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+The Project Gutenberg EBook of Nicolo Paganini: His Life and Work, by 
+Stephen Samuel Stratton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Nicolo Paganini: His Life and Work
+
+Author: Stephen Samuel Stratton
+
+Release Date: April 29, 2012 [EBook #39571]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NICOLO PAGANINI: HIS LIFE AND WORK ***
+
+
+
+
+Produced by Bryan Ness, Henry Flower and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+book was produced from scanned images of public domain
+material from the Google Print project.)
+
+
+
+
+
+Transcriber's Note: Italic text is denoted by _underscores_ and bold
+text by =equal signs=.
+
+
+
+
+     NICOLO PAGANINI:
+     HIS LIFE AND WORK.
+
+
+
+
+     PRINTED BY E. SHORE AND CO.,
+     3, GREEN TERRACE, ROSEBERY AVENUE, LONDON, E.C.
+
+
+
+
+[Illustration: _Plate I.--See Appendix._
+
+PORTRAIT OF NICOLO PAGANINI BY MAURIN.]
+
+
+
+
+     _"THE STRAD" LIBRARY, No. XVII._
+
+     NICOLO PAGANINI:
+     HIS LIFE AND WORK,
+
+     BY
+     STEPHEN S. STRATTON.
+
+
+     "_Natura il fece, e poi ruppe la stampa._"
+
+                             ARIOSTO.
+
+     _WITH TWENTY-SEVEN ILLUSTRATIONS._
+
+     London:
+     "THE STRAD" OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C.
+     J. LENG & CO., 186, FLEET STREET, E.C.
+
+     New York:
+     CHARLES SCRIBNER'S SONS, 153-157, FIFTH AVENUE.
+
+     1907.
+
+
+
+
+PREFACE.
+
+
+The author of this work did not live to see the final sheets in print.
+Although it has not received his revision, yet the book has had careful
+editing. Mr. Stratton did not undertake the Life of Paganini without
+adequate preparation. He had during many years thoughtfully studied the
+artist and his attributes, and became an acknowledged authority on the
+subject. He gathered from all available sources the most reliable
+information. Almost his last journey was a pilgrimage to Paganini's
+birthplace. This volume will exhibit his versatility, particularly the
+chapter giving the analyses of Paganini's compositions. It is therefore
+the most complete account of the greatest virtuoso recorded in the
+annals of music. Those who peruse this most interesting biography of
+Paganini, will naturally desire to learn something of the writer.
+
+Stephen Samuel Stratton was born in London on December 19th, 1840. He
+began his career as a chorister of St. Mary's Church, Ealing. He studied
+harmony and composition under Charles Lucas. As an organist, he held
+these appointments--St. Mary the Virgin, Soho; and St. James's Church,
+Friern Barnet. On his removal to Birmingham in 1866, he was organist at
+St. Barnabas Church; Edgbaston Old Parish Church; St. John's, Harborne;
+and the Church of the Saviour (1878-1882). In 1879 he commenced a series
+of chamber concerts in Birmingham.
+
+From 1877 until the day of his death, Mr. Stratton was the musical
+critic of the "Birmingham Daily Post." In that position his influence
+was decidedly beneficial. He was also a contributor to the London
+Musical Press. He will be remembered as the joint author (with Mr. James
+D. Brown) of "British Musical Biography." His "Life of Mendelssohn" was
+written for Messrs. Dent's "Master Musicians." Among other items may be
+mentioned "Musical Curiosities," and valuable papers read before the
+"Incorporated Society of Musicians."
+
+In private life he was highly esteemed--an honorable citizen--a genial,
+kind hearted man, with a genuine love of his profession. He died, after
+a short illness, in Birmingham, on June 25th, 1906.
+
+                        R. H.
+
+
+
+
+CONTENTS.
+
+
+     CHAPTER I.
+                                              PAGE
+
+     BOYHOOD                                     1
+
+     CHAPTER II.
+     EARLY TRIUMPHS                              9
+
+     CHAPTER III.
+     ITALIAN TOURS                              22
+
+     CHAPTER IV.
+     TOURS ON THE CONTINENT                     35
+
+     CHAPTER V.
+     FIRST VISIT TO ENGLAND                     50
+
+     CHAPTER VI.
+     FINAL TOUR                                 61
+
+     CHAPTER VII.
+     DEATH                                      73
+
+     CHAPTER VIII.
+     PAGANINI, THE MAN                          85
+
+     CHAPTER IX.
+     THE ARTIST AND HIS CONTEMPORARIES         107
+
+     CHAPTER X.
+     HIS METHODS IN PLAYING                    128
+
+     CHAPTER XI.
+     HIS COMPOSITIONS                          148
+
+     CHAPTER XII.
+     MEMORIALS                                 191
+
+
+     APPENDIX.--NOTES ON THE ILLUSTRATIONS     195
+
+     BIBLIOGRAPHY                              201
+
+
+
+
+NICOLO PAGANINI:
+
+HIS LIFE AND WORK.
+
+
+
+
+CHAPTER I.
+
+
+There are some names, the mere mention or thought of which conjure up
+distinct personalities; such are Handel, Bach, Beethoven, Wagner; but
+not one has the extraordinary individuality of that of Paganini. Though
+few can be living who ever saw the man, though his portraits are not now
+commonly to be met with, the name of Paganini at once calls up a
+picture--weird, uncanny, demoniacal; brings back the faint echo of
+performances long lost in the corridors of time; and excites the
+imagination in a manner altogether unique. The last few years have
+witnessed the appearance of an unprecedented number of wonderful young
+violinists, whose achievements culminate in the marvellous playing of
+the boy Franz von Vecsey. These manifestations are almost enough to
+induce belief in the theory or doctrine of reincarnation, and to make
+one fancy that the great Genoese is once again in the flesh. These
+violinists, too, are all playing Paganini's music; they seem to glory in
+it, and so do the audiences, although to many serious and worthy folk
+it is mere clap-trap stuff. This revived interest in Paganini and his
+music seems to render the present an appropriate time to restate the
+case of the man and the artist, notwithstanding the extensive literature
+already associated with his name.
+
+It is a curious fact that nearly every distinguished musician, composer
+or executant, has his namesakes. There was a constant succession of
+Bachs in Thuringia for nearly two centuries; Beethoven's father and
+grand-father were musicians; there were four Mozarts, musicians; and
+more than twenty Wagners of some standing in the musical world. No one
+seems to have traced the pedigree of Paganini, but he was preceded and
+followed by others bearing the same name, and such particulars as can be
+gleaned concerning these Paganinis may not be without interest, and at
+least may serve by way of introduction to the greatest of them all.
+
+Dr. Burney, in his account of Italian Opera in London during the last
+half of the eighteenth century, names a Signor and Signora Paganini as
+engaged for the season of 1760-61. They came from Berlin, and the Doctor
+is ungallant enough to say that the lady, known as "The Paganini," was
+not young. She made her _début_ on November 22, 1760, in Galuppi's "Il
+Mondo della Luna," in a _buffa_ part, and was very captivating. At her
+benefit, when another opera by Galuppi was given--"Il Filosofo di
+Campagna,"--such a crowd assembled as had never been seen on any other
+occasion. Not one third of those who presented themselves at the
+Opera-house were able to obtain admission. "Caps were lost, and gowns
+torn to pieces, without number or mercy, in the struggle to get in.
+Ladies in full dress, who had sent away their carriages, were obliged to
+appear in the streets and walk home without caps or attendants."
+"Luckily the weather was fine," adds the Doctor, who witnessed this
+uncommon spectacle. "The Paganini" thus anticipated the extraordinary
+triumphs of the more famous artist of half a century later. Signor
+Paganini, the husband, was only "a coarse first man," and sang almost
+without a voice. Next comes Ercole Paganini, born at Ferrara, about
+1770, the composer of several operas, produced at La Scala, Milan, and
+at Florence, from 1804 to 1810. A tenor singer named Paganini appeared
+in opera at Florence in 1830, was decidedly successful and became highly
+popular in Genoa in 1836. After Francesco Lamperti was appointed (in
+1850) professor of singing at the Conservatorio, Milan, among the good
+pupils he turned out was one named Paganini, of whom, however, no
+particulars are forthcoming. In 1865, Cesare Paganini, a theoretical
+writer, published a treatise at Florence; and in November, 1898,
+Signora Franceschati-Paganini was the Brünnhilde in a performance of
+"Götterdämmerung," at Bologna. Then there was Dr. Paganini, who was
+perhaps the brother in whose charge young Nicolo was allowed to go to
+Lucca in 1798. Whomsoever he may have been, this Dr. Paganini died in
+1835, which event gave rise to a rumour that the great violinist
+was dead--a rumour happily untrue. This Dr. Paganini was not a
+fiddle-player, but a fiddle-fancier. He possessed a violin ornamented
+with mother-o'-pearl and ebony, which had belonged to a Shah of Persia,
+the favourite violin of Lord Byron (so it was said), one that had
+belonged to Stanislaus of Poland, father-in-law of Louis XV., one that
+had been played upon by Charles IV. of Spain (the enthusiast who had
+quartet performances at six in the morning, and who scorned to "keep
+time,") and another, once the property of that monarch's favourite, Don
+Manuel de Godoy, Duke of Alcudia.
+
+All the Paganinis mentioned above were eclipsed by _the_ Paganini
+(_pace_ Dr. Burney), the artist who stood alone, whose life was full of
+strange vicissitudes, who was worshipped and calumniated, who was
+applauded as perhaps never artist was before nor since, yet who was
+laughed at, hissed--only once--brought before the law-courts--threatened
+with imprisonment and mobbed within an ace of being lynched. As a child
+of four, Paganini narrowly escaped being buried alive; from youth up he
+was a constant sufferer from physical disorders; he had no real home
+till he was fifty-two; after death his remains were refused burial for
+five years; and when his body had rested in the grave for half a century
+it was exhumed, apparently in order that his features might once more be
+gazed upon. Truly, Paganini's story is a romance, a drama, a tragedy. We
+may not look upon his like again, nor is it desirable that we should;
+for his life conveys a moral that few can fail to discern.
+
+The artist is the child of his age. What kind of age was it that
+produced Paganini? A few years before he was born there came into the
+world one who was to set Europe aflame. The age was the age of
+revolution. Thrones tottered; armies devastated the Continent, and Italy
+became a mere appanage of the French Empire. The political upheaval was
+accompanied by a revolution in art. The romantic school in music arose,
+and Beethoven, Schubert, Berlioz, Chopin, Schumann, Liszt, and Wagner,
+were the psychic results of the turmoil into which the world was thrown.
+Into such a world, already feeling the premonitory tremors of the great
+Revolution, was Nicolo Paganini born, at Genoa, on October 27th,
+1782.[1]
+
+[Illustration: _Plate II.--See Appendix._
+
+THE BIRTHPLACE OF PAGANINI.]
+
+The Genoese--thrifty and industrious--bore no very good moral character
+at that time; but they were then perhaps not alone in that respect.
+Little information is available concerning the family of Paganini. The
+father, Antonio Paganini, kept a small shop in the vicinity of the port;
+he is described as a man of extraordinarily avaricious character, hard
+and brutal, but possessing the redeeming quality of a love for music,
+and showing some skill in the art; his instrument was the mandoline,
+though Laphaléque says he was a violinist. The mother must have been of
+a lovable disposition, from what little has been recorded of her. The
+family consisted of two sons and two daughters. Of the elder son,
+mention is made but once; of the daughters, nothing seems to be known.
+Little Nicolo must have given evidence of musical talent very early,
+but ere he was put to his studies he was attacked by the measles, and
+that so severely that he remained for a whole day in a state of
+catalepsy. He was given up for dead and was wrapped in a shroud, and
+only a slight movement at the last, showing symptoms of life, saved him
+from the horror of premature burial. Scarcely had he recovered, when his
+father began his lessons in violin playing. The child's evident
+disposition for the art excited the father's avarice, which found little
+scope for gratification in his small business undertakings. He indulged
+in golden dreams of the future, and to hasten their realisation was
+unremitting in his work of instruction. His method was cruel in the
+extreme. The poor child was kept to his task from morn till night;
+slight faults were punished with rigour, even blows and starvation being
+resorted to in order to force the talent which nature had bestowed. This
+unnatural treatment must have wrung the heart of the gentle mother, and
+doubtless by way of encouragement she told the poor little fellow of her
+wonderful dream. An Angel had appeared to her, and promised her the
+fulfilment of any desire. She asked that her son might become the
+greatest of violinists, and her prayer was to be granted. This
+disclosure may have fired the ambition of the child, for he was the
+hardest of workers, and needed no spur. Already, at six years of age, he
+was a tolerable player, and was even beginning to find out new paths.
+His performances excited the admiration and amazement of the neighbours,
+and even the Maestro Francesco Gnecco visited the little house by the
+harbour to listen to the wonder-child. He introduced the boy to the
+circle of his own friends, and made the father understand that he had
+long outgrown his training. In short, the germ of the _virtuoso_ of
+later days was already manifesting itself. Nicolo was now placed under
+Giovanni Servetto, leader of the theatre band--a man of slight
+attainments, with whom the boy did not stay long. His next master was
+Giacomo Costa, the foremost violinist in Genoa and maestro di capella of
+the Cathedral, a genial man, who took a lively interest in the boy.
+Under Costa, Nicolo made rapid progress, and was introduced to a new
+world, though the pedantry of the master frequently came into collision
+with the peculiarities of the pupil. Young Paganini now had to play a
+new concerto each week at one of the churches: that was one of the
+conditions Costa imposed when taking him as a pupil. Paganini's
+extraordinary powers as a player at sight were in great measure due to
+this early experience. The father still exercised stern oversight, and
+there was little relaxation or youthful pleasure for Nicolo. His health
+was already undermined, and, as Dubourg touchingly puts it:--"the sickly
+child, incapable of attaining a healthy maturity, was merged into the
+suffering man."
+
+In his eighth year Nicolo composed a sonata for the violin--since, with
+other works, lost. About that time a very vivid, almost shamefaced,
+impression was made upon him by hearing that Mozart, at the age of six,
+had composed a pianoforte concerto, with parts for orchestra, and so
+difficult that only a _virtuoso_ could execute it. For long Nicolo
+tormented himself with the thought of this musical superiority, and
+strove day and night to remedy his own imperfection in the art.
+
+FOOTNOTE:
+
+[1] All biographical notices of Paganini, with the exception of that in
+Riemann's "Dictionary of Music," give February 18th, 1784, as the date
+of birth. The correct date seems to have been established when the
+centenary celebration took place, in 1882.
+
+
+
+
+CHAPTER II.
+
+
+In 1793 Paganini made his _début_ in the great Theatre of Genoa (the
+Carlo Felice?). He was in his eleventh year, and his reputation must
+have been considerable, for the occasion was of some importance, being
+the benefit concert of two singers of repute, Luigi Marchesi and Teresa
+Bertinotti.[2] Marchesi was second only to Pacchierotti among the male
+_soprani_ of the time, and sang at the King's Theatre, London, during
+the season of 1788; in the "Musical Reminiscences" of the Earl of Mount
+Edgcumbe he is highly praised as the most brilliant singer of his day.
+It was a great compliment to the talent of the young Nicolo that these
+singers should apply for his assistance. Moreover, they promised to sing
+for him when he should give a concert. Both functions duly took place,
+and the boy-artist at each played a set of variations of his own
+composition on "La Carmagnole"; an air then greatly in vogue. That old
+melody "Malbrough s'en-va-t-en guerre," pressed into the service of the
+French Revolution, was appropriately associated with the young artist,
+himself a revolutionist. His success was phenomenal, performers and
+audience being thrown into transports of admiration.
+
+It would appear that young Paganini studied with Giacomo Costa for a
+period of six months only. He must then have continued to work by
+himself, for it was not until about 1795 that his father took him to
+Parma, to place him under the "Pride of Italy," Alessandro Rolla, to
+whom the boy had been recommended by Costa. There was an affecting
+farewell between Nicolo and his mother, for they were tenderly attached
+to each other. Paganini has himself related the story of his interview
+with Rolla, which, for the sake of completeness, must be summarised
+here.
+
+When Nicolo with his father arrived at Rolla's house, the famous
+violinist was ill in bed. His wife showed the visitors into an apartment
+adjoining, and went to inform her husband of their arrival, but he was
+disinclined to receive the strangers. On a table in the room where they
+were waiting lay a violin, and a composition in manuscript--Rolla's
+latest concerto. Paganini, prompted by his father, took up the violin,
+and played the concerto through. Astonished at the performance, Rolla
+asked what _virtuoso_ was in the next room, and on being told it was
+only a boy he had heard, would not credit the statement without the
+evidence of his own eyes. To the father's entreaty Rolla replied that he
+could teach the boy nothing; it would waste his time to remain with
+him. He must go to Ferdinando Paer, who would teach him composition.
+
+There are several versions of this story, and much uncertainty
+respecting some points. Rolla was chamber _virtuoso_, and director of
+the concerts at the Court of Parma. Paer, whose first opera was produced
+in 1789, was at this time in great request at Venice, where he brought
+out a succession of operas. In 1796 he may have been in Parma, for his
+"Griselda" was produced there that year. Paganini, at some time or
+other, doubtless did profit by Paer's friendly assistance; but his real
+teacher was Gasparo Ghiretti, chamber musician to Prince Ferdinand of
+Parma, and the master of Paer. Ghiretti was a violinist, as were nearly
+all the Italian composers of that period. Under Ghiretti, Paganini went
+through a systematic course of study in counterpoint and composition,
+devoting himself to the instrumental style. He must, about the same
+time, have received violin lessons from Rolla, though he afterwards
+refused to acknowledge that he had been his pupil. Fétis tells of
+discussions between Rolla and Paganini concerning the innovations the
+latter was attempting, for he was always striving after new effects. As
+he could but imperfectly execute what he aimed at, these eccentric
+flights did not commend themselves to Rolla, whose taste and style were
+of a more severe order. Of Paganini's work in composition little appears
+to be known. Anders states that Paer when in Parma devoted several hours
+daily to Paganini; and at the end of the fourth month entrusted him with
+a composition of a _duo_, in which Nicolo succeeded to the complete
+satisfaction of his master. Paganini may also at that time have
+sketched, if he did not complete, the Studies, or Caprices, Op. 1.
+
+In 1797 the father took the boy from Parma, and set out with him on a
+tour through Lombardy. Concerts were given in Milan, Bologna, Florence,
+Pisa, and Leghorn.
+
+The young artist achieved an extraordinary reputation; the father took
+possession of the more material rewards of art. The "golden dreams" were
+in process of realisation! Returning to Genoa, young Paganini finished
+the composition of his Twenty-four Studies, which were of such excessive
+difficulty that he could not play them. He would try a single passage
+over in a hundred ways, working for ten or eleven hours at a stretch,
+and then would come the inevitable collapse. He was still under the
+stern domination of his father, and his spirit must have chafed under
+the bondage. His own ardour was sufficient to carry his labours to the
+verge of exhaustion, and he needed no spur as an incentive to exertion.
+In all directions save that of music his education was utterly
+neglected. The moral side of his nature was allowed to grow wild.
+There was the restraining influence of a mother's love, but there was
+little else. It might indeed be said that, musically, Paganini was
+self-educated; but that one of the world's great geniuses should lack
+the intellectual and moral training that go to make the complete man was
+sad in the extreme. Paganini's was a nature warped; on the one side
+phenomenal power, on the other bodily suffering, intellectual and
+spiritual atrophy. But more of this when we turn from his career to the
+man himself.
+
+As the youth grew older the spirit of revolt arose. He must and would
+escape from the tyranny of his avaricious father. But how? A way soon
+offered itself. At Lucca, the festival of St. Martin, held each
+November, was an event of such importance, musically, that it drew
+visitors from all parts of Italy. As the November of 1798 drew near,
+young Paganini besought his father's permission to attend the festival,
+but his request was met by a point-blank refusal. The importunities of
+the youth, aided by the prayers of the mother, at length prevailed, and
+in care of the elder brother afterwards Dr. Paganini (?)--Nicolo was
+allowed to leave home.
+
+Free at last, the youth, now in his seventeenth year, went on his way,
+his whole being thrilled with dreams of success and happiness. At Lucca
+he was most enthusiastically received, and, elated by his good fortune,
+Paganini extended his tour, playing in Pisa and other towns. Enabled now
+to earn his own living, Paganini determined never to return to the home
+where he had suffered so much. His father must have obtained information
+as to the youth's whereabouts, for it has been stated that he managed to
+obtain a large part of the young artist's earnings. The money was freely
+yielded to a certain extent, and the residue was obtained by threats.
+But no threat or entreaty could induce Nicolo to return to his paternal
+home. The bird had escaped, and liberty was sweet. But young Paganini
+was scarcely fitted for an independent, uncontrolled career. He had no
+moral ballast, and much would depend upon what kind of company he kept.
+
+One has to bear in mind that at the period now under
+notice--1798--Europe was in a very unsettled state. The very pillars of
+society were shaken, and there were many dangers in the path of the
+young and inexperienced. But that is a very trite observation, for it
+applies to all times and places. However, Paganini seems to have become
+acquainted with what Fétis terms "artists of another kind," who
+encouraged "play" of a more exciting, if less exalted order, than the
+young musician had hitherto devoted himself to. With his ardent southern
+temperament Paganini threw himself with the greatest zest into the
+vortex of gambling, and frequently lost at a sitting the earnings of
+several concerts and was reduced to the greatest embarrassment. Soon his
+talent provided fresh resources, and his days ran on in alternations of
+good and evil fortune. Tall, slight, delicate and handsome,[3] Paganini,
+despite his frail constitution, was an object of attraction to the fair
+sex. Incidents in his early manhood probably formed the foundation for
+some of the stories told of him later. As Fétis puts it; the enthusiasm
+for art, love and "play," reigned by turns in his soul. He ought to have
+been careful of himself, but he went to excess in everything. Then came
+a period of enforced repose, of absolute exhaustion, lasting sometimes
+for weeks. This would be followed by a display of extraordinary
+energy, when his marvellous talent took its highest flights, and he
+plunged once more into the wildest bohemianism. Such a course of life
+was enough to wreck the artist, and no friend seemed to be at hand to
+save him from himself. Frequently he had to part with his violin in
+order to raise money to pay his debts of honour, and it was upon one
+such occasion that he met with the greatest good fortune he had yet
+experienced, and acquired a violin which became the instrument of his
+conversion from the fatal passion for gambling.
+
+[Illustration: _Plate III.--See Appendix._
+
+PAGANINI'S VIOLIN IN THE MUNICIPAL MUSEUM AT GENOA.]
+
+Arriving at Leghorn, where he was to give a concert, Paganini yielded to
+his weakness for the other kind of play and lost his money and his
+violin. He was in a dilemma indeed, but was fortunate in meeting with an
+enthusiastic musical amateur, M. Livron, a French merchant, the owner of
+a superb Guarnerius violin. This instrument M. Livron lent to the young
+artist, and attended the concert. When Paganini went to return the
+violin to its owner, M. Livron at once exclaimed, "I shall take care
+never to profane the strings your fingers have touched. It is to you now
+that my violin belongs." A noble benefactor, that M. Livron. The
+Guarnerius became Paganini's inseparable companion; he played upon it
+throughout all his tours, and its subsequent history will be duly
+related.
+
+Paganini acquired another instrument on the same easy terms, but
+attended by different circumstances. Signor Pasini, of Parma, a painter
+of some distinction, and an amateur violinist, had heard of Paganini's
+wonderful powers as a reader of music at sight, but refused to credit
+the statements. Pasini one day placed before Paganini a manuscript
+concerto, in which difficulties of all kinds were brought together, and
+putting into the artist's hands a splendid Stradivari violin, said:
+"This instrument is yours if you can play that at sight, like a master,
+without studying its difficulties in advance." "If that is so," replied
+Paganini, "You may bid farewell to it at once." His terrific[4]
+execution made the music seem as if it played itself as his eye fell
+upon it. Pasini was petrified with astonishment.
