Whatever food music may have been to Händel's greatness, there was another food that rivalled it in his esteem; and that food was the symphonic poetry of the cook. For Händel was almost equally famous both as a composer and a digester. In this he was rivalled by the father of French opera, Lully, who was a gourmand, in spite of the fact that he spent his early life as a kitchen boy. He led his wife a miserable existence on account of his hot temper, his brutality, and his excesses in solid and liquid food. After him came Rameau, who, like Stradivari, fell in love with a widow while he was still in his teens and she well out of hers. He did not wed, however, until he was forty-three, and then he wed an eighteen-year-old girl, who was, they say, a very good woman, and who did her best to make her husband very happy. But he was taciturn, and rarely spoke even to his own family, and spent on them almost less money than words. Another opera composer of the time was Reinhard Keiser. He married a woman who, with her wealth and her voice, rescued his operatic ventures from bankruptcy. These make a rather sordid and unromantic group.
But again there stalks forth, to confound all our theories, the superb figure of Gluck, who fell in love but once, and then for all time, with Maria Anna Pergin, who loved him, and whose mother approved of him, but whose purse-proud father despised him for a musician. The lovers accepted the rebuff as a temporary sorrow only, and Providence, like a playright, removed the stern parent in the next act. Gluck flew back from Italy to Vienna to his betrothed, "with whom to his death he dwelt in happiest wedlock." She went with him on his triumphal tours, and spent her wealth in charities. They had no children of their own, but adopted a niece. The devoted wife used to play his accompaniment as he sang his own music, and when he died he took especial pains that she should be his sole and exclusive heir, even leaving it to her pleasure whether or not his brothers and sisters should have anything at all.
Plainly we should be thinking that music has a purifying, ennobling, and substantial effect upon society, if only Gluck's friend and partisan, the successful composer and immortal writer, Jean Jacques Rousseau, would not intrude upon the picture with his faun-like paganisms and magnificently shameless "Confessions."
Jostling elbows with him comes Gluck's chiefest rival, Piccinni, one of the most beautiful characters in history, a man who could wage a mortal combat in art, without bitterness toward his bitter rivals. He could, when Gluck died, strive to organise a memorial festival in his honour, and when his other rival, Sacchini, was taken from the arena by death, he could deliver the funeral eulogy. This Sacchini, by the bye, was a reckless voluptuary, who seems never to have married.
Piccinni was the very beau ideal of a father and a husband. He and his wife, who was a singer of exquisite skill and a teacher of ability, gave little home concerts, which were events. They and their many children went through more vicissitudes than have fallen to the lot of many musicians; but always they loved one another and their art, and there always remains that picture which the Prince of Brunswick stumbled upon, when he knocked at Piccinni's door, and found him rocking the cradle of one of his children, while another tugged at his coat in boisterous fun, and the mother beamed her enjoyment.
Hardly less ideal, though far more picturesque and dramatic, was the romance of Mozart.
This goldenhearted genius was a composer at an age when many children have not commenced to learn their ABC's; he was a virtuoso before the time when most boys can be trusted with a blunt knife. Kissed and fondled by great beauties, from the age of five, it is small wonder that Mozart began to improvise upon the oldest theme in the world precociously. His first recorded love affair is found in his letters at the age of thirteen. He loved with the same radiant enthusiasm that he gave to his music, and while some of his flirtations were of the utmost frivolity, such as his hilarious courtship of his pretty cousin, the "Bäsle," he was capable of the completest altruism, and could turn aside from the aristocracy to lavish his idolatry upon the fifteen-year-old daughter of a poor music copyist, whose wife took in boarders. For this girl, Aloysia Weber, he wanted to give up his own career as a concert pianist; he wanted to give up the conquest he had planned of Paris, and devote himself to the training of her voice, to writing operas for her exploitation, and to journeying in Italy for the production of these operas and the promulgation of her talents. Yet after breaking his heart, as he supposed, for the gifted and fickle woman who became a successful prima donna,—after losing her, he did that most impossible thing which could never happen in real fiction, and sought his consolation in the arms and in the heart of Aloysia's younger sister, who was not especially pretty, and was only modestly musical. But her name was Constanze, and she lived up to it.
Constanze could always read to him, and tell him stories as he liked to have her do while he composed, and she could cut up his meat for him lest in his absent-mindedness he carve off one of his valuable fingers. And when she was ill, as she frequently was, there could be no gentler nurse than he. Besides, when winter was upon them, it was no winter of discontent, for if the fire gave out and the fuel could not be afforded, could they not always waltz together?
Twice Mozart must make concert tours for money, and twice he came home poorer than he went, but at least he left the world some of the gentlest and most hearty love-letters in its literature. When he was at home, Vienna was busy with anecdotes of his devotion. He was indeed so good a husband that Constanze could not even withhold forgiveness for certain occasions when he strayed from the narrow path of absolute fidelity; for she knew that his heart had its home with her. When he died, supposedly of malignant typhus, she tried to catch his disease and die with him, and her health broke so completely that she could not attend his funeral; and when she was recovered enough to visit the cemetery, she could not discover, what no man has since found out, in just what three-deep pauper's grave Mozart was buried.
All in all, in spite of certain ficklenesses in which this immortal musician has been surpassed by lovers of all walks of life, from blacksmiths to bishops, music has created one of tenderest, most honest of all romances.