Grantville Gazette.Volume XVII (ring of fire) Read online

  Carissimi opened the door to the band room and ushered Heinrich in. Today there were only five students in the room, with Master Marcus standing before them. Each of the musicians was holding a brass instrument, all of which had the new innovation of valves. Heinrich had been mightily impressed with their flexibility. From their shapes two were trumpets, one was a variety of horn, and two were larger instruments for which he had no names.

  Marcus waved at two chairs that were set back from the arc of the quintet. "Please, masters, be seated." After they did so, he continued. "This is a piece I remembered after I heard you were coming, Master Heinrich. We have prepared it just for you." He nodded to the quintet, then took a chair to one side as they raised their instruments. The trumpet player at the end of the arc counted softly, "Two, three, four," and they began.

  It was a lovely piece of work, Heinrich admitted to himself, one that was obviously of his time or nearly so. Contrapuntal in nature, the voices flowed nicely, themes passing from part to part. It almost reminded him of the music of Gabrieli, but it was different somehow.

  All too soon the piece concluded. The players lowered their instruments to their laps. Everyone looked at Heinrich expectantly.

  "Very nice," he said. "Who wrote it, please?"

  The first indication that something was not right was when the players gaped at him. Master Marcus, obviously very nonplussed, said, "Why, you did, Master Heinrich."

  Heinrich stared back.

  "No, that is not one of mine. It was nicely done, but I have never heard it before."

  Marcus picked up a folder and extracted a printed page.

  "But the publisher says that it is an instrumental arrangement of your motet So fahr ich hin, published in your Symphoniae sacrae collection in…" His face went white, and he looked up with a stunned expression. "… in 1647."

  Feeling as if he had been bludgeoned, Heinrich stood. "I never wrote that. It is not mine." He began walking jerkily back and forth. "I did not write it. Now that I have heard it, how can I write it? This… this is impossible! How can I hear something that I wrote before I write it? How can you play something I wrote before I write it?" His thoughts were whirling madly. "I… I… this cannot be!" Unable to think, unable to express his confusion, his pain, his anger, Heinrich turned and bolted from the room.

  ***

  Marcus stared at the door, shocked. He turned to look at Giacomo, who was wearing an expression that he was sure mirrored his. "I wanted to surprise him, to honor him. I thought the piece was published in 1627, not 1647."

  Giacomo nodded. "I think Grantville's future just grabbed Master Heinrich."

  "But what… why…"

  "Imagine you were a writer, a good one. Now, imagine someone hands you a book with your name on it and told you would write it twenty years from now. How would you feel?"

  "Umf." Marcus frowned. "I think I see what you mean. Even if it's good, how can you take credit for it? It would be like being a woman awaking from a coma and being presented with a baby that you don't remember but everyone assures you is yours."

  " Si, something perhaps like that." Giacomo pursed his lips. "I think Lucas I must talk to. Master Heinrich is not… ah… comfortable in his mind, I think. Lucas must watch for him."

  "Over him."

  " Si, whatever."

  Magdeburg

  April 1634

  Marla's voice died away on the last note of The Parting Glass. There was a moment of quiet in the common room of The Green Horse. It was only a brief moment, then applause roared out from the crowd. Franz noted that the room seemed very full tonight. In addition to the regulars and the Committees of Correspondence crew who always seemed to find tables whenever Marla and her friends were singing, many of the musicians from the orchestra had come as well. They all needed a break from the intensity of the rehearsals. Tonight was indeed providing that.

  As usual, the songs they did were from the Irish recordings that Marla's mother had collected. They'd led off with Finnegan's Wake, following it with The Juice of the Barley and Nell Flaherty's Drake.

  The middle part of the evening was marked by performing the sobering The Wind That Shakes the Barley and Only Our Rivers Run Free, those favorites of the CoC. Grim-faced men nodded as they were sung; fists pounded the tables when they were done.

