Bedouins: $b Mary Garden, Debussy, Chopin or the circus, Botticelli, Poe, Brahmsody, Anatole France, Mirbeau, Caruso on wheels, Calico cats, The artistic temperament; Idols and ambergris, with The supreme sin, Grindstones, A masque of music, and The vision malefic; with various portraits of Mary Garden in operatic costumeHuneker, James
History
Bedouins: $b Mary Garden, Debussy, Chopin or the circus, Botticelli, Poe, Brahmsody, Anatole France, Mirbeau, Caruso on wheels, Calico cats, The artistic temperament; Idols and ambergris, with The supreme sin, Grindstones, A masque of music, and The vision malefic; with various portraits of Mary Garden in operatic costume
Huneker, James
Garden, Mary, 1874-1967; Music -- History and criticism; Sopranos (Singers)
What, what! He pinched himself as the grave music of the Kol Nidré,
the sacred tune sounded on the Day of Atonement, came swelling across
the Cardinal’s windows. The Kol Nidré, that immemorial cantillation
of the Hebrews, in it compressed the dolors of the ages, and perhaps
first chanted in the house of Egyptian bondage, perhaps out of the dim
centuries before Egypt, before the shadowy Sumerians! Who knows? What
concerned the boy was the strange happening--a potentate of the Gentile
Church playing on a fiddle the grand and venerable hymn of the Jews.
But that he was fascinated by the music he would have rushed down to
his mother to tell her the glad tidings. She knew of the playing across
in the palace, and was pleased because of Yakov’s evident interest. She
would welcome the return of the Cardinal, for her boy would be again
spurred to study. He couldn’t leave the window till the last note had
been squeezed from the august and mournful melody.
In a fever Yakov seized his tiny instrument and lovingly mimicked
the Cardinal. Its squeak reached the priest, who came to the window
and waited until Yakov’s imperfect interpretation of the Kol Nidré
ended, and, smiling a kind smile that melted the heart within the
bosom of the boy, he waved a slender hand, as if to say, “I salute a
brother artist!” It was too much for Yakov, who ran to his mother’s
sewing-room, there to pour out his joy and receive her gentle blessing.
He, too, would play the fiddle like the Cardinal--play the Kol Nidré
for a hall full of listeners, who would applaud him! The mighty
Cardinal had played the Kol Nidré for the poor little Jew boy, and he
hadn’t even bowed his profound gratitude!
On wings of song, he mounted the stairway to his garret, but the music
was no longer heard, though the windows were still alight. Not able to
control himself, Yakov took his instrument, and, all the while playing,
marched down-stairs into the court, and in the mystic moonshine he
played on, played the Kol Nidré. Soon the gang surrounded him, and
Jimmy the Brick cried: “Aw, give us a rest with that tune. Play a coon
song.” Yakov only shook his head and kept on playing.
“Stop it, I say!” yelled Jimmy. “We want none of yer Kike music in this
court. D’ye hear?” Yakov still played, and the tune rang out with the
terror and desolation of the Day of Atonement.
Public-domain text, read in full here on John Shaqi.
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