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A few days later, my father, who was extremely demanding, wanted to witness new physical phenomena.

So we sit down as usual in the dining room, around the table, and wait.

But no movement or noise occurred.

After all we had achieved, how could the furniture remain as inert as it had been for the first three months?

This was beyond our understanding.

Absolutely desperate, my father asked me to go to the piano.

As soon as I was sitting there, one of my fingers began to frantically strike one of the keys.

We were not sure what it meant when my father had the idea that the spirits wanted to talk.

The answer was not long in coming.

The finger in question (or another one, because in the darkness I could not realize which of my ten fingers played this way) struck a note, only once, and my father immediately understood that the hit match would be replaced by the hit note communication.

He called the letters as usual and the answer that Méhul gave us was extraordinary for us.

The spirit announced to us that my physical mediumnity was abolished and that I would never again obtain any phenomenon whatsoever at the table!

- "But why?" cried my father.

- "Because Georges' fluidic strength, Méhul replied, is completely necessary for the musical events we want to interpret. Under no circumstances should there be any expenditure elsewhere."

And it was over. Nothing worked. The stubbornness of my father, who, at all costs, still wanted to see physical facts, came up against the superior will of our friends the musicians.

It was necessary to face the facts and from that moment on, it was my new mediumnity that I completely devoted myself to.

It was Méhul who opened the era of these musical phenomena and from the beginning we could notice the sharpness, the accuracy and the correction of the rhythm of what was being played.

Sometimes, since then, for several hours in a row and without much fatigue, I would play the piano two or three times a week.

I will admit, without wishing to prejudge the musical value of the pieces thus produced, that far from being a chore for me, it was a real pleasure for me to indulge myself in the minds of our great deceased musicians.

Will I mention them all?

I couldn't do that.

What must be noticed, however, is that it was mainly the classics that held our séances.

First Beethoven, then Mendelssohn, Mozart, Bach, Schumann, Schubert, Méhul, Stràdella, Rameau, Chopin, Liszt, Berlioz, F. David, Wagner, etc., etc.

This prevalence of classics can be explained by the fact that both my father and mother were excellent musicians.

I was told that about this prevalence this fact proved nothing, but that on the contrary, if the phenomenon is considered differently than by the spiritualist hypothesis, this musical science could help to explain certain things (?...)

I don't want to prove anything by saying that my father and mother were musicians.

Allow me only to assume that this state of affairs favoured the phenomenon and avoided demonstrations without follow-up.

On the other hand, the objection is for me very obscure and vague, when one comes to claim that this fact may help to explain certain things.

Which ones first?