The Shadow of Great Britain

271: Chapter 182: On and Off Stage, It’s All About Musicals (4K6) 271: Chapter 182: On and Off Stage, It’s All About Musicals (4K6) Arthur turned his head to see Lionel and Mendelssohn standing behind him, and immediately picked up the white gloves on the piano rack as he smiled and went up to greet them.

“I didn’t expect to be so lucky to see you here, Lionel,” he said.

Lionel joked, “Although I may not be truly devoted to art collection, when it comes to music, I’m a sincere admirer.

Not to mention this concert has gathered so many top pianists; if I missed such an event, I fear I wouldn’t have the face to claim I love music.”

As he spoke, Lionel introduced Mendelssohn, who was beside him: “This is Mr.

Felix Mendelssohn, as young as you and possessing talents that ordinary people can’t reach.

You must have heard the overture he wrote for Shakespeare’s ‘A Midsummer Night’s Dream,’ right?”

As Arthur dared to come to the Coburg Theatre today to test pianos, he had obviously done his background research on the musicians who might attend.

But even if he hadn’t prepared, the name Mendelssohn was already familiar enough to him.

This great master of form, most perfect since Mozart, whether in today’s Britain or in future generations, was tremendously famous.

However, it was a bit beyond Arthur’s expectation that Lionel was so closely associated with him.

It only showed that the Rothschild’s social reach was much larger than he had anticipated.

Arthur extended his hand to Mendelssohn in a friendly manner, with the intent to express goodwill as well as a somewhat superstitious hope to borrow some musical cells from the piano master.

However, Mendelssohn’s eyebrows were deeply furrowed, and his eyes were fixed on Arthur’s face as if he was stunned.

“Mr.

Mendelssohn?”

It was only after Arthur spoke to remind him that Mendelssohn realized his lapse, and he quickly apologized: “I’m sorry, Mr.

Hastings.

Since a while ago, I felt your playing style had a familiar feel to it, but couldn’t quite put my finger on it.

You pursue high difficulty techniques similarly to Mr.

Clementi, but not quite the same.

I…

I always have the impression there’s someone else’s shadow in you…”

At this point, Mendelssohn had a flash of insight, and he exclaimed in surprise: “Liszt!

Right, no wonder it felt so familiar.

Your mad energy is exactly like the style of Liszt.”

Arthur thought he had only covertly played a piano piece, yet it was recognized by an expert.

But fortunately, “La Campanella” was originally Liszt’s adaptation of Paganini, so at the end of the day, both he and Liszt were doing artistic processing on the original work.

If it had to be scrutinized, at the very least, he had done it a year earlier than Liszt; Paganini’s European concert tour would only visit Paris the following year.

Arthur, thick-skinned, said: “I didn’t expect you were acquainted with Mr.

Liszt as well.

Although I have not had the pleasure of hearing Mr.

Liszt play, I have heard of his performances in London at the age of fourteen, which caused a sensation throughout the nation and even led to him being received by the late King George IV.”

While I am a passable player, I’m still quite far from you and Mr.

Liszt, who could perform on stage at the age of nine.

At that age, I didn’t even know what a piano was.”

Mendelssohn, thinking he might have accidentally touched upon Arthur’s impoverished childhood memories, quickly offered comfort.

“Mr.

Hastings, a genius is still a genius, and it has nothing to do with the age at which one encounters the piano.

Have you forgotten Mr.

Clementi’s experience?

He only began learning the piano at 14 with the support of Sir Beckford, and didn’t have his first public performance until he was 23, but that did not stop him from becoming a great monument in the history of the piano.

And you debuted at 20; I believe your future will undoubtedly be quite smooth.

To be able to compose a piece like ‘La Campanella’ and play it with such passion…

Perhaps we really are witnessing the rise of a Paganini of the piano world.”

Lionel also seized the moment to change the atmosphere, asking with a laugh, “Everyone says that Paganini made a deal with the devil to have such nimble hands – did you, Arthur?”

Arthur replied with a smile, “Yes, at least with ‘La Campanella,’ that’s true.”

Everyone laughed heartily at this, and the Red Devil, with a mischievous grin, pushed up his glasses: “Oh, my dear Arthur, look at these foolish humans!

When you tell a lie, they believe it to be true.

When you tell the truth, they suspect it’s false.

Tsk tsk tsk, millennia have passed, yet humanity remains the same; they only believe what they want to believe.”

After exchanging pleasantries for a while, Mendelssohn, feeling the itch to play, suddenly stretched his arms and said, “I’ve been fooling around all morning; it’s time to practice.

Right now would be perfect to prepare in advance for tomorrow’s performance.”

But before he could take the stage, he was stopped by Arthur from behind: “Mr.

Mendelssohn, I think you should wait a moment.

When I was testing the piano just now, some of the intonations seemed off.”

“Off?” Mendelssohn looked doubtful: “But…

when I heard you playing just now, everything seemed perfect.

This piano was specially shipped from Mr.

Clementi’s piano company.

Even if their workers were careless, the theatre staff shouldn’t be so negligent.”