Читать книгу Poor Folk in Spain - Jan Gordon - Страница 6

Jesus Perez took us to Spain in spirit while we were still in Paris. We were off to Spain to paint, that being the normal course of our lives, but in addition Jan had formed a fixed resolution that happen what might he was not coming home without having bought a good Spanish guitar by the best guitar-maker he could find, while I wished to buy a Spanish lute. Arias and Ramirez, the two best modern luthiers in Madrid, both had recently died; we had, however, the address of the widow of Ramirez, who carried on her husband's business, but faintly in Jan's mind a cloud hung over the lady's name. He did not trust her. Not she, but Ramirez had made those superfine instruments. So we were overjoyed to meet Perez upon the Boulevard Montparnasse soon after our arrival in Paris. Perez was a friend of ours from the times before the war. He was almost a mystery man. Native of Malaga, self-styled painter—though he never showed his work—nobody could tell how he had managed to make a living during fifteen years of apparently unproductive existence. It is true that one summer he had disappeared from the quarter, returning late in November browned by the sun, and had explained that he had been smuggling in the Pyrenees; but that event was an exception, and for some months subsequently Perez was obviously well off as a result of his risky enterprises. Normally, he survived like so many others in the Quartier Montparnasse, drawing sufficient nourishment (supplemented very obviously by borrowing) from mysterious sources. But while most of his confrères in penury had no talents, not even the talent for painting, Perez did know the guitar. Rumour said that he was one of the best amateur players of the Jota Arragonesa in Spain. Rumour may have exaggerated without detracting from the real quality of Perez's exquisite gift.

We saw a Perez very much polished up by so many years of war. He wore a clean straw hat, new clothes of the latest cut, a waistcoat of check with ornamental buttons, patent leather boots with a lacquer which flung back the rays of the June sun, and heavy owlish eyeglasses of tortoise-shell fastened with a broad black ribbon. Indeed, so transformed was he, that it was he who recognized us; and for some moments we stood trying to pierce through the new respectability, as though it were through a disguise.

Seated together at the "Rotonde" we exchanged some petty items of news. Perez had but recently returned from Spain; he had held a small exhibition, he said, which had provided funds; pictures were selling well in Spain.... He was delighted to hear of our plan, and thereupon wrote for us an introduction to a painter, a friend, who lived in Madrid. "Un homme très serviable," he said, manufacturing a French word out of one Spanish. Jan then asked his question. "A good guitar-maker in Spain," said Perez, pinching his lower lip between finger and thumb. He shook his head slowly.

"A good guitar-maker," repeated Perez. "In Madrid, eh? Frankly, no, I do not know of one at the moment. And you are going away at once. Tomorrow. Well, this afternoon I am free, that is good. The best guitar-maker at the moment lives here, here in Paris. His name is Ramirez. Yes, a relative of that other Ramirez. He has found a new form for the guitar. More fine, more powerful. Each one like a genuine Torres. You come with me. I will show you one or two that he made from an old piano which he pulled to pieces for the wood. Exquisite! And if you like them, together we will seek out Ramirez and he will make you one. He is very busy, oh, excessively busy, but he will make you one because he is an old friend of mine."

So the hot afternoon found us sweating up the slopes of Montmartre.

"First," said Perez, "I will take you to the house of a friend who possesses two of Ramirez' guitars. One is one of those made from the old piano. It is marvellous!"

But when we reached the street he could not remember the number. It was four years, he explained, since last he had been there.

"However," he went on, "not far away is another possessor of such a guitar; possibly he will be in."

Up the hill we went into streets which became more narrow and more steep, until at length he led us through a courtyard with pinkwashed walls, up five flights of polished stairs, to a studio door upon which a visiting card was pinned:

Auguste la Branche

Artiste Peintre Aquafortist

The door, under Perez's knuckles, sounded hollow and forlorn. We waited for a while, and Perez was beginning to finger his lip when a faint shuffle on the other side of the door changed into the noise of locks. The door swung ajar revealing a small man, with a thin face and tousled head, clad in pyjamas and a Jaeger dressing-gown which trailed behind him on the floor. Failing to penetrate to the real Perez, as we also had failed, he blinked inquiringly at us. A moment of confused explanation ended with a warm hand-shake. Perez explained our presence and our purpose; with protestations of apology for his négligé M. La Branche led us into his studio.