+
+The abandonment of the vice of gambling came about in this way, his own
+words being quoted. "I shall never forget," said he, "one day placing
+myself in a position which was to decide my whole career. The Prince De
+* * * * * had long desired to possess my excellent violin (the
+Guarnerius), the only one I then had, and which I still possess. One day
+he desired me to fix a price; but, unwilling to part from my instrument,
+I declared I would not sell it for less than 250 gold Napoleons. A short
+time after, the Prince remarked that I was probably indulging in banter
+in asking so high a price, and added that he was disposed to give 2,000
+francs for it. Precisely that very day I found myself in great want of
+money, in consequence of a heavy loss at play, and I almost resolved to
+yield my violin for the sum he had offered, when a friend came in to
+invite me to a party that evening. My capital then consisted of thirty
+francs, and I had already deprived myself of my jewels, watch, rings,
+pins, etc. I instantly formed the resolve to risk this last resource,
+and if fortune went against me, to sell the violin and to set out for
+St. Petersburg, without instrument and without funds, with the object of
+retrieving my position. Soon my thirty francs were reduced to three, and
+I saw myself on the road to the great city, when fortune, changing in
+the twinkling of an eye, gained me one hundred francs with the little
+that yet remained. That moment saved my violin and set me up again. From
+that day I withdrew from play, to which I had sacrificed a portion of my
+youth: and convinced that a gambler is universally despised, I renounced
+for ever that fatal passion."
+
+It would be interesting to know when these things occurred, but dates
+are wanting; it is sufficient to find the artist triumphant in one great
+crisis in his life. Gambling, to which, however, he was not a party, was
+destined to trouble the last years of his life, as will be seen further
+on.
+
+Paganini's career, gambling apart, was by no means of a conventional
+character. His irregular habits, fits of extraordinary energy followed
+by langour and depression, led to frequent disappearances from public
+view. One such disappearance lasted for about four years, and only the
+romantic aspect of it has been described; the prime cause may have been
+overlooked. Here is one view of the matter. Enter Napoleon; exit
+Paganini. In 1800 Napoleon crossed the Alps; in 1804, he proclaimed
+himself Emperor. He parcelled out Europe, providing for his brothers and
+sisters, creating sovereigns at his own sweet will. Italy, invaded by a
+foreign foe, shaken with wars, "alarums and excursions," was not a happy
+hunting ground for a travelling virtuoso. Paganini vanished from view.
+In absolute retirement he lived for over three years at the chateau of a
+Tuscan lady of rank, who was a performer upon the guitar. Paganini threw
+himself with ardour into the study of that instrument, and became as
+great a virtuoso upon it as upon the violin. He composed a number of
+pieces for guitar and violin. According to Fétis, Paganini also devoted
+himself to the study of agriculture.
+
+But eventually he tired of a life of indolence and dalliance, and in
+1804--the country settled now under French government--Paganini returned
+to Genoa, but whether to the paternal roof is not clear. He was
+doubtless invigorated by his long rest, and now resumed his arduous
+course of study. It has been remarked that it was only after Paganini
+had attained an almost perfect mastery over his instrument that he began
+to investigate the methods of other virtuosi[5]; even so, he had formed
+his own style of composition before studying the works of others. Now,
+he busied himself with the studies of Locatelli, whose extravagances
+almost equalled his own. It is said that he even gave lessons while in
+Genoa, and mention is made of one pupil, Catarina Calcagno, who had a
+brilliant, but brief career.
+
+In 1805, Paganini resumed his artistic tours, and arriving at Lucca,
+played a concerto at an evening festival in a convent church. So great
+was the enthusiasm of the audience (or congregation), that the monks
+had to leave their stalls to put a stop to the applause. At that time,
+Maria Anna (Elise), sister of Napoleon, was Princess of Lucca, and the
+Tuscan court was held in that Capital. The fame of Paganini could not
+fail to have reached the ears of the Princess, and it was but natural
+that the first _virtuoso_ of Italy should receive an official
+appointment. So it happened that in the year 1805 he was offered, and
+accepted, the post of leader of the Court orchestra, and solo violinist.
+He also gave violin lessons to Prince Bacciochi, the husband of Maria
+Anna. It was during this period that Paganini began his experiments of
+employing less than the four strings of his violin. He gave an account
+of the origin of the practice to a friend at Prague many years later.[6]
+"It fell to my lot," he said, "to direct the opera whenever the reigning
+family visited it, as well as to perform at Court three times a week,
+and to get up a public concert for the higher circles every fortnight.
+Whenever these were visited by the Princess, she never remained to the
+close, because the flageolet tones of my violin were too much for her
+nerves. On the other hand there was another fascinating creature ...
+who, I flattered myself, felt a penchant for me, and was never absent
+from my performances; on my own side, I had long been her admirer
+(Paganini was now twenty-three years of age, susceptible, and possibly
+himself fascinating.) Our mutual fondness became gradually stronger and
+stronger; but we were forced to conceal it, and by this means its
+strength and fervour were sensibly enhanced. One day I promised to
+surprise her at the next concert, with a musical joke, which should
+convey an allusion to our attachment; and I accordingly gave notice at
+Court that I should bring forward a musical novelty, under the title of
+'A Love Scene.' The whole world was on tiptoe at the tidings; and on the
+evening appointed, I made my appearance, violin in hand; I had
+previously robbed it of the two middle strings, so that none but E and G
+remained. The first string being designed to play the maiden's part, and
+the second (fourth) the youth's, I began with a species of dialogue, in
+which I attempted to introduce movements analogous to transient
+bickerings and reconciliations between the lovers. Now my strings
+growled, and then sighed; and anon they lisped, hesitated, joked and
+joyed, till at last they sported with merry jubilee. In the course of
+time, both souls joined once more in harmony, and the appeased lovers'
+quarrel led to a _pas de deux_, which terminated in a brilliant _coda_.
+This musical fantasia of mine was greeted with loud applause. The lady,
+to whom every scene referred, rewarded me by looks full of delight and
+sweetness, and the Princess was charmed into such amiable condescension,
+that she loaded me with encomiums--asking me, whether, since I could
+produce so much with _two_ strings, it would not be possible for me to
+gratify them by playing on _one_. I yielded instant assent--the idea
+tickled my fancy--and, as the Emperor's birthday occurred some weeks
+afterwards (August 15th,) I composed a sonata for the G string, which I
+entitled 'Napoleon,' and played before the Court to so much effect, that
+a cantata, by Cimarosa, given the same evening, fell through without
+producing any impression on its hearers.[7] This is the genuine and
+original cause of my prejudice in favour for the G string. People were
+afterwards importunate to hear more of this performance, and in this way
+I became day by day a greater adept at it, and acquired constantly
+increasing confidence in this peculiar mystery of handling the bow."
+More of the "Napoleon Sonata" later.
+
+[Illustration: _Plate IV.--See Appendix._
+
+CARICATURE PUBLISHED 1831.]
+
+When the Princess became Grand Duchess of Tuscany, the Court removed to
+Florence, and Paganini, as a matter of course, was in the retinue. His
+official career, however, came to an abrupt termination in the early
+part of 1813. When appointed Court Musical Director, Paganini was
+accorded the rank of Captain in the Royal Guard, and, as such, was
+permitted to wear a brilliant uniform. Appearing in this garb at a State
+function at Florence, in 1813, the artist was "commanded" to change it
+for the ordinary dress suit. This request Paganini construed as an
+insult, and refused compliance; whereupon there was a sudden rupture,
+and instant resignation of office. Paganini, at different times,
+obtained leave of absence, and undertook various professional tours; and
+as he met with some strange experiences, we will follow him in his
+wanderings.
+
+FOOTNOTES:
+
+[2] Anders, and others after him, give the name of the second singer as
+Albertinotti. No such name can be traced, and it is probable that it was
+the young Bertinotti, who was a juvenile prodigy, appearing in opera at
+the age of twelve. She sang in London about the year 1812.
+
+[3] William Gardiner many years later spoke of the transparent delicacy
+of Paganini's complexion, and said of his little son Achille that he was
+the handsomest boy he had ever seen.
+
+[4] Fétis calls it "Foudroyante exécution."
+
+[5] Naumann, "History of Music," p. 1140 (English Edition.)
+
+[6] Professor Julius Schottky.
+
+[7] Cimarosa, who died in 1801, espoused the revolutionary cause when
+the French army entered Italy, and was imprisoned and condemned to death
+when the reaction came, but was restored to liberty on condition of
+leaving Naples. He would, naturally, have been popular with the
+Bonapartists, and it was rather ungenerous vanity on the part of
+Paganini to have exulted over this particular success.
+
+
+
+
+CHAPTER III.
+
+
+In 1808 occurred the first of these excursions. Paganini went to
+Leghorn, the scene of his early triumphs. He had not been there for
+seven years, but his first concert, this visit, was attended with some
+unpleasant mishaps. He had run a nail into his heel, and came limping on
+the stage, whereupon the audience set up a titter--an incident quite
+enough to upset a sensitive artist. Then, just as he was commencing his
+concerto, the candles fell from his music-stand, and the laughter was
+unrestrained; after a few bars of his solo, the first string of his
+violin snapped, and the merriment became uproarious; but he finished the
+performance upon the three strings, and the artist soon converted the
+audience to a demonstration of a more grateful character. Thus his "one
+string" experience served him in good stead.
+
+At Ferrara something worse befell. For his concert there, Paganini had
+engaged a vocalist, Signora Marietta Marcolini; but at the last moment,
+the lady, either from indisposition or caprice, refused to sing.
+Paganini went to his hostel boiling with rage, but was somewhat
+mollified on being told there was a lady occupying an apartment in the
+same house, who might perhaps take the place of the recalcitrant
+singer. This was Signora Pallerini, the principal dancer at the theatre,
+who had a very agreeable voice, but who made no pretension to being a
+singer, although she was not without training and talent. Paganini lost
+no time in seeking the young dancer, and by dint of perseverance
+obtained her consent to his wish.
+
+But when the Signora came on to sing she was seized with stage-fright.
+Her voice failed her, and her song produced no effect. Paganini offered
+his arm to conduct her behind the scenes, but just before they reached
+the wing, a shrill whistle was heard--equivalent to a hiss in England.
+This was too much; the poor _débutante_ lost consciousness, and fell
+into the arms of her friend. Pale with rage, Paganini promised himself a
+signal vengeance. The concert was drawing to a close when the angry
+artist whispered to Signora Pallerini, "Come! Listen!" He rushed on the
+stage, and announcing to the audience that he would conclude the concert
+with a musical jest, proceeded to imitate the cries of various animals,
+the chirping of birds, the howling of dogs, and the crowing of cocks;
+then, with a stolen glance towards the wing, as if to make known the
+carrying out of his revenge, he advanced to the footlights, rested his
+bow on the "chanterelle," close to the bridge, and with a single stroke
+brought it violently on the "G," producing distinctly the sound of the
+donkey's hee-haw! "This is for the man who whistled," he exclaimed, with
+an air of triumph, and for the second time gave his imitation--with
+added energy. Then he awaited the shouts of laughter that should assail
+the poor whistler, but something quite different happened. The pit rose
+to a man, and howling, whistling, and stamping, the audience proceeded
+to storm the stage; and only precipitate flight by means of a private
+door, saved the unlucky artist's life.
+
+The explanation came to Paganini later. The inhabitants of the villages
+around Ferrara had from time immemorial a strong prejudice against their
+Capital. The citizens they alleged were stupid in their nature, and
+deserved the sobriquet "hee-haw." If a countryman, returning from
+Ferrara, were asked where he came from, he replied by throwing back his
+head and braying like an ass! Paganini had no knowledge of local
+history; he was not a reader, he never even glanced at the papers,
+except when they contained something concerning himself. His revenge
+caused quite a tumult, in what way can be well perceived: and the
+magistrate, to restore quiet, advised Paganini not to give his second
+concert in the town, so that the offenders were really punished all
+round.
+
+It is not necessary to enter into details concerning all Paganini's
+tours. It appears to have been in 1810 that he wrote the "Napoleon
+Sonata," and he performed it in public at a concert given by him at
+Parma, August 18th, 1811. His fame was spreading beyond his own country,
+and Schilling states that from 1812 the German musical journals bestowed
+much attention upon him. He was at Milan in 1813, and his success there
+was greater than ever. For that city he appeared to have a predilection,
+for he was there, with the exception of a short stay at Genoa, until the
+autumn of 1814. At that time he was by no means a recluse. He visited
+the theatre, La Scala, and witnessed a performance of Vigano's ballet,
+"Il Noce di Benevento," to which Süssmayer wrote the music; and from a
+certain scene he took the theme of his variations known as "Le Streghe."
+At a theatre he was inspired to write one of his finest movements. He
+went to hear Demarini, Italy's greatest tragedian, and was so affected
+by one scene that he could not sleep, and his emotion ultimately found
+expression in music. This will be dealt with when noticing his
+compositions.
+
+In October, 1814, Paganini went to Bologna, and there met Rossini for
+the first time. Rossini, nine years the junior of Paganini, had already
+produced a dozen operas--two in Milan that year. By Court favour Rossini
+had just escaped the conscription, and had hastened away to Bologna. The
+meeting of these artists was of importance to both. Meyerbeer went to
+Italy in 1815, and was there for some years, producing several operas.
+Laphaléque tells a story to this effect: Meyerbeer was on the eve of
+leaving Florence to proceed to Naples to bring out one of his works. He
+did not yet know that place, and it offered a double attraction; he
+wanted to enjoy the beautiful blue sky as well as his artistic triumph.
+But he went to hear Paganini, and dreamt no more of Naples, nor of his
+opera. Paganini travelled all through Tuscany, and Meyerbeer followed;
+and not until he had heard Paganini eighteen times could he tear himself
+away from him.
+
+Within the period of five years, Paganini returned to Milan five times,
+making a long stay on each occasion, and giving a great number of
+concerts. He played at Verona, Padua--where the "prison" stories seem to
+have originated--returned to Milan early in 1816, when he met the
+French violinist, Charles Lafont, with whom he played and of whom more
+will be said. Then to Venice, Trieste, and back to Venice in time to
+hear Spohr (October 18th), on whom he called both before and after the
+concert. Spohr greatly desired to hear Paganini play, but the latter
+excused himself.
+
+Paganini must ere this have received invitations to visit other
+countries, for Spohr in his diary remarks, when referring to Paganini's
+first visit, that he had apparently abandoned his project of going to
+Vienna. In 1817, Paganini visited Piacenza, where he met the Polish
+violinist, Karl Joseph von Lipinski, who had gone to Italy expressly to
+hear Paganini. The Italian treated his Polish brother artist generously,
+and played with him at two concerts. Paganini was also again at Milan
+that year and paid a visit to his mother at Genoa. According to Anders,
+his father died in 1817. At the close of the same year Paganini was in
+Rome, where Rossini's opera "La Cenerentola" was produced at the opening
+of the Carnival season, December 26th. It is related that Meyerbeer was
+also in Rome at this time, and that Rossini's "Carnovale" was sung in
+the streets by the composer, Meyerbeer, and Paganini, who disguised
+themselves for the frolic. Paganini in the Palace of Prince von Kaunitz,
+the Austrian Ambassador, was introduced to Prince Metternich, who,
+charmed with his talent, pressed him to visit Vienna. But the
+violinist's health was in a precarious state. He suffered from an
+intestinal disorder, aggravated by his addiction to some quack remedy.
+He gave concerts in Rome, of which Schilling, who gives the date,
+however, as 1827, gives a very curious account. The first concert,
+though held in a Palace--such buildings being met with at every
+step--was in a room like a hay-loft. The orchestra consisted of some
+half-dozen shabbily dressed players, the singers were mechanics, members
+of the chorus of the Teatro Argentina, and the audience scarcely
+numbered fifty. Rome, professedly the first musical city of Italy, and
+of Europe, was ignorant of Paganini, the greatest violin virtuoso of
+Italy and the world. But his extraordinary genius kindled coldness into
+enthusiasm. At his second concert the attendance increased tenfold; at
+the third the success was even greater.
+
+In 1818, and the following year, he gave concerts at Verona, Turin,
+Florence, and other towns. At Verona, the conductor of the theatre
+orchestra, one Valdabrini, persuaded himself that Paganini was little
+else than a charlatan, one who might play the pieces of his own
+repertory very well, but who could not execute a work such as a concerto
+of his, Valdabrini's, composition. Paganini was informed of this
+estimate of his abilities, and hastened to assure Valdabrini that he
+would be happy to reproduce the inspirations of the _chef d'orchestre_
+of Verona; and as this trial would be a powerful attraction, he would
+reserve it for his last concert. The day of rehearsal arrived, and
+Paganini was in his place. Instead of the music of the concerto,
+however, the artist improvised all kinds of fanciful passages, insomuch
+that the astonished orchestral players, lost in admiration, forgot to go
+on with their own work. The disappointed Valdabrini exclaimed: "My
+friend, this is not my concerto you are playing, I can recognise
+nothing of what I have written." "Don't distress yourself," replied
+Paganini, "at the concert you will recognise your work well enough, only
+now I claim a little indulgence."
+
+The concert night arrived, and Paganini commenced with pieces of his own
+choice, reserving the concerto for the end. All were attention for the
+great event. Paganini came on at last, holding in his hand a Malacca
+walking cane. Everyone asked himself: What will he do with that?
+Suddenly he seized his violin, and, employing the cane as a bow, played
+the concerto (thought by the composer to be practicable only after long
+study) from beginning to end, not only rendering the most difficult
+passages, but introducing charming variations, never failing for an
+instant to display the purity, grace and verve that characterised his
+art.[8] This pleasantry was not to the taste of Valdabrini, we may be
+sure; but it was a rebuke to his presumption. Such amenities are
+scarcely possible now-a-days.
+
+Paganini visited Naples in 1819 for the first time. When he arrived he
+found the local musicians badly disposed towards him, and he had
+something like a repetition of his experience at Verona, only he used
+the cane no more! These musicians affected to doubt the reality of the
+marvels fame attributed to Paganini, and proposed to amuse themselves at
+his expense. They engaged a young composer, Danna (Dana?)[9] fresh from
+the Conservatorio, to write a string quartet, filled with difficulties
+of every kind--for the first violin--persuading themselves that the
+great violinist could not overcome them. When all was ready--no doubt
+the other parts had been well practised--Paganini was invited to a
+musical réunion, where he found the violinists Onorio de Vito, Giuseppe
+Mario Festa, the violoncellist Ciandelli, and the composer Danna. Hardly
+had he arrived, when they placed the music before him, and invited him
+to play it at sight. Perceiving that they had set a trap for him,
+Paganini cast a hurried glance at the music, and played it off as though
+it had long been familiar to him. Confounded by what they heard, his
+assistants were prodigal in their admiration, and declared him
+incomparable.
+
+Paganini's health now gave way to an alarming degree, and his landlord,
+fearing the malady was consumption--infectious, according to current
+opinion--proceeded to turn the violinist and his belongings into the
+street. Medical science has confirmed the views of the Neapolitans in
+respect to the contagious character of consumption, and the open-air
+treatment is now considered the proper method to adopt; but the
+landlord's rough and ready application of the remedy was highly
+objectionable, and so thought Ciandelli, who chanced to be passing at
+the time. He gave the landlord a severe thrashing, and conveyed Paganini
+to more comfortable lodgings, where he was carefully tended. Paganini
+repaid this act of kindness, as will be seen. These little scenes throw
+curious side-lights on life in Naples at that period.
+
+In 1820, Paganini returned to Milan, where he founded an Amateur
+Society, _Gli Orfei_, and conducted its concerts for a time; but the
+roving habits he had acquired rendered a settled life irksome, and he
+was soon again on the move. The winter found him once more in Rome,
+where he must have stayed on and off for another year; for he was
+there in December, 1821, when Rossini was about to produce his opera,
+"Matilda di Sabran," at the opening of the Carnival season. On the day
+of the last rehearsal the conductor fell ill, and Rossini was in
+despair to replace him. Paganini, hearing of his friend's dilemma,
+offered to conduct the rehearsal and the first performance--his
+operatic experience at Lucca must not be forgotten--an offer Rossini
+gratefully accepted. Without a moment's preparation, Paganini set to
+work to communicate to an unskilled orchestra--it was at the _Teatro
+d'Apollone_--the composer's intentions and the manner in which they
+should be interpreted. Having no time for verbal explanation, he did
+everything by example, playing the first violin part an octave higher
+than it was written, and making himself heard above the strongest
+_fortissimo_. At a glance he penetrated the meaning of every movement,
+and he so worked upon the executants that they obeyed him as if
+by enchantment. This single rehearsal sufficed to bring about an
+irreproachable performance, the orchestra undergoing a veritable
+metamorphosis, to the astonishment of everyone, Rossini included. So
+far Laphaléque. Sutherland Edwards[10] says Paganini conducted the
+first three performances, adding, "Never, it is said, did the band of
+the 'Apollo' play with so much spirit before."
+
+For the next two years Paganini was constantly travelling, and in the
+year 1823 we have the first glimpse of him through the medium of an
+English musical journal.[11] This first reference is quite incidental.
+Giuseppe Rastrelli was playing in Naples in 1822 (or 1823), and was well
+received, "although his predecessor, the celebrated Paganini," was still
+fresh in the public remembrance. This assumes that Paganini was well
+known to English readers. He had indeed been mentioned in books
+published before this date. On his way to Pavia in 1823, Paganini was
+attacked with illness, and his life was despaired of. At that time he
+had again intended going to Austria, but a long rest was needed to
+restore his health. This repose he enjoyed at Genoa, and recovered
+sufficiently to give two concerts in the _Teatro da Sant'Agostino_, in
+1824. The second concert introduced two youthful claimants to public
+favour. The first was a Signora Bianchi, under twenty years of age, who
+was characterised in the bills as the little _virtuosa forestiera_, and
+who sang three airs; the other was a Signora Barette, who played a
+_Pezzo Cantabile_ and a _Sonatina_ upon the violoncello. They both
+experienced a flattering reception.[12] The young violoncellist was not
+more than fourteen years old, and there is no reason to suppose that she
+was the first of her sex to appear in public as a violoncellist. The
+other "little guest" or stranger was to play an important part in
+Paganini's history.
+
+
+This concert afforded another proof of Paganini's power of attraction. A
+certain M. Bergman, a (Swedish?) traveller and passionate lover of
+music, reading accidentally the evening before in the journal at
+Leghorn, an announcement of Paganini's concert, lost no time, but
+instantly set out for Genoa, a distance of a hundred miles, and luckily
+reached the spot just half an hour before the concert began. He went
+with his expectations raised to the utmost, but, to use his own
+expression, the reality was as far above his anticipations as the
+heavens are above the earth. Nor could this enthusiastic amateur rest
+content with once hearing Paganini, but actually followed him to Milan,
+in order to hear him exercise his talents a second time. Now-a-days the
+enthusiasts are young ladies, who mob their favourites in the artists'
+room!
+
+In 1824 Paganini gave two concerts in _La Scala_, Milan, which was
+crowded to excess. At the first he played a concerto, and three airs
+with variations--all on the fourth string, so said the report. A
+surfeit, this, even for his fervent admirers. In the same year at Pavia,
+he gave two concerts, the bills being headed:
+
+     PAGANINI
+
+     _Farŕ sentire il suo Violino._
+
+(Paganini will cause his violin to be heard.) He was received with no
+less enthusiasm than at Milan. Paganini then returned to Genoa, but soon
+left for Venice. There he formed an union with Antonia Bianchi, the
+young singer he introduced at Genoa, who became his companion, sang at
+his concerts, and shared his triumphs.
