Edelweiss: A Story. Auerbach Berthold

it. If I were master here, I should never allow your greatest work to go to Russia, but should buy it myself. It ought to stand in the public room to entertain the guests. It would bring you in ever so many orders there. Since I was up at your house, I have had constantly running in my head that beautiful melody, 'Das klinget so herrlich, das klinget so schön!'"

      Beautiful and brave were the melodies playing in Lenz's heart. He tried to explain to Annele how the notes might be followed exactly, all the pins be put in the right places, and even the time in certain passages changed, and yet, unless the man himself felt the music, he would make nothing but a hurdy-gurdy, after all. The piano passages must be taken slower, the forte faster. A performer would naturally render them so; he could hardly help being more subdued at the piano passages and more animated at the forte. The same effect must be wrought by the pins; but the hurrying and slackening needs to be very slight. In the forte passages especial care is needed; for in them the works necessarily labor and are retarded, so that they have to be, in some way, favored. "I cannot tell you, Annele," he concluded, "how happy my art, my work, makes me. As Pilgrim says, I sit there in my room, and set up pieces lively or solemn, which play themselves, and make happy hundreds and hundreds of people that I never saw."