It was winter when Brigid began in the sculleries and when the dancing-master came to the house. Every evening she would return home across the hill in the dark, but after the first few times she knew the way well, keeping to the stony track, grateful when there was moonlight. She took with her, once in four weeks, the small wage Mr Crome paid her, not expecting more until she was trained in the work. When it rained she managed as best she could, drying her clothes in the hearth when she got home, the fire kept up for that purpose. When it rained in the mornings she could feel the dampness pressed on her all day.
The servants were what Brigid knew of Skenakilla House. She heard about the Master and Mrs Everard and the family, about Miss Turpin and Miss Roche, and the grandeur of the furniture and the rooms. She imagined them, but she had not ever seen them. The reality of the servants when they sat down together at dinnertime she brought home across Skenakilla Hilclass="underline" long-faced Thomas, stout John, Old Mary starting conversations that nobody kept going, Lily Geoghegan and Annie-Kate giggling into their food, the lugubriousness of Mr Crome, Mrs O’Brien flushed and flurried when she was busy. She told of the disappointments that marked the widowhood of the Widow Kinawe, of Jerety wordless at the dinner table, his garden boys silent also.
‘Ah, he’s no size at all. Thin as a knife-blade,’ was the hearsay that Brigid took across Skenakilla Hill when the dancing-master arrived. ‘Black hair, like Italians have. A shine to it.’
At one and the same time he played the piano and taught the steps, Mr Crome said, and recalled another dancing-master, a local man from the town, who had brought a woman to play the piano and a fiddler to go with her. Buckley that man was called, coming out to the house every morning in his own little cart, with his retinue.
‘Though for all that,’ Mr Crome said, ‘I doubt he had the style of the Italian man. I doubt Buckley had the bearing.’
Once Brigid heard the music, a tinkling of the piano keys that lasted only as long as the green, baize-covered door at the end of the kitchen passage was open. John’s shoulder held it wide while he passed through with a tray of cups and saucers. At the time, Annie-Kate was showing Brigid how to fill the oil lamps in the passage, which soon would become one of her duties if Mr Crome decided she was satisfactory. Until that morning she had never been in the passage before, the sculleries being on the other side of the kitchen wing. ‘That same old tune,’ Annie-Kate said. ‘He never leaves it.’ But Brigid would have listened for longer and was disappointed when the baize door closed and the sound went with it. It was the first time she had heard a piano played.
Three days later, at dinnertime, Mr Crome said:
‘The Italian has done with them. On Friday he’ll pack his traps and go on to Skibbereen.’
‘Can they do the steps now, Mr Crome?’ Annie-Kate asked, in the pert manner she sometimes put on at the dinner table when she forgot herself. Once Brigid heard Mrs O’Brien call it cheek, giving out to Annie-Kate in the kitchen, and Annie-Kate came into the sculleries afterwards, red-faced and tearful, dabbing at her face with her apron, not minding being seen by Brigid, the way she would by the others.
‘That is not for us to know,’ Mrs O’Brien reprimanded her, but Mr Crome pondered the question. It was a safe assumption, he suggested eventually, that the dancing-master wouldn’t be leaving unless the purpose of his visit had been fulfilled. He interrupted a contribution on the subject from John to add:
‘It’s not for that I mention it. On Thursday night he is to play music to us.’
‘What d’you mean, Mr Crome?’ Mrs O’Brien was startled by the news, and Brigid remembered hearing Lily Geoghegan once whispering to Annie-Kate that Mrs O’Brien was put out when she wasn’t told privately and in advance anything of importance in Mr Crome’s news.
‘I’ll tell you what I mean, Mrs O’Brien. It’s that every man jack of us will sit down upstairs, that John and Thomas will carry up to the drawing-room the chairs we are occupying this minute and arrange them as directed by myself, that music will be played for us.’
‘Why’s that, Mr Crome?’ Annie-Kate asked.
‘It’s what has been arranged, Annie. It’s what we’re being treated to on Thursday evening.’
‘We’re never sitting down with the Master and Mrs Everard? With the girls and Miss Turpin and Miss Roche? You’re having us on, Mr Crome!’ Annie-Kate laughed and Lily Geoghegan laughed, and John and Thomas. Old Mary joined in.
But Mr Crome had never had anyone on in his life. For the purpose of the dancing-master’s recital, the drawing-room would be vacated by the family, he explained. The family would have heard the music earlier that same day, in the late afternoon. It was a way of showing gratitude to the dancing-master for his endeavours that he was permitted to give his performance a second time.
‘Is it the stuff he’s always hammering out we’ll have to listen to?’ Annie-Kate asked. ‘The waltz steps, is it, Mr Crome?’
Mr Crome shook his head. He had it personally from Miss Turpin that the music selected by the dancing-master was different entirely. It was music that was suitable for the skill he possessed at the piano, not composed by himself, yet he knew every note off by heart and didn’t need to read off a page.
‘Well, I never!’ Mrs O’Brien marvelled, mollified because all that Mr Crome said by way of explanation had been directly addressed to her, irrespective of where the queries came from.
*
On that Thursday evening, although Brigid didn’t see the Master or Mrs Everard, or the girls, or Miss Turpin or Miss Roche, she saw the drawing-room. At the end of a row, next to the Widow Kinawe, she took her place on one of the round-bottomed chairs that had been arranged at Mr Crome’s instruction, and looked about her. A fire blazed at either end of the long, shadowy room and, hanging against scarlet wallpaper, there were gilt-framed portraits, five on one wall, four on another. There were lamps on the mantelpiece and on tables, a marble figure in a corner, the chairs and the sofa the family sat on all empty now. A grand piano had pride of place.
Brigid had never seen a portrait before. She had never seen such furniture, or two fires in a room. She had never seen a piano, grand or otherwise. On the wide boards of the floor, rugs were spread, and in a whisper the Widow Kinawe drew her attention to the ceiling, which was encrusted with a pattern of leaves and flowers, all in white.
Small, and thin as a knife-blade, just as she had described him herself, the dancing-master brought with him a scent of oil when he arrived, a lemony smell yet with a sweetness to it. He entered the drawing-room, closed the door behind him, and went quickly to the piano, not looking to either side of him. He didn’t speak, but sat down at once, clasped his hands together, splayed his fingers, exercising them before he began. All the time he played the music, the scent of oil was there, subtle in the warm air of the drawing-room.
There had been a fiddler at the wake of Brigid’s grandmother. He was an old man who suffered from the coldness, who sat close in to the hearth and played a familiar dirge and then another and another. There was keening and after it the tuneless sound continued, the fiddler hunched over the glow of the turf, Brigid’s grandmother with her hands crossed on her funeral dress in the other room. But while the lamplight flickered and the two fires blazed, the dancing-master’s music was different in every way from the fiddler’s. It scurried and hurried, softened, was calm, was slow. It danced over the scarlet walls and the gaze of the portrait people. It lingered on the empty chairs, on vases and ornaments. It rose up to reach the white flowers of the encrusted ceiling. Brigid closed her eyes and the dancing-master’s music crept about her darkness, its tunes slipping away, recalled, made different. There was the singing of a thrush. There was thunder far away, and the stream she went by on Skenakilla Hill, rushing, then babbling. The silence was different when the music stopped, as if the music had changed it.