+
+In 1825, Paganini was again at Naples, where he gave a concert, causing
+his name to be announced in the bills as--
+
+     _Filarmonico_,
+
+a term which gave rise to much discussion, some considering it as
+indicating modesty, others just the reverse; but at all events it
+savoured of affectation. In the summer of 1825, Paganini went to
+Palermo, where he also gave a concert. The delicious climate of Sicily
+had a great charm for him, and he remained there for nearly a year,
+giving concerts at different places, but enjoying prolonged intervals of
+repose. His health strengthened, Paganini again entertained the idea of
+leaving Italy, but determined upon one more tour before carrying out his
+intention. In 1826, he visited Trieste, Venice, and finally Rome, where
+he gave five concerts. In April, 1827, Pope Leo XII. invested Paganini
+with the order of the Golden Spur, a distinction so rare that it
+afforded a topic for conversation for some time. From Rome Paganini went
+to Florence, and as "Il Cavaliere Paganini" gave a concert at the
+_Teatro Pergola_, which was attended by all the rank and fashion of the
+place. He was detained for some time at Florence owing to a disease
+breaking out in one of his legs. As soon as he was able to travel he set
+out for Milan, where he was received with every demonstration of
+affection. He gave four musical soirées at the close of 1827, and in
+the early part of 1828, two concerts in _La Scala_, when he appears to
+have played for the first time the concerto with the "Rondo ad un
+Campanello;" the piece created a great effect. Paganini had now
+traversed the whole of Italy at least three times, giving hundreds of
+concerts, building up an ever growing reputation and exciting universal
+admiration, despite those detractors whose machinations have been
+exposed. At last, on the 2nd of March, 1828, Paganini started on his
+long projected visit to Vienna.
+
+FOOTNOTES:
+
+[8] Laphaléque.
+
+[9] Son of Giuseppe Dana, of Naples?
+
+[10] The Life of Rossini, p. 226.
+
+[11] With the exception of a Literary Supplement to the "New Musical and
+Universal Magazine," 1774, there was no publication devoted to Music
+until the year 1818, when "The Quarterly Musical Magazine and Review"
+appeared, edited by Robert Mackenzie Bacon. This was followed in 1823 by
+"The Harmonicon," edited by William Ayrton.
+
+[12] Harmonicon, Vol. III., p. 37.
+
+
+
+
+CHAPTER IV.
+
+
+Paganini arrived at Vienna, March 16th, 1828, and gave his first concert
+in the Redouten-Saal[13] on the 29th of the same month, creating a
+_furore_ the like of which had never been witnessed. It must be borne in
+mind that Paganini was now no romantic-looking youth to move the
+feelings of sentimental or hysterical young ladies. He was in his
+forty-sixth year, and his face bore the marks of suffering; he wore his
+long hair in ringlets falling over his shoulders, but physically he was
+a wreck. Yet no youthful artist of to-day has made a more sensational
+_début_ than that of Paganini in the Austrian Capital in 1828. To repeat
+the oft-quoted account given by Schilling: "At the first stroke of the
+bow on his Guarnerius, one might almost say at the first step he took
+into the hall, his reputation was decided in Germany. Kindled as by an
+electric flash, he suddenly shone and sparkled like a miraculous
+apparition in the domain of art."
+
+Another account, if less familiar, is equally interesting. In a letter
+from Vienna, addressed to the _Literary Gazette_, the writer says:--"The
+great novelty and prodigy of the day is one M. Paganini, an Italian
+performer on the violin.
+
+"This is the first time he has left Italy; but I heard him previously,
+about five years ago, at Milan, in competition with M. Lafont, whom he
+beat fairly.[14] He is, without contradiction, not only the finest
+player on the violin, but no other performer, upon what instrument
+soever, can be styled his equal: Kalkbrenner, Rode, Romberg, Moscheles,
+Jew and Gentile, are his inferiors by at least some thousand degrees;
+they are not fit, as we say in Germany, to _reach him water_. He is
+Mathews of the violin, performs a whole concert on a single string,
+where you are sure to hear, besides his own instrument, a harp, a
+guitar, and a flute. In one word, he is a necromancer, and bids fair
+to beat _la Giraffe_. We have here hats, shawls, gloves and nonsense
+of every description, _ŕ la Giraffe_; but yesterday I actually
+ate _Auflaufy_--a very innocent, rather insipid sweetmeat--_ŕ la
+Paganini_.... He has already performed twice to crowded houses in our
+great masquerade-hall. The beginning of the concert was, as usual,
+advertised for half-past eleven [in the morning]: at eleven o'clock not
+a pin dropping from the roof would have reached the ground; people were
+already there at nine o'clock. He came hither with six florins in his
+pocket; now you may style him a warm man. From Vienna he intends to
+proceed to Paris, and thence to London."[15]
+
+Here a brief digression is pardonable. The Pasha of Egypt, a short time
+before Paganini's visit, had presented to the Emperor of Austria a
+Giraffe, an animal then new to Europe. That interesting quadruped, a
+superb specimen of its kind, created such a sensation, and so completely
+absorbed public attention, that as seen in the letter just quoted,
+everything was _ŕ la Giraffe_.[16] Paganini's phenomenal success gained
+him a popularity that quite eclipsed the poor Giraffe, and now the mode
+was _ŕ la Paganini_. All kinds of articles were named after him; a good
+stroke at billiards was a _coup ŕ la Paganini_; his bust in butter and
+crystallised sugar figured on every banquet table; and portraits, more
+or less faithful, adorned snuff-boxes, cigar-boxes, or were carved on
+the canes carried by the fops. Paganini himself went into a shop one day
+to buy gloves. "_A la Giraffe?_" asked the salesman. "No, no, some other
+animal," said the _maestro_, whereupon he was handed a pair _ŕ la
+Paganini_! It is said that a certain driver, whom Paganini had once
+engaged, obtained permission to paint on his vehicle the words
+_Cabriolet de Paganini_, by which means he gained notoriety and enough
+money to set up as a hotel-keeper. Paganini was much sought after by the
+leaders of society and fashion; but Prince Metternich alone received the
+favour of a visit.
+
+It may be remembered that Franz Schubert gave his first, and as it
+turned out, his only concert, in the hall of the Musik-Verein, Vienna,
+on the 26th of March, three days before that of Paganini. Schubert
+cleared over Ł30--the first piece of luck that came to the poor
+composer. The money flowed freely; he paid his five Gulden (something
+over six shillings) to hear Paganini, and went a second time, not so
+much for his own sake, as to take his friend Bauernfeld,[17] who had not
+five farthings, while with him (Schubert) "money was as plentiful as
+black-berries." Generous, simple Schubert! Did he and Paganini ever
+meet? What a pair they would have made!
+
+Paganini's Vienna concerts were so successful that he increased the
+number from six to twelve. It is said that poor musicians actually sold
+their clothes to raise the needful in order to hear him; and that no
+halls were large enough to contain all who wished to attend his
+concerts. Paganini's last concert was given by express command of the
+Emperor of Austria, who honoured the occasion by his presence. Among
+other things, Paganini introduced the National hymn "God preserve the
+Emperor," which he performed with a truth and fervour of expression that
+seemed to impart a novelty even to so familiar a theme. He did some
+wonderful things on the G string, astonishing and delighting all
+present, especially rivetting the attention of the Emperor, who led the
+applause.
+
+The Court Gazette announced that His Majesty, as a testimony of his
+admiration, had sent Paganini a diploma, appointing him one of the
+Emperor's chamber musicians, and exempting him from the usual fees of
+office; this was accompanied by a splendid gold snuff-box set with
+brilliants. The chief magistrate of Vienna presented Paganini with the
+gold medal of San Salvador; and, to crown all, a medal was struck in
+Paganini's honour. This, the work of J. Lang, has on the face a portrait
+in relief of the violinist, with the inscription:--
+
+     NICOLAO PAGANINI VINDOBONA
+
+     MDCCCXXVIII.
+
+and on the back the words:--
+
+     PERITURIS SONIS NON PERITURA GLORIA.
+
+surrounding an open music book with the theme of the "Bell Rondo," upon
+which lies the famous Guarnerius wreathed with laurel. This was the
+city's parting gift to the great artist.
+
+These doings were too good to escape the notice of the caricaturist, and
+a two-act piece was produced at the _Theater an der Wien_, entitled "The
+Counterfeit Virtuoso; or, the Concerto on the G string," the music by
+Kapellmeister Franz Gläser. The overture was ingeniously made up of the
+principal subjects of Paganini's concertos, ludicrously contrasted with
+counter subjects of a popular kind. Several of the _quodlibets_ were
+full of humour, and, with the _bon mots_ and anecdotes, tended to make
+it a very amusing production for the moment.
+
+It was at Vienna that the rumour spread abroad of Paganini being in
+league with the Devil, which accounted for his marvellous performances.
+The great violinist was much disturbed and annoyed by these calumnies,
+and had to appeal to the press for aid in refuting them. It may be that
+his estrangement from the world, his love of solitude, morose temper,
+and the avarice which displayed itself, all had their origin in the
+hostile attitude assumed by a section of the public during his foreign
+tours, for when in Italy Paganini seems to have lived much as others
+did. Paganini was accompanied by his companion Signora Bianchi, and the
+son born to them, when he visited Vienna.
+
+It was in May the little party left Vienna. The concerts had quite
+prostrated Paganini, and the family went to Carlsbad. After resting
+there some time Paganini departed for Prague, but an abscess in the face
+kept him a prisoner for three weeks. Here is a contemporary account
+which is interesting. Paganini was obliged to place himself under the
+care of two celebrated medical men, Krumblholz and Nusshardt, and they
+were the only visitors he received during his lonely residence up three
+pair of stairs. After a successful operation on the jaw-bone, one of his
+physicians expressed a desire which was cherished in vain by the whole
+city--that of hearing some notes from the hitherto silent instrument of
+the great master; and he entreated him to try if he could rest his
+violin on his hardly healed chin. Paganini confirmed what has long been
+said, that even before friends he was very niggardly in the display of
+his talents. He took his instrument, played one stroke with his bow, and
+said, "_Es geht schon_" (that will do). "For eight days before the first
+concert," continues the writer, "every place was engaged. When I reached
+the theatre at four o'clock in the afternoon, it appeared as if the
+house was about to be stormed, so great was the throng on the outside.
+Many magistrates and people of the first rank were amongst the crowd,
+and shared my anxious expectation. At last I found myself, I scarcely
+know how, in the pit, and there awaited for two hours and a half the
+opening of the concert." The writer then goes on to describe the
+violinist, his appearance, his smile that made everyone shudder, and the
+extraordinary performance which roused the audience to the wildest
+enthusiasm. He then quotes the saying of a Vienna critic: "Paganini has
+nothing in common with other players but the violin and the bow," and
+regrets that his friend will not for some time have the opportunity of
+hearing the superb performer, for he learns that Paganini does not yet
+intend to visit Paris or London.[18]
+
+[Illustration: _Plate V.--See Appendix._
+
+FROM A CONTEMPORARY GERMAN PICTURE.]
+
+Paganini's first concert only was well attended. There was then a
+reaction. Some attributed the falling off to the high prices charged for
+admission, but there was, in fact, a traditional hostility in art
+matters between Prague and Vienna; that which was praised in Vienna must
+be condemned in Prague, and what was approved in Prague must not be
+tolerated in Vienna. It was at Prague that Paganini actually published
+this letter from his mother as proof that he was not the son of the
+devil!
+
+     DEAREST SON,--At last, after seven months have elapsed since I
+     wrote to you at Milan, I had the happiness of receiving your letter
+     of the 9th current, through the intermediary of Signor Agnino, and
+     was much rejoiced to find that you were in the enjoyment of good
+     health. I am also delighted to find that, after your travels to
+     Paris and London, you purpose visiting Genoa expressly to embrace
+     me. I assure you, my prayers are daily offered up to the Most High,
+     that my health may be sustained, also yours, so that my desire may
+     be realised.
+
+     My dream has been fulfilled, and that which God promised me has
+     been accomplished. Your name is great, and art, with the help of
+     God, has placed you in a position of independence. Beloved,
+     esteemed by your fellow citizens, you will find in my bosom and
+     those of your friends, that repose which your health demands.
+
+     The portraits which accompanied your letter have given me great
+     pleasure. I had seen in the papers all the accounts you give me of
+     yourself. You may imagine, as your mother, what an infinite source
+     of joy it was to me. Dear son, I entreat you to continue to inform
+     me of all that concerns you, for with this assurance I shall feel
+     that it will prolong my days, and be convinced that I shall still
+     have the happiness of embracing you.
+
+     We are all well. In the name of your relations, I thank you for the
+     sums of money you have sent. Omit nothing that will render your
+     name immortal. Eschew the vices of great cities, remembering that
+     you have a mother who loves you affectionately, and whose fondest
+     aspirations are your health and happiness. She will never cease her
+     supplications to the All-powerful for your preservation.
+
+     Embrace your amiable companion for me, and kiss little Achille.
+     Love me as I love you.
+
+     Your ever affectionate mother,
+     _21st July, 1828_.      TERESA PAGANINI.
+
+From Prague, Paganini went to Berlin, where he remained four months. He
+was received with the utmost enthusiasm, and on the evening of his first
+concert he exclaimed: "I have found my Vienna public again." Wherever
+Paganini stayed for any length of time it suddenly became the fashion to
+learn to play the violin; and the fair members of the aristocratic
+families were among the most eager to become pupils of the famous man.
+Paganini made a great deal of money in Berlin. The critics were divided
+in opinion as to his merits; but Rellstab, whom Schumann once called
+"Wretched Berlinese reviewer," was favourably impressed. Paganini is
+said to have received a challenge from Baron Sigismond von Praun, to a
+public contest for supremacy in performance, but as the would-be
+opponent was a youth of seventeen, Paganini disdained him. Perhaps he
+thought of his own presumption in his young days!
+
+Paganini's tour was one continual triumphal progress. At Königsberg his
+first concert realised about Ł330, an unprecedented sum in that place;
+at Frankfort his four concerts produced something like Ł1,000. A critic
+wrote of him: "One striking peculiarity of his playing is the
+extraordinary effect it produces on persons wholly devoid of musical
+cultivation. Most _virtuosi_ play only for the learned; not so
+Paganini. His performance is alike appreciated by men of business and
+connoisseurs, by children and grown persons--it is felt and understood
+by all. This is the distinctive characteristic of all that is great in
+art."
+
+He was at Leipzig in 1829, and was among the visitors at the house of
+Abraham Mendelssohn--the pleasant garden-house in the Leipziger
+Strasse--and his portrait figures in Hensel's collection. In June, 1830,
+Paganini was in Cassel, when Spohr heard him for the first time--of
+which more later. In Hamburg the same year Heine heard him, and his
+vivid and extraordinary notice of the artist must be briefly quoted. "I
+believe," said Heine, "that only one man has succeeded in putting
+Paganini's true physiognomy upon paper--a deaf painter, Lyser by name,
+who in a frenzy full of genius has with a few strokes of chalk so well
+hit the great violinist's head that one is at the same time amused and
+terrified at the truth of the drawing. 'The devil guided my hand,' the
+deaf painter said to me, chuckling mysteriously, and nodding his head
+with a good-natured irony in the way he generally accompanied his genial
+witticisms.... The Hamburg Opera House was the scene of this concert,
+and the art-loving public had flocked there so early, and in such
+numbers, that I only just succeeded in obtaining a little place in the
+orchestra." Then he goes on to describe the audience and the entrance of
+Paganini. "Is that a man brought into the arena at the moment of death,
+like a dying gladiator, to delight the public with his convulsions? Or
+is it one risen from the dead, a vampire with a violin, who, if not the
+blood out of our hearts, at any rate sucks the gold out of our pockets?
+Such questions crossed our minds while Paganini was performing his
+strange bows, but all those thoughts were at once still when the
+wonderful master placed his violin under his chin and began to play. As
+for me, you already know my musical second-sight, my gift of seeing at
+each tone a figure equivalent to the sound, and so Paganini with each
+stroke of his bow brought visible forms and situations before my eyes;
+he told me in melodious hieroglyphics all kinds of brilliant tales; he,
+as it were, made a magic lantern play its coloured antics before me, he
+himself being chief actor.... A holy, ineffable ardour dwelt in the
+sounds, which often trembled, scarce audibly, in mysterious whisper on
+the water, then swelled out again with a shuddering sweetness, like a
+bugle's notes heard by moonlight, and then finally poured forth in
+unrestrained jubilee, as if a thousand bards had struck their harps and
+raised their voices in a song of victory." Thus, a poet on a poet in
+tones.
+
+In 1829 Paganini was in Warsaw, and Chopin was among those who heard
+him. As he was leaving, in July, he was stopped some distance from the
+city by a numerous company who had met together in a garden. They drank
+the health of the artist, and Joseph Xaver Elsner, Director of the
+Conservatoire, handed him a costly snuff box, bearing this inscription:
+"Al Cavaliere Nicolo Paganini, gli ammiratori del suo talento, Varsovia
+19 Luglio 1829." Paganini pressed it to his lips, speechless with
+surprise, and affected almost to tears. At Munich he gave three concerts
+in November of the same year; and at the close of the last _soirée_ the
+artist was crowned by Stunz, the Kapellmeister, while thousands of
+laudatory poems were showered from different parts of the hall. At
+Stuttgart, the King of Würtemberg presented him with 100 _louis d'or_,
+and it is said that before leaving Germany Paganini sent over Ł6,000 to
+the Bank of England for safe custody, a proceeding which showed his good
+sense, and perhaps revealed a mistrust of his continental friends.
+
+Paganini's tours, extending over three years, embraced Bohemia, Poland,
+Saxony, Bavaria, Prussia, and the Rhine provinces. Many more details
+might be given, but they are really needless: it was always the same
+story of the artist's success, excepting, indeed, at Augsburg, where the
+criticisms were adverse, as at Prague. An anecdote may fitly close the
+narration of Paganini's long stay in Germany, as it reveals an
+interesting trait in the character of the peasantry. Paganini, in the
+autumn of 1829, was summoned to appear before the Queen Dowager of
+Bavaria, at the Castle of Tegernsee, a magnificent residence of the
+Kings of Bavaria, situated on the banks of a lake of the same name. At
+the moment the concert was about to begin, a great bustle was heard
+outside. The Queen, having enquired the cause, was informed that about
+sixty of the neighbouring peasantry, having been told of the arrival of
+the famous Italian violinist, were come with the hope of hearing some of
+his notes, and requested that the windows should be opened, in order
+that they also might enjoy his talent. The Queen went beyond their
+wishes, and with truly Royal good-nature, gave orders that they should
+all be admitted into the saloon, where she had the pleasure of remarking
+their discernment, and the judicious manner in which they applauded the
+most striking parts of the distinguished artist's performance.
+
+Frankfort seems to have been a favourite stopping place with Paganini,
+and from there, at last, he quitted the fatherland, and arrived at
+Strasburg, where he gave two concerts, and thence proceeded direct to
+Paris.
+
+It has to be observed that France had just been through another
+Revolution, and the turmoil, social and political, had not subsided. To
+a populace seething in this fevered atmosphere anything by way of
+diversion would be welcome. The man of the hour was Paganini, for in a
+sense he combined within himself the surrounding elements and
+influences. At the moment the public was just in the mood for Paganini,
+and the artist met the craving for excitement. He gave his first concert
+in the Opera House on March 9th, 1831, and notwithstanding that the
+prices of admission were tripled, the house was crammed. It would be
+impossible, says Fétis, to describe the enthusiasm with which the
+audience were seized when listening to the extraordinary artist, an
+enthusiasm approaching delirium, frenzy. Paganini's Studies had long
+been known to Parisian violinists, but they remained enigmas impossible
+of solution. At his third concert, March 25th, Paganini introduced a new
+concerto, in D minor, which, like so much of his music, is lost. In
+Paris the infamous persecution of the artist seems to have reached its
+climax. Fétis states that Paris was above all places hostile to
+Paganini, although that city had contributed more than any other place
+to the _éclat_ of his success. His portrait was on every wall, and
+exhibited in the windows of print shops. Paganini himself stopped to
+look at one representing him in prison; and while scanning it with
+some amusement, found he was being surrounded by a crowd who were
+scrutinising him with close interest, evidently comparing his features
+with those of the lithograph. This was too much, and Paganini sought his
+friend Fétis, and confided to him his troubles, seeking his aid for
+their amelioration. Fétis requested Paganini to supply him with
+particulars, and then indited a long epistle, which, signed by Paganini,
+appeared in the _Revue Musicale_. Quotation may be deferred until the
+narration of Paganini's public career is completed, and a more detailed
+consideration of the character of the man and the artist is entered
+upon.
+
+One incident that occurred during Paganini's visit to Paris may be
+related. The officers of the different legions of the National Guard
+combined to organise a grand ball to be held in the Opera House for the
+benefit of the poor. They thought it would add greatly to the
+attractions of the function if they could prevail upon Paganini to
+attend and play a few pieces. To ask for violin solos in a place
+prepared for a ball, and among an assemblage met for dancing, argued a
+very curious taste, or want of it. Paganini owed it to his dignity as an
+artist to refuse the invitation, which he did. For this he was bitterly
+assailed by a section of the press, and was compelled to publish a
+letter justifying himself.[19] He explained that he had already given up
+the Opera House, which was at his disposal, for the preparations for the
+ball, and that involved the loss of receipts for one concert--from
+15,000 to 20,000 francs. He added that in Berlin, Vienna, and all the
+towns where he had continued any time, he made it a duty to perform for
+the benefit of the unfortunate; and he certainly should not leave Paris
+without devoting the proceeds of one of his _soirées_ to the relief of
+the poor of that capital. He kept his word; gave the promised concert,
+and the poor profited by a refusal that was attributed to him as a
+crime.
+
+Berlioz, then in Italy--he had just won the Grand Prix de Rome--passing
+through a crisis in his life, stayed a few days in Genoa. In his
+autobiography he wrote: "All Paris was raving about Paganini, while I,
+with my usual luck, was kicking my heels in his native town instead of
+listening to him. I tried to gather some information about their
+distinguished townsman from the Genoese, but found that, like other
+people engaged in commerce, they cared little for the fine arts, and
+spoke quite indifferently of the genius whom Germany, France and England
+had received with open arms. They could not even show me his father's
+house." So quickly and easily can one be forgotten! England had not yet
+received Paganini, but it was many years after this time that Berlioz
+penned his autobiography.
+
+Liszt, in Paris, his first dream of love cruelly dispelled, shunned the
+world and buried himself in seclusion. For the time the artist within
+him was dead, and his thoughts turned to the priesthood. The revolution
+of 1830 awoke him. The Magyar blood was aroused, and sympathising with
+the people's struggles Liszt planned a _Symphonie révolutionnaire_. But
+it was Paganini who, the next year, touched Liszt as it were with a
+magic wand, and gave the direction to the genius and energy of the young
+artist. Of this more in its proper place. Early in May, 1831, Paganini
+left Paris for London.
+
+FOOTNOTES:
+
+[13] Where Beethoven gave his concerts in 1814.
+
+[14] The writer's memory played him false. The meeting with Lafont took
+place in 1816; or, according to some, in 1812!
+
+[15] This letter was reproduced in the "Harmonicon."
+
+[16] Lady Morgan, in her book, "France in 1829-30," gives an account of
+the Giraffe just then arrived in Paris. The animal was added to the
+collection in the London Zoological Gardens in 1836.
+
+[17] Litterateur, of Vienna: writer of comedies, etc.
+
+[18] This letter was published in _The Quarterly Musical Magazine and
+Review_.
+
+[19] Addressed to _Le Corsaire_, and reproduced (in English) in _The
+Globe_.
+
+
+
+
+CHAPTER V.
+
+
+Fétis stated that Paganini's visit to London excited the most lively
+curiosity, but did not awake that intelligent interest which welcomed
+him in the Capital of France. This does not sound complimentary to
+London, but perhaps Fétis read some of the introductory comments of the
+press when Paganini was about to reach our shores. This is a specimen:
+"We shall talk of Paganini very much till he comes. When he arrives
+nobody will speak or think of anything else for nine, perhaps eighteen,
+days: he will be everywhere: all other violinists will be utterly
+forgotten: it will be agreed that the instrument was never before heard;
+that his predecessors were all tyros; all other fiddles mere kits. There
+will be Paganini rondos and waltzes; variations, long, short, hard,
+easy, all _ŕ la Paganini_. We shall have Paganini hats, caps, etc., and
+the hair of all the beaux patronised by beauty, will be after his
+curious pattern. His influence will extend to our tables, and there will
+be Paganini puffs served up daily. Then, all at once, his very name will
+cease to be pronounced by persons of _ton_; and, as a matter of course,
+people not of _ton_--not of the Devonshire circle, not of Almack's--will
+imitate those who are: and the Italian player, like the penultimate
+fashion, will be utterly forgotten!--_in good society_. I will
+even allow him to flourish here two whole months, provided no new
+chin-chopper[20] arrive in the interim, no _danseuse_ with a miraculous
+toe, to contest the supremacy of his wonderful bow: should any such
+rival enter the lists with him, his glory will set in less than a moon,
+and never blaze again above our fashionable horizon."[21]
+
+[Illustration: _Plate VI.--See Appendix._--TITLE-PAGE OF COMIC SONG,
+1831.]
