Ring of Fire II Read online

  "So, she's doing Nutcracker this year? That's great! I really missed seeing it the last couple of years."

  "Let's say I've talked her into it," Mary said. "She's the best hope of bringing modern ballet to this time. I haven't actually met her yet, but from the letters I've received she doesn't seem to like me very much, though."

  "I took dance from her for a few years as a kid, until I shot up six inches in the middle of sixth grade. I quit when I caught a good glimpse of myself in a mirror next to the other dancers. I looked like a pelican among ducks. Anyway, I know from experience that Bitty's a perfectionist and can definitely be prickly at times."

  "I can deal with her not liking me." Mary's eyes had turned steely gray. "But she needs my help if she wants to preserve and spread ballet. She needs to work with me."

  "Bitty's pretty sharp," Marla replied, still doodling on the piano, marveling a little at how she seemed to be somehow sidling into an inner circle. She doubted that Mary would say the things she'd just revealed to just anyone. "But she's not really very fond of people telling her how to stage her shows. I imagine that as long as you really listen to her, give her a little respect and let her handle the staging, she'll get along with you."

  Mary absorbed that in silence, then nodded slowly. "All right." After a moment, she sat down in a nearby chair and continued, "Anyway, I'll probably be gone for about two weeks, so you'll have time to finalize the total program before I return. Do you have any thoughts?"

  "There's an aria by Purcell I can do, and of course something from The Messiah. I was thinking something by Mozart, maybe from The Magic Flute or the Requiem."

  "Can you do the 'Queen of the Night' aria from The Magic Flute?"

  Marla squirmed a little. "Well," dragging the syllable out, "I've never performed it. My teacher was working it with me right before the Ring fell."

  "I'll bow to your judgment, but if you can do it, that would create exactly the kind of effect we're looking for. What else?"

  "Something Verdi or Puccini, don't know what yet."

  " 'Un Bel Di,' perhaps?"

  "That's one I'm thinking about."

  "What about something from northern Europe?" Mary asked.

  "Wagner, Mahler and Bruckner would be too over the top, I think."

  Mary laughed. "Agreed. What about Schubert or Brahms, though?" Before Marla could answer, Mary's eyes kindled, and she exclaimed, "Schubert! What about 'Der Erlkönig'?"

  "Umm, I don't know. Wouldn't that seem awfully pagan . . . I mean, given the times, and all?"

  "No, no, no," Mary said quickly. "The audience for this performance will be the educated elite, the patrons, and they have all been steeped in the Greek and Roman myths. I don't think they would flinch at a literary treatment of one of their own."

  "Okay." Marla was a little dubious, but she'd already decided to follow Mary's judgment in things like this. "I think I've got the music, but I've never sung it, so it will take some time to work it up. If I remember right, that's in a pretty low key. It might be under my range."

  "Can you transpose it?"

  "Sure, but it might sound funny."

  "I've heard it done by a soprano. I believe it was Jessye Norman. It was very effective. See what you can do, please." Mary tapped her lips with a finger. "We don't have time for anything Russian. Wait . . . what about Rachmaninoff's 'Vocalise'?"

  "I don't have the music."

  "That's a pity. Well, it can't be helped, I suppose."

  Marla didn't mention to Mary that there was at least one recording of the piece in Grantville and Thomas could notate it from the recording. She was afraid that what was supposed to be a recital was going to be a marathon as it was, without including a bunch of new music like the 'Vocalise.'

  Mary set that disappointment behind her, and moved on. "What are your thoughts about twentieth-century choices?"

  "I figured I'd select mostly Broadway songs," Marla said. "Partly because the Impressionist, post-Impressionist and Modernist stuff would be so dissonant to seventeenth-century ears, and partly because that's really the only kind of music I have from that time." She smiled. "Sort of making a virtue out of necessity. I haven't made any choices yet, though."

  "Then the only thing I'll say now is to look at the strongly melodic composers: Sondheim, Lloyd Webber, maybe even some of the Disney composers." Marla felt her eyebrows raise, and Mary gave her light laugh again. "Oh, yes, there are some delightful little songs hidden in some of the Disney musicals. It's just a thought, though."

  Marla shrugged. "I'll check it out."

  She had been doodling all the while, and now her doodling led into a quiet rendition of "Amazing Grace." She played it several times through, varying the style each time. She held the final chord for several moments, letting the sound resonate. After it died away, she released the keys.

  "Very nice," Mary commented. "I'm always amazed at how easily musicians can improvise."

  "I'm not really very good at improvising," Marla replied. "I know that hymn well, so I know when and how to change it up. But if you hand me a new melody and tell me to improvise while I'm sight reading it, I'd be doing good to just put simple chords behind it the first few times through it. I need to improve, though, because it's considered one of the standards of musicianship in this era. Bach was well known for it, for example. If you want to hear someone who's really proficient at improvising, even by down-time standards, you should hear Maestro Carissimi some time. He's so good at it I can't even be jealous. He's awesome."

