"Musicians as lovers! The very phrase evokes and parades a pageant of
amours! The thousand heartaches; the fingers clutching hungrily at keys
that might be other fingers; the fiddler with his eyelids clenched while
he dreams that the violin, against his cheek is the satin cheek of "the
inexpressive She;" the singer with a cry in every note; the moonlit
youth with the mandolin tinkling his serenade to an ivied window; the
dead-marches; the nocturnes; the amorous waltzes; the duets; the trills
and trinkets of flirtatious scherzi; the laughing roulades; the discords
melted into concord as solitude into the arms of reunion—these are
music's very own.
So capable of love and its expression is music, indeed, that you almost
wonder if any but musicians have ever truly loved, or loving have
expressed. And yet—! Round every corner there lurks an "and yet." And
if you only continue your march, or your reading, you always reach that
corner.
Your first thought would be, that a good musician must be a good lover;
that a broken heart alone can add the Master's degree to the usual
conservatory diploma of Bachelor of Music; that all musicians must be
sentimental, if musicians at all; and finally that only musicians can
know how to announce and embellish that primeval theme to which all
existence is but variations, more or less brilliant, more or less in
tune.
But go a little further, and closer study will prove that some of the
world's greatest virtuosos in love could neither make nor carry a tune;
and that, by corollary, some of the greatest tunesters in the world were
tyros, ignoramuses, or heretics in that old lovers' arithmetic which
begins: 1 plus 1 equals 1.
If you care to watch the cohort of musicians, good, bad, and worse, that
I shall have to deploy before you, you shall see almost every sort and
condition of love and lover that humanity can include. And
incidentally—to tuck in here a preface that would otherwise be
skipped—let me explain that in the following affairs I have preferred
to give you the people as accurately as I can make them out.
In place of the easy trick of stringing together a number of gorgeous
fairy stories founded on fact, I have preferred the long labour of
hunting down the truth and telling only what I have found and believe to
be true. Fact and not fancy; presentation and not fiction; have been the
aim throughout. Where the facts are sparse, I have not hesitated to say
so; have not stooped to pad out gaps, with graceful and romantic
imaginings; and have indeed never hazarded a guess or an inference
without frankly branding it as such.
Furthermore, as far as space permits and documents exist, the musicians
tell their own stories in their own words."
HUGHS, Rupert. The Love Affairs of Great Musicians. Vol. I
