Summary

Portrait of Edward S. Van Zile Edward S. Van Zile How Chopin came to Remsen — IV. Signorina Molatti (1901)

At times I was almost inclined to believe that Tom had forgotten Chopin and all his works.
As for myself, I could not recover a normal state of mind. For the first time in my life I felt an admiration for the very characteristics of my husband's make-up that hitherto had annoyed and wearied me. His ability to rebound at once from the shock that he had sustained filled me with both envy and amazement. I had begun to realize that the mental poise of an unimpressionable, unimaginative man is a very desirable and praiseworthy possession.
Source: Wikisource

Portrait of Edward S. Van Zile Edward S. Van Zile How Chopin came to Remsen — IV. Signorina Molatti (1901)

I knew that my callers were actuated by a not unnatural curiosity, and I lacked the nervous energy to face people who would politely claim the right to know why Tom had always concealed his genius as a pianist. I think I fully understand the set in which I move. We dearly love a new sensation. Without leaving my house or receiving a single visitor, I could readily grasp the fact that the leading topic of conversation in society at the moment revolved round Tom Remsen as a masterly interpreter of Chopin.
Source: Wikisource

Portrait of Edward S. Van Zile Edward S. Van Zile How Chopin came to Remsen — IV. Signorina Molatti (1901)

That's what they deserve."
"But—but—Tom, would you try to—to play?" I gasped, in dismay.
Tom laughed in a way that shocked my overwrought nerves. It was a shrill, unnatural note of merriment, that struck me as diabolical. "Play?" he repeated, sardonically. "Why not? Do you imagine, madam, that the marvelous genius of Thomas Remsen, interpreter of Frederic François Chopin, is to be confined strictly to your musicals? That would be a gross injustice to the music-loving world, would it not? But come into the library with me, Winifred.
Source: Wikisource

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