“The only love affair I have ever had was with music.”
Maurice Ravel
The history of classical music, however, is full of fabulously gifted individuals with slightly more earthy ambitions. Love stories of classical composers are frequently retold within a romanticized narrative of sugarcoated fairy tales. To be sure, happily-ever-after stories do on rare occasions take place, but it is much more likely that classical romances lead to some rather unhappy endings. Johannes Brahms had an overriding fear of commitment, Claude Debussy drove his wife into an attempt at suicide, Francis Poulenc severely struggled with his sexual identity, and Percy Grainger was heavily into whips and bondage. And that’s only the beginning! The love life of classical composers will sometimes make you weep, or alternately shout out with joy or anguish. You might even cringe with embarrassment as we try to go beyond the usual headlines and niceties to discover the psychological makeup and the societal and cultural pressures driving these relationships. Classical composer’s love stories are not for the faint hearted; they are heightened reflections of humanity at its best and worst. Accompanying these stories of love and lust with the compositions they inspired, we are able to see composers and their relationships in a completely new light.
Johann Strauss II Abschied von St. Petersburg (1858) An der schonen, blauen Donau (The Beautiful Blue Danube), Op. 314 (1867) Die Fledermaus (1874) I am not entirely sure who coined the saying “like father, like son”, but they certainly could
Johann Strauss Täuberlin-Walzer, Op. 1 Kettenbrücken-Walzer, Op. 4 “Homage to Queen Victoria of Great Britain”, Op. 103 (1838) “Radetzky March”, Op. 228 (1848) One would be hard pressed not to agree with the assessment of a contemporary music critic, who
By the summer of 1874, Bedřich Smetana (1824-1884) was fighting an apparently minor throat infection that resulted in a blockage to his ears. By September, however, he had lost all hearing in his right ear, and by October he was
After merely two years in London, Faustina Bordoni departed for Venice. Exhausted from her petty quarrels with Francesca Cuzzoni, and tired of a feuding and bickering general public and musical establishment — which of course included Handel’s futile attempts at
“She had a mezzo-soprano voice, that was less clear than penetrating. Her execution was articulate and brilliant. She had a fluent tongue for pronouncing words rapidly and distinctly, and a flexible throat for divisions, with so beautiful a shake that
In an interview, conducted by a special correspondent to the New York Times in London on 2 June 1874, Georgina Weldon defiantly declared “according to some authorities, an atmosphere of scandal is not only favorable to the development of musical
Georg Philipp Telemann TELEMANN, G.P.: Pimpinone [Opera] (1725) For one reason or another, scholarship has been unable to ascertain the exact number of children sired by Georg Philipp Telemann (1681-1767). This numerical uncertainly—not all together uncommon in the history of
Felix Mendelssohn Song without words Book 1, Op 19No. 6 Andante sostenuto in G minor “Venezianisches Gondellied” (Venetian Boat Song) No. 1 (1830) Piano Concerto No. 1 in G minor Op. 25 (1830-31) On his way to Italy, Felix Mendelssohn