New-York tribune., 1903-03-22

Parkin,~ said please ask WHlAdln W D4L6
hss cello and let US hear trio"
Yes, SIR" answered Parktn as placloly as II
had ordered whiskey and soda
He returned almost Immediately. bringing his
violin William followed him. and 1 saw at
glance that he had overdOne his part He had
got his coat off and his shirt sleeves were turned
up to the elbows. Apparently disturbed IN the
act Of blacking boots, his hands and arms bore
unmistakable signs of his employment, this evil
dence being eked out by a large black smear
down one side of his nose He carried his violon-
cello in one hand and his bow in the other
had some difficulty in keeping my countenance
at the look of dismay the professors face.
You did not tell me you played the ceIio'
l said to William.
NO sir, and 1 'ope my practisin' amt dis
turl,ed you sir. 1 sometimes as a tune in my
bedroom, but always puts the mat against the
door and stufs up the cracks with paper
NO, l am not complaining, William; in fact
1 should like to hear you. 1 want to show TINS
gentleman how three Englishmen can play this
trio Of Smetana. Do you think you can man.
age it,
handed him the music which 1 had taken
from the bookcase He laid down his bow and
rubbed his hand on his trousers before turning
over the leaves with gingerly thumb and fore
finger.
1T looks rather stiff. but I'll have go at it,
sir"
I placed two music stands and chairs in posi-
tion and set out the parts. William and the I'M
passive Parkin took their places. while Mr.
Blunt resumed his seat at the piano and sounded
the A They tuned. There was one moment
during which trembled for the success OF my
scheme 1t was when the two string players
looked to Mr.. Blunt for the signal to commence.
There was suppressed twinkle in Blunts eye
which was nearly too much for William. saw
the answering grin begin to expand over his
cOuntenance. Fortunately Parkln remained un-
infected and saved the situation. The technical
difficulties Of this romantic work of Smetana are
extreme. even when they are familiar, but to
render the composition at sight with the freedom
and abandon which it demands might fairly be
deemed impossible Nevertheless. on this oc>
casion the astounded professor heard perform
ance wherein the complete mastery of the seF-
eral instruments was surpassed by the unanln-
iIy and poetry of the rendering.
The players would have ceased at the con-
CluSiun Of the first movement, but TrepanoWSkl
insisted hearing it all. His enthusiasm was
uuhounded He declared ne had never heard
such ensemble. His admiration was so frank
and generous that began to have scruples of
c,:n>cI.nce. 1t WAS too late to so back, however,
though I endeavortd to compromise with myself
1t had been no part of my plan to ask the pro
He declined politely but firmly. lie said we had
heard enough music for afternoon. He did
rut fe'I in the right mood. He offered other in
gcnious excuses but play he would not.
l dismissed the performers with thanks for the
exercise OF their skill, the professor adding many
compliments both inteligjbe and otherwise
When we found ourselves alone TrepanOWski
remained silent
You how it is l remarked.
He shrugged his shouIders-a slow comprehend
sivr shrug his head sinking down on his chest
TO meet it.
1t is merveilleux,' he calculated at length
What then are your public artists like?
You have heard DEugen?' l inquired in
ia, ia. he is magnifque."
We'll. he left England Why did he leave
England? You shall answer the question for
yourself"
He gave another Shrug.
Il shall think, 1 shall write you. one thou
s;i.d time thanks.
He moved to depart but 1 insisted on seeing
him to the station. On the way endeaTored to
converse with him, but he was wrapped in
gloomy silence. Only when arrived on the
platform did he recover a little a harsh voiced
porter was calling out the various stopping
places of the incoming train. The professor
touched him on the shoulder.
My friend. what instrument do you hlay?"
he asked sadly