Young Sherlock Holmes: Fire Storm

‘That’s the problem,’ Stone said. ‘You don’t know what the problem is. If you don’t know what the problem is, you can’t fix it.’

He rubbed the back of his neck and wandered away, obviously struggling to find a way to explain to Sherlock just what he was doing wrong. He was wearing a loose striped shirt with the sleeves roughly rolled up and a waistcoat that seemed to have come from a decent suit, but his trousers were rough corduroy and his boots were scuffed leather. He swung round to look at Sherlock for a moment, and there was a kind of wild bafflement in his face, along with what Sherlock realized with a sickening twist of his heart was disappointment.

Sherlock turned away, not wanting to see that expression in the face of a man he considered a friend as well as a kind of older brother.

He let his gaze roam around the room they were in – anywhere so that he didn’t have to look at Stone. They were in the attic of an old building in Farnham. Stone rented a room on the floor below, but his landlady had taken a shine to him and let him rehearse and practise his violin – and teach the one music student he had so far taken on – in the expansive attic area.

The space was large and dusty, with beams of sunlight penetrating through gaps in the tiles and forming diagonal braces that seemed to be holding the triangular roof up just as well as the wooden ones. The acoustics, according to Stone, were marginally worse than a hay barn, but considerably better than his room. There were boxes and trunks stacked around the low walls, and a hatchway off to one side that led down, via a ladder, to the upper landing. Navigating the ladder with a violin and bow clutched in one hand was tricky, but Sherlock liked the isolation of the attic and the sense of space.

One day, he thought, I will have my own place to live – somewhere I can retreat from the world and not be bothered. And I won’t let anyone else in.

Pigeons fluttered outside, blocking the sunlight momentarily as they roosted. Cold penetrated the attic from the street, fingers of frosty air finding their way through the spaces between the tiles.

He sighed. The violin felt heavy in his hand, and somehow clumsy, as if he had never picked one up before. The music stand in front of him held the score of a piece by Mozart – a violin transcription, according to Stone, of a famous aria called ‘The Queen of the Night’s Song’ from an opera called The Three Oranges. The black notes captured between the lines of the staves were, as far as Sherlock was concerned, like a code, but it was a code he had quickly worked out – a simple substitution cipher. A black blob on that line always meant a note that sounded like this – unless there was a small hash in front of it that raised it slightly to a ‘sharp’, or a small angular letter ‘b’ that lowered it slightly to a ‘flat’. A sharp or a flat was halfway towards the note either directly above or directly below the one he was playing. It was simple and easy to understand – so why couldn’t he turn the written music into something that Rufus Stone could listen to without wincing?

Sherlock knew he wasn’t progressing as quickly as Stone would have liked, and that irked him. He would have liked to have been able just to pick up the instrument and play it beautifully, first time and every time, but sadly life wasn’t like that. It should be, he thought rebelliously. He remembered feeling the same way about the piano that sat in his family home. He’d spent hours sitting at it, trying to work out why he couldn’t play it straight away. After all, the thing about a piano was its relentless logic: you pressed a key and a note came out. The same key led to the same note every time. All you had to do, surely, was remember which key led to which note and you should be able to play. The trouble was, no matter how hard he had thought about it, he had never been able to sit down and play the piano like his sister could – flowing and beautiful, like a rippling stream.

Four strings! The violin only had four strings! How hard could it be?

‘The problem,’ Stone said suddenly, turning round and staring at Sherlock, ‘is that you are playing the notes, not the tune.’

‘That doesn’t make any sense,’ Sherlock responded defensively.

‘It makes perfect sense.’ Stone sighed. ‘The trees are not the forest. The forest is all of the trees, taken together, plus the undergrowth, the animals, the birds and even the air. Take all that away and you just have a load of wood – no feeling, no atmosphere.’

‘Then where does the feeling come from in music?’ Sherlock asked plaintively.

‘Not from the notes.’

‘But the notes are all that’s on the paper!’ Sherlock protested.

‘Then add something of your own. Add some emotion.’

‘But how?’

Stone shook his head. ‘It’s the small gaps you put in – the hesitations, the subtle emphases, the slight speedings up and slowings down. That’s where the feeling lives.’

Sherlock gestured at the music on the stand. ‘But that’s not written on there! If the composer wanted me to speed up or slow down then he would have written it on the music.’

‘He did,’ Stone pointed out, ‘in Italian. But that’s only a guide. You need to decide how you want to play the music.’ He sighed. ‘The problem is that you’re treating this like an exercise in mathematics, or grammar. You want all the evidence set out for you, and you think that your job is to put it all together. Music isn’t like that. Music requires interpretation. It requires you to put something of yourself in there.’ He hesitated, trying to find the right words. ‘Any performance is actually a duet between you and the composer. He’s given you the bulk, but you have to add the final ten per cent. It’s the difference between reading out a story and acting out a story.’ Seeing the forlorn expression on Sherlock’s face, he went on: ‘Look, have you ever seen the writer Charles Dickens reading one of his own stories to an audience? Try it sometime – it’s well worth the cost of a ticket. He does different voices for different characters, he throws himself around the stage, he speeds up at the exciting bits and he reads it as if he’s never seen it before and he’s just as keen as the audience to find out what happens. That is how you should play music – as if you’ve never heard it before.’ He paused and winced. ‘In a good way, I mean. The trouble is that you play music as if you’ve never heard it before and you’re trying to work it out as you’re going along.’

That was pretty much the way it was, Sherlock thought.

‘Should I give up?’ he asked.

‘Never give up,’ Stone rejoined fiercely. ‘Never. Not in anything.’ He ran a hand through his long hair again. ‘Perhaps I’ve been going at this the wrong way. Let’s take a different tack. All right, you approach music as if it’s a problem in mathematics – well, let’s look for musicians who write mathematics into their music.’

‘Are there any?’ Sherlock asked dubiously.

Stone considered for a moment. ‘Let’s think. Johann Sebastian Bach was well known for putting mathematical tricks and codes into his tunes. If you look at his Musical Offering there’s pieces in there which are mirror images of themselves. The first note and the last note are the same; the second note and the second from last note are the same; and so on, right to the middle of the piece.’

‘Wow.’ Sherlock was amazed at the audacity of the idea. ‘And it still works as music?’

‘Oh yes. Bach was a consummate composer. His mathematical tricks don’t detract from the music – they add to it.’ Stone smiled, realizing that he’d finally snagged Sherlock’s attention. ‘I’m not an expert on Bach by any means, but I understand there’s another piece by him which is built around some kind of mathematical sequence, where one number leads on to the next using some rule. It’s got an Italian name. Now, let’s try that Mozart again, but this time, as you’re playing it, I want you to bring back those feelings. Remember them, and let them guide your fingers.’

Sherlock raised the violin to his shoulder again, tucking it into the gap between his neck and his chin. He let the fingers of his left hand find the strings at the end of the neck. He could feel how hard his fingertips had become under Stone’s relentless tutelage. He brought the bow up and held it poised above the strings.

‘Begin!’ Stone said.

Sherlock gazed at the notes on the page, but rather than trying to understand them he let his gaze slide through them, looking at the page as a whole rather than each note as something individual. Looking at the wood, not the trees. He remembered from a few minutes before what the notes were, then took a deep breath and started to play.

The next few moments seemed to go past in a blur. His fingers moved from one string to the next, pressing them down to make the right notes, fractionally before his brain could send his fingers a signal to