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Updated: May 1, 2025
The men left alone, General Armour questioned Frank freely about life in the Hudson's Bay country, and the conversation ran on idly till it was time to join the ladies. When they reached the drawing-room, Marion was seated at the piano, playing a rhapsody of Raff's, and Mrs. Armour and Lali were seated side by side. Frank thrilled at seeing his wife's hand in his mother's.
Grove, it developed, would be at home, where, if he chose, they might pursue the cause of Lee Randon's presence there. There was, Lee soon grasped, very little that was useful to be said. They repeated what had been gone over before. Mrs. Grove explained again Mina Raff's unpredictable qualities, and he spoke of Peyton and Claire Morris.
"Mina Raff's limousine sounds luxurious," she acknowledged. But Fanny wasn't curious about Mina; after the first queries she accepted her placidly; now that she had withdrawn from the Morrises' lives, Fanny regarded her in the light of a past episode that cast them all together on a romantic screen. What mostly she asked touched upon Savina Grove.
If Raff's opera, as you tell me, has pleased, he ought to be satisfied; in any case he had a better reward than I had for my "Feen," which was never performed at all, or for my "Liebesverbot," which had one abominable performance, or for my "Rienzi," of the revival of which I think so little that I should not permit it if it were contemplated anywhere.
The influence of Raff is of the utmost importance in MacDowell's music, and I have been told that the great romancist made a protégé of him, and would lock him in a room for hours till he had worked out the most appalling musical problems. Through Raff's influence he became first piano teacher at the Darmstadt Conservatorium in 1881.
A bright flame started up from the glowing fire in the grate, flinging ruddy flashes along the walls, a rattling gust of rain dashed once at the windows, the tuneful clock ceased, and all was still. Villiers waited a moment; then with heedful earnestness, started the first bar of Raff's oft-murdered composition, when a knock at the door disturbed him and considerably ruffled his equanimity.
The death of Raff on June 25, 1882, brought to MacDowell his first profound sorrow. There was a deep attachment between pupil and master, and MacDowell felt in Raff's death the loss of a sincere friend, and, as he later came to appreciate, a powerful ally.
Brendel has grand schemes, which he will probably communicate to you. He is coming here for the next performance of Raff's opera "King Alfred," in order to talk to me about the new paper which he would like to bring out in the course of the summer. The enterprise is in itself good enough, but I have still my doubts as to the means at disposal.
"Like enough while I've been dead on the earth, all this time, the poor boy's died and been in heaven. He looked near enough to it, poor lad!" "Raff Brinker! If you're going to treat me this way, and I nursing you and bearing with you since I was twenty-two years old, it's a shame. Aye, and a disgrace," cried the vrouw, growing quite red and scant of breath. Raff's voice was feeble yet.
Curious short grunts and plaintive cries, interspersed with an occasional pathetic long- drawn whine, suggested dimly the idea that somebody was playing, or trying to play, on a refractory stringed instrument, the well- worn composition known as Raff's "Cavatina."
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