  The light-hearted tone was restored by Mick McGuire, Courting in the Kitchen and The Maid of the Sweet Brown Knowe. The performance concluded with Isaac singing Reilly's Daughter, followed by Marla's sweet rendition of The Parting Glass.

  Franz placed his violin in its case, then wiped sweaty hair out of his face. The rehabilitation of his crippled left hand and retraining of his right hand to finger the neck of his violin had progressed to the point where he was able to play with most of the songs. It had been a long time since he had played that much in public. He was both exhilarated and winded.

  "Well done, Franz, me lad." A large meaty hand landed on his shoulder, staggering him. He turned to look into the beaming face of Simon Bracegirdle, the Englishman who had come to Magdeburg as one of the musicians sent by Master Schutz. Simon played violin, and while he wasn't the best of the players, he was by no means the worst.

  It was a frequent source of amusement to Franz to remember his statement so many weeks ago, that he would accept even an English musician if he would play in the orchestra. Simon had laughed robustly when he was told the story.

  "Yes, Franz." Matthaus Amsel's face appeared behind Simon. "'Twas fine, indeed."

  "My thanks to you both." Franz smiled. He looked at the two of them. After a moment, his expression sobered. "Since we are here, I am minded to ask you a question."

  They looked to each other, then back at Franz.

  "Say on," Simon said.

  "How does the work progress? Are we indeed creating an orchestra as the Grantvillers would define it, or are we simply a mob of musicians all trying to play the same song?"

  Simon started to speak, but Matthaus held up a hand and Simon gave way. "In truth, Franz, I know not how to answer. I have never seen this done before now. However, for what it is worth, I think the work progresses. The men all seem to understand what you and the others have been teaching. The violinists at least all seem to have adjusted to the new violins and bows."

  "Aye," Simon interjected. "And this week I would say that we have finally caught the knack of following your conducting. At least I did." Matthaus nodded.

  "That is comforting to hear," Franz said. "As you say, this work has never been done before in our time, or at least not at this magnitude. It seems to be going well, but it is good to know that you feel the same." He nodded, then stood and looked beyond them for a moment. "What am I to do with Herwin Vogler? His constant complaining and questioning about 'Why can we not do it as we always have done' has worn his welcome very thin indeed."

  Matthaus' expression turned sour. "Do what you will. Master Schutz has more than once nearly discharged him. When he wants to play, he plays well. The question of whether having his skill is balanced by the price you must pay to have it is one that only you can answer. Myself, I long since lost patience with the man."

  "Let me talk to him." Simon smiled. "Mayhap I can bring him to see that if he will accept the change instead of resist it, he can grow and improve, thereby becoming more valuable to future employers."

  "Have at him," Franz responded. "If nothing else, make him see that he cannot continue to disparage Marla or other women who may become involved in our work." Both the other men raised their eyebrows. "I mean it. You have not seen Grantville yet, you have only had a small taste of their society. Women there are free to pursue their hearts' desires, much as men are. Whether they marry or not is their choice. They can indeed become just as accomplished as any man. Marla is a leading example. Frau Simpson is another-no man of sense would dare take her lightly. And I have heard tell of a Frau Melissa Mailey whose force of character is positively Amazonian. She was sent to England to beard the English lion in his de
n."

  Franz stared at each man. "Grantville brings many changes. Just the existence of the place will be like a spring flood. We can fight it and be overwhelmed, or we can ride it and see where we land. One of those changes will be that women such as Marla will have a regular place in our world of music, gentlemen. It will happen. With women such as Marla and Frau Mary leading the way, it will happen."

  Matthaus looked over to where his wife Elise was talking with Marla and Isaac. He slowly nodded. "As you say. I see it happening even now. For myself, after hearing Frau Marla sing and play, especially with the piano, I am convinced. Herwin, however, is of a more fixed opinion of the correct order of things."

  Simon snorted. "You mean he is opinionated, rude, crude, slovenly and generally quite boorish, not to mention usually mistaken about any subject on which he wishes to declaim. It is only the fact that he plays a viola so well that has kept him from being throttled in the past."