From the card upon his door we must presume that M. La Branche was both painter and etcher, and pictures hanging from the walls, and an etching press almost buried beneath a mound of tossed draperies, were evidences of the fact. But where he found space either to paint or to etch was a puzzle. The large studio was crammed with bric-à-brac. Indian tables, Chinese tables, wicker chairs, lacquer stools, screens, figures in armour, large vases, birdcages and innumerable articles strewed the floor, across which narrow lines of bare parquet showed like channels upon the chart of an estuary. Over the chairs were heaped draperies, on the tables smaller bric-à-brac crowded together. Upon a sofa thrust to one side sat a woman methodically sewing at the hem of a long sheet. She took no notice of us, nor of M. La Branche, but continued her sewing, careful, however, not to swing her arm too wide for fear of banging into several guitars and other musical instruments, which almost disputed possession of the sofa with her.

Having cleared a table and sufficient chairs, M. La Branche gave us thé anglais, by the usual complex French method. Then from amongst his guitars he selected that made by Ramirez, and sitting down began to play. It is strange how a man's personality appears in everything he does. M. La Branche in his paintings was an expert painter rather than an artist; his etchings, large colour plates, showed a similar skill with the burin. His music was of the same nature. Everything that a practiced player should do, he did; his nimble fingers raced up and down the frets, his tempo and his modulations were impeccable, yet he did not make music. But we had not come with the intention of hearing music, but of hearing the qualities and power of the guitar, and this was, perhaps, more ably shown by the technicalities of M. La Branche than it might have been in the hands of a more artistic though less able musician.

The shop of Ramirez, the luthier, was down the hill, and to this, thoroughly satisfied about the excellence of his instruments, we went, Perez grumbling to us in undertones.

"That fellow La Branche—he does not play Spanish music. No—he comes from Toulouse. That explains it. It is the talent of the South of France, all on the top, all lively and excitable and showing off—that is how it is. Now I tell you, Monsieur and Madame Gordon, just because of that the Frenchman never will be able to understand our music. You English are nearer to us. You, when you have acquired ability, will play our music with much more insight and much more sensibility than that La Branche."

This comforted us exceedingly, for one day in wrath Modigliani, the Italian painter, had said that it was mere impertinence for an Englishman to think that he could understand the subtleties of the music of Spain.

Ramirez almost makes his guitars out in the street. His workshop was about ten feet square with a door six feet wide. Here was a piece of pure Spain, though we could not recognize it (at the moment having no data), ten feet square, thrust bodily into the lower floor of a French house. The only light came in from the door, but the door was nearly as broad as the room. Almost blocking up the entrance, Ramirez, a burly, blue-jowled Spaniard, with something of the physical construction of a boxer, was working at delicate shavings of wood. Behind him the wall was hung with templates, cut from white wood, of the parts of the instruments he was making, guitars and lauds and bandurrias, strange instruments which Europe, outside of Spain, scarcely knows. On a shelf at the back of the small shop were heaped unfinished bandurrias bound with string, for the glue to become hardened in them. The workshop of Ramirez was not what we had expected. One is, I think, justified in expecting a neatness, a delicacy, about the place where fine musical instruments are made. Had Ramirez been a maker of chairs, or even of cartwheels, his workshop, though small, would have appeared appropriate; but that, from this rough place, could come out "the most difficult of musical instruments to make" disturbed one's sense of suitability.

The greeting which Ramirez gave us touched with doubt the picture which we had conceived of the amiability of the Spaniard. There was no cordiality in him. Some of his aloofness cleared away when he had penetrated through the disguise of a dandy to the real Perez beneath, but he continued his occupation, and to the statement that we wished him to make a guitar for Jan he shrugged his fat shoulders. He declared that he had already too much work.

"Those two instruments, for instance," he said, pointing to two unfinished guitars elaborately ornamented standing in a corner, "I have already been nine months over those, and have not had time to finish them. It is true they are exhibition instruments, for shops, and therefore have little if any interest for me."

Perez led him on with compliments, thawing away his frostiness gradually with Jan's admiration for the guitar of M. La Branche. Suddenly Ramirez put down his tools.

"Look here," he said, "I'll make the Señor a guitar. Three hundred francs is the price, and it will be finished in three months."

The bargain concluded, Ramirez picked up one of the unfinished instruments. He handed it to Jan, exhorting him to explore with a finger the exquisite workmanship of its interior. He rapped on the belly with his knuckle, and at the sound of its deep musical boom he smiled for the first time. Ramirez, having thawed, did not freeze up again. He began explaining the novel shape of his instrument, a shape which had been worked out for him by a mathematical philosopher. He said that the guitar was the most difficult of musical instruments to make, requiring a volume of tone which had to be produced from strings easy to pluck and finger. A problem very difficult to solve.

