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Composers get peculiar ideas into their heads as to the circumstances under which they must work, or the surroundings that must be at hand if they are to get the best results in composition. No doubt after the habit is once formed, the regular accompaniments to composition are necessary. But the question is as to the necessity of forming the habit.

Haydn thought he could not compose unless he had on the ring which Frederick the Great sent him; and, besides this, the paper on which he wrote must be white and of the best quality. Glück wrote best when seated out in the middle of a field. Rossini was most productive of good music when "lined within with good sack wine;" and he and Paesiello both enjoyed composing while in bed.

Sacchini enjoyed having a pretty woman by his side—by the way, several of the great composers had no aversion to such an accompaniment, whether composing or not—and his pet cats must be playing around him. Mozart could compose beautiful music while playing billiards or bowls. Zingarelli prepared himself for writing music by reading the Scriptures or some classic author, and Sarti liked best a funereal gloom lighted only by a single taper.

Beethoven could compose best during or after a brisk walk in the woods and fields, and many of his greatest works were inspired by the beauties of nature.

Cimarosa and Mehul were opposites in this matter. The former wished to be surrounded by a dozen gabbling friends. The light conversation and flow of spirits (probably of two kinds) seemed to inspire his music. On the other hand, Mehul once went to the Chief of Police of Paris and asked to be imprisoned in the Bastile. That personage in surprise inquired the reason. Mehul said he desired to get away from the noise and bustle