Barbara Blomberg — Complete by Georg Ebers (phonics reading books .TXT) 📕

With what fiery zeal Wolf persuaded him, how convincing was his assurance that a substitute for Johann of Cologne, and a most admirable one, was actually to be found here in Ratisbon!

He had no need to seek for fitting words in the description of Barbara Blomberg, the melody of her voice, and her admirable training. The fact that she was a woman, he protested, need not be considered, nay, it might be kept secret. The Church, it is true, prohibited the assistance of women, but the matter here was simply the execution of songs in a private house.

At first Appenzelder listened grumbling, and shaking his head in dissent, but soon the proposal seemed worth heeding; nay, when he heard that the singer, whose talent and skill the quiet, intelligent German praised so highly, owed her training to his countryman, Damian Feys, whom he knew, he began to ask questions with, increasing interest. But, ere Wolf had answered the first queries, some one else made his appearance on the Haid, and the very person who was best fitted to give information about Barbara—her teacher, Feys, who had sought Gombert, his famous Brussels companion in art, and was just taking him to a rehearsal of the Convivium musicum. At this meeting the leader of the boy choir, in spite of his pleasure at seeing his valued countryman and companion in art, showed far less patience than before, for, after the first greeting, he at once asked Feys what he thought of his pupil Barbara. The answer was so favourable that Appenzelder eagerly accepted the invitation to attend the rehearsal also. So the four fellow-artists crossed the Haidplatz together, and Maestro Gombert was obliged to remind his colleague of the boy choir that people who occupied the conductor’s desk forgot to run on a wager.

Wolf’s legs were by no means so long as those of the tall, broad musician, yet, in his joyous excitement, it was an easy matter to keep pace with him. In the happy consciousness of meriting the gratitude of the woman whom he loved, he gazed toward the New Scales, the large building beneath whose roof she whose image filled his heart and mind must already have found shelter.

Did she see him coming? Did she suspect who his companions were, and what awaited her through them?

Yet, sharply as he watched for her, he could discover no sign of her fair head behind any of the windows.

Yet Barbara, from the little room where the singers laid aside their cloaks and wraps, had seen Wolf, with her singing master Feys and two other gentlemen, coming toward the New Scales, and correctly guessed the names of the slender, shorter stranger in the sable-trimmed mantle and the big, broad-shouldered, bearded one who accompanied her friend. Wolf had described them both, and a presentiment told her that something great awaited her through them.

Gombert was the composer of the bird-song, and, as she remembered how the refrain of this composition had affected Wolf the day before, she heard the door close behind the group.

Then the desire to please, which had never left her since she earned the first applause, seized upon her more fiercely than ever.

Of what consequence were the listeners before whom she had hitherto sung compared with those whose footsteps were now echoing on the lowest stairs? And, half animated by an overpowering secret impulse, she sang the refrain “Car la saison est bonne” aloud while passing the stairs on her way into the dancing hall, where the rehearsal was to take place.

What an artless delight in the fairest, most pleasing thing in Nature to a sensitive young human soul this simple sentence voiced to the Netherland musicians! It seemed to them as if the song filled the dim, cold corridor with warmth and sunlight. Thus Gombert had heard within his mind the praise of spring when he set it to music, but had never before had it thus understood by any singer, reproduced by any human voice.

The excitable man stood as if spellbound; only a curt “My God! my God!” gave expression to his emotion. The blunter Appenzelder, on the contrary, when the singer suddenly paused and a door closed behind her, exclaimed: “The deuce, that’s fine!—If that were your helper in need, Sir Wolf, all would be well!”

“It is,” replied Wolf proudly, with sparkling eyes; but the honest old fellow rushed after Barbara, held out both hands to her in his frank, cordial way, and cried:

“Thanks, heartfelt thanks, my dear, beautiful young lady! But if you imagine that this drop of nectar will suffice, you are mistaken. You have awakened thirst! Now see—and Gombert will thank you too—that it is quenched with a fuller gift of this drink of the gods.”

The Netherlanders found the table spread, and this rehearsal of the Convivium musicum brought Barbara Blomberg the happiest hours which life had ever bestowed.

She saw with a throbbing heart that her singing not only pleased, but deeply stirred the heart of the greatest composer of his time, whose name had filled her with timid reverence, and that, while listening to her voice, the eyes of the sturdy Appenzelder, who looked as if his broad breast was steeled against every soft emotion, glittered with tears.

This had happened during the execution of Josquin de Pres’s “Ecce tu pulchra es’.”

Barbara’s voice had lent a special charm to this magnificent motet, and, when she concluded the “Quia amore langueo”—“Because I yearn for love”—to which she had long given the preference when she felt impelled to relieve her heart from unsatisfied yearning, she had seen Gombert look at the choir leader, and understood the “inimitable” which was not intended for her, but for his fellow-artist.

Hitherto she had done little without pursuing a fixed purpose, but this time Art, and the lofty desire to serve her well, filled her whole being. In the presence of the most famous judges she imposed the severest demands upon herself. Doubtless she was also glad to show Wolf what she could do, yet his absence would not have diminished an iota of what she gave the Netherlanders. She felt proud and grateful that she belonged to the chosen few who are permitted to express, by means of a noble art, the loftiest and deepest feelings in the human breast. Had not Appenzelder been compelled to interrupt the rehearsal, she would gladly have sung on and on to exhaustion.

She did not yet suspect what awaited her when, in well-chosen yet cordial words, Gombert expressed his appreciation.

She neither saw nor heard the fellow-singers who surrounded her; nay, when Dr. Hiltner, the syndic’s, daughter, seventeen years old, who had long looked up to her with girlish enthusiasm, pressed forward to her side, and her charming mother, sincerely pleased, followed more quietly, when others imitated their example and expressed genuine gratification or made pretty speeches, Barbara scarcely distinguished the one from the other, honest good will from bitter envy.

She did not fully recover her composure until Appenzelder came up to her and held out his large hand.

Clasping it with a smile, she permitted the old musician to hold her little right hand, while in a low tone, pointing to Wolf, who had followed him, he said firmly:

“May I believe the knight? Would you be induced to bestow your magnificent