He glanced at the page of
music first through his spectacles, and then, bending forward his head,
_over_ his spectacles. Then he put down the concertina, gingerly, on a
chair, and moved the music half-an-inch (perhaps five-eighths) to the
left. He resumed the concertina, and was on the very point of song, when
he put down the concertina for the second time, and moved the tassel of
his Turkish cap from the neighbourhood of his left ear to the
neighbourhood of his right ear. Then, with a cough, he resumed the
concertina once more, and embarked upon the interpretation of Handel.

It was the Hallelujah Chorus.

Any surprise which the musical reader may feel on hearing that James
Ollerenshaw was equal to performing the Hallelujah Chorus on a
concertina (even one inlaid with mother-of-pearl) argues on the part of
that reader an imperfect acquaintance with the Five Towns. In the Five
Towns there are (among piano scorners) two musical instruments, the
concertina and the cornet. And the Five Towns would like to see the
composer clever enough to compose a piece of music that cannot be
arranged for either of these instruments. It is conceivable that
Beethoven imagined, when he wrote the last movement of the C Minor
Symphony, that he had produced a work which it would be impossible to
arrange for cornet solo. But if he did he imagined a vain thing. In the
Five Towns, where the taste for classical music is highly developed, the
C Minor Symphony on a single cornet is as common as "Robin Adair" on a
full brass band.

James Ollerenshaw played the Hallelujah Chorus with much feeling and
expression. He understood the Hallelujah Chorus to its profoundest
depths; which was not surprising in view of the fact that he had been
playing it regularly since before Helen was born. (The unfading charm of
classical music is that you never tire of it.)

Nevertheless, the grandeur of his interpretation of the Hallelujah
Chorus appeared to produce no effect whatever in the scullery; neither
alarm nor ecstasy! And presently, in the midst of a brief pianissimo
passage, James's sensitive ear caught the distant sound of chopping,
which quite marred the soft tenderness at which he had been aiming. He
stopped abruptly. The sound of chopping intrigued his curiosity. What
could she be chopping? He advanced cautiously to the doorway; he had
left the door open. The other door--between the kitchen and the
scullery--which had previously been closed, was now op