But to turn from these unsatisfactory violin makers to violin players: I know nothing of the great Corelli's personal history; his pupil Geminiani is said to have led a life full of romance. Philidor spent his years chiefly in the intrigues of chess-playing. The great Tartini, whom the devil visited in the dream he immortalised in his famous Sonata del Diavolo, had a checkerboard career. As a young university student he fell in love with a niece of Cardinal Cornaro, and married her in secret. Like Romeo, his romance brought him separation and exile. His parents cast him off; the cardinal made his life unsafe. He fled from Padua, and took up the violin to save him from starvation. "And some have greatness thrust upon them."
One day, as he was playing at the monastery where he was in retirement, the wind blew aside a curtain just as a fellow townsman was passing. He took home the news, and by this time resentment had died out so much, that Tartini and his young wife were permitted to resume their romance. They went to Venice. Later his ambition for the violin caused them to separate, but finally they returned to Padua to live. Burney says that his wife was "of the Xantippe sort." His love story somewhat suggests that of Desmarets, who also had to flee for his life in consequence of a secret marriage, and who was twenty-two years appeasing the wrath of the aristocratic family.
A contemporary violinist and composer was Benedetto Marcello, whose melodramatic affair has been described by Crowest and may be quoted here, with full permission to believe as much of it as you please.
"Marcello was the victim of a hopeless passion for a beautiful lady, Leonora Manfrotti, and on the occasion of her marriage to Paolo Seranzo, a Venetian of high rank, Marcello was unwise enough to send her a rose and a billet-doux containing words more complimentary to the lady's beauty than to her taste in the choice of a husband. This epistle, coming to Seranzo's notice, caused him so violent a fit of jealousy that he tormented his young wife by supervision and suspicion to such an extent that she actually sank under his ill-treatment and died. Her body was laid out in state in the church 'Dei Frari,' and here Marcello seeing it, learned the ill effects of his rash passion. He fell into a state of melancholy madness, and at last, having with the craft and ingenuity of a madman succeeded in stealing the body of his love, he conveyed it to a ruined crypt in one of the neighbouring islands, which, bearing the reputation of being haunted, was seldom visited by any one. Here, watched only by a faithful old nurse, he sat day and night watching the dead form of Leonora, singing and playing to it as though by the force of music he would recall her to life.
"Long ere this, Venice, and indeed Italy, was full of excitement at the composition of some unknown musician (no other than Marcello). Among other admirers of this music was Eliade, twin sister of Leonora, and resembling her so closely that even friends could scarcely distinguish her. Eliade had even been effected to insensibility by the strain of the unknown, and hearing one day a gondola pass, in which a voice was singing one of the songs which was an especial favourite, in such a way as she had never heard it sung before, she followed and traced the gondola to the deserted island. A visit to this island resulted in a meeting with the old nurse, and a few explanations. The ingenious woman contrived to take advantage of a short absence of Marcello, and, substituting the living sister for the dead one, awaited the mad musician. This time, however, his usual invocation was not in vain: as he called on Leonora to awake, a living image arose from the coffin, and Marcello, restored to happiness by the delusion, was quite content with the exchange when he found out that, although the lady was not Leonora, she was a devoted admirer of his musical skill, and professed an 'affinity of soul' for him, in which her sister had been wanting. Their happiness was short-lived, for Marcello died a few years after their marriage."
This has a faint resemblance to the romance of "The Quick or the Dead," with a certain vice-versation.
LOUIS SPOHR
To come back to earth: The eminent violinist, Spohr, and his pupil, Francis Eck, made an extensive concert-tour together, in which they rivalled each other almost more in their rapid series of amorous adventures, than in their more legitimate concert work. While in St. Petersburg, Eck met the daughter of one of the members of the Imperial Orchestra, and began a flirtation, which she took so seriously that her father gave him the alternative of matrimony or Siberia. After some hesitation he chose matrimony. Had he foreseen the sequel, he would doubtless have greatly preferred Siberia, for his wife was a virago, and collaborated with his ill-health to guide him to the madhouse.