still. I'll do the rest. Here, let me
see your copy.
Feverish with excitement, Mollen-
hauer examined the song, committing
its final measures to memory Charley
saw what he intended to do, and, though
the singer was somewhat cheered, he
was yet very nervous. What if Mollen-
hauer should count wrong2 What if he
should come in a half measure too soon
or measure too later What if every
body should tumble
He was urging those doubts on the
clarinetist when / sent a callboy to
tell him that it was his turn. wonder
ed when he passed me on his way to the
stage why he looked SO frightened, and
1 wondered, too. why Gus Mollenhauer
went to his place just back Of the violas.
Gus was never known to sit on the stage
when he had nothing to do, and there
was no part for him in Norton's song.
Nevertheless 1 saw Gus take up his B
fat clarinet and test the tune of 1t TO
the A that Schreiner was scraping on
his fiddle Knowing nothing about pitch
| didn't dream that Schreiner was tun-
ing his instruments unearthly high, and
supposing Gus knew his business paid
no attention to him. but watched Char
ley, for 1 anticipated his success and
was eager to enjoy it.
The first part of the song was splen-
didly done Charley nervousness seem
ed to disappear after he had taken a
glance at the box where Miss Emerson
sat In truth, as he told me afterward,
he was moved and steadied by despera-
ton.
Just before the climax / saw him turn
suddenly toward Miss Emerson's box,
and / savfher smile encouragingly upon
him / happened also to glance al
Schreiner, who was saving away de.