And So The Dance Begins…

Many of you will be pleased to know that, without intention, I ran into Monsieur Holmes at the museum today; I thought perhaps he had come to see me, but then I hear that from him that he was pleased had come to see him. It seems that not only do both our cases involve the art, but both of our cases center around the Denver Art Museum. We went to the cafe to discuss many subjects; I asked him – par la force, I might add -what had occurred to him back in New York that led me to take the train to Boston par moi-même. He recounted to me that he had an unnamed bienfaiteur of his own, not unlike mon Monsieur Administrateur, who had forbidden him to join me to Boston. He has since retained hesitations about the will of his own bienfaiteur but, since that same bienfaiteur led him to meet me, so in his mix of, I believe, a ‘benefit of doubt’ and his financial necessity, he has followed his benefactor to Denver. His explanation seemed plausible, and though I struggled to appease the original insult that I felt I was satisfied with his reply. An apology would have been met with appréciation.

He also described to me the details of his new case involving the disappearance of an artist who specialized in restoration painting, called Jack Vincent. He discovered that the man had apparently visited the museum to do his work but he was dismayed by the utter difference in the man’s behavior as described by his colleagues – far detached from the disappearance of the man’s wife. I described my own case to him, involving the piece of music that was played the prior Monday early morning.

Now, we both soon came to the conclusion that the cases were related and that perhaps our information was best shared à l’unisson. However, when it came to how we would work together, we found strong disagreement. He seemed rather unimpressed by my case (he was not the first) and felt our joint efforts were best served on his case of gravity. I angrily contested that this was not a case of gravity as such an act would have required much skill and conspiration, likely of a malevolent kind. And while I understood his own case was dire, with a soul on the line, I thought it would be best to focus on the lead of this tape and not chase a ghost where we do not know where it is! In great agitation we decided to leave our separate ways, and focus on our separate parts until – if and when – they lead us to a common case. In this spirit of, perhaps one would say, concours, I focused greatly on analyzing this tape today.

It is most strange; the song, it is complex, kinetic – frenetic, perhaps – but it appears to consist only of a male baritone vocal and piano accompaniment – perhaps it is another, perhaps the singer. He seemed to struggle at the higher parts, as if his piece was adapted for the voice of another – then again, at various points I confess there seemed to be some missing element in the background that would have completed it. Nevertheless the singer is amazingly talented.

The lyrics as well, I struggle to make out, since they are operatic, sung bombastically and not in my first language; however I have made some lyrics out.

“Serve the meal [...]  maid;

Serve the master [...]

tables, plans and maids [...]

[...] again!

[this part slows down; I make it out better]

[...] faithful friend

once again [...].

Your young guest [...] -

I, the master, you, the man

When you met you wore my cloak

[...] not have seen your face

She believes she dines with me

in her master’s [...]

Furtively, we’ll [...]

*Stealing what, in truth is mine*

When it’s late and [...] with the wine

You come home! I [...] voice

Slam the door like [...]

I shall say, Come hide with me

[...] Of course my room

[...] chance

Here’s my hat, my cloak and (sod?)

Conquest is assured,

If I do not forget myself (in love?)”

Here it abruptly ends. The kinetic energy of the song finds only a single interruption at the point I have marked d’un astérisque. Having heard this line with the most clarity of any line, I find it disturbing. Our perpetrator is telling us something… ominous. If only I could know what it was…

Hercule Poirot

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15 Responses to “And So The Dance Begins…”

  1. QXZenith Says:

    Monsieur Poirot,

    I recognize snatches of this song from a popular musical by Andrew Lloyd Weber entitled Phantom of the Opera. This leads me to believe that it is connected with a young man who, in much the same way that you are here from a different place and time, has been transported here from his own place, where he is, to all intents and purposes, the Phantom of the Opera (I believe he is currently going by the name Richard Leroux).

    This individual is highly dangerous and is working closely with a few other desperate criminals with the aim of preventing those such as yourself from ever returning home.

    Godspeed,
    Qara-Xuan

    • QXZenith Says:

      Monsieur Poirot,

      I just recalled a further detail about that song. If I remember correctly, it appeared in the musical as a part of the “play-within-a-play” entitled Don Juan Triumphant.

      I feel this detail is highly relevant, as not only has your friend Holmes also had his attention drawn to something relating to Don Juan, but also a man named Don Juan, like yourselves and M. “Leroux”, has been transported to this time and place from his own, and he is in cahoots with the Phantom of the Opera, equally dangerous and cunning.

      A bientot,
      Qara-Xuan

      • saintofdeduction Says:

        Fascinant! If this music exists in a different fuller form I would like to view it to see what I can find – perhaps lyrics or a rendition of some kind. IF this Don Juan is actually involved, as you say, the choice of this music is like to tell us something…

      • QXZenith Says:

        Monsieur Poirot,

        I am copying below the full lyrics to the song as best as I can find them. As well, this link: http://www.youtube.com/watch?v=xgFTvLw_nJo will enable you to listen to it yourself.

