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The last hour of the drive had passed with the speed of an arrow, both to her and her travelling companion, and just as they were close to the left bank of the Isar, which was flowing toward them, Gombert's old servant turned and, pointing before him with his outstretched hand, exclaimed, "Here we are in Landshut!" she perceived that the goal of their journey was gained.
Charles was gazing, as if the gates of Paradise had opened before him, toward the chapel doors, whence Maestro Gombert's Benedictio Mensae, a melody entirely new to him, was pouring like a holy benediction, devout yet cheering, sometimes solemn, anon full of joy. The lines of anxiety vanished from his brow as if at the spell of a magician.
Gombert's bearing was that of an aristocrat, his lofty brow that of a thinker, and his mobile mouth rendered it easy to perceive what a wealth of joyous mirth dwelt within the soul of this artist, who was equally distinguished in grave and gay moods.
At the mention of these names, Barbara listened intently. She had sung several of Gombert's compositions, and was familiar with one of Appenzelder's works. When she learned that both must have arrived in Ratisbon several hours before, she anxiously asked Wolf if he would venture to make her acquainted with these great masters.
Gombert's bearing was that of an aristocrat, his lofty brow that of a thinker, and his mobile mouth rendered it easy to perceive what a wealth of joyous mirth dwelt within the soul of this artist, who was equally distinguished in grave and gay moods.
At the mention of these names, Barbara listened intently. She had sung several of Gombert's compositions, and was familiar with one of Appenzelder's works. When she learned that both must have arrived in Ratisbon several hours before, she anxiously asked Wolf if he would venture to make her acquainted with these great masters.
This pleased Wolf, for he had a right to call himself, not only the pupil, but the friend of the director of the orchestra. As, seizing the lute, he began Gombert's Shepherd and Shepherdess, Barbara, unasked, commenced the song.
Then followed the next logical step, namely, the attempt to imitate externals. Such pieces as Jannequin's "Chant des Oiseaux" and Gombert's "Chasse du Liévre" are examples of what was achieved in this direction. Finally, Palestrina demonstrated the scope of polyphonic music in the expression of religious emotions at times bordering upon the dramatic in their poignancy.
Charles was gazing, as if the gates of Paradise had opened before him, toward the chapel doors, whence Maestro Gombert's Benedictio Mensae, a melody entirely new to him, was pouring like a holy benediction, devout yet cheering, sometimes solemn, anon full of joy. The lines of anxiety vanished from his brow as if at the spell of a magician.
But at the very next song which had greeted him from her rosy lips this scruple was forgotten. With sparkling eyes he assented to Gombert's protestation that, in her wrath, she had resembled the goddess Nemesis, and looked more beautiful than ever. In spite of his gray hair, she seemed to have bewitched the great musician, like so many other men, and this only enhanced her value in Wolf's sight.
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