  Mary took a deep breath. "Carissimi? Giacomo Carissimi? Composer of the oratorio Jephtha?"

  "That's the one," Marla grinned.

  "Franz told me he was in Grantville," Mary said. "I was stunned. I still am. I almost went to Grantville that day. The thought of meeting him just sends chill bumps up and down my spine." Marla found it a bit humorous that Mary sounded much like a school girl hoping to meet her favorite teen idol. There was a definite air of excitement about her, unlike her normal cool, collected grace. "Tell, me what is he like?"

  "Well, he's very reserved, almost shy, but he seems to be a very nice man. He doesn't act like he's famous or anything. In fact, he seems to want to keep a low profile. His friend, Signor Girolamo Zenti, attracts a lot more attention. I had to read in the encyclopedia and some of the album notes to find out about him, or the him that would have been before the Ring fell." Marla paused for a moment . . . something about what she just said didn't sound right. "I mean . . . oh, never mind. Even without those write-ups, though, I would have known he was really talented, really good, just from the way he talks about music and from the way he took to the piano."

  "He's learning piano, then?"

  "Oh, yes. He's made connections with Elizabeth Jordan, my old voice teacher. She's a pretty good pianist in her own right, so she can show him all about it. Plus, she's got copies of all my notes from the seminars we did this summer, so I'm sure he'll be picking her brain about all of that, too. From what I could tell before we left, he was obsessed with learning as much as he could as quickly as he could."

  The two women shared a smile as they both remembered their conversation about obsession on Marla's first day in Magdeburg.

  "So, Franz said something about him writing a piece for you? For the recital, I assume," Mary said.

  "Actually, no it's not." Mary looked surprised as Marla continued. "No, it seems that he has conceived of a new piece since the Battle of Wismar. He wants to write a lament, a formal eulogy piece, in memory of Hans Richter."

  Mary was quiet for a very long moment, staring off in space.

  "Mary?"

  "Hmm? Oh, sorry, just thinking that through. Methinks I detect the fine hand of Mike Stearns in that. I could be wrong; it could be Don Francisco Nasi, but I'll wager that one or the other of them is involved in it." Mary saw Marla's confusion, and gave one of her light chuckles. "No, dear, I'm not disparaging them. Mike, probably more than anyone except my husband and Colonel Wood, knows the bitt
erness of the price paid to win that battle. But at the same time, it's entirely too convenient that a composer of Giacomo Carissimi's stature arrives in Grantville and just happens to want to write this piece at a time when it would have the most political benefit.

  "Oh, I'm sure it will be a fabulous piece of music, and no doubt it will be a catharsis for everyone who hears it. Mike would push for it anyway, because he would think it the right thing to do, but he wouldn't be Mike Stearns if he didn't see the political advantage of it as well.

  "So, does Maestro Carissimi have a title for it yet?"

  "The last I heard, he was going to call it 'Lament for a Fallen Eagle,' " Marla said.

  Mary gasped. "That is perfect. That is absolutely perfect. That will mean so much to Sharon Nichols and Gretchen and the family, and will speak so strongly to everyone in the country as well. Have you seen anything of it yet?"

  "No," Marla smiled. "Right before we left, he had started writing the theme and was really feeling handicapped because there is no orchestra in Grantville."

  "Oh, no," Mary laughed. "How did he take that?"

  "Well, he tried for a little while to score it for band instruments. He figured out pretty quickly that wouldn't work, though. That was about the only time I saw him showing strong emotion during the little while I was around him. He threw his pencil down on the desk, grabbed the sheet of paper he was working on and tore it into little pieces. He muttered something in Italian that I think must have been pretty vulgar. At least, Signor Zenti looked awfully surprised at what he heard."

  "So what is he going to do?"

  "Well," Marla said, "he found out that about the only string players in Grantville are my friends Isaac and Josef, and that Rudolf, Thomas and Hermann can play flute. So, he told me that he would score it for that ensemble with piano right now, and rescore it later after he finds an orchestra."

  "Something else we need to work on," Mary noted. "Not now, dear," in response to Marla's alarmed look. "Not until after the New Year, anyway," and she chuckled again at the resulting expression of relief. "So, will you be involved in the lament, other than providing the instrumental ensemble?"

  "It's for solo voice with instruments," Marla said, "and he's asked me to sing the solo."

  A pleased smile spread across Mary's face. "That's wonderful, Marla. Principal performer in a high-profile work by a major composer. This will help establish you just as much as your recital will. When does he think it will be performed?"

  "Well, that's the tough part. He wants to do it before Christmas in Grantville."

  "What?" Mary looked aghast. "But you're doing your recital here in Magdeburg on December fifteenth!"

  "Tell me about it. I really want to do it, but there has to be some travel time and at least one rest day. And I—we—have to see the music soon."

  "Yes, you do." Mary looked determined. "I will see to that."

  "Thank you."

  Mary leaned over and placed her hand over Marla's. "You will be a great success, my dear, both in your recital and in Maestro Carissimi's work as well. Believe that."

