is a historical account written in the early 20th century. This work delves into the romantic entanglements of famous musicians throughout history, exploring how their personal relationships influenced their music and lives. At the start of the book, Hughes sets the stage for a fascinating exploration of musicians as lovers, presenting a vivid picture of the emotional complex- ities that accompany both music and romance. He establishes a founda- tion for the narrative by introducing various iconic figures from the music world, touching on themes of love and heartbreak. The opening highlights Hughes' commitment to factual storytelling, promising to share the truths behind these musicians' loves while acknowledging the richer, sometimes more tragic, realities that accompany their artistic genius. The text invites readers to reflect on how these famous musicians navigated their affections and the turbulence of their relationships against the backdrop of their mon- umental contributions to music. The very phrase evokes and parades a pageant of amours! The thousand heartaches; the fingers clutching hungrily at keys that might be other fingers; the fiddler with his eyelids clenched while he dreams that the violin, against his cheek is the satin cheek of "the inex- pressive She;" the singer with a cry in every note; the moonlit youth with the mandolin tinkling his serenade to an ivied window; the dead-marches; the nocturnes; the amorous waltzes; the duets; the trills and trinkets of flir- tatious scherzi; the laughing roulades; the discords melted into concord as solitude into the arms of reunion-these are music's very own. So capable of love and its expression is music, indeed, that you almost won- der if any but musicians have ever truly loved, or loving have expressed. And yet-! Round every corner there lurks an "and yet." And if you only continue your march, or your reading, you always reach that corner.