A Little World. George Manville Fenn
forth a majestic introduction; when again for a few moments there was a pause, and the organist’s fingers were held crooked in mid-air, till with a spasmodic effort he brought them down upon the keys, to pour forth crashing volley after volley of wondrous chords, from end to end of the key-board, and with the full power of the mighty pipes.
Again a rest, and again crashing forth with wondrous rapidity came the spirit-thrilling passages, till, with suppressed breath, the listeners leaned forward as though overpowered; while, after another slight pause, came wailing and sobbing forth so sweetly mournful, so heavenly a strain, that there were some present who were moved to tears, and two, seated in a pew surrounded by children, joined hands and listened with bended head. So sweet an air had never before pealed through the old aisles of St. Runwald’s, and made to tremble the woodwork of the great pews with which it was disfigured; for now the melody was wild and piercing—now subdued and plaintive, to rise soon to the jubilant and hopeful: it was the soul of the true musician pouring forth through the medium of the divine art its every thought and feeling.
Again a pause, and the seven rivals, with parted lips, eagerly clustered round the man who saw them not, who ignored church, audience, self, everything but the majestic instrument before which he was seated; and again and again, although the ten minutes had long expired, the audience listened to the bursts of harmony which swayed them as one man, floating around until the air seemed quivering and vibrating with the songs of a multitude of heaven’s own choristers. Louder and louder, chords grander and more majestic, then softly sweet and dying away, while, after one sweeping crescendo passage, Jared ended with a mighty chord which no other man could have grasped, and the audience seemed to be released from the spell which had bound them, as, stop by stop and interval by interval, the chord was diminished, until the pedal key-note alone vibrated shudderingly through the church.
“Rather warm work that, sir,” said the little churchwarden, leaning over into the vicar’s pew.
“Hush, Timson,” said the vicar; “he has not done.”
But he had, though for a few minutes there was a silence that no one cared to break, till, forgetful of place—everything but the strains they had heard—from the vicar downwards, all joined in one loud burst of applause; while, dull, lustreless, spiritless, Jared Pellet responded to the congratulations of his rivals—one and all too true lovers of their art to withhold the palm where they felt it to be well deserved.
Down in the nave, too, there was a pompous, bustling man, talking loudly to those around, giving people to understand that the performer was his brother—the man who, without hesitation, was elected to the post—and for once in a way, Richard Pellet went and shook hands with Jared, and, as he warmly asked him to dinner, forgot to tell him that he was a fool.
Volume One—Chapter Five.
Saint Runwald’s.
There were grand rejoicings in Duplex Street when Jared obtained official announcement, under the hand and seal of Mr. Timson the tea-dealer, of his appointment to the post of organist of St. Runwald’s, with a salary of fifty pounds a year. To be sure, it was settled before; but Mrs. Jared said they might run back, and, after the many disappointments they had had during their married life, it was dangerous to reckon on too much. But now that there was an official appointment in Mr. Timson’s round, neat calligraphy, she had no words to say, save those of thankfulness.
Proud! Ay, he was proud, was Jared, for that was an organ to be proud of. It was none of your grand new instruments, full of stops bearing a score of unaccountable names, miserably naked, skeleton-looking affairs, like a conglomeration of Pandean pipes grown out of knowledge, and too big for the society of their old friend the big drum—beggarly painted things, with pipes in blue and red and white, after the fashion of peppermint sticks of the good old times. Why, I hardly believe that Jared, unless prompted thereto by the wolf Poverty, would have struck one of his mighty chords upon them.
But there would have been nothing surprising in Jared’s refusal, since the instrument now placed under his charge was a noble organ in a dark wood case, one which grew richer of tone year by year, while the carved fruit and flowers that clustered around pipes, reflector, music-stand—in fact, wherever a scrap of carving could be placed—were worthy of inspection, without taking into account the shiny Ethiopie cherubs that perched upon their chins, and spread their wings at every available corner.
No; Jared’s was no common organ, as would be declared by any one who had seen the great pipes towering up into the gloom of the roof, and their gilding shedding a rich sunset hue into the farthest corners of the old church. People came miles to hear that organ as soon as Jared became its ruling spirit, and Mrs. Nimmer grew hot on Sunday mornings in her endeavours to find sittings for the strangers who flocked in. But the old vicar, the Rev. John Grey, used to chuckle, and think that all was due to his sermons, and wonder whether there could ever be a second St. Chrysostom, the golden-mouthed.
Purkis, the beadle, used to wink—that is to say, he would draw a heavy lid over one of his lobster eyes—and say, “I know!” For Jared, in spite of his poverty and large family, had commenced his musical reign by a “donus” of three half-crowns to the beadle, who would boast that he (the beadle) could give people a better service than they could get in any other church in London; and “as to the orgin, why they’d better come and see, that’s all.”
And truly it seemed that Jared could make that instrument thrill beneath his touch, till every passion of the human heart had its representative amongst those notes. You might hear it sob, and wail, and moan in the most piteous manner, whisper and die away in sweet sighing melodies amongst the old pillars, or far up in the carven corners of the chancel, where the notes made the glass to tremble in the lead as they seemed striving to pass through the painted windows. Hear it thunder too, like a young earthquake, and rage, and roar, and growl, till the very pew doors rattled and chattered; and however thick and soft your cushion, you could feel the deep-toned diapasons shuddering up and down your spine. There were love sighs, joy, rage, contending armies, the warring elements, with the rolling billow and crashing thunder, all to be heard from those organ-pipes when Jared Pellet touched the keys; and matters grew to such a pitch, that, partly out of pity for Ichabod Gunnis, and partly because people would not be played out, Mr. Timson limited Jared’s voluntaries to a duration of ten minutes.
Mr. Purkis’s dinner grew cold; but he did not mind it, for he loved music, and would sit with mouth open and eyes upturned, swallowing the sweet sounds which floated in the air; but Mrs. Nimmer, who was not musical, and who, alternately with Mr. Purkis, locked up the church, did mind. Hints were of no use; the people would stop, while Ichabod Gunnis heartily wished that he might do the same, for it was a close and confined space where he laboured at the handle of his wind pump, until Jared’s afflatus had been dispersed.
Mr. Timson stopped all this with his ten minutes’ law—ample time as he said; and as Jared Pellet never thought of opposing anybody, the voluntaries were reluctantly brought to an end. For Jared’s behaviour at the competition was but a sample of his future proceedings, and when once he began to play, and the organ was in full burst, there was no Jared there, only his body see-sawing from side to side, with shoeless feet working at the pedals, and fingers, bony almost as the keys themselves, nimbly running from flat to natural and sharp, and back again. Jared was not there, he was in the spirit soaring far away upon musical pinions, and in another state of existence, wherein he was freed from the cares and troubles of this life, and felt them only indirectly, as they affected others with whom he seemed to weep or smile, as the character of the music was grave or gay.
Jared Pellet had just finished a morning practice, for he had had to work hard to reduce his wild, semi-extemporised style to the requirements of a regular choir. He had pushed in the last stop, and left his long stool, closing the organ with a sigh, before opening the locker in his seat and depositing therein his book and manuscript. He had drawn the red curtains along the rod when he had entered, and on leaving drew them back again, so that