Sometimes, or rather ... often, Henk didn't get what
the conversation between Marie and Carmenita was
about. For example when they talked about their
acquaintances, or when music terminology was
involved. Also he couldn't make anything of
sentences like "... that 'Bolwieser' ends the
same way as 'Siddhartha'." But he didn't ask
to explain things. He actually only listened
to the murmur of their voices and was so much
in love that he just was staring into space.
Or he was thinking: "One thing I hope is that
Boet doesn't turn up here shortly." Yet they
managed to involve Henk in their artistic work.
Carmenita played pieces on the piano for him.
"Look, I'll explain it to you on the basis of
the score of Capriccio. Imagine: a room in
Rococo style. Poet Olivier and musician Flamand,
who call themselves 'verliebter Feinde'
(enemies in love) and 'freundliche Gegner'
(friendly opponents), want to let the countess
decide between the things they stand for.
Here on page 16, Olivier sings 'Wort oder Ton?'
(word or tone) and Flamand answers: 'Sie wird
es entscheiden' (she will decide). Oliver again:
'Prima le parole dopo la musica!' (words before
music). Flamand: 'Prima la musica dopo le parole!'
so..." "Wait a minute, slow down. I can read
music, but I have to decode the notes one by one.
I picked it up helping my father punching organ
books. See if I still can: f f f a ... " "Yes, and the
raise from f to a, then is the question mark."