+
+Here is another from _The Examiner_:--"There cannot be a more
+inoffensive creature. His sole propensity is to gain money by his art,
+and his passion to lose it at the gambling table. Paganini's bow
+(_Scotticé_, boo) is almost as wonderful as his bow (_Anglicé_,
+fiddle-stick)--the craw-fish would attempt something like it were he on
+the stage, but not so well."
+
+Well, we've improved in manners somewhat since 1831. No respectable
+paper would publish now such notices in advance of any distinguished
+artist, however eccentric he might be. Paganini duly arrived in London
+in May, 1831. His first concert was announced for the 21st in this
+manner:
+
+     THE KING'S THEATRE.
+
+     SIGNOR PAGANINI respectfully informs the Nobility, Subscribers, and
+     Frequenters of the Opera, and the public, that he will give a
+     GRAND MISCELLANEOUS CONCERT of VOCAL and INSTRUMEMTAL MUSIC, at
+     this theatre, TO-MORROW EVENING.
+
+     _Prices of Boxes_:--Pit Tier, 8 Guineas; Grand Tier, 10 Guineas;
+     One Pair, 9 Guineas; Two Pair, 6 Guineas; Three Pair, 4 Guineas;
+     Stalls, 2 Guineas; Orchestra, 1-1/2 Guineas; Admission to the Pit,
+     1 Guinea; Ditto to the Gallery, Half a Guinea.
+
+This announcement produced a storm of indignation. Articles appeared in
+_The Times_, _The Courier_, _The Observer_, _The Chronicle_, and
+correspondence of a heated character was carried on. The editor of _The
+Harmonicon_, calculated that a full house at the prices would realise
+more than 3,000 guineas, and M. Laporte, the manager of the King's
+Theatre, was virtually accused of conspiring to rob the public. It must
+be explained that Laporte "farmed" Paganini; and as the latter
+invariably doubled the ordinary prices of admission, his impressario
+naturally desired to share in the golden harvest. Laporte wrote to _The
+Times_ a hurried note on May 19th, at eleven p.m., stating that at some
+future time he would refute the charges brought against him; and the
+next day a letter from Paganini to Laporte, and advertised in the
+newspaper, gave pause to the wordy warfare. It was as follows:--
+
+
+     Sir,                 _Friday_, 29th May.
+
+     Finding myself too unwell, I request you will respectfully inform
+     the public that the Concert announced for to-morrow will not take
+     place.
+
+         Your obedient Servant,
+     To M. Laporte.        NICOLO PAGANINI.
+
+Paganini was in a wretched state of health when he reached London, and
+his condition was not improved by the turmoil his announcement had
+created. The terms of his contract with Laporte were published in _The
+Observer_, and it was shown that Paganini had practically surrendered
+his freedom of action. This may be illustrated by a story that I have
+not met with in any English publication, though it may be true all the
+same. It is from the notice of Paganini in Mendel's "Musikalisches
+Conversations-Lexikon." His Majesty William IV. sent to enquire what
+honorarium Paganini required to play at the Court. Paganini answered:
+Ł100, a mere bagatelle. As the messenger tendered him one half that sum,
+Paganini haughtily replied, "His Majesty can hear me at a much cheaper
+rate if he will attend my concert. But my terms are not left for me to
+settle."
+
+The concert postponed from May 21st was then announced for June 3rd, but
+the question of the high prices had yet to be disposed of. Conflicting
+statements were made--one to the effect that Paganini expressed his
+regret that they had not been fixed still higher! Be that as it may,
+that was not the time to trifle with an angry public. There was not a
+moment to be lost, and some one must give way. The matter was soon
+decided. On June 2nd, appeared in _The Courier_ and _The Globe_ the
+translation of a letter from Paganini, which may be reproduced for the
+sake of its contents:
+
+     "The time appointed for my first Concert at the King's Theatre so
+     nearly approaches, that I feel it my duty to announce it myself,
+     and to claim the favour of the English nation, which honours the
+     arts as much as I respect her. Having been accustomed in all the
+     towns of the Continent to double the usual prices at the theatres
+     where I have given my Concerts, and, but little acquainted with the
+     customs of this Capital, where I present myself for the first time,
+     I thought I might do the same here. But having been informed by
+     several papers that the existing prices here are higher than those
+     on the Continent, and having myself ascertained that the statement
+     was correct, I willingly second the wish of a public whose esteem
+     and protection I desire as my greatest recompense.
+
+    (Signed)       NICOLO PAGANINI.
+    London, June 1st, 1831."
+
+At last the concert took place in the King's Theatre, June 3rd, 1831.
+There was an orchestra erected on the stage. Many musicians have left a
+record of the extraordinary impression made by Paganini on that
+occasion, and have attempted to describe the man. In the present place
+quotation may be limited to the remarks of the editor of _The
+Harmonicon_, William Ayrton, a cultivated musician, and a sober-minded
+critic. He wrote thus: "The long, laboured, reiterated articles relative
+to Paganini, in all the foreign journals for years past, have spoken of
+his powers as so astonishing, that we were quite prepared to find them
+fall far short of report; but his performances at his first concert, on
+the 3rd of last month, convinced us that it is possible to exceed the
+most sanguine expectation, and to surpass what the most eulogistic
+writers have asserted. We speak, however, let it be understood, in
+reference to his powers of execution solely. These are little less
+than marvellous, and such as we could only have believed on the evidence
+of our own senses; they imply a strong natural propensity to music, with
+an industry, a perseverance, a devotedness, and also a skill in
+inventing means, without any parallel in the history of his instrument."
+
+[Illustration: _Plate VII.--See Appendix._
+
+SKETCH BY D. MACLISE, R.A.]
+
+So far, the musician. The critics on the press may also have been
+musicians, though at that time it was not usual to have a musical
+department, if such a term may pass, in the daily or weekly papers. _The
+Athenćum_, in its notice, does not reveal the polished style of a
+high-class literary journal. This is how it deals with the concert:--"At
+length all differences have been arranged, and the _mighty wonder_ has
+come forth--a very Zamiel in appearance, and certainly a very devil in
+performance! He is, beyond rivalry, the _bow_ ideal of fiddling faculty!
+He possesses a demon-like influence over his instrument, and makes it
+utter sounds almost superhuman.... The arrival of this magician is quite
+enough to make the greater part of the fiddling tribe commit suicide."
+
+And now let us turn to the concert itself. The fashionable world did not
+rush to the theatre, and only two boxes were let. The stalls and
+orchestra were full, and also the pit, but not crowded. The audience
+consisted in great part of musicians; and even those engaged in the
+orchestra were listeners for the first time, as Paganini at rehearsal
+only played such passages as served for "cues," and in nowise revealed
+his powers.
+
+The object of a great _virtuoso_ would naturally be an exhibition of his
+own talent, but Paganini was not prodigal of his playing at the first
+concert. He had engaged the orchestra of the Philharmonic Society, then
+probably the finest in Europe, and his programme opened with Beethoven's
+Symphony, No. 2, in D. It will be shown later that Paganini had a great
+veneration for Beethoven. Then Signor Lablache was the solo vocalist, so
+Paganini was in the best of company. His first piece was the Concerto in
+E flat[22], and his second solo the Military Sonata for the G string,
+the theme being Mozart's "Non piů andrai." The receipts were Ł700.
+Paganini had a most flattering reception, and his performances were
+greeted with acclamations, and waving of hats and handkerchiefs. The
+members of the orchestra were astounded. Mori avowed that if he could
+not sell, he would at least burn, his fiddle; Lindley, who stammered
+terribly, said that "it was the d-d-devil"; and Dragonetti (whose "he's
+were she's") growled out, "She's mighty esprit!" Cramer thanked heaven
+that he was not a violinist. A striking feature of Paganini's
+performance was his playing from memory. The _Athenćum_ remarked, "He
+plays without a reading desk or book stand; this gives an air of
+_improvising_ to his performance, which we hope to see imitated, if any
+one be found hardy enough to undertake a violin solo for the next seven
+years." No violinist would venture to play a concerto now with the music
+before him, but he may not be aware that it was Paganini who set the
+fashion of playing without book.
+
+The public now forgot all about the trouble of the high prices, and the
+second concert, given in the same place on the 10th, was so well
+attended that the receipts were about Ł1,200. On this occasion Paganini
+played his Concerto in B minor, and Lablache struck the little silver
+bell in the Rondo. He also gave his variations on "The Carnival of
+Venice," and a Sonata on the fourth string, in which the Prayer from
+_Mosé in Egitto_ was introduced. The third concert took place on the
+13th, when Paganini brought out another new Concerto. Something like
+Ł900 was realised. At the fourth concert, on the 16th, Paganini played a
+_Cantabile_ on two strings, a _Rondo Scherzoso_, by Rodolphe Kreutzer--a
+detail to be noticed,--a _Larghetto gajo_, the Military Sonata, and the
+variations on "Non piů mesta," from Rossini's _La Cenerentola_. The
+fifth and last Concert was on the 22nd, when the house was crowded to
+excess, and the enthusiasm greater than ever.
+
+But Paganini, or his astute manager, began to presume a little too much
+on the good nature of the public. Parting was "such sweet sorrow," that,
+like another Juliet, Paganini was inclined to prolong that process as
+long as possible. Final concerts succeeded each other--much like the
+"Farewells" of popular singers--until the audiences began to dwindle. At
+one, at the King's Theatre on July 4th, Paganini played a new Concerto
+in E major, "all expression and grace," and by far the best proof given
+of his talent since his arrival in London. Paganini gave two concerts at
+the London Tavern in July. The first was well attended, but at the
+second there was no orchestra. The concert was a failure--"and no
+wonder, for the Signor tried an experiment on the forbearance of the
+citizens, and actually took only a pianist and one or two second-rate
+singers with him to make up a half-guinea concert! This was too much
+even for John Bull to submit to."[23]
+
+What a curious side-light this shows upon concert matters in the first
+half of the nineteenth century! Now-a-days the "experiment" is for the
+_virtuoso_ to engage an orchestra.[24]
+
+Paganini played at some of the benefit concerts during the season,
+taking one-third of the gross receipts. There was evidently ill-feeling
+on this point, for Lablache and Rubini now refused to sing where
+Paganini played. It was said, even, that the leader of his orchestra had
+to sue Paganini for recovery of his fees, but the artist in question,
+Spagnoletti, put the matter right by publicly stating that his action
+was against M. Laporte, and that against Signor Paganini he had never
+had the slightest cause of complaint. Time was found for a few
+provincial visits. In July Paganini gave two concerts at Cheltenham, and
+there he got into trouble. It was announced that his engagements would
+not permit his remaining beyond the second day. His concerts were well
+supported, and one of the Subscription Balls, at the Rotunda, was
+relinquished in order that no hindrance should stand in the way of
+those desirous of hearing the violinist. But when it was given out that
+Paganini would give a third performance, there was a disturbance. Some
+leading residents had a handbill printed calling upon the "nobility and
+gentry" to support the established amusements of the town, by
+patronizing the Ball, if only as an act of justice to the proprietor.
+The effect was to secure a thronged attendance at the Rotunda, and so
+poor an assemblage at the theatre, that Paganini refused to perform. Of
+course the manager had to communicate this unpleasant piece of
+information to the audience, at the same time offering to return the
+admission money; but the people were in no pacific frame of mind, and
+they marched straightway to the hotel where Paganini was staying, and
+demanded the fulfilment of his engagement. A mob soon collected, and
+their demeanour became so threatening that there was nothing left but
+compliance with their demand. Paganini went to the theatre, played two
+of his most favourite pieces with great success, and at midnight posted
+off for London. It appeared that he had agreed to perform for two-thirds
+of the receipts, but finding the house not half full, demanded two
+hundred guineas in advance. This the local manager refused, and informed
+the audience of the fact; and the outbreak was the natural result. The
+local paper remarked: "We believe this is the only instance as yet upon
+record of Paganini's playing to empty benches, and himself unpaid."
+Paganini addressed a letter to the _Times_, giving another version of
+the incident, but he did not appear to have come out of the affair very
+well. His manager's share in the business may be left to conjecture.
+
+One other little circumstance seems to have caused a certain amount of
+irritation. Paganini was engaged for the Lord Mayor's banquet at the
+Mansion House on July 9th. When the Lord Mayor proposed the toast of the
+Lord Chancellor, before Lord Brougham's rising to return thanks,
+Paganini played a solo. He evidently displaced the usual glee party, but
+in any case it was not the most artistic function to assist at, and
+money must have been the chief consideration.
+
+Paganini carried his London concerts into August, and visited Norwich,
+where again a third performance took place when only two were announced.
+The local manager was a heavy loser, as Paganini (or his agent) had
+arranged for a specific sum, and there was very little in excess for the
+payment of vocalists, and general expenses. There was also a clashing
+with an important fixture at the theatre, and feeling ran high, though
+there was no violent demonstration as at Cheltenham. Towards the end of
+August, Paganini set out for Dublin, being engaged for the first Musical
+Festival held in that city.
+
+[Illustration: _Plate VIII.--See Appendix._
+
+THE CELEBRATED STATUETTE (CARICATURE), BY DAINTON.]
+
+FOOTNOTES:
+
+[20] An allusion to Michael Boai, whose performances in London, in 1830,
+were of a curious description,--producing tones by merely striking his
+chin!
+
+[21] The Dilettante, in _The Harmonicon_, VIII, 479.
+
+[22] Now played in D.
+
+[23] Harmonicon, IX. p. 190.
+
+[24] At that time concert givers always engaged an orchestra, but the
+gigantic combinations of the present day were, of course, unknown, and
+unnecessary.
+
+
+
+
+CHAPTER VI.
+
+
+Dublin held her first Musical Festival from August 30th to September
+3rd, 1831, and in connection with this event, it is interesting to note,
+Henry Fothergill Chorley contributed his first musical criticism to the
+_Athenćum_.[25] There was very little about Paganini, but much about the
+oratorio, "The Triumph of Faith," of Ferdinand Ries. It may be observed,
+in passing, that in the first half of the nineteenth century musical
+festivals were more numerous than they are now--there were five in 1831.
+With the exception of those given in York Minster (1823-1835), they were
+not on the large scale of the principal present day celebrations; but
+they were relatively of more importance, inasmuch as there were then
+fewer musical centres beyond the metropolis, and small towns would have
+had little music but for those periodic gatherings.
+
+Dublin's scheme was ambitious; for Paganini's fees for the three evening
+concerts was 500 guineas. Braham and Henry Phillips were among the
+vocalists engaged, and the latter, in his "Musical Recollections," gives
+a very interesting and amusing account of Paganini at the festival. No
+one seemed to know how Paganini arrived in Dublin, which gave rise to a
+vague idea that he was wafted across by the _Flying Dutchman_. Where he
+lodged was equally a mystery. He arrived at the stage door of the
+Theatre Royal on the evening of the first concert, and immediately
+ordered an apartment to be got ready, and the room to be perfectly
+darkened. There he paced up and down, playing snatches of his music
+until the time for his _début_ before a Dublin audience.
+
+The Theatre was crammed to suffocation. The Lord Lieutenant and his
+Suite attended in State, and all the _élite_ of Dublin were in the dress
+tier. When the Conductor, Sir George Smart, led Paganini to the centre
+of the stage there was a terrific outburst of applause, followed by
+breathless silence, as the great artist went through his deliberate
+process of adjusting his violin, raising his bow, and letting it rest
+upon the strings before commencing. This was too trying to the mercurial
+temperament of the occupants of the gallery, and before many seconds
+there was a stentorian shout, "Well! we're all ready!" The house was
+convulsed with laughter, peal after peal rang through the theatre.
+Paganini, stamping with rage, turned to Sir George Smart, and cried,
+"_Qu'est ce que c'est?_" The explanation seemed to make matters worse,
+and Paganini left the orchestra. Some time elapsed before he could be
+induced to return; but when he did so, and began to play, he created the
+same effect as elsewhere. The next day everybody was exclaiming: "Ah!
+sure, have you heard the Paganini; och murther! and his fiddle?" Such
+is the account Henry Phillips gives, but it is not easy to attach
+credence to all he has put in his book.
+
+At one of the concerts Paganini played the concerto in B minor, with the
+Rondo _ŕ la clochette_, when an excited Hibernian shouted above the
+storm of applause, "Arrah now, Signor Paganini, have a drop of whiskey,
+darling, and ring the bell again!" Paganini's departure from Dublin was
+as mysterious as his arrival. On his return to London he failed to
+attract much attention, and seems to have been mostly on tour in the
+provinces and in Scotland. One incident in London was so singular that
+it deserves mention. Carlyle was supposed to have taken a walk with
+Paganini. Fancy "the Sage of Chelsea" in company with "the magician of
+the bow"! Thomas Carlyle was in London in 1831 vainly negotiating for
+the publication of "Sartor Resartus." One day his friend, Edward Irving,
+took him to Belgrave Square to dine with Henry Drummond. They walked
+along Piccadilly, thronged with fashionable promenaders; and as both men
+were of pecular personal appearance, they doubtless attracted some
+attention. This is what Carlyle subsequently wrote:--"Irving, I heard
+afterward, was judged, from the broad hat, brown skin, and flowing black
+hair, to be in all probability the one-string fiddler, Paganini--a tall,
+lean, taciturn abstruse-looking figure--who was then, after his sort,
+astonishing the idle of mankind."[26] Carlyle has said many true, and
+many beautiful things about music, but one may search his writings in
+vain for a good word about musicians!
+
+In December of this year (1831) Paganini was announced to play in
+Bristol. The following "squib" or lampoon was issued:--
+
+     PAGANINI.
+
+     TO THE CITIZENS OF BRISTOL.
+
+     FELLOW CITIZENS,--It is with feelings of unqualified disgust that I
+     witness the announcement of SIGNOR PAGANINI'S Performance to take
+     place in this City: Why at this period of Distress? With the
+     recollection of so many scenes of misery still fresh in our minds,
+     and whilst SUBSCRIPTIONS are required to the extent of our means in
+     order to FEED and CLOTHE the POOR: why is this FOREIGN FIDDLER now
+     to appear? for the purpose of draining those resources which would
+     be infinitely better applied in the exercise of the best feeling of
+     man--CHARITY. Do not suffer yourselves to be imposed upon by the
+     Payment of Charges which are well worthy the name of extortion;
+     rather suffer under the imputation of a want of TASTE than support
+     any of the tribe of Foreign MUSIC-MONSTERS, who collect the Cash of
+     this Country and waft it to their own shores, laughing at the
+     infatuation of John Bull.
+
+     _December 10th, 1831._      PHILADELPHUS.
+
+     A. SAINT. TYP. CASTLE PRINTING OFFICE, 54, Castle Street, Bristol.
+
+Paganini's concerts at Leeds, early in 1832, were so well managed that,
+out of the profits, a liberal donation was presented to the fund for the
+relief of the poor. At Birmingham, in February of that year, his visit
+caused such an influx of strangers to the town, that neither lodgings
+nor stabling could meet the demand made upon them. A popular song was
+written for the occasion, and the streets rang with it long after the
+violinist had left the place. Two lines ran thus:--
+
+     "It's well worth a guinea to see Paganini,
+     To see how he curls his hair."
+
+At Brighton some time earlier, the high prices were nearly causing a
+riot, through the issue of an inflammatory placard against them. Mr.
+William Gutteridge, a well-known musician of that place, who had
+arranged for the concerts, had to ask the protection of the magistrates,
+but fortunately no outbreak occurred. The squabbles about prices, the
+charges of avarice brought against Paganini, and the acrimonious tone of
+part of the press, afford melancholy reading. His gains were said to
+reach Ł20,000. In March, 1832, he left London for Paris. There, he gave
+a concert for the poor on March 18th. He did not stay very long in
+France, and on his way again to this country, occurred the incident
+referred to as one of the indignities to which he was subjected. This is
+the story.
+
+Paganini having to pass through Boulogne on his way to England, decided
+to give a concert in that town, which boasted of a Philharmonic Society.
+Paganini deputed a friend to arrange for that Society to assist at the
+concert.
+
+All seemed going well until Paganini arrived on the scene, when the
+amateurs stipulated for a certain number of free admissions for their
+friends and families, as a recognition for their assistance. Paganini
+represented to them that in a small concert room so many free admissions
+would leave little room for the paying public, and he could not accede
+to their demand. However, they would not give way, so Paganini declared
+his intention to engage a professional band. This did not suit the views
+of the amateurs, and they threatened the professional players with the
+loss of patronage and pupils if they dared assist Paganini; and the
+unfortunate artists, dependent as they were upon that support, had to
+refuse the offer made them. But Paganini was not to be baffled; he
+determined to give the concert, and to perform without any accompaniment
+at all. This he did; and now came the ludicrous sequel. A number of
+those amateurs actually paid for admission to the concert, on purpose to
+hiss the independent artist. This they did as soon as he entered the
+concert-room. Despising such petty spite, Paganini entrusted his revenge
+to his art, and the rapturous plaudits of the audience proper soon
+reduced to a pitiable silence those who had offered so gross an insult.
+As a writer said at the time: "The amateurs of Boulogne have earned for
+themselves a niche in the history of the art--they have _hissed_
+Paganini."
+
+To digress, for a moment. Paganini's performance, solus, was a recital
+pure and simple; perhaps the first ever given in a concert room. In
+Grove's "Dictionary of Music and Musicians" there is this definition:
+"Recital, a term which has come into use in England to signify a
+performance of solo music by one instrument and one performer." It was
+probably first used by Liszt, in 1840, when he advertised his
+performances as "Recitals." The first was given at the Hanover
+Square Rooms, on June 9th, and was called by the _Musical World_ a
+curious exhibition. The "one man show," as the recital has been
+irreverently termed, may not conduce to the highest interest of art,
+but Paganini--not Liszt--was its inventor.
+
+[Illustration: PLATE 9. (_See Appendix._)]
+
+Paganini made his _rentrée_ at Covent Garden Theatre on July 6th, but he
+did not appear to have played anything new. Neither did he attract much
+attention, and little need be said respecting his visit. He was back
+again in London in 1833, but was out of favour, and was advised to
+postpone his concerts until the public anger, caused by his refusal to
+play for the distressed English actors in Paris, had subsided. His first
+concert was given in the King's Theatre, on June 21st, when apparently
+he played nothing new, and had but a small audience. The press in
+general appeared to be hostile--the _Athenćum_ did not notice him at
+all--and it is probable that his stay was not prolonged. He was in Paris
+later in the year, and was present at the concert given by Berlioz on
+the 22nd of December, when he heard the _Symphonie Fantastique_, and was
+so impressed that he wished Berlioz to write a solo for the wonderful
+Stradivari viola he possessed.[27]
+
+Between Paganini and Berlioz there was a mutual attraction. Both had
+something of the volcanic in their nature; both did much battling
+with the hostile outer world. But more of their friendship later.
+
+Paganini was in London once more in 1834, and gave a concert at the
+Adelphi Theatre on April 7th. Again nothing new, according to report.
+The next morning he gave a second concert at the Hanover Square Rooms,
+at which it was said not more than one hundred persons were present, and
+half of those went in with free tickets. The erstwhile popular idol was
+now dethroned. Paganini fell ill after this, and postponed his third
+concert.
