1636 The Devil’s Opera – Snippet 54

1636 The Devil’s Opera – Snippet 54

Chapter 29

          Franz gave the downbeat for the next-to-the-last song of the night, what Marla referred to as her mother’s favorite ballad, Those Were the Days.

          During the slow verse, Franz looked around as his bow made the slight tremolo under Marla’s voice. The Green Horse was standing room only tonight, as the up-timers would have said — if any had been able to get in, that is. But with the exception of Marla and Atwood, the crowd tonight was all down-timers.

Some he recognized: the table at the front where Friedrich von Logau and Johann Gronow were planted with several of their friends; the CoC men who were scattered throughout the crowd; even the cabbie that had brought Atwood from the pier to the house had managed to squeeze in and was standing in a corner with a couple of friends.

Marla was winding up the verse. Franz stopped the tremolo, poised to put a foundation of broad bow strokes under the beginning of the chorus. He could see her take the deep breath that led into it. And . . . now!

“Those were the days, my friend,”

They were off. For all that the lyrics seemed a bit maudlin in their constant dwelling on the past, even in German translation, Franz couldn’t deny that the chorus could almost raise a corpse. It was a chorus made for singing along, and sure enough, at the end of the second verse, when they hit the chorus half the men in the tavern were singing right along with Marla, from Logau and his pals to the cabbie in the back corner.

When they hit the chorus the third time, everyone was singing, even Franz, who, as he had remarked before, had the voice of a raven or crow. It was the only time he allowed himself to sing in public, when the public was being so loud he couldn’t be heard.

After the last verse, Marla cycled through the chorus three more times, the last two on the “Lai, lai” syllables. If it was possible, the roar from the crowd got even louder. Franz cast a sideways glance at the walls. He didn’t think it was possible for them to bulge, but . . .

Marla took to a high note on “Oh . . .”and held it. Even over the roar of the men her voice penetrated, and within a short time they had all quieted. She glanced sideways at Franz, who gave a nod back. With that, she drew the song to an end with “. . . yes, those were the days!”

The players all snapped to a halt with her, and there was a bare moment of silence before the patrons of the tavern erupted into applause; claps, shouts, whistles, and very quickly a rhythmic stomping of feet. This went on for a timeless moment. Franz’s ears were starting to ring when Marla held her arms up at an angle, and just stood there.

Bit by bit the noise died down: first the stomping; then the whistling; then the shouting; and finally the clapping slowly faded away. A roomful of flush-faced men, hot and sweaty, sat and gazed on Marla. Franz had to chuckle to himself — it was a good thing that he wasn’t the jealous type.

At last Marla lowered her arms. Franz knew she was going to say something, but he didn’t know for sure what would come out. For that matter, he wasn’t sure she knew what she was going to say.

“Thank you,” Marla began. Someone in the back of the room started to clap again, but she held up a hand. “Please, just listen to me for a few minutes.”

The noise died down. Franz watched as she brushed her hair back behind her ears. At this moment, he was perhaps prouder of Marla than he had ever been in his life. He didn’t — couldn’t — know what she had been through the last few months. His own grief had been bad enough, but it wasn’t even a tithe of what she had felt; he knew that much. And yet now she stood before these men, mostly rough working class men, to try and do something she thought was very important. He tucked his violin and bow under his arm and clasped his hands behind his back, crippled left cradled in whole right, squeezing them together as hard as he could as he breathed a silent prayer for the woman that had proven herself to be far braver than he.

“I’m not very fond of politics,” Marla started again. A chuckle ran through the room. “I mean, I find them boring, and tedious, and most politicians are stuffy people. At least they mostly were up-time, and except for Mike and Ed, they mostly are down-time from what I can see.” The laughter got louder.

“But,” she stopped and swallowed, “every once in a while something happens that forces people like me to pay attention. Every once in a while someone does or says something so wrong, so raw, so evil, so . . . I don’t know . . . hellish, maybe, that even people like me will take a stand.”

The room was utterly quiet. It seemed as if the mob of men sitting and standing cheek by jowl were all holding their collective breath, hanging on Marla’s every word. Franz even found himself not breathing, until he noticed and let his air out.

“I’m talking about what’s been happening in Berlin,” Marla continued.

If it was possible, attention in the room got even sharper.

“I’m not a wordsmith. I’m not a philosopher, or preacher, or poet, or playwright. But I can recognize good words when I see them, and I found some in an up-timer song. So I give you tonight — tonight and every night — Do You Hear the People Sing?”

Marla bowed her head for a moment, then raised it again. She took a deep breath, then nodded without looking around. Franz gave the nod to the others, and they began the low unison tones that gave Marla the foundation for the beginning.

“Do you hear the people sing?

