At times it seemed as if I heard the sharp, staccato
sounds of a harp. Presently Clara recovered her self-possession, but
upon the whole I thought she had played but indifferently. I was very
much surprised indeed when after she had finished there rose such a
storm of applause as I had not heard even in Paris, where Clara was
received with exceptional enthusiasm. During the short pause, amateurs
and professionals began discussing the music, and in their animated
faces I read perfect satisfaction. The cheering lasted until Clara
reappeared on the platform. She stepped forth with downcast eyes, and
I who could read her face saw what she wanted to express: "You are
very kind, and I thank you for it; but it was not good and I feel
inclined to cry." I too had applauded with the rest, for which I
received a passing glance full of reproach. Clara loves her art too
much to be gratified by undeserved applause. I felt sorry for her, and
should have liked to say a few encouraging words, but the continued
cheering did not permit her to leave the platform. She sat down again
and played Beethoven's Sonata in cis-moll, which was not on the
programme. There is, I believe, no composition in the whole world that
shows with the same distinctness the soul torn by tragic conflict;
especially in the third part of the Sonata, the _Presto-agitato_.
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