+
+The _Athenćum_ referred to Paganini's playing to crowded houses at the
+Adelphi, and empty benches at the Hanover Square Rooms, and then went on
+to say: "His performance on the _Viol di Gamba_,[28] or some such
+instrument, is yet to come as is also a duet with Dragonetti, which, we
+are told, is to be the _ne plus ultra_ of what is beautiful and amazing.
+He has, hitherto, only repeated his best compositions, and, as before,
+left every other violinist, ancient and modern, at an inconceivable
+distance behind him." This concert was to be the last, which induced the
+writer of the _Athenćum_ notice to attend it. He found the "new
+instrument" nothing but a full-sized viola, tuned in the ordinary way.
+"Considering the difference of stop between this and the violin, his
+precision and brilliancy upon the former, as displayed in double stop
+passages, harmonics, and _arpeggi_, of extraordinary difficulty, were
+most amazing.... In his grand concerto in E flat, his cadenza was one of
+the most wonderful combinations of novel harmony, and passages of
+execution, we ever heard." Apparently the duet with Dragonetti was not
+played, as nothing was said of it.
+
+The directors of the music at the Oxford Commemoration week, May, 1834,
+were anxious to add Paganini's name to the attractions offered. He was
+approached, accordingly, and, through his manager, announced his
+terms--one thousand pounds. Astounded by the answer, the Oxford Delegate
+desired that it might be committed to writing. This was done, but when
+shown to Paganini, he directed that guineas should be substituted for
+pounds. He knew that art was not commerce! There is no record of his
+playing at Oxford.
+
+This last visit of Paganini to England had a romantic termination. He
+had separated from Signora Bianca on account of her jealous temper, and
+had fallen in love with a young English girl--that is if current report
+may be trusted. He proposed, for the purpose of securing her a proper
+legal settlement, that the marriage should take place in Paris, and he
+left London on June 26th, arranging for her to follow him to Boulogne.
+The young lady secretly left her home, but her father had his
+suspicions, and apparently arrived at Boulogne first, for the daughter,
+instead of meeting Paganini, was confronted, on landing, by her father,
+with whom she returned home. There is no doubt as to the occurrence, for
+it was "in the papers," and names were given. Schilling, whose
+_Encyclopćdia_ was published in 1837, gives a long account of the
+affair, which he would not have done had there been no truth in it, even
+though the law of libel was not then very stringent. Here it will
+suffice to say that the young lady was the daughter of a man with whom
+Paganini lodged, and who was associated with the concert work of the
+artist. Moreover, the girl herself had, it would seem, sung at some of
+the concerts, and had become fascinated with the great violinist.
+
+The incident might be passed over, only for the fact that to it was
+owing the impression that Paganini visited America before returning to
+Italy. Dubourg, in the later editions of his work "The Violin," states
+that Paganini spent part of his time in America, previous to his return
+to Italy in 1834. Now George Dubourg was a contemporary of Paganini, and
+his statement is not to be dismissed lightly, though he offers no
+evidence in support of it. At the present time it is difficult to find
+proof, one way or the other. The American papers in 1835 were
+speculating as to the birthplace of Paganini, and some of the
+explanations were meant to be funny, but are too vapid for repetition
+now. The _Musical World_ for August 4th, 1837, in quoting an anecdote
+concerning Paganini's kindness to a poor musician, ends by saying
+Paganini took the poor man with him to America. The question was raised
+in the _Musical World_ for January the 9th, 1886, and decided in the
+negative. The legend had this slender foundation. In the early part of
+1835, the young lady whom Paganini wished to marry, went to the United
+States--she was an actress and vocalist of moderate ability--but her
+stay was brief. Still, everybody wished to see her, for wherever she
+went she was looked upon as the heroine of a romantic episode, and her
+name was always coupled with Paganini's. The story of the elopement had
+been carried across the Atlantic by scandal's winged feet; and it was
+said that Paganini sent a special messenger to America to reopen
+negotiations on the delicate subject--arrangements that came to
+nothing. The agent might have been taken, by Dubourg, for the
+principal--hence the mistake. Paganini never went to America, neither
+did he again return to the shores of Albion.
+
+FOOTNOTES:
+
+[25] Chorley, then living in Liverpool, had previously sent some short
+pieces in verse to that paper, but did not become a member of its staff
+until 1833.
+
+[26] "Reminiscences," by Thomas Carlyle, I., 311.
+
+[27] Which resulted in the Symphony, "Harold in Italy," with a solo part
+for the viola.
+
+[28] The spelling betrays an ignorance of the instrument, though the
+writer must have been Chorley himself. Interest in those antique
+instruments had not then been revived, nor were there artists to play
+upon them.
+
+
+
+
+CHAPTER VII.
+
+
+In the summer of 1834, Paganini, after an absence of six years, returned
+to his native land. He was now a rich man, and he invested part of his
+fortune in landed property, purchasing, among others, the Villa Gajona,
+near Parma, which he made his home--the first he could really call his
+own, and he was in his fifty-second year! His health was irretrievably
+broken down; he suffered from consumption of the larynx, and was losing
+the power of speech. He now sought peace and quiet, and thought of
+preparing for publication a complete edition of his compositions, which,
+if he had accomplished it, might have led to the explanation of his
+alleged secret. In November, or December, Paganini gave a concert at
+Piacenza--on the very same boards where he almost began his brilliant
+career--for the benefit of the poor; this was the first time he had been
+heard in Italy since 1828. The year 1835, Paganini passed alternately at
+Genoa, Milan, and his villa near Parma. The cholera then raging at Genoa
+was the cause of the rumour of Paganini's death. The dread scourge had
+claimed him for a victim, it was said, and the Continental journals
+devoted columns to him in the form of obituary notices.
+
+The only English contribution to the necrology of Paganini known to me
+was written by Chorley in the _Athenćum_. It is both interesting and
+curious: for Chorley manages to squeeze in his account of Paganini at
+the Dublin festival, which the editor evidently cut out in 1831. That
+scarcely concerns us now, though it relates that the _furore_ caused by
+Paganini's performance could not be appeased until he had mounted the
+grand pianoforte, in order that the audience might obtain a better view
+of his lank proportions! An extract from his notice must be given. It
+begins thus:--"_E Morto!_--the words which the silent and absorbed man
+murmured to himself, in a tone of deep feeling, after listening to one
+of Beethoven's magnificent symphonies, are now--alas!--to be uttered
+sadly for their speaker--Paganini is dead!
+
+"We would fain believe that the newspaper reports are in error....
+Let us hope that the intelligence from Genoa, received this week
+[September], that the artist had been carried off by the sudden and
+fearful death of cholera, may, by some happy chance, prove one of those
+'mistakes which it gives them pleasure to contradict.' But, should it
+not then, indeed, may Music put on sackcloth and sit in ashes for her
+High Priest!" Then follows an "appreciation," to use a modern
+expression, to which reference may be made later.
+
+Chorley was an impressionable young man, in his twenty-third year, when
+he attended the Dublin festival, and so excited did he become over
+Paganini's performances, that he gave vent to his feelings in verse.
+That poem he now inserted in the _Athenćum_, "as a farewell to one
+whose like we shall never hear again!" There are really fine thoughts in
+the poem, and, though too long to quote in its entirety, a few stanzas
+may well be rescued from the periodical in which they are buried.
+
+    O Paganini!--most undoubted king
+      Of St. Cecilia's flock, alive or dead,
+    Whether their pasture be of pipe, or string,
+      Or mighty organ, which doth overspread
+    Ancient Cathedral aisles with flood of sound,--
+      In all the wizard craft, matured by labour,
+    That doth the spirit move, delight, astound,
+      Thou hast no peer--thou hast not even a neighbour,
+      In the long lapse of years from Tubal Cain to Weber.
+
+    Sages have said, who read the book of night,
+      That once each hundred years some meteor flares
+    Across the startled heavens with brilliant flight,
+      Making strange tumults in the land of stars;
+    And, 'mid the realm of constellations vast,
+      In steady splendour ever rolling on,
+    Sweeps far and wide with fierce and furious haste,
+      Rushing from pole to distant pole anon;
+      And, like the monarch's ghost--"'Tis here--'tis there--'tis gone!"
+
+    Thou dost to these, the meteor-born, belong,
+      O mighty monarch of the strings and bow!
+    And though it were to do sweet Cupid wrong
+      To call thee else like him--yet on thy brow,
+    And in thy curved lips and flashing eyes,
+      His clearest seal hath god-like Genius set,
+    Who bade thee from the common herd arise
+      And win thyself a crown--nor ever yet
+      Hath Art her votary graced with brighter coronet.
+
+    O that a stately temple might be reared
+      On some wide plain--and open to the sky--
+    Where all the great, the gifted, the revered
+      Side close to side, ensepulchred might lie!
+    And there, where many a breeze at evening's close
+      In solemn dirge around their tomb should sweep,
+    Should all the sons of melody repose,
+      That pilgrims from afar might come and weep,
+      And by their sainted dust a silent vigil keep!
+
+    And there together in renown should rest,
+      The Italian minstrel of the broken heart![29]
+    And he whose Requiem for a spirit blest
+      Was his own dirge--too early lost Mozart!
+    And he of the Messiah--and the flight
+      Of Israel's children from their bonds abhorred,
+    When God was cloud by day, and fire by night!
+      And he, who sung of darkness, at one word
+      Bursting to light--and Earth created by its Lord!
+
+    And many more--with whom ungentle Time
+      Forbids my weak and wandering verse to say;
+    Save one great master-spirit, whom my rhyme
+      _Must_ pause to honour--for the meteor ray
+    Burnt with intensest radiance o'er his head;
+      Albeit too soon within his eager ear
+    The realm of sound deep silence overspread,
+      Whom yet the world is learning to revere--
+      Beethoven! he should sleep with thee--the Wizard--near!
+
+    There's left a space, beside his hallowed dust,
+      For thee with whom began my feeble song;
+    But be it long before the encroaching rust
+      Of Time wear out thy energies--and long
+    Ere the grim Tyrant with resistless call
+      Beckon thee hence--before thy bow be hung
+    In some gray chapel--and thy brethren all
+      Strive for thy magic instruments unstrung;
+      If Heaven were kind to man, thou shouldst be ever young!
+
+A fortnight later, Chorley was able to reassure his readers by
+contradicting the report. It seems that the rumour was started through
+the death of Dr. Paganini (referred to at the beginning of this essay),
+and there seems little doubt but that he was the brother of the
+violinist.
+
+[Illustration: _Plate X.--See Appendix._
+
+COPY OF OIL PAINTING OF PAGANINI IN THE MUNICIPAL MUSEUM AT GENOA.]
+
+In 1836, some speculators applied to Paganini to give the support of his
+name and his talent to the founding of a Casino in Paris, of which the
+ostensible object was music, the real end, gambling. It has been
+suggested that the project appealed to Paganini's avarice, which caused
+him to lend himself to the accomplishment of the undertaking. On the
+other hand, it is fair to assume that the artist was in ignorance of the
+true motive of the promoters of the scheme; and the fact that certain
+instructions to the trustees of the fortune settled on his son had been
+made public some four years earlier lends countenance to the impression
+that he was disgusted with gambling, and had long ceased to indulge in
+the vicious pastime.
+
+In the early summer of 1837, Paganini's health having improved, he gave
+several concerts in Turin, both for the benefit of the poor, and on his
+own behalf. Later in the year, however, he was in Paris, living in the
+greatest seclusion. The CASINO PAGANINI was opened, apparently in
+October, 1837. The building was situated in the Rue Mont Blanc, and was
+supposed to be a kind of Club of Art and Literature. An orchestra of
+some fifty performers was engaged for concerts, which were open to
+subscribers only. In the grounds a brass band played to those
+assembled, and admission there apparently was free to the public. The
+object of the undertaking was not made known. A French paper stated by
+way of a joke that Paganini's part in the proceedings was to walk round
+the garden when the weather was fine. The Government refused to license
+the place as a gambling-house, and the management had to rely upon the
+concerts alone. It would appear that Paganini had signed a contract to
+play at the concerts, but the wretched state of his health was the
+excuse for his not doing so. He had been in Paris off and on from 1837
+to some time in 1839. In 1838, certainly before April, he was there, and
+went to hear a newly invented instrument termed the Harmoniphone. This
+was the work of an ingenious musician, Jacques Reine Paris. It was a
+small key-board instrument designed to imitate the oboe, and intended as
+a substitute for it, in places where oboe players were not available. A
+distinguished company was invited to meet Paganini, who was greatly
+interested and pleased with the invention. Then, in December, Paganini
+witnessed what Berlioz described as the massacre of his "Benvenuto
+Cellini" at the opera. In the same month was inaugurated a society for
+the production of classical compositions, and for the encouragement of
+musical artists, and at this brilliant function, held in the Salle
+Erard, Paganini was present, with Meyerbeer, Auber, De Beriot,
+Donizetti, and a host of other celebrities. On the 16th of the month
+Paganini attended the concert given by Berlioz at the Conservatoire,
+when the symphony, "Harold," was performed. Paganini heard it for the
+first time, and at the close of the concert occurred the affecting
+incident of Paganini kneeling on the stage and kissing the hand of
+Berlioz, the demonstration being followed by a magnificent donation of
+20,000 francs. Paganini seems to have had a transient recovery, for the
+papers spoke of his becoming corpulent.
+
+Still, he did not play at the Casino Concerts, and a crisis soon arose.
+Early in 1839, the directors of the Casino brought an action against
+Paganini for breach of contract, and he was decreed to pay damages to
+the amount of 20,000 francs. This decision so much displeased both
+plaintiffs and defendant that they appealed against it. The case did not
+come on again for some time, and Paganini sought rest and change in the
+south of France. He stayed for some time at Marseilles, where, at the
+house of a friend, he once more abandoned himself to his art, devoting
+his time alternately to his violin and his guitar. Fétis states that
+notwithstanding his feeble health, Paganini attended a performance of
+Cherubini's _Requiem_ for men's voices; and on June 21st went to one of
+the churches to take part in the performance of Beethoven's Mass in C.
+
+But his malady could only be alleviated by frequent change of clime.
+Accordingly, in October we find him at Genoa, in the vain hope that his
+native air would prove beneficial; but he was prostrated by a violent
+nervous attack almost immediately following his arrival. He must, soon
+after, have left for Nice, which he never quitted alive. Nice, though a
+pleasant place, was not regarded as at all a favourable retreat for
+persons suffering from pulmonary or bronchial affections, and it proved
+fatal to the great artist. But we must, for the moment, return to Paris.
+
+The rehearing of the Casino case came before the _Cour Royale_, Paris,
+on January 3rd, 1840. Paganini could not, of course, attend in person,
+but he was represented by Counsel, and it may be of interest to name the
+man who was entrusted with his defence. It was a certain Mons.
+Chaix-d'Est-Ange. From accounts of the proceedings, this legal luminary
+addressed the Court at great length. He described the prayers and
+entreaties of the proprietors of what he termed "this catchpenny
+establishment" to induce the grand _Maestro_ to lend his mighty arm and
+name to their speculation. He had promised, in writing, to play nowhere
+but at their concerts; but as he had played nowhere else, the
+proprietors could have no legal right to such excessive damages. The
+counsel for the plaintiff, Mons. Barillon, declared that as Paganini's
+defection had ruined the speculation, the damages ought to be
+proportionate to his transcendent talent. Going into details, he stated
+that Paganini was installed in a splendid suite of apartments at the
+Casino, one boudoir being lined with flannel expressly for him; and that
+when he was complaining of his wretched health, he accepted a dinner
+offered him by the musicians of the orchestra, and gave toasts in both
+French and Italian. After that, he allowed bills to be printed,
+announcing that he would play at the Casino concert. Hundreds of tickets
+were eagerly bought at twenty francs each, when suddenly Paganini
+refused to play. Entreaties were in vain; Paganini, in his own room,
+with closed doors, would practise, but would not play at the concert.
+Recourse was had to the musicians of the Grand Opera, so as not to
+disappoint the audience, but the prefect of police would not allow the
+_employés_ of the opera to be taken from their theatre, and ordered the
+Casino to be closed. Ruin stared the proprietors in the face, and 20,000
+francs was no adequate compensation. The former decision was reversed,
+and Paganini was condemned by the Court in 50,000 francs[30] damages,
+and ten years imprisonment in default of payment.
+
+[Illustration: _Plate XI.--See Appendix._
+
+THE HOUSE IN WHICH PAGANINI DIED.]
+
+Whether the fine was actually paid, I have found no evidence to prove,
+but the imprisonment was certainly not enforced. In a few months' time,
+the gaoler whom none can deny, touched Paganini with his icy hand, and
+the troubled spirit left its frail earthly tenement on May 27th, 1840.
+
+[Illustration: _Plate XII.--See Appendix._ TABLET ON HOUSE IN WHICH
+PAGANINI DIED.]
+
+But not to rest were the mortal remains consigned. No peaceful grave for
+the wandering, restless being whose fitful fever of life was over at
+last. Paganini died without receiving the last Sacrament of the Church.
+He had indeed been visited by a priest, sent by the Bishop of Nice; but
+not deeming his end so near, made no confession, nor prepared himself
+for death according to the rite of the Church of Rome. The doubt as to
+his faith caused the Bishop of Nice to refuse burial in consecrated
+ground. The son, the friends of Paganini, and the principal artists of
+the place solicited the authorisation of a solemn service for his
+eternal repose, but in vain; all that was conceded was the offer of an
+authentic record of death, with leave to transport the corpse whither
+they might wish. This compromise was not accepted, and the matter came
+before the Court of Justice, when the decision was in favour of the
+Bishop. There was no alternative but to appeal to Rome, when the
+Bishop's decree was annulled, and the Archbishop of Turin was charged,
+conjointly with the Canons of the Cathedral of Genoa, to institute an
+inquiry into the Catholicism of Paganini. Meanwhile the remains--stated
+by the _Athenćum_ to have been embalmed for interment at Genoa--were
+subjected to shocking indignities. The landlord wanted to let the house
+where the artist had died, and the corpse was laid in the cellar until a
+more fitting resting-place was found. Then it is said to have been moved
+to the hospital of Nice, thence by sea to the _Lazzaretto_ of Villa
+Franca, and finally to a country house Polcevera, near Genoa, part of
+the property of the heir of the illustrious artist. There the body
+remained four years. Rumours spread abroad of piteous moans and other
+lamentable noises being heard at night. To put a stop to these
+unpleasant reports, the young Baron Achille made an application for
+permission for a solemn service to be celebrated at Parma, in virtue of
+Paganini having been a knight of St. George. This was not fruitless. The
+service was celebrated in the church of _La Steccata_, appropriated to
+that order of chivalry. After the solemnity the friends of the deceased
+obtained the permission of the Bishop of Parma to bring the body within
+the boundary of the Duchy, when it was transferred to the _Villa
+Gajona_, for interment in the Communal cemetery. So, at last, in May,
+1845, the mortal remains of the illustrious violinist were laid in the
+grave; by order of the government, there was no display of any kind, no
+outward symbol of homage. The mourners might, however, hope at least for
+the repose of the casket that once enclosed the fiery, turbulent,
+soaring spirit of one who knew no rest in life. But, alas! even that was
+not the end. In the letter addressed by Paganini to the Editor of the
+Paris _Révue Musicale_, the closing sentence breathed a prayer that,
+however calumniated he might be in life, the world would at least allow
+his ashes to repose in peace. That appeal was not granted. It has been
+shown that five years elapsed between his death and his burial; fifty
+years more, and the repose of the grave was broken. The _Athenćum_ of
+September 7th, 1895, contained this paragraph:--
+
+     "In the Communal Cemetery of Parma the mortal remains of the great
+     violin player, Paganini, have just been exhumed. The violinist was
+     buried there fifty-five years ago, nevertheless his face has been
+     found to be well preserved and easily recognizable. It is proposed
+     to show the body to the public before it is re-interred."
+
+Horrible! But first note the mistake. The body was buried fifty, not
+fifty-five, years before. Those terrible five years seem to have been
+unnoticed in this country, and I have been unable to find any reference
+to the mournful function of May, 1845.[31]
+
+Now, what was the reason for exhuming the remains? For the purpose of
+removal to a more prominent site! Thus is homage paid to genius! Such,
+too, was the fate of Beethoven. His remains were removed in 1888 to the
+Central Cemetery at Vienna, and lamentable incidents attended the
+exhumation. Schubert, who, by his own desire, was buried by the side of
+the great master, did not escape the doom; but Mozart was mercifully
+spared; he was buried in a pauper's grave, and his body has remained
+undiscovered. The story of the preservation of his skull may be
+dismissed as apocryphal. But what are gorgeous monuments? Does the true
+artist value the case more than the instrument? Why seek ye the living
+among the dead? The artist does not die--he puts off the "muddy vesture
+of decay"; he lives in his art-work.
+
+[Illustration: _Plate XIII.--See Appendix._
+
+THE TOMB OF PAGANINI AT PARMA.]
+
+FOOTNOTES:
+
+[29] Pergolesi.
+
+[30] The _Athenćum_ puts the amount at 52,000 francs.
+
+[31] In the _Musical World_ of February 16th, 1843, there is a paragraph
+stating that Paganini's remains were still unsepulchred, the corpse
+lying in an uninhabited house.
+
+
+
+
+CHAPTER VIII.
+
+
+Having traced the career of Paganini "from the cradle to the grave," let
+us now look a little more closely at the man, the artist. Glimpses of
+his character have already been revealed, but so curiously interesting a
+personality will repay further study. Totally uneducated, he yet made
+himself so much a man of the world, as to enjoy the personal friendship
+of such notabilities as Lord Byron, Sir Thomas Clifford Constable, Lord
+Holland, Prince Metternich and others. In his official positions at
+Court he comported himself with dignity. He had the pride of the artist,
+and would not play if the conditions were not suitable. One instance has
+already been given. Here is another, which also occurred in Paris.
+Paganini was asked to play at a Court concert at the Tuilleries. He went
+the day before to inspect the _salon_ where the function was to take
+place, and found the heavy draperies so numerous that the tones of his
+violin would be deadened, and the effect of his playing would be lost
+unless the curtains were removed or rearranged; he acquainted an
+official with his wish to alter them. To that august personage a
+"fiddler" was a mere nobody, and Paganini was given to understand his
+proper place. Highly offended with the manner of the official, Paganini
+resolved not to play. The Court was assembled for the concert, but the
+great violinist was absent. A messenger was sent to his hotel, and was
+informed that the Signor had retired to rest very early.
+
+Mobbed by ill-mannered crowds whenever he appeared in the streets, (and
+this especially in London, when strangers not only spoke to him, but
+even felt him, to ascertain if he was really flesh and blood), Paganini,
+with his sensitive nature, shrank more and more from contact with the
+outer world. He was not a Milton, "whose soul was like a star, and dwelt
+apart," but he was essentially a solitary, a recluse. His character was
+the result of his environment. Accustomed to brutal treatment in his
+childhood, he became hardened; set free from restraint, he tasted the
+wild joys of youth, only to find them turn to Dead Sea apples. Schumann,
+in his "Advice to young musicians," wrote: "The laws of morality are
+also the laws of art." But Paganini had no mentor, and learnt by bitter
+experience the lesson of life. He was accused of avarice, and many
+ridiculous stories were told of him. When at Prague, it is said that
+even the members of the theatre were struck off the free list, and he
+was annoyed that the police who watched the upper galleries could not be
+made to pay for their places! He beat down a London laundress a
+halfpenny in her charge for washing his shirts, and Moscheles gives
+currency to the story, though he cannot vouch for its truth, that
+Paganini gave his servant a gallery ticket for one of his concerts on
+condition that the man served him gratuitously for one day! All these
+wretched things may have been true, more's the pity. But there is one
+little story that appears to have been overlooked. The father of Nicolo
+Paganini was avaricious, and compelled his son to minister to his
+avarice, even robbing him of the first-fruits of his own earnings;
+Nicolo in turn became avaricious, but it was for the sake of his little
+son, whose life he desired might be better than his own. "He saves for
+his yet uneducated child," wrote Guhr, in 1829. Yes, this man, proud,
+scornful, despising the crowds whose money made him rich, in the
+recesses of his heart nourished a love, pure and unselfish. That was the
+fine gold; his wealth was dross. His affection for the child was
+boundless, and he allowed the little fellow to tyrannise over him
+completely. There are pretty stories of his playing with the boy, but
+there is nothing about teaching the boy to play--the violin. The memory
+of his own childhood was quite sufficient to deter him from any attempt
+to force instruction on his boy, and cloud the sunshine of his young
+life.
