I somehow felt that with him it was impossible to refuse or to say beforehand that I played badly: I sat down obediently at the piano and began to play as well as I could; yet I was afraid of criticism, because I knew that he understood and enjoyed music. The adagio suited the remembrance of past days evoked by our conversation at tea, and I believe that I played it fairly well. But he would not let me play the scherzo. “No,” he said, coming up to me; “you don’t play that right; don’t go on; but the first movement was not bad; you seem to be musical.” This moderate praise pleased me so much that I even reddened. I felt it pleasant and strange that a friend of my father’s, and his contemporary, should no longer treat me like a child but speak to me seriously. Kátya now went upstairs to put Sónya to bed, and we were left alone in the parlour.