How could it be different? While writing the music, Arthur thinks about her. Her spectacular hair, long, blond and curly; her tall stature emphasized by stiletto heels; her small, round glasses. Ines obeys two rules: she always wears leather, and systematically itemizes her worries. The current project is no exception. Obviously, every step of the process is more difficult than the previous one. Between deceptions and low blows, from problem to complication, Ines shakes her curls while exhaling deep sighs.
From the outside however, it seems to Arthur that his friend’s production increases. The completed statues colonize her apartment. The grant obtained for the project realization has been renewed three times.
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| While writing the music, Arthur thinks about her. |
Nevertheless, despite appearances, it turns out that the sculptress views things very precisely. Arthur can from now on attest to that. The discreet contribution of oboe? Too reserved! A crescendo, then? No, it makes it incisive. As for the sustained rhythm, forget it! It might disturb the potential buyers. The hardly discernable bass is plain to a fault. Voices, yes, Ines likes the idea. But a warm tone would be more appropriate. Henceforth, does their collaboration add to Ines’s daily laments?
Arthur composes voluntarily. His friend's criticism affects him little; he complies without qualms, altering flawless versions. Yet, because Arthur has great talent, the music continuously improves. When Ines declares herself satisfied, the musician has composed a masterpiece. The opening is a triumph. The press goes wild the very next day; as for the public, it besieges the avant-gardist concert room. Sculptures? What sculptures? So begins Arthur Langmann's long and fruitful career.