+
+The world gave Paganini its plaudits and its money; but there never
+seemed to be any bond of sympathy between the artist and the public. Yet
+Paganini could appreciate kindness. Moscheles relates that the father of
+his wife rendered Paganini some important service before the visit to
+England. When Paganini first called upon Moscheles he was profuse in
+expressions of gratitude, and taking down a miniature portrait of his
+benefactor he covered it with kisses. "Meantime," Moscheles writes, "we
+had leisure to study those olive-tinted, sharply defined features, the
+glowing eyes, the scanty, but long black hair, and the thin, gaunt
+figure, upon which the clothes hung loosely, the deep sunken cheeks, and
+those long, bony fingers." Moscheles was of service to Paganini during
+his first days in London, and, to use his own words, he was paid with
+quite as many honied epithets as his father-in-law received. But he
+suspected the Italian to be rather too sweet to be genuine. Indeed, the
+friendship was too fervent to last long, and money was the cause of the
+rupture. Mori commissioned Moscheles to write a piece "Gems ŕ la
+Paganini," taking the precaution of obtaining the violinist's consent.
+His style is imitated, and he expresses his admiration of the piece. A
+second and third book of "Gems" are published, and down comes Paganini
+with the charge of musical piracy. His permission extended only to the
+first book. A lawsuit was commenced, but Paganini effected a compromise
+with Moscheles, conceding the free sale of the three books of "Gems" in
+return for pianoforte accompaniments to twelve small violin pieces.
+Moscheles reluctantly consented to write the accompaniments, but refused
+to allow his name (which Paganini wanted) to appear on the title-page.
+Mori had to pay something by way of damages, and Moscheles at last
+rejoiced at being quit of an episode so little worthy of an artist, and
+at having done with those dreadful lawyers.[32]
+
+But quite enough has been said in reference to Paganini's avarice: it
+has been shown that he had a motive for saving money. Is it as easy to
+account for other traits of his character? That aloofness, that scorn
+of the world, that hard bargaining: "Take me or leave me," revealing
+callous indifference, was there no cause for all that? There is a very
+graphic, and at the same time, appalling, account of the impression
+produced by Paganini among the Parisians, which is translated at length
+in Dubourg's "The Violin." Berlioz wrote of the weird genius making his
+appearance in France during the uproar of the collapse of a dynasty, and
+arriving in Paris--with the cholera. The terrors of the scourge were
+powerless to check the tide of curiosity: the people were mad for the
+time being. This is the conclusion of the notice just mentioned: "Of
+such a public, and such an artist, how saddening is the sight!... The
+public, made up of idlers--of beings isolated, cold, corrupt--must be
+_amused_, forsooth! and the artist exhausts his taste and his sentiment,
+and well nigh perspires blood and water, to comply with their
+exactions--to _amuse_ them! and if he attain this end, the public clap
+their hands, the manager of the theatre counts out to him a heap of
+gold, and he goes away, with his ears deafened at the noise which has
+surrounded him, and which, for a moment, it may be, has made his heart
+beat high;--he goes away, with a loving grasp tightened over the coin he
+has so hardly won; and now inwardly exclaims, with a smile of pity, 'The
+blockheads--the barbarians! who is there among them that can comprehend
+me--that can _feel_ my intentions!' and then the home-returning public,
+selfish to the very soul, indemnify themselves for their finger's-end
+applause by sottish contempt, by remarks that are empty, or worse--that
+are scornful, bitter, shocking, disgusting even--such as those which may
+have been buzzed into one's ears in Italy or in Paris, but varied in a
+hundred ways, and aggravated at will, just as _he_ varies and enlarges,
+twists and turns, beneath his magic bow, a subject of apparently
+the most simple and insignificant kind. And now the voices most
+distinguishable among the ebbing crowd murmur out the words, 'Gambler,
+Libertine'! or worse.... And the privileged public resort again to the
+theatre, to admire the talent of him who they comprehend not; and the
+artist returns, in like manner, to _amuse_ those who provoke his pity,
+and whom he beholds so far below him! Thus we have contempt on one side,
+compassion on the other; applause from hands chilled with the touch of
+gold, on the one part,--on the other, sounds that borrow their animation
+from no social sympathy! Such are the relations between the public and
+the professor--such the bonds that connect them!" Unhappy artist;
+miserable public! How shall we account for this pitiful state of things,
+this gulf between the performer and the auditor? We must seek the
+explanation in the letter to the _Revue_, referred to more than once,
+but now claiming our attention more directly.
+
+[Illustration: _Plate XIV.--See Appendix._
+
+PAGANINI IN PRISON.]
+
+The pictures of "Paganini in Prison," exhibited so lavishly while the
+artist was in Paris in 1831, provoked him to remark that there were some
+"honest fellows" making money of a calumny that had pursued his steps
+for the last fifteen years. He then referred to the different versions
+of the crime imputed to him: that he killed a rival whom he found in
+company with his mistress; or that it was his mistress who had been the
+victim of his jealous fury; the only point of agreement was the
+imprisonment. "Let me tell you," the letter continued, "what happened to
+myself in Padua about fifteen years ago (1816), on this very subject. I
+had given a concert with some success: the next day I went to a
+table-d'hôte; I entered the room late; was, perhaps, the sixtieth guest,
+and took my seat unnoticed. One of the company expressed himself in
+flattering terms of the effect produced by my performance the evening
+before. His next neighbour agreed in the praises bestowed on me, but
+added, 'Nobody ought to be surprised at Paganini's ability: he owes it
+all to an eight years' solitary imprisonment in a dungeon, with nothing
+but his violin to occupy his time, or soften the rigours of his
+confinement. He was condemned to this long incarceration for having
+assassinated a friend of _mine_, who was unfortunate enough to be his
+rival.' As you may easily believe, every one was loud in denouncing the
+enormity of my crime; when I addressed myself to the speaker, begging
+him to inform me where and when this tragical adventure had occurred.
+All eyes were in an instant turned upon me, and you may judge the
+astonishment of the company at finding the hero of this tale of murder
+and imprisonment one amongst them. The relater of the story was not a
+little embarrassed. 'It was not a friend of his own that had fallen--he
+had heard--he had been told--he believed--but after all it was very
+possible he might have been deceived,' etc. Now see, Sir, how easy it
+is to play with the reputation of an artist merely because men, inclined
+to indulge in idleness themselves, cannot conceive it possible that he
+may have studied as closely in his own chamber and in full possession of
+his liberty, as he would if he had been chained up in a dungeon."
+
+There was an occurrence that gave rise to these reports, and which
+Paganini related in the same letter. "A violin player, named D----i,[33]
+who was at Milan in 1798, associated himself with two other men of bad
+character, and engaged with them in a plot to assassinate, by night, the
+curate of a neighbouring village, supposed to be in possession of much
+wealth. Luckily for the curate the heart of one of the conspirators
+failed him, and he denounced his companions. The gendarmes watched the
+spot, and took D----i and his accomplice into custody at the moment they
+arrived at the curate's dwelling. They were condemned to twenty years'
+confinement in irons, but General Menou, after he had been appointed
+governor of Milan, at the end of two years restored the violinist to
+liberty. Would you believe it, Sir? this is the sole foundation upon
+which the whole history of my incarceration has been erected. A violin
+player, whose name ended in _i_, had been engaged in a murder and
+imprisoned--it could only be _Paganini_--the assassinated party
+was converted into either my rival or my mistress, and it was I,
+_Paganini_, who had been so many years loaded with chains, and immured
+in a dungeon. Solely with the view of wringing from me the secret of my
+new system, have they complimented me with fetters, whose only effect
+would have been to paralyze my arms."
+
+Paganini further stated that he called on the Italian ambassador
+resident in Vienna, to testify that he had known the artist for nearly
+twenty years, during all which time his conduct has been that of an
+honest man. He also pointed out that having been constantly before the
+public from the age of fourteen, he must have had a mistress and a rival
+when he was seven! for there was no room for an interval of eight years
+afterwards. It was at Vienna that one of the audience, while Paganini
+was playing "The Witches' Dance," distinctly saw the devil close to the
+violinist, guiding his fingers and directing his bow; the said devil was
+dressed in red and had horns and a tail, and the striking likeness of
+the countenances of the two, plainly proved the relationship between
+them. That pretty story followed Paganini everywhere: and, as has been
+seen, in Prague he had to publish a letter from his mother disproving
+the rumour of his Satanic parentage. There is something intensely
+pathetic in Paganini's conclusion: "I see nothing else for it but to
+leave malignity at liberty to disport itself at my expense."
+
+In this prosaic, materialistic twentieth century, which believes in
+little besides money, there is no fear of any of our violin wonders
+being associated with the arch-fiend. They may be regarded as physic
+problems, but the supernatural is eliminated from the study. But
+Paganini did not live in the twentieth century, and in his day the devil
+was a very real personage, notwithstanding the temporary overthrow of
+much belief through the French Revolution, and the enthronement of the
+"Goddess of Reason" in the Church of Notre Dame, Paris. It may seem
+absurd, now, even to recall these calumnies; but we have to deal with
+the environment of a great genius, to study the cause of his failing to
+become great as a man; for surely he had the making of a fine character.
+That he should traverse the greater part of Europe, pursued by tales of
+devilry and murder, is one of the saddest comments on that period; that
+the "iron entered into his soul," and the man capable of affection
+became a miser and a misanthrope, is more mournful still. He was the
+"Flying Dutchman" of the violin.
+
+How was it that the devil and the violin came into relationship? We have
+it on the authority of Martin Luther that the devil hates music. Luther
+not only believed in the devil, but he fancied he saw him: and in the
+room of the Castle of Wartburg may still be seen the mark on the wall,
+where he threw his inkpot at the fiend, who tried to thwart his work of
+translating the Bible. It is curious that the only instrument which, to
+the present writer's knowledge, Satan has been represented as playing
+upon, is one of the precursors of the violin. There is a piece of
+sculpture in the Cathedral of Amiens, depicting Satan playing on an oval
+three-stringed Vielle, of the thirteenth century.[34] The story of
+Tartini and his dream, when the devil played so marvellously on the
+violin, is known to everyone, and is, moreover, perpetuated in the
+sonata _Il Trillo del Diavolo_. It is related of Thomas Baltzar, the
+first great violinist ever heard in England, that when he played at
+Oxford he astonished everyone by "running up his fingers to the end of
+the finger-board." John Wilson, the Oxford Professor of Music, "the
+greatest judge of musick that ever was," according to Anthony ŕ Wood,
+"did, after his humoursome way, stoop down to Baltzar's feet, to see
+whether he had a huff on, that is to say, whether he was a devil or not,
+because he acted beyond the parts of man." As this took place in 1658
+there was some excuse for the grim pleasantry; moreover music had
+suffered an eclipse, and performers in this country were comparatively
+few. Even the gentle and polite Corelli forgot himself so far as to
+apply the term, devil, to another violinist. As the story may not be so
+well known as the foregoing, I shall briefly repeat it. Nicolaus Adam
+Strungk (or Strunck), violinist to Ernest Augustus, Elector of Hanover,
+when in Rome (_circa_ 1684) made it his business to see Corelli.
+Introducing himself to the Italian master as a musician, Corelli asked
+what was his instrument. Strungk replied that he could play upon the
+harpsichord, and a little upon the violin; but he particularly wished to
+hear Corelli on the latter instrument, his fame being widely known.
+Corelli obligingly consented, and played a piece to the harpsichord
+accompaniment of Strungk. Strungk afterwards played a toccata, with
+which Corelli was so much taken that he laid aside his instrument in his
+transport of admiration. When Strungk had finished at the harpsichord,
+he took up the violin, and began handling it in a careless manner,
+whereupon Corelli remarked that he had a good bow-hand, and wanted
+nothing but practice to become a master of his instrument. At that
+moment Strungk put the violin out of tune, and played on with such
+dexterity, attempering the dissonances occasioned by the mistuning with
+such amazing skill, that Corelli cried out in broken German: "I am
+called Arcangelo, a name that in the language of my country signifies an
+Archangel; but let me tell you, that you, Sir, are an Arch-devil!"
+
+There is nothing malicious in these stories of the devil and the
+fiddler; and if Paganini had experienced nothing worse than what has
+just been related, he might have treated the matter as a joke. But that
+which malice or envy originated, a "reptile press" promulgated. Innocent
+of crime, Paganini was branded as a felon; gifted with genius of the
+rarest order, cultivated to a perfection absolutely unique, his skill
+was attributed to the aid received from the devil. Add to this his
+wretched health, and there is both mental and bodily suffering. In his
+later years he was cut off from intercourse with others, like
+Beethoven--but with this difference: Beethoven employed a tablet or
+note-book for his friends to convey their words to him; Paganini
+transmitted, through a similar medium, his thoughts to others. He was
+dumb! Is there no brighter side to this picture? If there be, let us
+turn to it.
+
+It is, perhaps, fortunate that no man can be consistent throughout his
+life; the morose must smile at times, and the misanthrope mitigate his
+hatred of mankind. Paganini was but human, and his life was not all
+shadow. Though his intimate friends were few, there were some who were
+able to place on record details of the private life of the great
+violinist. Of such, the most useful to biographers was George Harris. He
+was an Englishman, attached to the Court at Hanover then connected with
+Britain; a dramatist of a certain order, he accompanied Paganini on his
+tours in Germany, acting for a time as his secretary, and apparently
+he was with him when in England. From him we learn a good deal.
+
+Paganini was always on the move, and travelling in his day was not
+the rapid, comfortable, even luxurious process it is now. In the
+post-chaise Paganini stowed his luggage, which was of the simplest--and
+shabbiest--description. A dilapidated box held his beloved violin, his
+linen, cash and jewellery; a carpet-bag and a hat-box completed his
+outfit. He was philosophically indifferent to comfort, but in his later
+years he always had the windows of his carriage closed. When he arrived
+at his quarters, the windows of his room were thrown open, and he
+indulged in a sun-bath--again anticipating modern medical advice.
+Paganini, when travelling, was fond of taking a stroll when the horses
+were changed. It was a relief to stretch his legs after the close
+confinement of the post-chaise, but sometimes his rambles were so
+prolonged that there was weary waiting for him when all was ready to
+resume the journey, and drivers became exasperated. Paganini was made to
+suffer on one occasion. That was when travelling from London to
+Birmingham. He had already tried the patience of his coachman by causing
+loss of time, and the man declared he would drive on without him, rather
+than wait again. At the next stopping place Paganini walked off as
+usual, leaving Harris asleep in the vehicle. The horses being changed,
+the driver started, leaving Paganini behind. This caused some trouble,
+for a post-chaise had to be sent from the next station in search of the
+derelict, and Paganini in his rage refused to pay the extra expense. He
+was summoned before the Birmingham magistrates, and the case going
+against him he was compelled to discharge the debt. Poor Paganini, he
+always suffered when he came into contact with the law.
+
+[Illustration: PLATE 15. (_See Appendix._)]
+
+[Illustration: PLATE 16. (_See Appendix._)]
+
+[Illustration: PLATE 17. (_See Appendix._)]
+
+In his personal habits Paganini was simplicity itself. Frugal to a
+degree in his repasts, a cup of chocolate sufficed for a meal when
+starting early on a journey, and often he would fast until evening. When
+in a happy mood after a concert, he would join the table d'hôte and do
+as others did, but the slightest indulgence was punished the next day.
+He preferred solitude, but when he mixed with others he would join
+freely in the conversation; if music were touched upon he became silent,
+or left the room. So long as he could find accommodation that was quiet,
+he cared little for its quality. Scenery had no charms for him, and all
+climates but his own were equally indifferent to him. His accounts were
+kept in a little red pocket-book (found under his pillow after his
+death), in a kind of arithmetical shorthand only decipherable by
+himself. He never had been taught the science of numbers, or he might
+have been made a first-rate mathematician.
+
+Harris stated that all the time he was with Paganini he never heard him
+play a single note except before an audience. That may have been correct
+so far as Germany was concerned, but the Rev. John Edmund Cox, in his
+"Musical Recollections," has something very different to say about
+Paganini. "During his career he visited my native town,[35] and as I
+had the good fortune then to be able to converse in French, the friends
+who had engaged him for a round of concerts in that place and its
+vicinity placed me in direct communication with him somewhat in the
+capacity of a secretary; so that I not only travelled in his company and
+heard him at every concert at which he appeared, but I lived in the same
+hotels and lodgings which had been secured for him. This kind of
+semi-official position necessitated my seeing much of him during his
+leisure hours, when he threw off the suspicious restraint which was
+always apparent in his manner when he was among strangers, whom he
+imagined were bent upon getting as much as possible out of him for their
+own advantage. Then, indeed, he would evince anything but a hard and
+ungenerous nature, his manner being not only kind but courteous; whilst
+any attention that was afforded to his wants or to his comforts was
+sure to elicit not only looks but words of gratitude. In public he
+confined himself almost exclusively to the performance of his own
+music,--... but in private--for he had his violin constantly in his
+hand--he would sit and dash off by the hour together snatches from the
+compositions of the best masters, and give readings of such originality
+to passages that had been heard again and again, as apparently have
+never been supposed to be possible by any other player. As an instance
+in point, he one morning, whilst I was writing several notes for him,
+commenced the first _motivo_ of Beethoven's magnificent violin concerto.
+To write was then impossible; and he, perceiving how entranced I seemed,
+asked whether I knew what it was. On my replying in the negative, he
+promised, if it could be managed, that I should hear the whole of that
+movement before we separated." The promise was redeemed. The above is
+valuable as showing that Paganini was not quite so wanting in knowledge
+as was generally supposed. He could converse in French, though at that
+time--1831--he had only spent a few weeks in France. Education, proper,
+he had none; but the statement that he could speak no language but his
+own, is evidently incorrect. The allusion to strangers bent upon getting
+as much as possible out of him for their own advantage, finds an
+illustration in the story of the Englishman who is said to have followed
+Paganini for some six months, watching his every movement, lodging at
+the same hotels, and employing every means to get at the great secret of
+the violinist's art. At last his perseverance seemed about to be
+rewarded. Looking through the keyhole of Paganini's door, the
+Englishman saw the violinist take his instrument from its case--raise it
+to his shoulder, even shift the left hand up and down the neck; but not
+the ghost of a sound. It was just a study of positions, and the violin
+was then restored to its place. In despair, the inquisitive amateur gave
+up the quest.
+
+The concerts Paganini gave for the poor were evidence of his natural
+goodness of heart. It is true, such efforts cost him little; he gave a
+few hours' time: the public found the money. One day, when walking in
+Vienna, he saw a poor little Italian boy playing the violin in front of
+a large house. He drew from him a touching story of poverty, and a sick
+mother; and emptying his pockets into the boy's hands, he took from him
+his violin and began to play. He was soon recognised, and a crowd
+assembled; the people were immensely diverted, and gave a generous
+response when the hat was handed round. With "Take that to your mother,"
+Paganini sent the boy off rejoicing, and turning to the companion of his
+walk, he remarked, "I hope I've done a good turn to that little animal."
+He was fond of applying the word "animal" to those sometimes spoken of
+as "the lower classes," but was not altogether singular in that respect.
+
+At the anniversary dinner of the Royal Society of Musicians, in 1832,
+among the donations announced was one of ten guineas from Paganini. This
+was thought so excessively mean an acknowledgment of the generosity of
+the English nation, that the announcement was received with groans and
+hisses. That was distinctly rude on the part of those who, having dined
+well, ought to have been in a genial state of mind.
+
+At least one generous action must be placed on record. It was told by
+George Augustus Sala many years ago.[36] The mother of that voluminous
+writer was a vocalist, and made her _début_ at Covent Garden Theatre in
+1827, as the Countess in Bishop's version (or perversion) of Mozart's
+"Marriage of Figaro." In 1828 she became a widow, and supported her
+family by teaching singing and giving annual concerts, chiefly at
+Brighton, where she lived. For one of her benefit concerts she engaged
+Paganini. The most distinguished artists of her day had gladly given
+their gratuitous assistance at similar functions, and Paganini accepted
+the small fee of twenty-five guineas. Sala was a very small boy at that
+time (born in 1828), and possibly drew upon his imagination when
+recounting the event so many years later. This is what he wrote:--"'Take
+your little boy with you, Madame Sala,' was the shrewd counsel of ----,
+a valued friend of my mother; 'take the boy with you when you pay Pag.;
+perhaps _that_ will soften him a little.' I was the smallest and
+chubbiest of the tribe; then, duly washed, combed and made spruce, my
+parent took me in her hand, and led me to the Old Ship, where Paganini
+was staying. We were ushered, not without fear and trembling on my part,
+into the presence of the mighty musician, who was at breakfast. Then my
+mother, alluding as far as she in delicacy could to her large family
+and small means, proceeded to count out--sovereign by sovereign,
+shilling by shilling--Paganini's fee of five and twenty guineas. I can
+see with the eye of memory the whole man before me now, his gaunt
+angular form, his black elf-like locks falling in weird confusion over
+his neck and shoulders, his cadaverous face and shaggy brows, his long
+bony hands with the veins standing out like cordage, his amazingly large
+feet, and especially his neck, disproportionately long, scraggy, and
+corrugated. I can see the glare--so it seemed to me--which, when he
+raised his bent brows, darted upon the pile of money, and the spasmodic
+avidity with which he extended his hand and swept the pile towards
+him.... 'A very nice little boy,' he was good enough to say, alluding to
+myself; 'but time is bad, and there is no monish in de vorld: no, never
+no monish at all.' My mother rose with a heavy heart to depart. 'Stop,
+little boy,' said the great violinist, and he beckoned to me with a
+skinny finger, which any of the witches in Macbeth would have been proud
+to own; 'stop, take this, it will buy you a cake.' He thrust a crumpled
+piece of paper into my hand, rose from his chair, and, without more ado
+'bolted'--that is the only word suited to the action--into his bedroom.
+He had given me a bank note for fifty pounds! Superstitious people used
+to whisper that Paganini had sold himself to the enemy of mankind;
+spiteful people used to draw him as a greedy, flint-hearted miser.... I
+only know how he acted towards my mother."
+
+FOOTNOTES:
+
+[32] Life of Moscheles (English Edition), I., p. 252-7.
+
+[33] Duranowski, a talented Polish violinist. He entered the French army
+and was _aide-de-camp_ to a General. He lost his rank when released;
+returned to his violin, and was living at Strassburg up to 1834.
+
+[34] An engraving of it is in Naumann's "History of Music" (English
+Edition), p. 255.
+
+[35] Norwich.
+
+[36] In the "Bow Bell's Annual" for 1878 (?)
+
+
+
+
+CHAPTER IX.
+
+
+From the man we now turn to the artist. Schiller wrote: "The artist is
+the son of his age, but pity for him if he is its pupil or even its
+favourite." It has been shown how truly Paganini was the child of his
+age; the pity was that he became its pupil and its favourite; in
+consequence he failed to attain the supreme height where dwell the
+spirits of the greatest. But he was a great artist, in spite of his
+concessions to the public taste; and he held in reverence that which he
+found great in others. When in Vienna in 1828, exactly a year after the
+death of Beethoven, Paganini attended a concert, and heard a performance
+of the great master's Symphony, No. 7, in A. Profoundly moved by that
+sublime composition, he remained mute, his gaze fixed and mournful;
+suddenly the tears rolled from his eyes; his grief and emotion wrung
+from him the words: _E morto!_ Anders, who relates the incident, adds:
+"Never was the immortal author of _Fidelio_ more worthily extolled than
+by those tears, by that simple word. The day may come when some
+disciple, some friend of the Genoese artist, will say in his turn,
+seized with bitter sadness, _E morto!_" Strange, that Chorley should
+have employed the very words, in the premature obituary notice which
+has been already referred to.