****

          Franz was awe-struck. He knew just how good a musician, how fine a singer, his wife was. And he had heard her rise above even her usual superlative level of performance before. But tonight, tonight she had elevated to another plane entirely; or perhaps a different world. He could hear the passion in her voice, he could hear the joy that she was pouring out like a very fountain, but tonight there was a keenness, a honed edge to her. She stood still as she sang, unlike her normal flowing movements; hands outstretched, no movement other than the rise and fall of her chest and diaphragm.

At the end of it, when Marla had finished pouring forth her soul like a fountain of liquid diamond, it was as if the voice of heaven had stopped; the world seemed darker and poorer for it. She stood there, breast heaving as she gulped air in, hand shaking as she tucked a loosened lock of hair back behind her ear again.

 

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Comments

20 Responses to 1636 The Devil’s Opera – Snippet 54

  1. Wow!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

  2. Tweeky says:

    It looks like the shit is about to hit the proverbial fan.

  3. stewart stone says:

    We already know the eventual outcome, but all the same, “Stand by, reaction and response to follow…..”

  4. Todd Fox says:

    Good thinking to debut the song at a small tavern.
    A large venue, like an opera house or, god forbid, an open air assembly, might have produced a nasty riot. -Something the opposition could have used; to “restore order”.

    • Good point, Todd. Fortunately, Ox can’t effectively order her arrest and imprisonment in Magdeburg, albeit in his mental state, one wonders if he still has the sense not to give orders that are certain not to be obeyed. It is now 58 hours until the final snippet, which will certainly be interesting!

      • Cobbler says:

        Not that Oxenstierna was paying attention to the law.

        But I can’t imagine the USE constitution didn’t include some version of the Bill of Rights. Certainly including freedom of speech.

      • Tweeky says:

        I think that at this point Oxenstierna is rather preoccupied with more pressing matters.

    • Deb says:

      But this isn’t the debut. It was sung during her first concert in Command Performance (Ring of Fire II) which was set in 1633. Or is that being retconned?

      • David Carrico says:

        In 1633 it was sung in English to a crowd of jaded nobility and patricians with a couple of male singers to assist.

        In 1636 it is sung in German to a very different crowd for a different purpose.

        Very different impact. :-)

        David

        • Deb says:

          You are, of course, the boss. It has just always bothered me a touch, since Command Performance, that the song hadn’t made a bigger splash. The folk song she sings in the tavern at the CoC request never sounded militant enough for Gunther to me. And since we know that Marla practiced at the Simpson’s, I always imagined Hilde hearing it and rushing off to Gunther, saying “You gotta hear this”. (well, saying it in German)

          I am glad that it is finally making a splash.

          • David Carrico says:

            Although it was published in ROF II five years ago, Command Performance was actually written about nine years ago. It was one of the first stories Eric took for that anthology, and he had to sit on it for years until all the other stories were picked up. (Color me frustrated.) Nine years ago, there was nothing developed in the 1632 canon that DYHTPS would resonate with. Even five years ago there wasn’t much. It was only with the publication of the most recent mainline novels that conditions developed that it could make a splash. But, if I do say so myself, I think it splashed nicely once the opportunity came along. :-)

  5. Robert H. Woodman says:

    I wonder how the poet translated the lines:

    The blood of the martyrs
    Will water the meadows of France

    I would think that the “the meadows of France” would become “the meadows of the USE” or “the meadows of Germany” or something like that.

    Does anyone know or have any ideas?

    • David Carrico says:

      Modern translation reads this way:

      Wenn du kämpfst mit ganzer Kraft, hat bald ein Ende alle Not
      Mancher wird dahingerafft, stirbt einen ehrenvollen Tod
      Die Erde von Frankreich, vom Blut uns’re Helden hellrot

      • Todd Fox says:

        Ugh.
        Where’s a German thesaris when you need one?

        -it’s a joke, please don’t send any links.

      • Robert H. Woodman says:

        Thanks, David. I’m thinking that with the enmity between France and the various German states and the USE, “Die Erde von Frankreich” wouldn’t go over well with Marla’s audience. Why wouldn’t Friedrich von Logau have tried for a translation that was, well, more German or USE centered? Or does the audience just accept that “this is an uptime song” and let the reference to France go by unremarked?

        • David Carrico says:

          That’s the modern German lyric. I am certain that Frankreich would have been changed to Deutschreich or Deutschlande, or some such. :-) Marla knew who she was singing to, after all. :-)

  6. Cobbler says:

    That was canny programming.

    First Those Were the Days. Recalling when Gustav Adolph supported Mike Sterns and the USE was a strong and lawful state.

    What a powerful set up for Do You Hear the People Sing.

  7. Ben Schilling says:

    The book is already in at Barnes and Noble. (They had one less when I left).

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