  "Do your best." Franz laid a hand on Simon's shoulder. "I value his skills, but not at the price of his obstructions. He has one week." After a long moment of silence, Franz turned to Matthaus. "So, when do you think Master Schutz will arrive?"

  "I know not. He was to visit his mother and his daughters in Kostritz, then go to Grantville to meet with Master Carissimi. I imagine that Master Heinrich is delighting in his time with Master Carissimi, which is good. He is truly a great man who so seldom has a chance to meet with anyone who would be a peer."

  "Well," Franz said, "I truly hope he is enjoying himself."

  Grantville

  April 1634

  Pastor Johann Rothmaler knocked on the door diffidently. No response. He knocked again, somewhat louder. That evoked a response.

  "Go away." The tone was growled but listless.

  The pastor looked to Lucas Amsel, who stood beside him. Lucas shook his head, and motioned energetically at the door.

  Pastor Rothmaler cleared his throat. "Master Schutz, my name is Johann Rothmaler. I am the senior pastor in Rudolstadt. I…" He looked at Lucas, who motioned at the door again. "I must speak with you on a matter of some importance."

  Silence from within the room, but after a moment footsteps dragged across the floor. Eventually the door was opened. The room was darkened.

  "Come in, then, if you so desire." The voice retreated into the chamber. "You as well, Lucas. I know you're there."

  "Might we have some light?"

  More silence. Then a despondent, "As you will. Lucas?"

  Lucas moved past Rothmaler. Within moments shutters were thrown back and the noonday sun poured into the room. Furniture and other obstacles seemed to be scattered around the room. Rothmaler picked his way carefully through scattered clothing, books, travel bags and empty wine bottles. Lucas bustled over and removed a cloak from the chair that sat across the table from where Master Schutz sat leaning and pressing his forehead against a dark green wine bottle. The pastor sat down. Long moments passed, moments during which Lucas quietly moved about the room bringing order to it.

  Finally, Schutz spoke without opening his eyes. "Well, what is this so very important matter that requires you to intrude into my privacy?"

  The despair and despondency in his voice was so thick it was almost tangible. Pastor Rothmaler looked at Lucas one more time; once more he was gestured to continue.

  "Master Schutz…"

  "Call me Heinrich."

  "Master Heinrich, then. I… um… your assistant, Herr Amsel, came to me with an account that you appear to be suffering from some spiritual illness. He grew gravely concerned and attempted to find someone in Grantville to counsel with you, but to no avail. Finally, Herr Gary Lambert advised him to seek me out. And so I am here. I have heard what Herr Lucas has told me. I am here to help as I can, as God provides. Can you tell me what ails you?"

  Schutz's eyes opened wide. Pastor Rothmaler almost recoiled. The whites were very red, which lent an almost demonic air to the disheveled appearance of the master musician.

  "What ails me? What ails me?" Schutz straightened up, and for the first time emotion made an appearance on his face and in his voice. "Why, my good Pastor Rothmaler, Grantville ails me. The future ails me. God ails me." He lifted the bottle and finished the dregs it contained, then tossed it over his shoulder. Rothmaler winced, expecting it to shatter on the floor, but Lucas nimbly captured it in mid-air.

  "Elucidate, please, Master Heinrich."

  Schutz focused his baleful gaze on the clergyman. "Very well. At your insistence. Three days ago, I was suddenly confronted with evidence that music exists that I had written, yet I had not written-music that was supposedly written in the year of Our Lord 1647-supposedly written by myself. How can this be?" Schutz charged on, allowing no room for a response. Rothmaler schooled himself to patience.

  "How can I already have written that which I have not written? How can I do the impossible?" Master Heinrich was almost raving. "But if I have, if all of my great music has already been written, then what is there for me to do in the future if it has already been done? Where is the worthy place for Schutz in that?"

