BUDDENBROOKS
the imitation of a theme composed backward instead of forward—a very, very difficult thing. Later on, I will show you what an imitation in the Strenge Satz involves. As for the ‘crab,’ I would never ask you to try that. It isn’t necessary. But do not believe those who tell you that such things are trifles, without any musical value. You will find the crab in musicians of all ages. But exercises like that are the scorn of the mediocre and the superficial musician. Humility, Hanno, humility—is the feeling one should have. Don’t forget it.”
On his eighth birthday, April 15th, 1869, Hanno played before the assembled family a fantasy of his own composition. It was a simple affair, a motif entirely of his own invention, which he had slightly developed. When he showed it to Herr Pfühl, the organist, of course, had some criticism to make.
“What sort of theatrical ending is that, Johann? It doesn’t go with the rest of it. In the beginning it is all pretty good; but why do you suddenly fall from B major into the six-four chord on the fourth note with a minor third? These are tricks; and you tremolo here, too—where did you pick that up? I know, of course: you have been listening when I played certain things for your mother. Change the end, child: then it will be quite a clean little piece of work.”
But it appeared that Hanno laid the greatest stress precisely on this minor chord and this finale; and his mother was so very pleased with it that it remained as it was. She took her violin and played the upper part, and varied it with runs in demi-semi-quavers. That sounded gorgeous: Hanno kissed her out of sheer happiness, and they played it together to the family on the 15th of April.
The Frau Consul, Frau Permaneder, Christian, Clothilde, Herr and Frau Consul Kröger, Herr and Frau Director Weinschenk, the Broad Street Buddenbrooks, and Therese Weichbrodt were all bidden to dinner at four o’clock, with the Senator and his wife, in honour of Hanno’s birthday; and
