though on what
authority, I am ignorant. As Lincoln said, "For those that like that
sort of thing, it is about the sort of thing they'll like."

KEISER

A contemporary of his was Reinhard Keiser, who died three years later at
the age of sixty-six, and who wrote one hundred and sixteen operas for
the German stage. Like his contemporary, Haendel, he attempted
management, and like Haendel went into a magnificent bankruptcy, but
quite unlike the woman-hater Haendel, he married his way out of poverty.
In 1709 he entered into a matrimonial and financial partnership with the
daughter of an aristocratic town musician of Oldenburg, Hamburg. She was
a distinguished singer, and her talent brought new charm to the
production of his works, and restored prosperity. She seems to have died
before him, for twenty years after his marriage he went to Moscow with
his daughter, who was a prominent singer, and had an engagement there.
She married a Russian violinist, Verocai, and her father spent his last
years at her home.

BONONCINI AND THE SCARLATTIS

Of that exquisite and elegant scamp Bononcini, who was the great rival
of Haendel in the London operatic war, I find no amorous gossip, though
Hawkins says he was the favourite of the Duchess of Marlborough, who
gave him a pension of L500 per year, and had him live in her home until
he was compelled to leave London, by various scandals attached to his
repute as an honest gentleman. He had been in his youth a great admirer
of the style of Alessandro Scarlatti, an eminent composer, both in opera
and sacred music, of whom little is known, except his work; he left a
son, Domenico, who was hardly less famous. But he was a confirmed
gambler, and left his family in great destitution, from which the famous
artificial soprano, Farinelli, rescued them.

CHAPTER XIII.

MOZART

As we come nearer to our own day, the documents concerning the personal
lives of composers begin to multiply. Of the love of Bach we have only
that tantalising allusion to the "stranger maiden." Of Haydn we have
amorous documents enough to make a brochure. When we reach Mozart, his
letters alone fill two comfortable volumes. Of Beethoven there are still
more numerous possessions. By Wagner and Liszt we are fairly
overwhelmed.

Search not for the artist's self in his works of art. This is good
cautious advice. But there are occasional exceptions, and of these
Mozart is the most radiant. The qualities of etern