  Marla watched as her new mentor picked up her coat and walked out of the room. She was still impressed at how much strength of purpose and will was enclosed in that small lady, and she was very glad to have her support.

  Tuesday, November 16, 1633

  "I can't wear that."

  Franz winced a little at the sharp tone in Marla's voice. They were in Mary Simpson's parlor, gathered with Mary and a seamstress. It was Mary's first day back from her trip to Grantville. She had called the women together to address the question of what Marla would wear for her concert performance. Franz had quietly shadowed Marla, as was his wont. He could have told Mary that Marla would reject the down-time styles, but as the lone male in the room, he wisely chose the course of silence.

  Affronted, the seamstress looked first at the young woman who had spoken, and then at Mary Simpson. Marla caught that glance, and before Mary could say anything, she continued, "I'm sorry, no offense, but it's just . . . too much. Too much fabric, too much bulk. I wouldn't be able to move freely. That outfit would restrict me in playing the flute and the piano."

  The seamstress' daughter, who was modeling a clothing ensemble similar to what the seamstress wanted to prepare for Marla, did a slow turn, showing off her mother's fine work. Franz admired the quality of the tailoring; it was equal to anything he had ever seen in the prince-bishop's court in Mainz. But, somehow he doubted that he would ever see Marla wearing anything like it.

  "Are you sure?" Mary asked.

  "Yes," her young protégé answered firmly. "I mean, look at it: underskirts, overskirt, bodice, blouse, jacket, large sleeves, ruff collar. At least it's not an Elizabethan ruff, but still . . ." She laughed a little. "Mary, without shoes I'm four to six inches taller than most of the down-time women. What looks dainty on them would start to look ponderous by the time it's scaled up to my proportions, besides the fact it would make me so bulky I'd have trouble getting through doorways and sitting on chairs."

  Franz nodded agreement from his seat by the stove.

  "Not to mention," Marla frowned at the model as she concluded, "that after a few minutes of performing in that rig," the seamstress bristled a little—she wasn't sure what a 'rig' was, but it didn't sound complimentary—"I'd be sweating like a pig." Turning to her mentor, Marla said, "I understand why I can't wear my prom dress . . . bare arms and shoulders, and all that."

  "That's right," Mary replied. "After that little episode at The Green Horse, you should understand the problem of down-time perceptions now."

  Marla shrugged. Franz felt the flash of anger he felt every time he thought about what had happened a month ago. Marla had been able to put it out of her mind by the day after, but he still wanted to hurt someone . . . preferably the fool who had accosted Marla. His fists balled . . . or at least his right one did. The pain from his crippled left hand as it tried to close jerked him out of his mood. He forced himself to relax, rubbing the stiffened ring and little fingers on the crippled hand.

  "I'm willing to accommodate perceptions." Marla had quieted. Perhaps she hadn't put that unpleasant event totally out of her mind after all. "But only to some extent, and definitely not if it interferes with my ability to perform." She stood, stretched her arms out, and performed her own slow rotation in front of the other women. "Mary, Frau Schneider, look at me. I am five feet nine and one-half inches tall in my bare feet, and I weigh somewhere around one hundred fifty pounds. I am not a small woman, and you can't dress me like I am. I may not know yet what will look good on me, but I'm very certain that what I've seen today will not work."

  "Well, what do you want, dear?" Mary asked.

  The young woman sat down again with a pensive look. "I don't know." There was a pause. "I just want to look . . . elegant." The momentary expression of longing that crossed her face tugged at Franz's heart.

  Mary smiled her slight smile and reached into the large bag on the table near her. "Do you think you could wear something like this?" She pulled out a piece of paper with a bright splash of color on it.

  Franz could see that it was the shiny paper that was found in some of the "magazines" that had come from up-time. He couldn't see more than that from where he was seated, but obviously it attracted Marla's attention. She took it from Mary's hand and focused on it. After a long moment, she nodded. "Yes, I could. We'd have to make sure I could raise my arms without binding, but I think . . . I think this would work. I like it."

  "Good." Mary retrieved the page. "Frau Schneider," she beckoned the seamstress over, "can you make something like this?"

  The down-time woman took the page, and her eyes widened a little as she took in the picture. After a moment, she said, "Yes, but . . ."

  "But what?"

  "Is this a dress? It looks more like a shift for bed wearing," with a slight frown.

  Both Mary and Marla laughed, and Mary responded, "Yes, it is a dress. It's called an Empire style,
and I had a little trouble finding a picture of one that I could bring back with me." She stood, and took the page back from the seamstress. "I suspected that Marla would not care for the styles currently in favor at the courts. She is right, you know. She is enough larger than most women here and now that she would look odd and out of place in court dress. But she is also right in her desire to look elegant. Here," Mary tapped the paper, "here is the solution: a dress that is somewhat fitted on the top, yet free to flow from the high waist; a dress that will allow her the freedom to move as she needs, yet will at the same time look elegant."

  "But . . . but . . ." Frau Schneider sputtered, "it is so . . . so plain!"