The fictionalized rivalry between Mozart and Salieri, when expanded and made all the more tragic in a play inspired by another play, can hit pretty damn close to home for many creatives. It's the idea of being talented and working one's ass off to reach the pinnacle of art, only to discover another who's a true genius and who seems to breeze through their work and have their stuff celebrated and honored. Everyone else sinks in the shadows in spite of their talent and their hard work, and over time, their reputation and their work fade.
It sucks.
So Children of Hyacinth was inspired by that idea, and the Salieri-like figure in the book is more of a twisted version of the character in the play. Well, it's my take on the character, that is, and it allowed me to really lose myself in themes that matter to me. Like the nature of talent, the commodification of dreams, the abuse of innocents whose trust is manipulated for someone's ambition.
The link between talent and the soul is also something the book explores, in addition to the value of fame and immortality through one's work. The juxtaposition between wealth and fame in Iulian's half of the story and obscurity and poverty in Cosmin's highlights that theme -- along with the fate of those missing prodigies.
The musical pieces that Iulian plays on his violin are descriptions of actual classical compositions for that instrument, and I had to listen to specific pieces repeatedly in order to find the words for them. The finale of Lalo's Symphonie Espagnole, for instance, is an example, and I kept rewatching Anne Akiko Meyers' performance for not only the music, but also the violinist's movements. Cosmin's music led me to look into earlier operas or operettas (18th century or earlier), which were a bit out of my comfort zone.
And as a bonus detail: I used the younger Joshua Bell as inspiration for my physical description of Iulian. I felt Bell's look perfectly fit what I wanted to use in the book though I didn't have anything as specific as this for Cosmin.