The Collected Works of Anton Chekhov. Anton Chekhov
return for their teaching. Alexey Alexeitch was a tall, thick-set man of dignified deportment, with a fat, clean-shaven face that reminded one of a cow’s udder. His imposing figure and double chin made him look like a man occupying an important position in the secular hierarchy rather than a sacristan. It was strange to see him, so dignified and imposing, flop to the ground before the bishop and, on one occasion, after too loud a squabble with the deacon Yevlampy Avdiessov, remain on his knees for two hours by order of the head priest of the district. Grandeur was more in keeping with his figure than humiliation.
On account of the rumours of the Count’s approaching visit he had a choir practice every day, morning and evening. The choir practice was held at the school. It did not interfere much with the school work. During the practice the schoolmaster, Sergey Makaritch, set the children writing copies while he joined the tenors as an amateur.
This is how the choir practice was conducted. Alexey Alexeitch would come into the schoolroom, slamming the door and blowing his nose. The trebles and altos extricated themselves noisily from the school-tables. The tenors and basses, who had been waiting for some time in the yard, came in, tramping like horses. They all took their places. Alexey Alexeitch drew himself up, made a sign to enforce silence, and struck a note with the tuning fork.
“To-to-li-to-tom… Do-mi-sol-do!”
“Adagio, adagio…. Once more.”
After the “Amen” there followed “Lord have mercy upon us” from the Great Litany. All this had been learned long ago, sung a thousand times and thoroughly digested, and it was gone through simply as a formality. It was sung indolently, unconsciously. Alexey Alexeitch waved his arms calmly and chimed in now in a tenor, now in a bass voice. It was all slow, there was nothing interesting…. But before the “Cherubim” hymn the whole choir suddenly began blowing their noses, coughing and zealously turning the pages of their music. The sacristan turned his back on the choir and with a mysterious expression on his face began tuning his violin. The preparations lasted a couple of minutes.
“Take your places. Look at your music carefully…. Basses, don’t overdo it… rather softly.”
Bortnyansky’s “Cherubim” hymn, No. 7, was selected. At a given signal silence prevailed. All eyes were fastened on the music, the trebles opened their mouths. Alexey Alexeitch softly lowered his arm.
“Piano… piano…. You see ‘piano’ is written there…. More lightly, more lightly.”
When they had to sing “piano” an expression of benevolence and amiability overspread Alexey Alexeitch’s face, as though he was dreaming of a dainty morsel.
“Forte… forte! Hold it!”
And when they had to sing “forte” the sacristan’s fat face expressed alarm and even horror.
The “Cherubim” hymn was sung well, so well that the schoolchildren abandoned their copies and fell to watching the movements of Alexey Alexeitch. People stood under the windows. The schoolwatchman, Vassily, came in wearing an apron and carrying a dinner-knife in his hand and stood listening. Father Kuzma, with an anxious face appeared suddenly as though he had sprung from out of the earth…. After ‘Let us lay aside all earthly cares’ Alexey Alexeitch wiped the sweat off his brow and went up to Father Kuzma in excitement.
“It puzzles me, Father Kuzma,” he said, shrugging his shoulders, “why is it that the Russian people have no understanding? It puzzles me, may the Lord chastise me! Such an uncultured people that you really cannot tell whether they have a windpipe in their throats or some other sort of internal arrangement. Were you choking, or what?” he asked, addressing the bass Gennady Semitchov, the innkeeper’s brother.
“Why?”
“What is your voice like? It rattles like a saucepan. I bet you were boozing yesterday! That’s what it is! Your breath smells like a tavern…. E-ech! You are a clodhopper, brother! You are a lout! How can you be a chorister if you keep company with peasants in the tavern? Ech, you are an ass, brother!”
“It’s a sin, it’s a sin, brother,” muttered Father Kuzma. “God sees everything… through and through… .”
“That’s why you have no idea of singing — because you care more for vodka than for godliness, you fool.”
“Don’t work yourself up,” said Father Kuzma. “Don’t be cross…. I will persuade him.”
Father Kuzma went up to Gennady Semitchov and began “persuading” him: “What do you do it for? Try and put your mind to it. A man who sings ought to restrain himself, because his throat is… er . . tender.”
Gennady scratched his neck and looked sideways towards the window as though the words did not apply to him.
After the “Cherubim” hymn they sang the Creed, then “It is meet and right”; they sang smoothly and with feeling, and so right on to “Our Father.”
“To my mind, Father Kuzma,” said the sacristan, “the old ‘Our Father’ is better than the modern. That’s what we ought to sing before the Count.”
“No, no…. Sing the modern one. For the Count hears nothing but modern music when he goes to Mass in Petersburg or Moscow…. In the churches there, I imagine… there’s very different sort of music there, brother!”
After “Our Father” there was again a great blowing of noses, coughing and turning over of pages. The most difficult part of the performance came next: the “concert.” Alexey Alexeitch was practising two pieces, “Who is the God of glory” and “Universal Praise.” Whichever the choir learned best would be sung before the Count. During the “concert” the sacristan rose to a pitch of enthusiasm. The expression of benevolence was continually alternating with one of alarm.
“Forte!” he muttered. “Andante! let yourselves go! Sing, you image! Tenors, you don’t bring it off! To-to-ti-to-tom…. Sol… si… sol, I tell you, you blockhead! Glory! Basses, glo… o… ry.
His bow travelled over the heads and shoulders of the erring trebles and altos. His left hand was continually pulling the ears of the young singers. On one occasion, carried away by his feelings he flipped the bass Gennady under the chin with his bent thumb. But the choristers were not moved to tears or to anger at his blows: they realised the full gravity of their task.
After the “concert” came a minute of silence. Alexey Alexeitch, red, perspiring and exhausted, sat down on the windowsill, and turned upon the company lustreless, wearied, but triumphant eyes. In the listening crowd he observed to his immense annoyance the deacon Avdiessov. The deacon, a tall thick-set man with a red pockmarked face, and straw in his hair, stood leaning against the stove and grinning contemptuously.
“That’s right, sing away! Perform your music!” he muttered in a deep bass. “Much the Count will care for your singing! He doesn’t care whether you sing with music or without…. For he is an atheist.”
Father Kuzma looked round in a scared way and twiddled his fingers.
“Come, come,” he muttered. “Hush, deacon, I beg.”
After the “concert” they sang “May our lips be filled with praise,” and the choir practice was over. The choir broke up to reassemble in the evening for another practice. And so it went on every day.
One month passed and then a second…. The steward, too, had by then received a notice that the Count would soon be coming. At last the dusty sunblinds were taken off the windows of the big house, and Yefremovo heard the strains of the broken-down, out-of-tune piano. Father Kuzma was pining, though he could not himself have said why, or whether it was from delight or alarm…. The deacon went about grinning.
The following Saturday evening Father Kuzma went to the sacristan’s lodgings. His face was pale, his shoulders drooped, the lilac of his cassock looked faded.
“I have just been at his Excellency’s,” he said to the sacristan, stammering. “He