"...Father Rachin, the director of 'Pond's Edge Reformatory,' was harsh and merciless, believing that only strict discipline and punishment could 'save' these children's souls."
"...One day, Clément Mathieu, a failed musician, arrived here to serve as supervisor."
"...Mathieu discovered that the children lived in fear, but deep down, they still retained their innocence and kindness."
"...He noticed that students often hummed tunes during breaks, and so he wanted to form a 'chorus'."
"...Mathieu decided to use music to change everything, teaching the children to sing. ..."
"...The students were initially resistant, but gradually moved by Mathieu's patience. ..."
As Lionel eloquently narrated, Debussy and Maupassant both became engrossed in the story.
Debussy's fingers tapped lightly on the tabletop, as if already composing music for the story.
"...The most talented in the chorus was a boy named Pierre, who had an angelic voice—but he was also the naughtiest student."
"...Director Rachin, however, believed 'music was useless' and tried to disband the chorus."
"...Mathieu secretly led the children in night rehearsals, and the children sang better and better!"
"...Mathieu secured an opportunity for the children to perform before the Countess."
"...The children's singing deeply moved the Countess; she was brought to tears and donated a lot of money to 'Pond's Edge'."
"...Mathieu was eventually fired. When he left, the children were locked in the classroom by the director, forbidden from seeing him off."
"...The children were clever and brave; they said goodbye to Mathieu in their own way."
"...Mathieu left, but the seeds of music had taken root and sprouted in every child's heart—some of them later became true musicians!"
Lionel finally finished telling the story.
Seeing Debussy's and Maupassant's reactions, he knew the chances of success were high.
The story of 'The Chorus' originated from the 2004 French film Les Choristes.
The Chinese title for the film is "放牛班的春天" ('The Spring in the Herding Class')—of course, this latter name is a Chinese interpretive translation, while Les Choristes is its original French title.
The main storyline of the film is largely consistent with what Lionel narrated, except the setting has been changed from France in 1949 to France in the 1870s.
Even the 'Pond's Edge Reformatory' could be perfectly transposed.
In the 19th century, such reformatories housing orphans and troubled youths were primarily managed by the Church.
Of course, these places usually had a poor reputation, and children often died there, making them one of France's darkest corners.
Lionel was quite courageous to set the story in a reformatory.
Tears welled in Debussy's eyes, which were already red—as a young man pursuing his musical dreams and holding music as his life's faith, how could he not be moved by this story?
When he first heard Maupassant relay Lionel's request, he thought the music would just be a small accompaniment for this unnamed play—like in all other light comedies.
But after hearing the story of 'The Chorus,' he realized how terribly wrong he had been.
In this play, music was not an accompaniment, but an indispensable core element—only then did he understand why Lionel repeatedly requested 'the entire month of October, wholeheartedly' for cooperation.
Just from the recent narration, he knew that the composition workload would be substantial this time.
Maupassant's reaction was much simpler—he had fallen into depression and regret again.
Actually, after telling the story of 'Boule de Suif' at the 'Médan Evening Gathering' in July, he had regained full confidence in his own writing.
Although Lionel's 'Father Milon' had a unique temperament and fierce style, in terms of narrative depth and emotional subtlety, it still had a certain gap compared to 'Boule de Suif'.
Maupassant almost felt he could stand shoulder to shoulder with Lionel.
But after the story of 'The Chorus' was finished, he started doubting himself again—the immense dramatic charm contained within this play, which used music to change the fate of a group of abandoned children, left him unable to extricate himself.
Maupassant suddenly stood up from his chair:
"Alright, you two continue talking, I'm going upstairs first."
Lionel showed a surprised expression:
"What's the hurry? I'm treating you to lunch, how about 'Black Forest'?"
Maupassant shook his head like a rattle-drum:
"No, I need to go upstairs and finish 'Boule de Suif'! This week, this week I'll definitely send it to Émile!"
With that, he turned and left, clambering up the stairs, leaving Lionel and Debussy with perplexed expressions.
Only Maupassant knew he couldn't wait any longer—if he delayed 'Boule de Suif' for another two months, plus the necessary publication cycle for a novel...
If the performances of 'Médan Evening Gathering' and 'The Chorus' happened to clash, the entire Parisian literary and artistic scene would undoubtedly focus on 'The Chorus'!
Then his own masterpiece would very likely be overshadowed.
This immense anxiety made Maupassant unable to sit still for even a second!
Watching Maupassant's figure disappear at the stairwell, Lionel turned to Debussy and said:
"The story takes place in a reformatory, and, well, it's all managed by the Church..."
"So, I need you to compose some sacred-sounding choruses... like 'Ave Maria' and so on. The effect I need is—"
"If someone comes to check on the rehearsals, as long as they hear these melodies, they will unhesitatingly believe it's a play praising God for saving children..."
"Can you do that?"
This request was a bit strange, and didn't quite fit Debussy's compositional style.
But for 200 francs, he still agreed:
"No problem, Mr. Sorel. When do we start?"
Lionel calculated:
"We'll start in October; I still need to make some preparations this week."
Debussy nodded:
"Okay, I'll come to you then. I'll compose based on how much you've written."
Lionel shook his hand:
"It's a deal!"
————
"With all due respect, Mr. Sorel, this is blackmail! Your demands are outrageous!" Sister Anna Maria of the 'Sisters of St. Martha' said with an angry expression.
She looked at the young man before her, finding his smile surprisingly obnoxious at this moment.
Sister Anna Maria's tone revealed uneasiness:
"We might be able to exert influence on the police department; the Church and the 'Cultural Department' have always cooperated well."
"But the Comédie-Française... every performance there involves tens of thousands of francs in box office revenue. And they often stage plays suspected of blasphemy..."
"And you actually want them to listen to us and schedule your play for Christmas? That's preposterous!"
Lionel spread his hands:
"I've already shown my greatest sincerity... If you can't do it, that's your problem."
Then he leaned closer to Sister Anna Maria, smiling even more sincerely:
"Sister, why don't you listen to the story of this play first?"
Sister Anna Maria waved her hand:
"I don't understand plays..."
Lionel dismissed it:
"I'm not reading a script, just listen—this story takes place in 'Pond's Edge Reformatory,' a reformatory managed by the Church."
"The director there is a strict and resolute priest, who always disciplines the children strictly according to the rules, hoping they can turn away from the wrong path and embrace light...'"
As Lionel narrated, Sister Anna Maria's gaze gradually softened.
Lionel had just reached the part where
"Mathieu organized the 'chorus' and started singing 'Ave Maria.' Amidst the beautiful melodies, the children's faces gradually lost their aggression, becoming sacred and gentle..."
He then paused and asked:
"You see, if this story could be performed at Christmas..."
Sister Anna Maria took a deep breath:
"Alright... we will try our best... I hope this is the beginning of our good cooperation!"
Lionel stood up and bowed slightly:
"I believe 'The Chorus' will move all of Paris."
Sister Anna Maria fingered her rosary:
"Let's hope so..."
————
Returning home, Lionel smelled the aroma of red wine oxtail soup that Patty had stewed.
Patty met him in the hallway, chatted with Lionel for a few moments, and finally couldn't help but ask:
"Young Master, when will Sister Alice return?"
Lionel patted her head:
"Soon... but first, we have a big thing to do."
Patty showed a puzzled expression:
"What big thing?"
Lionel smiled:
"Moving! In just a few days! We're moving to a new apartment where the living room can fit a piano..."
(End of Chapter)
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