Withered Leaves: A Novel. Vol. 1 (of 3)Gottschall, Rudolf von
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Withered Leaves: A Novel. Vol. 1 (of 3)
Gottschall, Rudolf von
German fiction -- Translations into English
The visitors at Neukuhren were in a state of great excitement, the
committee of amusement had announced its sittings to be permanent; all
were invited by Blanden; all wished to prove their gratitude at the
betrothal by some act or attention. A concert should precede the dance
under the large pear tree; there was so much young musical talent, that
a large amateur orchestra was easily formed, and all private performers
had brought their instruments with them, so that any one strolling
along the village street of Neukuhren on a quiet summer's evening would
hear, now on the right, now on the left, sounds like wonderful solos of
a separated band of musicians, to which chance often lent discordant
symphony. An assessor who played first upon the cornet, then the
trumpet, made himself most audible; people pretended to remark that the
sea then always became particularly disturbed, as though the Tritons
and Nereides stormed upon the strand because they were jealous of the
competition with their shell-horns. One first and one second violin,
who lived in two stories of the same house, sought to arrange an
impossible harmony between the "Carnival of Venice" and the second's
part in a quartett by Beethoven. The flute was played every evening by
one of the stoutest proprietors in the district of Labian, who blew
everything that he possessed into the holes of that oldest of wooden
instruments. The smallest doctor who practised which the town of pure
reason could produce, played the violoncello; he found numerous
patients amongst his listeners, and had to be sought for behind his
instrument where he was in danger of disappearing. A lawyer, white as
dough, who on account of lack of legal knowledge wished to devote
himself to a diplomatic career, also played the violoncello, and indeed
so well that a brilliant future was prophecied for him as such artistic
performances in drawing-rooms fit people for higher diplomatic posts. A
great kettle-drum was also present in Neukuhren, but in this instance
it belonged to a professional not an amateur: that might be the reason
why, although it had been seen to be unloaded from the carriage, its
existence remained a myth, and the artist seemed to content himself
with one important part of his performance, with counting the pauses in
the time.
Public-domain text, read in full here on John Shaqi.
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