The age-old bond between humans and animals, particularly our beloved pets, is undeniable. For centuries, animals have offered companionship, joy, and even inspiration to people from all walks of life. It turns out that renowned composers, often perceived as figures dwelling in lofty artistic realms, are no different. Many of these musical geniuses cherished pets, and in some delightful instances, these animals even crept into their compositions. Following up on stories of composers and their animal friends, let’s delve into a few more charming “pet tails,” and yes, we’ll even consider if there’s a “Beethoven Cat” story to be unearthed.
Perhaps one of the most famous tales of feline musical inspiration involves Domenico Scarlatti. Legend has it that Scarlatti’s cat, affectionately named Pulcinella, took a playful leap onto his harpsichord keys, inadvertently creating a sequence of four notes. This unexpected feline melody, unconventional for the period, piqued Scarlatti’s interest so much that he incorporated it into his Fugue in G minor, K. 30. While Scarlatti himself never officially titled it “The Cat Fugue,” the catchy nickname emerged in the 18th century and has remained ever since. The playful origin of this piece is wonderfully captured in performances like Elaine Comparone’s energetic, stand-up rendition.
The anecdote of Scarlatti’s cat clearly resonated with other composers. American composer Amy Beach was so captivated by the story that it spurred her to create her own Fantasia fugata, Op. 87. She even included a charming inscription: “The composer is indebted to ‘Hamlet’, a large black Angora who had been placed on the keyboard with the hope that he might emulate Scarlatti’s cat and improvise a fugue.” Joanne Polk’s performance brings Beach’s imaginative piece to life.
Moving on to another musical giant, Wolfgang Amadeus Mozart, we discover a different kind of feline connection. Mozart was known for his eccentricities, and among them was a peculiar fondness for imitating cats. Stories abound of Mozart, seemingly succumbing to boredom, suddenly bursting into loud meows and playfully leaping over furniture.
Interestingly, Mozart’s affection for cats may have inadvertently played a role in validating his early career. When the Mozart family journeyed to London while Wolfgang was just nine years old, the esteemed Royal Society expressed skepticism about his age. Doubting that such prodigious talent could exist in someone so young, they suspected he was actually an “adult dwarf” and that his father, Leopold, was exaggerating his son’s age for greater acclaim.
To ascertain the truth, they dispatched Daines Barrington to investigate. Barrington subjected young Mozart to various tests, including having him play the piano with the keys covered to assess his tactile ability. During this examination, a cat, described as a family favorite, entered the room. The young Mozart, naturally drawn to the feline, abandoned the piano to play with it. Reportedly, it took considerable time to coax him back to the instrument. This display of typical childlike behavior is said to have finally convinced Barrington that Mozart was indeed a child prodigy, dispelling the “adult dwarf” theory.
Jumping forward in time, we encounter Maurice Ravel, another composer with a deep affinity for cats. While the exact number of cats Ravel owned simultaneously is debated, accounts suggest he had at least seven Siamese cats, his preferred breed, residing with him. Ravel reportedly claimed to understand and speak “cat language,” engaging in feline conversations even in the presence of guests.
His feline companions were given free rein in his workspace, often seen frolicking and even climbing onto his piano. Ravel’s fondness for cats also manifested musically. In his opera L’enfant et les sortilège (The Child and the Spells), a mischievous boy’s mistreatment of his belongings leads to a fantastical revolt by toys, furniture, and animals, including a memorable “Duo miaule” – a dark and humorous cat duet for male and female voices. A performance from São Paulo captures the playful yet eerie essence of this scene.
Ravel’s devotion to his cats was so profound that he would regale visitors with endless anecdotes about them and fill pages of letters to family and friends detailing their every antics.
Now, what about the question of a “Beethoven cat”? While no definitive record confirms that Ludwig van Beethoven ever owned a cat, one animal did manage to find a place in his affections. The renowned composer, around 40 years old at the time, had fallen in love with his 18-year-old piano student, Therese Malfatti, and proposed marriage. Many speculate that Therese declined his proposal due more to Beethoven’s notoriously volatile temperament than the age gap. Despite the romantic relationship not materializing, Beethoven formed a friendship with Therese’s dog, Gigons. In a letter to a friend, Beethoven wrote, “You’re wrong to think Gigons only goes to you. No, I too had the good fortune to have him stick to my company. He dined by my side in the evening, and then accompanied me home. In short, he provided some very good entertainment.” So, while not a cat story, Beethoven’s connection with Gigons reveals a softer side and appreciation for animal companionship.
Another composer known for his love of dogs was English composer Edward Elgar. Before marrying, Elgar owned a spaniel named Marco. Sadly, his wife Alice wasn’t fond of dogs, and Elgar remained dogless throughout their 30-year marriage. He found solace in walks with his friend George Robertson Sinclair’s bulldog, Dan, who was immortalized in No. XI of the “Enigma” Variations. Elgar described the musical depiction of Dan as “falling down the steep bank into the River Wye, paddling upstream to find a landing place, and his rejoicing bark on landing.” The Symphony Orchestra of India beautifully performs this variation.
After Alice’s passing in 1920, Elgar welcomed two dogs into his life, another Marco and Mina. A charming anecdote recounts that during a live broadcast concert he conducted at the age of 70, Elgar concluded with a short speech that included a “good night” to Mina. The dog, hearing her name and her master’s voice over the radio, was said to have become excitedly animated.
American avant-garde composer George Crumb, who recently passed away, was also a known dog lover. His 1998 suite for guitar and percussion, Mundus Canis (A Dog’s World), is a musical portrait of the dogs his family owned over the years. The final movement, “Yoda,” isn’t a Star Wars reference, but rather named after his dog Yoda, “…a fluffy-white animal of mixed parentage and mercurial temperament.” The piece’s ending is sure to bring a smile to your face.
CODA: And for those who are definitively “cat people,” we leave you with one more piece. The Duetto buffo per due gatti, often attributed to Gioachino Rossini, is believed by scholars to have some musical elements by Rossini, but the iconic “cat parts” are likely additions by another composer. Numerous amusing versions can be found online, but some are truly “pawsitively hiss-terical!”
This exploration reveals that while perhaps Beethoven isn’t directly associated with a cat muse, the world of classical music is rich with stories of composers finding companionship and even creative sparks in their pets, both feline and canine. These anecdotes remind us that even the most celebrated artists are often inspired by the simple joys and connections found in the animal kingdom.