        Je suis, comme toujours, votre alliée loyale,
        Qara-Xuan

        CHORUS: Here the sire may serve the dam,
        here the master takes his meat!
        here the sacrifical lamb
        utters one dispairing bleat.
        CARLOTTA AND CHORUS: Poor young maiden!
        For the thrill on your tongue of stolen sweets,
        You will have to pay the bill- tangled in the winding sheets!
        Serve the meal and serve the maid!
        Serve the master so that, when tables, plans and maids are laid
        Don Juan triumphs once again!
        DON JUAN (PIANGI): Passarino faithful friend
        Once again recite the plan
        PASSARINO: Your young guest believes I’m you,
        I, the master, you the man.
        DON JUAN(PIANGI): When you met, you wore my cloak,
        With my scarf you hid your face.
        She believes she dines with me
        In her master’s borrowed place!
        Furtively, we’ll scoff and quaff,
        Stealing what in truth is mine,
        When it’s late and modesty
        starts to mellow with the wine!
        PASSARINO: You come home! I use your voice…
        Slam the door like crack of doom!
        DON JUAN (PIANGI): I shall say
        Come hide with me!
        Where oh where? Of course, my room
        PASSARINO: Poor thing hasn’t got a chance
        DON JUAN(PIANGI): Here’s my hat, my cloak and sword.
        Conquest is assured
        If I do not forget myself and laugh
        AMINTA(CHRISTINE): No thoughts within her head but thoughts of joy
        No dreams within her heart, but dreams of love
        PASSARINO: Master?
        DON JUAN(PHANTOM): Passarino, go away,
        for the trap is set and waits for his prey!
        You have come here
        In pursuit of your deepest urge
        In pursuit of that wish which till now has been silent…
        Silent
        I have brought you
        That our passions may fuse and merge
        In your mind you’ve already succumbed to me,
        dropped all defenses
        Completely succumbed to me
        Now you are here with me
        No second thoughts
        You’ve decided
        Decided.

      • saintofdeduction Says:

        Indeed – this is the very song! Merci beaucoup mon alliée loyale!

        So the piece as written is divided between the chorus, Don Juan, Passarino and Aminta. Our piece was but sung by one man and a piano accompaniment. It also ends before the entrance of Aminta; but beyond those two differences it seems roughly the same

        Except that in the musical link you provided, there was no emphasis on Don Juan’s line that he was to “Steal what in truth is mine.” Our musician – whoever it was – made a deliberate decision to emphasize this one line. The song has the message but in this line I believe the true nature of his plot is revealed! What could it be that he has stolen? What could he regarded in this museum as ‘in truth his own’??

      • QXZenith Says:

        It comes together!
        Our friend M. Holmes has mentioned that the museum worker who showed him around the museum made a point of showing him a painting entitled The Magnificent Don Juan.

        Don Juan could certainly consider such a portrait to be “in truth his own”, n’est-ce pas?

        Comme toujours,
        Qara-Xuan

  2. Genndy Oda C.O.G. Says:

    Crackers. Everything is coming together.

  3. Genndy Oda C.O.G. Says:

    We believe that it may not be the Phantom whom you are dealing with, but Don Juan, another member of their organization. Be on the lookout, Mr. Poirot. This will be… interesting, to say the least.

  4. H Says:

    Could you indicate the length of the pauses with seconds?

    • saintofdeduction Says:

      the true *pause* I would say was brief – not half a second on each end of that particular line – but “And I’ll steal what in truth is mine” was emphasized with a slower, smoother piece; I am not a musician but I believe with the right terms the piece was characteristically staccato, it changed to legato and, then it changed back to staccato again.

  5. H Says:

    You may find the following website helpful:

    http://en.m.wikipedia.org/wiki/Don_Juan_Triumphant#section_4

    As a musician, I congratulate you on your grasping of our terms, which are dreadfully confusing to all! Singers are not supposed to sing stacato, as it obscures the voice and makes the vowels unclear. Perhaps this singer is untrained or wants to obscure the words?

  6. H Says:

    If you want another transcription, http://en.wikipedia.org/wiki/Costochondritis

  7. yankeewhite Says:

    As stated previously, Holmes was shown the “Portrait of the Magnificent Don Juan” and also discovered an out of place staple gun.
    My theory, the culprit (Don Jaun or maybe someone else) left the recording expressing his intents. Then assuming the identity of Mr. Jack Vincent, Holmes’ missing art restorer, replaces the original using the staple gun and walks off with the original print.
    There are also full-sized posters of the artwork in the gift shop, which may or may not be what was used as the replacement. Holmes has not confirmed this part yet, just more speculation on my part.
    I hope I’m correct and one or both of you investigate the “Portrait of the Magnificent Don Juan” painting. I wonder which one of you will get there first?

  8. TheWildWestPyro Says:

    Dear Monsieur Poirot:

    I am not sure whether this will be important to you, because I have been away for 7 days.

    But it seems the Phantom, the title character of a book, and a extremely famous and successful musical, is in our world. He takes the name of Richard Leroux.

    Here is something for you.

    http://xovr.net/i_LQ1nQG6k.php

    The password, for some reason, is ” Gurt”

    Sincerly,

    The Wild West Pyro

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