The Kindly Ones

Käthe had arrived and was preparing dinner, going in and out of the kitchen; I didn’t want to be around her. I went back to the entry hall and opened the door to von Üxküll’s apartments. There were two handsome rooms there, a study and a bedroom, tastefully furnished with old pieces in heavy, dark wood, oriental carpets, simple metal objects, a bathroom with special equipment, probably adapted to his paralysis. Looking at all this, I again felt a vivid sense of confusion, but at the same time I didn’t care. I walked around the study: no objects cluttered the massive, chairless desk; on the shelves there were only music scores, by all sorts of composers, arranged by country and period, and, set aside, a small pile of bound scores, his own works. I opened one and contemplated the series of notes, an abstraction for me, I didn’t know how to read music. In Berlin, von Üxküll had spoken to me about a work he was planning, a fugue or, as he had said, a suite of serial variations in the form of a fugue. “I don’t know yet if what I envisage is actually possible,” he had said. When I had asked him what the theme would be, he had made a face: “It’s not romantic music. There is no theme. It’s just an étude.”—“Whom are you writing it for?” I had then asked.—“For no one. You know quite well they never play my works in Germany. I’ll probably never hear it played.”—“Why are you writing it, then?” And he had smiled, a big, happy smile: “To have done it before I die.”

Among the scores there were of course some Rameau, some Couperin, Forqueray, Balbastre. I took a few from the shelf and leafed through them, looking at the titles I knew well. There was Rameau’s Gavotte à six doubles

, and by looking at the page the music immediately unfurled in my head, clear, joyous, crystalline, like the galloping of a purebred horse raced across the Russian steppe in winter, so light that its hooves just brushed the snow, leaving only the slightest of traces. But no matter how much I stared at the page I couldn’t connect those bewitching trills to the signs drawn on it. At the end of the meal in Berlin, von Üxküll had mentioned Rameau again. “You’re right to like that music,” he had said. “It’s a lucid, sovereign music. It never foresakes its elegance but remains bristling with surprises and even traps, it is playful, joyful with a gay knowledge that neglects neither mathematics, nor life.” He had also defended Mozart in curious terms: “For a long time I had little regard for him. When I was young, he seemed to me a gifted hedonist, without any depth. But that might have been the judgment of my own Puritanism. As I get older, I’m beginning to think he may have had a sense of life as strong as Nietzsche’s, and that his music seems simple only because life, in fact, is rather simple. But I haven’t entirely decided yet, I have to listen some more.”