Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/111

RV 101 (BUDDENBROOKS) Suddenly there is a hubbub below the vestibule door, a stamping and shuffling of feet, as of many people entering together; and a ringing, noisy voice echoes through the whole house. Everybody rushes to the landing, blocks up the doors to the salon, the dining-room, and the smoking-room, and peers down. Below is a group of fifteen or twenty men with musical instruments, headed by a gentleman in a brown wig, with a grey nautical beard and yellow artificial teeth, which he shows when he talks. What is happening? It is Consul Peter Döhlmann, of course: he is bringing the band from the theatre, and mounts the stairs in triumph, swinging a packet of programmes in his hand!

The serenade in honour of the hundredth anniversary of the firm of Johann Buddenbrook begins: in these impossible conditions, with the notes all running together, the chords drowning each other, the loud grunting and snarling of the big bass trumpet heard above everything else. It begins with “Now let us all thank God,” goes over into the adaptation of Offenbach’s “La Belle Hélène,” and winds up with a pot-pourri of folk-songs—quite an extensive programme! And a pretty idea of Döhlmann’s! They congratulate him on it; and nobody feels inclined to break up until the concert is finished. They stand or sit in the salon and the corridor; they listen and talk.

Thomas Buddenbrook stood with Stephan Kistenmaker, Senator Dr. Gieseke, and Contractor Voigt, beyond the staircase, near the open door of the smoking-room and the flight of stairs up to the second storey. He leaned against the wall, now and then contributing a word to the conversation, and for the rest looking out into space across the balustrade. It was hotter than ever, and more oppressive; but it would probably rain. To judge from the shadows that drove across the skylight there must be clouds in the sky. They were so many and moved so rapidly that the changeful, flickering light on the staircase came in time to hurt the eyes. Every other minute the brilliance of the gilt chandelier and the brass instruments

RV 101 (101)