The Haunts & Horrors MEGAPACK®. Lawrence Watt-Evans
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going to see if A&E wants to put in a competing bid. If nothing else, that should add to the excitement.” He gathered up the clippings again. “You could finally get the break you’ve been working for!”
“On a gimmick,” said Vanessa.
“Not a gimmick, on a hook. A hook, Vanessa. There’s a big difference.” He took one of the three chairs in the small parlor of her suite and pulled it up to the table. “You can get attention because of the history of the forte-piano, but if you can’t deliver the music, it’s nothing but a flash in the pan.”
“Too bad Dziwny didn’t have a flash in the pan, literally,” said Vanessa. “Only thirty-six, and just beginning to hit his stride. He could have done some wonderful things if he’d lived. Think of the waste.”
“You can say the same of Mozart, or Bellini,” said Faster.
“They died of natural causes, albeit prematurely, and Mozart had a long career, longer than many others, because he started so young.” Vanessa picked up the score again. “Dziwny was just finding his way, getting his composition feet under him.”
“Is it true his name means strange?” Faster asked.
“Or wonderful,” said Vanessa. “They made a great deal over the significance at the time.”
Faster considered this. “I think I’ll mention that in the next press kit. It could give us a little mileage now, too.”
Vanessa shrugged. “Do we need to clutch at straws that way?”
“No, we don’t, and we’re not,” said Faster. “But it’s an interesting historical note, and that makes it worthwhile.”
“If you think it’s important—it doesn’t seem that way to me,” she told him while she made a point of giving her attention to the score. “This transition from B-flat to G minor is sneakier than it looks. You can say it’s obvious, but there’s a ninth in the arpeggio that makes all the difference.”
Faster gave up. “Okay, Vanessa. Okay. I won’t take up any more of your time. It’s about time for lunch and getting ready. You have to be ready to leave for the concert hall at seven-thirty, remember, and the Toronto Star is sending a reporter over at four this afternoon; you can’t afford to be in the bath.”
“I’ll keep that in mind,” said Vanessa, not entirely truthfully.
“And after the concert, we’ll have a late supper and you can have a look at what they’re saying about the Dziwny forte-piano, and your concert.” He gathered up his material and started toward the door. “You got to make the most of this, Vanessa. You’re not going to have another chance like this, and you know it. I’m your manager. I’m not steering you wrong on this. You have a real chance here, and you need to make the most of it.”
“Yes. I know,” she said. “That’s what I’m trying to do.”
“Yeah, yeah,” said Faster in affectionate exasperation.
But Vanessa responded seriously. “I want to do this right,” she said, her feelings burning like a banked furnace. “I know it’s a big opportunity, and I don’t want to blow it. I have to be true to Dziwny and his music. And that means preparation.”
“You mean getting lost in it,” Faster corrected her.
“You may think that if you like,” she said with an assumed coolness that fooled neither of them.
“Okay,” said Faster. “Have it your way.”
* * * *
The Dziwny forte-piano had been restrung and carefully tuned; it sat in the center of Vanessa’s practice studio behind her house, smaller than her Baldwin concert grand, but more intriguing. She approached it carefully, wanting to get to know it well. Its tone was soft, almost liquid, and it responded to Vanessa’s expert touch with sweetness and clarity. She practiced diligently, keeping her attention focused on the sound the instrument produced. As much as she wanted to be lost in Dziwny’s music, she had to give more notice to the character of the forte-piano, to learn its strengths and weaknesses so that she could show off its range when she finally performed publicly on it. The bass was more vibrant than in many forte-pianos, and she began to use the low notes to support the upper melody in a more deliberately contrapuntal manner than she had done at first. Suddenly she felt the piece begin to open up to her—the instrument revealed more of the composer’s intent than she had thought possible. The Handel variations went on from a playful scherzo fugue, the theme in the mid-range of the instrument into a rocking, six/eight lullaby, left hand echoing the right in melting, lyrical phrases, each playing with the theme of the fugue until the two melody lines blended into a stirring restatement of the theme. Vanessa could almost smell the hot wax of burning candles and the heavy odor of attar of roses over sweat that must have been present when Dziwny played. Half-closing her eyes, Vanessa imagined the ballroom of Schloss Lowenhoff with its painted wall panels and the small audience in their fancy clothes.
The Graffin would be sitting in the front row, the Graf next to her; she would have a shawl around her shoulders, since it was winter and Lowenhoff was draughty. The candles would waver a bit because of that, and that would add to the dramatic impact of the concert. There would be the quiet shuffling of the audience, and the occasional inevitable cough. She went on playing, finishing the last, grandiose fugue with a flourish that was unlike her usual pristine style.
“Very nice,” said Faster from the door behind her.
Vanessa blinked, feeling slightly disoriented, and coughed to cover her confusion. “How does it sound?”
“It has a pretty big voice for a forte-piano,” said Faster. “And a lot more complexity than I’ve heard before.” He cocked his head speculatively. “Have you thought about where it would be best to record the CD? I think a live hall would be better than a studio. More ambient sound, don’t you think?”
“It’s possible,” she said, suddenly as tired as if she had been playing for twice as long as she had been.
“How’s the program going?” Faster asked.
“I haven’t run through the whole thing yet,” she said. “I need a little more time with the instrument before I can figure out how to pace myself through the pieces.” It was an excuse she realized as she said it.
“Is this going to be a problem?” asked Faster, looking a bit worried.
“Oh, no,” she said, a trifle too quickly. “It just takes familiarity with the works. This isn’t like programs we do now, and I have to accommodate the difference.”
“How do you mean?” Faster sounded dubious.
“Well, if this program were being performed now, it would probably be the Nursery Songs first, then the Grand Toccata and Fugue and then the Six Fugues on Themes of Handel, because it demands the greatest virtuosity, and the work is the most musically interesting as well as technically challenging. Fugues Five and Six in particular, are real showpieces, meant to impress the audience.”
“Then why did Dziwny perform the works in the order he did? Does anyone know?”
“Well, the style of concerts was different then, and the Grand Toccata and Fugue was newer; most of the audience hadn’t heard it before, so it made for a greater finish then than it would today,” said Vanessa, adding a bit more awkwardly, “Also, assuming Dziwny intended to kill himself, he wanted a work that gave him the opportunity, and it exists in the fermata, and the long thematic statement in the left hand. He had almost forty seconds to draw his pistol, aim, and shoot.”
“So you think he planned the program around his suicide?” Faster looked a bit disgusted.
“It certainly seems to be the case,” said Vanessa, her face showing no trace of emotion. “I don’t know when he decided to kill himself, but he planned the concert at least a week before playing it.”
“Ye gods,” said Faster. “What