+
+When in Paris, Paganini once visited the Institution for the Blind. He
+was so much struck with the beauty and purity of intonation that
+characterised the singing of the pupils, that he declared that never
+before had he an adequate notion of what harmony was.
+
+The artist, as well as the art, claimed his respect. There seems to have
+been no artistic jealousy about him, and to the young performer he was
+invariably kind, whilst to the established professor he was just. It is
+said that when Paganini's concerts took place at the King's Theatre, it
+was proposed to dispense with the services of the "leader" at the Opera.
+When Paganini heard of this, he paid a well-merited compliment to the
+abilities of Signor Spagnoletti, and insisted upon his engagement at all
+the concerts, he, Paganini, might give at the Theatre. It is true, at
+rehearsal, Paganini never gratified the members of the orchestra as to
+what the concert performances were likely to be; but he was careful to
+have the accompaniments well prepared. Quick-tempered, he was irritated
+at any faulty work, but when all went well he expressed his approbation
+by exclaiming, "_Bravissimi! Siete tutti virtuosi!_" ("You are all
+artists!") Paganini brought the orchestral parts with him to rehearsal,
+and took them away afterwards; as to the solo part, no one had a chance
+of looking at that, for Paganini played everything from memory. His
+kindness to brother-artists has been placed on record. The young
+violoncellist Ciandelli, who rendered such service to Paganini when he
+was turned into the street by the brutal landlord, was afterwards well
+repaid by the instruction Paganini gave him. The great violinist told
+Schottky, his biographer, that he took a lively interest in young
+Ciandelli, and that he imparted to him his secret. He gave him lessons,
+and at the end of three days so transformed his playing, that from being
+a mediocre performer, he became the first violoncellist at the Theatre
+Royal, Naples, with a possibility of becoming the first in the world.
+However, as history is silent respecting the subsequent achievements of
+Gaetano Ciandelli, he need not claim further attention.
+
+The Bohemian violinist, Joseph Slavik, appeared at Vienna in 1826, when
+he was twenty years of age. Moscheles heard him play, and said he was
+considered in Vienna as the second Paganini. Of course that was hearsay;
+_the_ Paganini had not then been heard outside Italy. When Paganini was
+in Vienna, in 1828, he become acquainted with young Slavik, and held him
+in affectionate regard. At all hours the young student had access to the
+idol of his worship, and received many valuable hints and ideas upon
+fingering, etc., and friendly encouragement to pursue his daring course
+with unwearying application. He spent two years in retirement, zealously
+studying the Paganini method, and when he reappeared in Vienna, he was
+spoken of as no petty imitator, but a second original. A contemporary
+notice, comparing Slavik with Paganini, states:--"The only difference
+between the two at present is, that the pupil, carried away by the
+ardour of youth, often suffers himself to be seduced into the most
+gigantic attempts, the success of which on every occasion no mortal can
+with certainty rely upon; while the other, possessing the plaintive and
+deeply pathetic tones of a singer, at the same time resembles a
+consummate piece of musical mechanism, which accomplishes the most
+extraordinary feats quietly and without effort." Slavik died at Pesth,
+in 1833, at the early age of twenty-seven; what he might have become his
+actual achievements plainly indicated.
+
+In his later years, Paganini appears to have had great delight in
+listening to young artists. In 1836, Antonio Bazzini, then a youth of
+eighteen, played to Paganini, who was enraptured with his performance. A
+year later, in Paris, Paganini heard a much younger violinist, the boy
+Apollinaire de Kontski, and actually went so far as to give him a
+testimonial. Articles in the musical dictionaries all state that
+Paganini gave some lessons to the child; some say that the friendship
+between the two resulted in Paganini bequeathing to De Kontski his
+violins and compositions. Grove, in quoting Mendel, says this statement
+requires confirmation. When Apollinaire de Kontski died, in 1879,
+nothing, so far as I have been able to ascertain, transpired concerning
+the alleged bequest. But the testimonial seems to have escaped the
+notice of dictionary compilers, so, as a curiosity, I reproduce it from
+the _Musical World_, of June 21st, 1838:--
+
+     "Having heard M. de Kontski, aged eleven years, perform several
+     pieces of music on the violin, and having found him worthy of being
+     ranked among the most celebrated artists of the present day,
+     permit me to say, that if he continues his studies in this fine
+     art, he will, in course of time, surpass the most distinguished
+     performers of the age.
+
+          (Signed) PAGANINI."
+
+But if Paganini was fond of hearing and encouraging other artists, he
+was averse to anything like competitive display. When he met Lafont at
+Milan in 1816, as already related, he played at the concert given by
+that artist. The function came to be regarded as a contest, and an
+account of it appears in Laphaléque's pamphlet. Some paper, early in
+1830, having quoted this notice, Lafont wrote a letter of protest, which
+is interesting enough to reproduce in part. He wrote:--
+
+"Sir, I have just read, in your journal of the 2nd of Feb., an extract
+from the Notice published on the celebrated violinist, Paganini. As this
+notice contains statements utterly erroneous, as regards me, I owe it to
+truth, to the advice of my friends, and to the favour with which the
+public has been pleased to honour me during twenty-five years, to give
+an exact statement of the facts of the case. The following is a
+narration of what occurred. In the month of March, 1816, I gave in
+conjunction with M. Paganini, a concert in the great theatre, La Scala,
+at Milan, and, far from making a cruel trial of the powers of my
+adversary, or of being beaten by him, as is pretended by the author of
+the Notice, I obtained a success the more flattering, as I was a
+stranger in the country and had no other support than my talent.
+
+"I played, with M. Paganini, the concerted symphony of Kreutzer, in
+_fa_ major. For several days previously to the concert we rehearsed this
+symphony together, and with the greatest care. On the day of the concert
+it was performed by us as it had been rehearsed, with no change
+whatever; and we both obtained an equal success in the passages executed
+together or separately. On coming to the _phrase de chant_ in _fa_
+minor, in the second solo of the first part, there was a decided
+advantage for one of us. This passage is of a deep and melancholy
+expression. M. Paganini performed it first. Whether the strong and
+pathetic character of the piece was ill-suited to the ornaments and
+brilliant notes which he gave in it, or whatever else was the cause, his
+_solo_ produced but little effect. Immediately after him, I repeated the
+same passage, and treated it differently. It seems that the emotion by
+which I was then agitated, caused me to give an expression more
+effective, though more simple, and it was so felt by the audience, that
+I was overwhelmed with plaudits from all parts of the house. During
+fourteen years I have been silent on this trifling advantage obtained
+over M. Paganini in this instance, only in the symphony, and probably
+rather by the superiority of the school than by that of talent. It is
+painful to me to speak of myself; nothing short of the misrepresentation
+of the article in question could have provoked me to reply. I was not
+beaten by M. Paganini, nor was he by me. On all occasions, I have taken
+pleasure in rendering homage to his great talent; but I have never said
+that he was the first violinist in the world; I have not done such
+injustice to the celebrated men--Kreutzer, Rode, Baillot, and Habeneck,
+and I declare now, as I have always done, that the French school is the
+first in the world for the violin."
+
+After this modest assertion Lafont concludes with an expression of
+rejoicing in the opportunity of praising a talent of which he felt it an
+honour to be the rival, but of which no one could make him the
+adversary.
+
+This epistle provoked a rejoinder from Francesco Cianchettini[37] who
+wrote:--"As I was present at that contest, I do assert that the account
+given by Mr. Imbert is not erroneous, but correct. The public decision
+was in favour of Paganini; Mr. Lafont having acquiesced in silence to
+such a decision, does not diminish one iota of his acquired fame: as not
+only himself, but every living violinist who dares to enter into rivalry
+with Paganini, will be prostrated, although the Signor has not had the
+advantage of being a pupil of the _super-excellent Parisian Violin
+School_. In Paris, I have heard how the talented violinists, mentioned
+in Mr. Lafont's letter, speak of Paganini. The _Coriosi_ gladiators of
+the Neronian age spoke with the same freedom of Hercules. Had this
+demigod suddenly appeared on the arena with his club, all of them would
+instantly have shrunk into pigmies."
+
+In a footnote Cianchettini added that whatever excellence the Parisian
+Violin School might lay claim to, was derived from Italians; from
+Viotti, through Pugnani and Tartini, to Corelli, "the father of the
+violin."
+
+But the genius of Paganini was fully understood and appreciated by a far
+greater Frenchman than Charles Lafont:--Hector Berlioz.
+
+The friendship between Paganini and Berlioz has been briefly referred
+to, but it is a subject for further consideration, as it reveals the
+influence that the one artist wielded over the other. The first meeting
+of the two men must be told in the words of Berlioz himself. A few
+remarks are needed by way of preface. In the summer of 1833, Berlioz
+married the English actress Miss Smithson, who, still weak from her
+carriage accident, had, on her wedding day, "nothing in the world but
+debts, and the fear of never again being able to appear to advantage on
+the stage." To pay off these debts Berlioz organized a benefit
+entertainment, beginning with drama and ending with a concert. But his
+programme was too long, and he had forgotten something--_the claque_.
+His poor wife could not conceal her lameness, and though talented as
+ever, she failed to obtain a recall. Another actress, having taken
+precautions, had an ovation. Then at midnight the band of the _Théâtre
+Italien_, not being obliged to play after that hour, left the place, and
+the _Symphonie Fantastique_ could not be played. Liszt assisted, and the
+affair was not quite a failure, financially, though the promoter came in
+for bitter attacks. Poor Berlioz was in despair, but he took his courage
+in both hands, and announced a concert at the _Conservatoire_. He took
+care to engage artists he could trust, and with his friend Girard as
+conductor everything went well, the _Symphonie Fantastique_ taking the
+room by storm. Now let Berlioz speak: "My success was complete, and the
+former judgment on me was reversed. My musicians looked radiant with
+delight as they left the orchestra. Lastly, my happiness was completed
+when the public had all gone, and a man stopped me in the passage--a man
+with long hair, piercing eyes, a strange and haggard face--a genius, a
+Titan among the giants, whom I had never seen before, and at first sight
+of whom I was deeply moved; this man pressed my hand, and overwhelmed me
+with burning eulogies, which literally set both my heart and brain on
+fire. It _was Paganini_ (22nd December, 1833). From that date my
+relations with that great artist, who exercised such a happy influence
+upon my destiny, and whose noble generosity has given birth to such
+absurd and malicious comments."
+
+It was some time in January, 1834, that Paganini called upon Berlioz and
+said he had a wonderful viola, a Stradivari, upon which he should much
+like to play in public, but he had no music for it. Would Berlioz write
+a solo for him? Berlioz was flattered by the proposal, but replied that
+in order to produce a composition sufficiently brilliant to suit such a
+virtuoso, he--Berlioz--ought to be able to play the viola, and that he
+could not do. So he thought Paganini alone could meet his own wishes.
+Paganini, however, pressed his own point, adding that he himself was too
+unwell to compose anything. Berlioz then set to work. To quote his own
+words: "In order to please the illustrious virtuoso, I then endeavoured
+to write a solo for the viola, but so combined with the orchestra as not
+to diminish the importance of the latter, feeling sure that Paganini's
+incomparable execution would enable him to give the solo instrument all
+its due prominence. The proposition was a new one. A happy idea soon
+occurred to me, and I became intensely eager to carry it out."
+
+Paganini was impatient to see the music, and as soon as the first
+movement was finished, it was shown to him. He did not like the long
+silences. "That is not at all what I want," he said; "I must be playing
+the whole time." "You really want a _concerto_ for the tenor," Berlioz
+replied, "and you are the only man who can write it." Paganini said no
+more, and soon afterwards left for Nice. Berlioz then gave free play to
+his fancy, and wrote the series of scenes for the orchestra, the
+background formed from the recollections of his wanderings in the
+Abruzzi, the viola introduced as a sort of melancholy dreamer, in the
+style of Byron's "Childe Harold." Hence the title "Harold in Italy."
+Now, this is the point: "Harold" was inspired by Paganini, who
+indirectly gave a new art-form to the world. The piece was produced on
+November 23rd, 1834, but Paganini was then in Italy, and he did not hear
+it until four years later.
+
+But Paganini was destined to inspire something greater still. He was
+again in Paris in 1838, and, as before related, was present at the
+"horrible performance" of Berlioz' "Benvenuto Cellini." Sad at heart
+Paganini said: "If I were manager of the _Opéra_, I would at once engage
+that young man[38] to write me three such operas: I would pay him in
+advance, and should make a capital bargain by it." The failure of the
+opera threw Berlioz on a bed of sickness. But he had to live, and was
+soon arranging to give concerts at the _Conservatoire_. The first barely
+paid expenses, but the second, at which both the _Symphonie Fantastique_
+and _Harold en Italie_ were performed, was more successful, and at this
+Paganini was present. This has also been incidentally mentioned, but
+further notice is required on account of the sequel. Again we must allow
+Berlioz to speak for himself. "The concert was just over; I was in a
+profuse perspiration, and trembling with exhaustion, when Paganini,
+followed by his son Achilles, came up to me at the orchestra door,
+gesticulating violently. Owing to the throat affection of which he
+ultimately died, he had already completely lost his voice, and unless
+everything was perfectly quiet, no one but his son could hear or even
+guess what he was saying. He made a sign to the child, who got up on a
+chair, put his ear close to his father's mouth and listened attentively.
+Achilles then got down, and turning to me, said, 'My father desires me
+to assure you, sir, that he has never in his life been so powerfully
+impressed at a concert; that your music has quite upset him, and that if
+he did not restrain himself he should go down on his knees to thank you
+for it.' I made a movement of incredulous embarrassment at these strange
+words, but Paganini seizing my arm, and rattling out 'Yes, yes!' with
+the little voice he had left, dragged me up on the stage, where there
+were still a good many of the performers, knelt down, and kissed my
+hand. I need not describe my stupefaction; I relate the facts, that is
+all."
+
+In his frenzied state Berlioz went out into the bitter cold, met Armand
+Bertin on the boulevard, told him what had occurred, caught a chill, and
+again had to keep his bed. Two days later, the little Achilles called,
+the bearer of a letter, and of a message to the effect that his father
+would himself have paid the visit, but was too ill to do so. The letter
+ran as follows:--
+
+     "MY DEAR FRIEND,
+
+     Beethoven dead, only Berlioz now can revive him; and I, who have
+     enjoyed your divine compositions, worthy of the genius which you
+     are, entreat you to accept, in token of my homage, twenty thousand
+     francs, which will be remitted you by the Baron de Rothschild on
+     presentation of the enclosed. Believe me always your most
+     affectionate friend,
+
+          NICOLO PAGANINI.
+     Paris, December 18th, 1838."
+
+Picture the scene! Berlioz, pale with excitement; his wife, entering the
+room, imagines some new misfortune has befallen them. Told of what has
+happened, she calls her son Louis. Berlioz' words again: "And my wife
+and child ran back together, and fell on their knees beside my bed, the
+mother praying, the child in astonishment joining his little hands
+beside her. O Paganini! what a sight! Would that he could have seen it!"
+
+The news soon spread abroad, and there were mixed feelings with regard
+to Berlioz; delight on the one hand, detractions on the other, and
+"scandalous insinuations" against Paganini. It was some six days before
+Berlioz recovered sufficiently to visit and thank Paganini. The latter
+would not hear a word; it was the greatest pleasure he had ever felt in
+his life, he said; adding, "Ah! now none of the people who cabal against
+you will dare to say another word, for they know that I am a good judge,
+and that I am not easy" the last clause bearing two meanings: "I am not
+in easy circumstances," or, "I do not part with money easily." I know
+that this gift of Paganini to Berlioz is now regarded as a myth. One
+version of the story is that Paganini was merely the agent, the real
+donor being Armand Bertin, the great friend of Berlioz, who wished to
+remain in the background. Another version is to the effect that Jules
+Janin, editor of the _Journal des Débats_, compelled Paganini to make
+the gift to Berlioz, who was the musical critic on that paper; and that
+Paganini, fearing to lose his prestige with the public if Berlioz turned
+against him, yielded to the pressure put upon him. I am going to give
+chapter and verse for all this, for it is a matter that should be put at
+rest. But first, what a condition is revealed of the press in relation
+to art. Berlioz in money matters was incorruptable, though he was often
+poor enough; therefore I leave him out of the discussion. But think of
+the possibility of the transaction! Janin, years before, had written
+bitter things of Paganini--things I have declined to quote in this
+memoir; but Janin must have been quite as bad as he asserted Paganini to
+have been, if he was capable of this monstrous proposition. There are
+two details to be considered, and the first is the date. In 1838, the
+public career of Paganini was at an end. There was the wretched Casino
+business, it is true, but there was no performance by Paganini. In the
+second place, supposing for a moment that Berlioz could or would employ
+his pen in disparagement of the great violinist, could he have written
+anything more violent, more depreciatory, than critics had been writing
+for the previous twenty years, criticisms which Paganini had survived,
+and grown rich upon? Besides, if the Janin story be true, the Bertin
+must be false. Where then is the authority for the former? In 1840,
+Liszt wrote a memorial notice of Paganini. In it passing reference is
+made to some deeds of benevolence. Lina Ramann, in her "Life of Liszt,"
+of which the first part was published in 1880, prints this essay, and at
+the point above mentioned adds a long foot note[39] giving the Janin
+story, which she averred Liszt knew through Janin himself. That was a
+safe story to reproduce, though it might have been contradicted by Liszt
+if he ever saw the book. Now for the Bertin version. The authority
+quoted for that is always Ferdinand Hiller. In 1868, Hiller published
+his work "On the Musical Life of our Time," in which he relates some
+gossiping with Rossini, in 1856. The conversation turned upon Paganini
+on one occasion, and Hiller asked about the kingly gift to Berlioz.
+Rossini replied that all Paris knew it, and he must needs believe it,
+but at bottom he held the thing impossible. Nothing more definite is
+there recorded. In 1871, Hiller published a new series of similar papers
+or essays, but of this work I know nothing. Rossini was a raconteur, and
+fond of saying good things. There is no reason to doubt the good faith
+of Ferdinand Hiller; he set down what Rossini said, which, after all,
+was only the expression of a doubt. This reticence was perhaps owing to
+the fact that Berlioz was still living. But how was Rossini likely to
+know the facts of the case? He went to Italy in 1836, and returned to
+Paris about the end of May, 1855; consequently he knew nothing of the
+alleged gift at the time, and as Armand Bertin died in 1854, Rossini
+could not have heard the story from him. So far, one would be justified
+in attaching little credence to Hiller's gossip with Rossini.
+
+But there was a sequel. Rossini died in November, 1868, and Berlioz
+passed away in March, 1869. His Autobiography was published in 1870,
+with the Paganini incident as it has already been related. To the last,
+Berlioz believed that the money came from Paganini. In 1880, Hiller
+published a work entitled "Künstlerleben," in which a chapter was
+devoted to Berlioz. Again reference is made to the princely gift,
+incredible from so mean a man as Paganini. "Rossini gave me the key to
+this enigma," writes Hiller, "and I do not hesitate to communicate the
+same, as it can no longer be unpleasant to anyone concerned in the
+matter." He then goes on to say that Paganini consented to be the agent
+of Armand Bertin, who really found the money. "Are you sure that this
+was true?" asked Hiller; "I _know_ it," replied Rossini, seriously.
+Hiller then states his conviction that Rossini's account must be
+correct.[40] Now was this the outcome of a subsequent conversation with
+Rossini, or an amplification of the "gossip" at Trouville? Hiller is
+candid enough to say that some may doubt, and I should confess to being
+among the doubters if his evidence was the sole support of the story.
+
+But in 1896, appeared the evidence of one whose testimony was
+unimpeachable. The late Sir Charles Hallé went to Paris in 1836, when a
+youth of seventeen. In 1838, he was introduced to Paganini, was invited
+to visit him, and often played to him; and, once, nearly heard Paganini
+play! An extract from Hallé's "Autobiography" will show what he thought
+of the great violinist: "From my earliest childhood I had heard of
+Paganini and his art as of something supernatural, and there I actually
+sat opposite to the man himself, but only looking at the hands that had
+created such wonders. On one never-to-be-forgotten occasion, after I had
+played and we had enjoyed a long silence, Paganini rose and approached
+his violin case. What then passed in me can hardly be imagined; I was
+all in a tremble, and my heart thumped as if it would burst my chest; in
+fact, no young swain going to the first rendezvous with his beloved
+could possible feel more violent emotions. Paganini opened the case,
+took the violin out, and began to tune it carefully with his fingers
+without using the bow; my agitation became almost intolerable. When he
+was satisfied, and I said to myself, with a lump in my throat, 'Now,
+now, he'll take the bow!' he carefully put the violin back and shut the
+case. And this is how I heard Paganini." Hallé also became acquainted
+with Berlioz and acquaintance ripened into a close friendship. He saw
+the change worked in Berlioz through the Paganini incident; how his
+courage was strengthened, and from a morose, he became a cheerful
+companion. Then he divulges what had been a life-secret: "Armand Bertin,
+the wealthy and distinguished proprietor of the _Journal des Débats_,
+had a high regard for Berlioz and knew of all his struggles, which he,
+Bertin, was anxious to lighten. He resolved therefore to make him a
+present of 20,000 fr., and in order to enhance the moral effect of this
+gift he persuaded Paganini to appear as the donor of the money. How well
+Bertin had judged was proved immediately; what would have been a simple
+_gracieuseté_ from a rich and powerful editor towards one of his staff
+became a significant tribute from one genius to another, and had a
+colossal _retentissement_. The secret was well kept and never divulged
+to Berlioz. It was known, I believe, to but two of Bertin's friends
+besides myself, one of whom is (Victor) Mottez, the celebrated painter;
+I learned it about seven years later when I had become an intimate
+friend of the house, and Madame Armand Bertin had been for years one of
+my best pupils."[41] This must be accepted as a true statement of the
+case, but it proves no more than that Paganini became a party to a
+benevolent conspiracy; he never boasted of the gift, nor claimed any
+credit for it. Even when Berlioz, relieved of his financial troubles,
+set to work with a light heart at the composition which was to be worthy
+of dedication to the illustrious artist to whom he owed so much (his own
+words), even when he wrote to Paganini about a subject, all the answer
+he could get was: "I can give you no advice." He chose Shakespeare's
+"Romeo and Juliet" as a theme, worked at it for seven months, and
+produced a masterpiece. Paganini inspired him, but never heard the work
+"undertaken chiefly to please him."
+
+To Paganini the world owes still more. It has been already stated that
+Paganini's playing when in Paris in 1831 exerted an extraordinary
+influence over Franz Liszt, and gave the direction to his genius. I use
+the word "genius" advisedly, believing that Liszt is one of that sacred
+band to whom the term belongs of right. This is not the place to discuss
+the position Liszt occupies among composers; nor is this country yet
+qualified properly to judge him. Wagner, Schumann and Chopin have passed
+the ordeal; from persecution they have arrived at deification, so to
+speak, and even their faults are regarded as merits. But prejudice dies
+hard, and Liszt has yet to suffer. His earnest disciple Walter Bache
+sacrificed time and means in his Liszt propaganda, but with scant
+success. My point here is to try and show that Paganini, despite all
+shortcomings as a man and as an artist, had a mission--whether he knew
+it or not--and fulfilled it through others.
+
+Beethoven's pianoforte playing, and pianoforte compositions, led makers
+of that instrument to extend its compass; Liszt led the way to a new
+system for the pianoforte, with effects hitherto undreamt of, and the
+impulse came from Paganini. No other instance is on record of an
+instrument like the violin absolutely revolutionising the treatment of
+the pianoforte. I have already referred to Liszt in Paris, how,
+depressed and suffering, he withdrew from art and buried himself in
+solitude. The revolution of 1830 aroused him, but it was Paganini who
+rekindled the flame of art. Here I must have recourse to Lina Ramann's
+"Franz Liszt."