"And the guitar I made for you," he said, turning to Perez, "you gave it to S——?"

"Yes," said Perez.

"See here," said Ramirez, turning to us, "I make a guitar, an excellent one, one of my best. This fellow comes to see me, he hears the instrument. He says to me, 'Ramirez, keep that guitar for me, and I will at once go to work in a French munition factory, and I will work like a slave, and every week I will send you money until the guitar is paid for.' And I agree. And he goes and makes aeroplanes, and does honest work for the first time in his life, I believe, and every week he sends money to me. And the week it is all paid up he stops work and goes off with the guitar. And he is crazy about the instrument. And he goes back to Spain and then he hears S—— playing. He is so enraptured by the wonderful playing of the man, that he runs home, fetches his guitar, and thrusts it into S—— 's hands, exclaiming: 'Here is an instrument worthy of you. It is too good for me, for I am a mere bungler beside you.' And so he gives away the guitar that he has laboured for. Ah yes, you villain, I have heard of you."

As we went down the hill, Perez tried to explain away this generosity so characteristic of his impulsive nature.

"It is not as though I would have played on the instrument again after having heard S—— touch it. Every time that I wished to play I would have thought, 'Ah yes, but if only he were playing it and not I.' And I had to give it to him, or perhaps I would never have been able to play again."

He asked us to come that evening to a certain small café in the Rue Campagne Premier; some other Spaniards were to come also and there was to be playing and singing. We were to come after the legal closing time, and we were to thump on the shutters.

In the night, in the dark, we rapped upon the rusty iron shutters, and one by one, like conspirators, were admitted into the dimly-lit café. It was a small place, characteristic of Paris, a combination of buvette with zinc bar, and cheap restaurant with marble-topped tables. Five years ago a good meal could be bought here for less than a franc. Behind the bar bottles and glass vats reached up to the ceiling; upon the dirty, green, oil-painted walls, cheap almanacs and trivial popular prints hung, together with excellent drawings and sketches, presented to Madame by her clients. One by one the invités slipped in. Madame and her two girl waitresses laughed and giggled at the kitchen door, while the patron, grey-moustached, hollow-eyed and cadaverous, uncorked the bottles of wine behind the bar.

Here again for several hours the Spaniards re-created Spain. Perez is a player of temperament. Half of his skill and art he appears to suck from his audience. Thus at first he plays but indifferently well; but any music will rouse a crowd of Spaniards. To the growing excitement Perez responds, playing the better for it, thus creating more enthusiasm, and these interchanges continue, until he reaches the limit of his ability. But he is so sensitive to his audience that one indifferent person can take the edge off all his power. This night there was no one unresponsive. The playing of Perez became more and more brilliant. With his nails be rasped deep chords from his responsive instrument; to and fro he beat the strings in the remorseless rhythm of Jota Arragonesa. In the dimly lit café the dark figures and the sallow faces of the Spaniards were crowded about him in an irregular circle. "Olé! Olé!" they cried, and clapped their hands in time with the music. The air within the café throbbed and pulsated with the music. "Mais, c'est très bien," exclaimed Madame at intervals from her corner. "C'est très amusant, hein?" Two of the younger men were murmuring to the waitresses and were making them titter.

"Come," exclaimed Perez at last, "enough of this piece playing. Let us have a song. Vamos! who will sing?"

But something, possibly my presence, deterred the Spaniards from singing. They were shy as a group of schoolboys. One at last began to chant in a high quavering falsetto, but before the first half of his copla was ended he broke down into a laugh of hysterical shyness.

"Why then," cried Perez, "I'll have to sing myself, and Heaven knows I've got no voice."

The Spaniard believes that any singing is better than no singing. One of his chief pursuits in life is that of happiness—"allègre" he calls it. This allègre is produced not by perfect results but by evidence of good intentions. He would rather have a bad player who plays from his heart than a good player who plays for his pocket. Any singing, then, so long as it is of the right nature, will suffice, no matter what its musical effect. Perez's singing had allègre, but no music. He lowed like a calf, rising up into strange throaty hoarseness like a barrow merchant who has been crying his goods all day, and descending into dim growls of deep notes. But even he at last tired; and after Madame had been yawning for some while, after the last bottle of wine had been drained of its last drops, we slipped out one by one into the moonlit streets of Paris and said our farewells on the Boulevard