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The small road network calls for nice wide streets. Those going north-south are two-way while the roads running east-west are one-way. One road runs along in front of these houses. A straight line from the gateway to the forest where the cattle grid is going in and over the dam wall to a car park on the other side. Another runs from a matching car park at the other end of the dam to the road down from the front gate. Three roads run between those two. One this side of the big block of houses which is one-way to the main gate, one on the other side of the main block of houses are one-way this way from the main gate, and a third between the other row of houses one-way to the front road. That puts the petrol station with a farm road on either side and the shire road on the front. Both front gates allow people out while those coming in do so via the petrol station or the main gate to come down the centre road. Across the street from the top road beyond the houses are the electricity. But then he plays Les Barricades Mysterieuses by the great 17th century French composer Francois Couperin. A master of the keyboard in his day and one of the principal musicians at the court of Versailles under Louis XIV.”“The mysterious barriers?”“Yes, exactly. This is followed by an excellent transcription of a very well known violin concerto; Vivaldi’s La Tempesta di Mare. In this there are passages of sublime beauty; quite unequalled in my experience and I know the concerto very well.”Barricelli paused for effect but Claudia only responded with a look of growing concern.At last she said, “Go on professore.”“Finally there is another transcription of a French 17th century piece, this one originally written for viola da gamba. It is The Dreaming Girl by Marin Marais. Once again, beautifully played with uncommon sensitivity and tasteful ornamentation.”Barricelli then checked his tone and his enthusiasm; his voice returning to its casual mode. Claudia looked at him with a mixture of.
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