  Breathing heavily, Schutz paused for a moment. "I left the place of that revelation and wandered through Grantville. It was as if a gale blew through my mind. My thoughts were whirling, spinning, as a leaf caught in a storm. I know not how long I wandered, but eventually I found myself in front of a building named a library. For lack of some other profitable action to take, I entered. When an attendant approached, I asked if they had anything about the life of one Heinrich Schutz. He led me to a table where he opened what he called an 'encyclopedia.' Then he pointed to an account printed in it that purported to describe my life.

  "My history was traced correctly, if somewhat briefly, until the present. My years in Venice studying with Gabrieli and Monteverdi; becoming the Kappellmeister for the Elector of Saxony; my marriage to Magdalena, the birth of my daughters, and her death. It even mentioned some few of the works I had written during those years.

  "In truth, I was impressed that I was remembered by that much from a time supposedly over 350 years in the future. But then, it began to detail the further events of my life. It seems I am to die many years from now, serving the somewhat less than appreciative Elector until his death. My daughters will both die many years before I do. I will have no progeny. My only memorial will be music… music that has already been written by me, but not by me."

  The master leaned over the table and asked in a dead tone, "Tell me, Pastor Rothmaler. You are a theologian. Are the Calvinists right? Is everything totally fore-ordained? Predestined? Are we all just actors treading the boards and reciting lines scripted for us by another? If so, of what worth are we? If my music has already been written, if my life has already been lived, then of what purpose am I?"

  Rothmaler shivered. The master musician's monologue had distilled all the many issues that Grantville created for the theologians and philosophers of Europe, himself included. Many of them were affronted not only by the existence and claims of Grantville, but by the very tangible evidence that the town and its people did indeed come from a very different time and place.

  But there was a fundamental difference between the objections of the philosophes and the raw pain of a man who was questioning whether his lifework, his art, his very existence, mattered in the face of Grantville's revelations. Rothmaler sat for long moments praying to God for wisdom to share with this obviously tortured man. "Master Heinrich," the pastor began, "it is pure hubris, the purest arrogance, to believe that we can fully know the mind of God. We can know as much of it as He has revealed in Holy Scripture, and perhaps a little more if He chooses to make a direct revelation to one of us. But the mind that can conceive of the world in its order; the mind that can contain the power to speak it into being; that mind is as far above ours as we are above the worm within the soil. So, we do not understand many things.

  "Chiefest of these things is how and why Grantville is among us. We have no better explanation for their ori
gin than the one they have offered since their first arrival, that they have somehow been ripped from the future and placed here. Why would God either direct or allow such disruption in the order of things? We have no answer. His word contains no prophecy about such coming to pass. Yet the very senses which God created in us, our taste and sight and touch and smell and hearing, they all testify to the reality of Grantville. The very ability to reason and deduce which the Almighty instilled in us takes the testimony of those senses and can arrive at no other conclusion than that Grantville is real, its people are real, its mechanics and sciences and, yes, its arts, are as real as our own. Real, but oh, so different in so many ways. And so, however objectionable the explanation, we are unable to propose one that is any more acceptable than what the Grantvillers say."

  Pastor Rothmaler leaned forward and placed his own elbows on the table. He steeled himself to look directly into Master Schutz's eyes. "However, the Grantville men of science all say that the future from which they came is not the future that will be ours, that their very arrival will make so many fundamental changes in the courses of the church, of societies, and of history, that the future that will happen will be a very different future than the one recorded in their books."

  Master Schutz's eyes widened, his eyebrows climbed. He puffed either in surprise or disbelief.

  "Oh, yes," the pastor assured him. "And it has already started. With my own eyes I have seen in their books that in their history Gustavus Adolphus was killed six months ago in the battle of Lutzen, yet all know that he is alive and facing his enemies. So the changes have already begun."

  Pastor Rothmaler leaned back. "And what this means to you is the future of which you read may or may not resemble that which will grow from the life you are living now. The Grantvillers have a very odd term for the concept. They call it the 'butterfly effect.' I do not pretend to understand their explanation-it seems foolish to me-but perhaps another image will serve.