+
+Liszt went to hear Paganini: "Charmed, stunned, yet seeing clearly at
+the same time, he could have cried out for sorrow and exultation. This
+playing! it was the vision of his soul, after which he had sought and
+grasped and yet could never find or seize. Now here he felt it realised
+before him. With kindling power it seized his artistic will. Until then
+Liszt had groped and sought without any conscious aim; following the
+hidden impulse of his spirit, he had given place to all kinds of
+whims.... Now, all at once, he was led by Paganini into fixed paths and
+the lost thread of his development was found again. By Paganini's
+playing the veil had been torn away which lay between him and his
+artistic will.... Paganini's playing had fanned the Promethean spark of
+his genius to a brilliant flame. That for which the poets of the time
+strove in their literary productions--freedom of form and of subject--he
+saw here in the domain of reproducing music. With all this the serious
+defects and onesidedness of the great violinist's capabilities and
+genius did not escape the youthful pianist. He measured him by the
+ideals of artistic culture which shone before his own eyes....
+He recognised plainly the limits of the influence which Paganini
+exercised over him, and saw how human was the mission of the artist--a
+consciousness was awakened that _artistic culture is inseparable from
+human sympathies, that only a great man can become a great artist_. This
+conviction drew from his lips the proud but noble words 'Génie
+oblige.'[42] With indescribable eagerness, and at the same time with
+exulting triumph, Liszt, after having heard Paganini, turned again to
+his instrument. He was seldom seen; in public, as a pianist, never. His
+mother alone was the silent witness of his perseverance and restless
+working. As Wieland, he hammered at his piano. He, who, already as a
+boy, had climbed the Parnassus of study, now sat at the instrument often
+six hours a day and practised; yes, he exercised the language of his
+spirit, and created for it an organ of expression." The author then
+goes on to describe the new ideas that came to Liszt when studying
+the Twenty-four Capricii of Paganini, and how he discovered new
+combinations, and also that the hand of the pianist had yet much to
+learn. "With this perception a bridge was built to new technical
+triumphs in the art of pianoforte playing.... On the one hand he
+increased the beauty and breadth of sound of this instrument in a
+marvellous degree, while on the other, he gave at the same time a fatal
+blow to the modern pianoforte music of his day. This was the new
+discovery which Liszt made through Paganini, and on the foundation of
+which he has created an extension of the arena of sound.... Thus
+Paganini's capriccios gave Liszt the first impulse towards the modern
+system for the pianoforte, and at the same time prompted him to enter on
+the territory till then unknown of transferring effects."[43]
+
+What the influence of Liszt has been, is beyond the present purpose to
+inquire. But, blot out Paganini and every note he has written, and he
+reappears in the art work of at least one great French composer, and in
+that of the greatest pianist the world has yet seen--one to whom the
+high compliment has been paid in the epithet--"The Paganini of the
+Pianoforte."
+
+FOOTNOTES:
+
+[37] Little is now known of this artist. He married Veronica, sister of
+the pianist and composer J. L. Dussek, and was the father of Pio
+Cianchettini, composer, who died at Cheltenham in 1851.
+
+[38] Berlioz was then thirty-five, Paganini, fifty-six years of age.
+
+[39] Aus dem Tonleben unserer Zeit, Vol. II., p. 55.
+
+[40] Künstlerleben, p. 88.
+
+[41] Life and Letters of Sir Charles Hallé, p. 69.
+
+[42] The last words of Liszt's article "Sur Paganini, A Propos de Sa
+Mort," published in the "Revue et Gazette Musicale de Paris," December
+23, 1840.
+
+[43] Franz Liszt, Artist and Man, Vol. I., pp. 258-65.
+
+
+
+
+CHAPTER X.
+
+
+Is it worth while at this distance of time to refer to the actual
+playing of Paganini? Can one recall "the touch of a vanished hand?" This
+memoir would not be complete without some account of Paganini's art
+beyond that given in the story of his life. Here I do not venture to
+write as a violin expert, and I shall only quote from Guhr's "On
+Paganini's Art of Playing the Violin"--which is presumably still
+accessible to students--in so far as it may be serviceable to the
+general reader. Leaving ćsthetic, and higher considerations generally,
+out of count for the moment and limiting our attention to matters
+technical, we find much that was absolutely new. As regards mere
+extravagance and eccentricity of execution, Paganini was surpassed by
+Locatelli. We have to take into consideration the concert-pitch in use
+at the time of Paganini's public career. That, I take it, corresponded
+very closely with the Diapason normal now coming into general use.
+Paganini employed thin strings, and, for purposes to be named presently,
+often tuned his violin a semitone higher than the pitch of the band
+which accompanied him--equivalent to the English pitch, or high pitch
+still in use in some places. These thin strings served another
+purpose--the easy production of harmonics. If there was one thing more
+novel than any other in Paganini's playing it was the introduction of
+harmonics, melodies, double notes, and double shakes in harmonics. The
+natural harmonics were of course known to all violinists, but the
+artificial harmonics, if not the invention of Paganini, were first
+employed by him as integral features of his compositions as well as of
+his performances. Then there was his particular kind of _staccato_,
+produced by throwing his bow forcibly on the string, "letting it spring
+while he runs through the scales with incredible rapidity, the tones
+rolling like pearls" (Guhr). The Rev. Dr. Fox said the bow seemed to act
+with the elasticity of a spring fixed at one end, and made to vibrate.
+The combination of bowing, with _pizzicato_ by the left hand, if not
+new, was employed by Paganini to a degree never attempted before.
+Lastly, there was his wonderful performance on the fourth string, which
+he tuned up to B flat, and sometimes even a semitone higher. Much of his
+use of these devices is put down as clap-trap, yet since his day many
+violinists have employed the same means, if they have not achieved the
+same result.
+
+[Illustration: PLATE 18. (_See Appendix._)]
+
+[Illustration: PLATE 19. (_See Appendix._)]
+
+[Illustration: PLATE 20. (_See Appendix._)]
+
+[Illustration: PLATE 21. (_See Appendix._)]
+
+[Illustration: PLATE 22. (_See Appendix._)]
+
+Let us consider, for a moment, the performances on the G string. It is
+certain that Paganini was not the originator of that manner of playing,
+for Leopold Mozart wrote of Esser[44] as playing on the G string alone
+with the greatest ease. Compositions for a single string were also
+written before Paganini's day, for Friedrich Wilhelm Rust (1739-1796)
+composed a violin sonata for the E string. But Paganini made such a
+feature of this species of performance because it pleased the public,
+and, in giving the audiences that which they preferred rather than that
+which his artistic conscience should have prompted, he became the pupil
+of his age, and fell from his high estate. On the other hand, he may be
+said to have discovered the powers of the fourth string, to which, by
+the employment of harmonics, he gave a compass of three octaves. He was
+censured for his partiality in this direction, but in these days every
+violinist plays a solo on the G string. Is not Bach's "Aria" played
+everywhere as a fourth string solo? Yet, as musicians know, it was not
+written for that string, nor as a solo, forming, as it does, the theme
+of the slow movement of the "Overture in D," for strings, two oboes,
+three trumpets, and drums. Moreover, in Mozart's Violin Concerto in E
+flat, No. 6, composed in 1766, there is in the slow movement, an
+eight-bar period for the G string, and also one of the same length in
+the Finale. In Beethoven's Violin Concerto the principal theme of the
+Rondo is assigned to the G string, and also when it recurs after the
+second subject. This work was composed in 1806, a short time after
+Paganini wrote his "Napoleon Sonata," but was heard in public years
+before Paganini's was so performed. These two compositions are mentioned
+merely to show that the charm of the fourth string was not unknown in
+early days; to refer to later works would be superfluous.
+
+Now, as to Paganini's tuning his instrument a semitone higher than the
+ordinary pitch. It will be conceded that the different keys have
+distinctive qualities, to which some musicians are more sensitive than
+others. Some term it key-colour: I prefer the expression key-character.
+On the violin some keys are more sonorous than others. The effect may be
+partly mental, and I believe--though I may be wrong--that a violinist
+plays with a different feeling in the key of E, to that which would be
+excited by the key of E flat, and this apart from the ćsthetic import of
+the composition itself.[45] In many concertos the chorus violins--if I
+may so call them--sometimes play the same notes with the soloist, and so
+absorb the tone of the latter that the listener can only hear the mass
+of violin tone. It is on record that Paganini was never overpowered by
+the _tutti_ in any of the pieces he played, though some writers say his
+tone was not remarkable for volume. The explanation may be found in what
+follows. Paganini had an almost morbidly keen musical organisation, an
+acute sense of hearing, in which he resembled Mozart and Berlioz.
+Paganini wrote the solo part of his first concerto in D (tuning his
+violin a semitone higher), and the orchestral parts in E flat. Why? Not
+because D was an easier key to play in, nor because some passages if
+viewed as in E flat were marvels of execution; but because he felt the
+difference in the "power" of the two keys. Mozart's Concertante for
+violin and viola, with orchestra, is in E flat, but the viola part is in
+D, and the instrument was to be tuned a semitone higher. This was done
+"both to give it a clear sound and to make the execution easier."[46]
+Mozart's piece was probably written in 1780, so here is one of the
+expedients ascribed to Paganini as a trick made use of by a great master
+before the famous violinist was born. Berlioz never heard Paganini play,
+but he was the first among his contemporaries to understand and
+appreciate Paganini's intention in this respect. In his _Soirées de
+l'Orchestre_ he wrote: "He (Paganini) has known how to render distinct
+and dominating the tones of a solo violin by tuning its four strings a
+semitone above those of the orchestra; which enabled him to play in the
+brilliant keys of D and A, while the orchestra accompanied him in the
+less sonorous keys of E flat and B flat." Berlioz knew, if any one did,
+what was the distinctive character of a key. It is highly improbable
+that either he or Paganini ever heard, or even knew anything of Mozart's
+"Concertante" just mentioned. So much by way of clearing Paganini from
+the charge of charlatanry. Artistic faults and failings he had, and
+these no attempt has been made to conceal; but every succeeding
+generation of violinists has been deeply indebted to the great Genoese
+for opening up new possibilities, by the way in which he advanced the
+character and power of the violin. Leaving now the technical side of his
+art, let us hear what his great contemporaries have to say of his
+playing from the ćsthetic standpoint. We need not refer again to Lafont
+and Lipinski, but will begin with Spohr. It has been mentioned that
+Spohr met Paganini at Venice, in 1816. Spohr wished to hear the great
+Italian play something, but the latter declined. He afterwards
+explained to Spohr that his style of playing was calculated for the
+great public only; and that if he were to play to Spohr he must play in
+a different manner, for which he was not then inclined. So it was not
+until 1830 that Spohr heard Paganini at Cassel. This is what he wrote:
+"In June, 1830, Paganini came to Cassel and gave two concerts in the
+theatre, which I heard with great interest. His left hand, and his
+constantly pure intonation were to me astonishing. But in his
+compositions and his execution, I found a strange mixture of the highly
+genial and childishly tasteless, by which one felt alternately charmed
+and disappointed, so that the impression left as a whole was, after
+frequent hearing, by no means satisfactory to me." Paganini was playing
+to his "great public," and in that respect lost Spohr's esteem; but can
+a great violinist, of strong personality, be perfectly just to a
+contemporary of a different temperament? Schumann, as a composer, could
+look upon Paganini from a different point of view. This is what he says:
+"When I heard him for the first time, I expected him to begin with a
+tone such as had never been heard before. But with how small, how thin a
+tone he commenced! Then he began to weave his spells; invisibly he threw
+out his magnetic chains among the public; they oscillated above and
+around. And then the rings became more and more intricate; even
+the audience seemed to contract, while he interlaced his tones
+until they seemed melted into one--one with the master himself, all
+counterbalancing each other with sympathetic influence." This is not
+criticism; it is scarcely description: it is as fanciful as Heinrich
+Heine's description, but it is a proof of the great violinist's power to
+touch the imagination. Ignaz Moscheles, a virtuoso pianist, complains
+of his utter inability to find language capable of conveying a
+description of Paganini's wonderful performance. "Had that long-drawn,
+soul-searching tone lost for a single second its balance, it would have
+lapsed into a discordant cat's-mew; but it never did so, and Paganini's
+tone was always his own, and unique of its kind. The thin strings of his
+instrument--on which alone it was possible to conjure forth those
+myriads of notes and thrills and cadenzas would have been fatal in the
+hands of any other violin player, but with him they were indispensable
+adjuncts." Again: "Nothing could exceed my surprise and admiration; his
+constant and venturesome flights, his newly discovered source of
+flageolet tones, his gift of fusing and beautifying subjects of the most
+heterogeneous kind; all these phases of genius so completely bewildered
+my musical perceptions, that for several days afterwards my head seemed
+on fire and my brain reeled. I never wearied of the intense expression,
+soft and melting like that of an Italian singer, which he could draw
+from his violin." Yet, later, Moscheles had to say: "I find both his
+style and manner of playing monotonous." Liszt, many years later said:
+"No one who has not heard him can form the least idea of his playing."
+Paganini indeed could soar to the Empyrean, but he had not the Peri's
+pure gift which would open the gate of Paradise!
+
+[Illustration: PLATE 23. (_See Appendix._)]
+
+François Joseph Fétis, who befriended Paganini when first he visited
+Paris, certainly held no brief for the celebrated artist, but rather
+presided over him as judge. He stated that the art of Paganini was an
+art apart, which was born with him, and of which he carried the secret
+to the grave. He further stated that Paganini often assured him that his
+talent was the result of a secret discovered by himself, a secret he
+intended to reveal, before his death, in a method for the violin, which
+should have but few pages, but which should throw all violinists into
+confusion. Fétis questions the existence of the secret, and thinks the
+great artist was labouring under a delusion. Yet he has to acknowledge
+that there was something extraordinary and mysterious in the power that
+Paganini possessed in the execution of unheard of difficulties in an
+infallible manner. His intonation was always perfect.[47]
+
+William Gardiner, the Leicester amateur, who became acquainted with
+Paganini, wrote: "There was no trick in his playing; it was all fair,
+scientific execution, opening to us a new order of sounds, the highest
+of which ascended two octaves above C in alt."
+
+An Italian physician, Francesco Bennati,[48] made a physiological study
+of Paganini, accounting for his wonderful executive powers as due not so
+much to his musical genius as to his peculiar physical formation. In
+particular, the flexibility of his wrist, and the great lateral
+extension of his finger joints, enabled him to execute passages
+impossible to others. But there must have been something beyond
+technique. I have heard many persons, professional and amateur, speak of
+his playing as something beyond conception, not only in regard to
+execution, but in the power of swaying an audience, playing upon their
+emotions; the whole man was an instrument. No other artist was so widely
+quoted by his contemporaries. Mendelssohn, Chopin, and others make
+reference to Paganini whenever anything wonderful is spoken of. Chopin
+was a great admirer of Slavik, and considered him only second to
+Paganini. Every volume of reminiscences down to the present day includes
+the name of Paganini, if only to relate that somebody once heard him
+play. But not only musicians, poets also sang his praises. Is there
+anything more beautiful than the tribute paid him by Leigh Hunt? A few
+lines may be quoted:
+
+    So played of late to every passing thought
+    With finest change (might I but half as well
+    So write!) the pale magician of the bow,
+    Who brought from Italy the tales made true,
+    Of Grecian lyres, and on his sphery hand,
+    Loading the air with dumb expectancy,
+    Suspended, ere it fell, a nation's breath.
+
+    He smote--and clinging to the serious chords
+    With godlike ravishment, drew forth a breath,
+    So deep, so strong, so fervid thick with love,
+    Blissful, yet laden as with twenty prayers,
+    That Juno yearn'd with no diviner soul
+    To the first burthen of the lips of Jove.
+    The exceeding mystery of the loveliness
+    Sadden'd delight; and with his mournful look,
+    Dreary and gaunt, hanging his pallid face
+    'Twixt his dark and flowing locks, he almost seem'd,
+    To feeble or to melancholy eyes,
+    One that had parted with his soul for pride,
+    And in the sable secret liv'd forlorn.
+
+    But true and earnest, all too happily
+    That skill dwelt in him, serious with its joy;
+    For noble now he smote the exulting strings,
+    And bade them march before his stately will;
+    And now he lov'd them like a cheek, and laid
+    Endearment on them, and took pity sweet;
+    And now he was all mirth, or all for sense
+    And reason, carving out his thoughts like prose
+    After his poetry; or else he laid
+    His own soul prostrate at the feet of love,
+    And with a full and trembling fervour deep,
+    In kneeling and close-creeping urgency,
+    Implored some mistress with hot tears; which past,
+    And after patience had brought right of peace,
+    He drew as if from thoughts finer than hope
+    Comfort around him in ear-soothing strains
+    And elegant composure; or he turn'd
+    To heaven instead of earth, and raise a prayer
+    So earnest-vehement, yet so lowly sad,
+    Mighty with want and all poor human tears,
+    That never saint, wrestling with earthly love,
+    And in mid-age unable to get free,
+    Tore down from heaven such pity.
+
+It was urged against Paganini as a fault, that he rarely played any
+other music than his own. Paganini was one of the latter-day examples of
+the virtuoso and the composer represented by one and the same person.
+From the days of Handel to the time of Beethoven, the composer was his
+own interpreter, and never gave concerts with compositions by others.
+But Paganini did at times play concertos by Rode and Kreutzer, though
+it was said that in these he was less successful than in his own. The
+Rev. Dr. Cox heard Paganini play the first movement of Beethoven's
+Concerto--in fact it was performed for his special edification. This is
+what he said of it: "Never shall I forget the smile on that sad, pale,
+wan, and haggard face, upon every lineament of which intense pain was
+written in the deepest lines, when I caught his eye, or the playing,
+into which a spirit and sympathy were thrown that carried one wholly
+away. As soon as he had concluded, and before I could rush up to him to
+express my thanks, he glided away. I never saw him afterwards." It was
+also stated that Paganini failed as a quartet player. His strong
+individuality might have been an obstacle in the way of securing the
+perfect unanimity of feeling and expression that characterise fine
+quartet playing; but to imply that he could not perform the music was
+absurd. As an executant, pure and simple, Paganini never had, and
+possibly never may have, a compeer.
+
+But the question remains: did Paganini's playing result in any permanent
+benefit to the art? Had he a permanent influence, and if so, was it for
+good? To take a material aspect, it was owing to Paganini that the fame
+of Joseph Guarnerius was published beyond Italy. "The names of Amati and
+Stradivarius became familiar to the musical world gradually, but
+Guarnerius, in the hands of a Paganini, came forth at a bound. This
+illustrious violin was often credited with the charm which belonged to
+the performer; the magical effects and sublime strains that he drew
+forth from it, must, it was thought, rest in the violin. Every would-be
+violinist, whose means permitted him to indulge in the luxury,
+endeavoured to secure an instrument by the great Guarnerius. The demand
+thus raised brought forth those gems of the violin maker's art now in
+the possession of wealthy amateurs and a few professors. When the
+various works of the gifted Guarnerius were brought to light, much
+surprise was felt that such treasures should have been known only to a
+handful of obscure players, chiefly in the churches of Italy."[49]
+
+[Illustration: _Plate XXIV.--See Appendix._
+
+A SEMI-CARICATURE OF PAGANINI, 1831.]
+
+It has been shown that Paganini's performances caused a revolution in
+the style of composition and execution in pianoforte music, as
+exemplified in the works of Liszt. But did violin playing benefit? As
+Paganini belonged to no school, so he founded no school. He had his
+imitators, but he had few pupils, and no absolute successor. Camillo
+Sivori is generally put forth as his only pupil. I have heard that great
+artist, but--I say it with diffidence--I could never consider him the
+equal of what I imagined Paganini to have been. According to William
+Gardiner, Paganini was accompanied by Antonio Oury when he first went to
+London. It was Oury who introduced Gardiner to Paganini, and the former
+stated that Oury was Paganini's favourite pupil.[50] Then the Chevalier
+Robbio, who appeared at Jullien's concerts at Drury Lane Theatre in
+1854, claimed to have been a pupil of Paganini. Acknowledged pupils were
+Teresa Ottavio, who was playing in Vienna, in 1835, and Mlle. Neumann,
+who gave concerts in Venice and elsewhere, in 1838. But all these were
+of small account. The question remains. Did Paganini influence the art
+of violin playing, and in what direction? Let a very recent writer
+contribute an answer. "We would not miss this greatest of fiddlers in
+the annals of violin playing--no, not for a Spohr or any other great
+modern violin master; but his influence can hardly be called beneficial.
+It forced violin playing into a Procrustean bed unsuited to its true
+nature and mission. Paganini had temporarily transformed the angel into
+a devil, and the angel did not escape unscathed--Lucifer burned his
+wings. Violin-playing will never be quite what it was before Paganini.
+He helped to hurry the growing old process--brought out the lines, the
+spots, and the wrinkles on the once fair face. He, before all others,
+established the iron rule of technique, with its train of other evils,
+in the place of the gentler reign of charming naiveté of the elder
+master."[51] There is truth here, and cause for sadness; but can the
+hand of time be turned back, and music regain the artless joy of the
+seventeenth century, when technique was unknown? Paganini, after all,
+was only one of the forces that effected the revolution that produced
+the music of the last half of the nineteenth century. It is not too much
+to say that the technique of the modern orchestra, in regard to the
+string section, is due to Paganini. Compare the scores of the classical
+composers with those of the most modern writers, and see what an
+enormous difference there is in the work for the strings--from the
+violins to the double-basses. The orchestral player of to-day is a
+virtuoso. For good or evil, music has entered upon a phase that has
+raised executive skill to a pinnacle never attained before: and this it
+owes to Paganini: may it be the prelude to higher achievements in the
+spiritual domain of art!
+
+FOOTNOTES:
+
+[44] Karl Michael Esser, born about 1736, date of death unknown.
+
+[45] In the Tonic Sol-fa method great stress is laid upon the mental
+effect of each note of the scale, altogether apart from pitch.
+
+[46] Life of Mozart, Otto Jhan, English Edition, I., 319.
+
+[47] In 1883, several musical papers stated that a certain amateur
+collector of violins, during a tour in Italy, visited the little
+Sardinian village, Ameglia, and purchased a collection of instruments
+used by Paganini, which were at that time in the possession of the widow
+of L. M. Germi, the intimate friend of Paganini. The said amateur also
+became possessed of "the secret," but what he did with it has never
+transpired.
+
+[48] Born at Mantua, 1798; died at Paris, 1834.
+
+[49] "The Violin," by George Hart. Popular Edition, 1880, p. 202.
+
+[50] It is strange that the Biographical Dictionaries are silent
+concerning Oury, who must have been a man of some note. He is merely
+named as the husband of Anna Caroline de Belleville, the once famous
+pianist (1806-1880), who made her début in London at a Paganini concert
+in 1831.
+
+[51] The Story of the Violin by Paul Stoeving, p. 208.
+
+
+
+
+CHAPTER XI.
+
+
+There remains the consideration of Paganini as a composer. It is a
+truism to say that a composition has primarily to be judged from the
+standpoint of the age in which it was written. A Genius, we are told, is
+not only before his own age, but before all ages. All the same, the
+great Geniuses come into the world precisely at the right moment. To
+some music one may fitly apply the epithet "Immortal"; for it seems to
+be written, "not for an age, but for all time." That title is not
+claimed for the music of Paganini, but, in view of what has been written
+for the violin, it is necessary to take into consideration the date of
+Paganini's compositions. Take the two greatest surviving forms--the
+symphony and the concerto--and compare works in those forms, belonging
+to different periods. Mendelssohn and Schumann were innovators, so it
+was said, in regard to symphonic form. Both wrote symphonies of which
+the movements were connected, and Schumann by the recurrence of themes
+anticipated the "organic whole" of the symphonic poem. But in 1776, Carl
+Philipp Emanuel Bach composed symphonies in the modern one-movement
+style. This is not the time to discuss them, but just taking the first,
+in D, I may point to the coda of the opening movement, which effects a
+modulation to E flat, the key of the slow movement. In this the subject
+enters, for the second time, in B flat; and a deceptive cadence is
+followed by a passage ending on the dominant of D, and so returning to
+the primary key for the last movement. The score is for flutes, oboes,
+one bassoon, horns, first and second violins, viola, violoncello,
+violone, and cembalo. Now, here is a work quite modern in its disregard
+of key relationship, and in the linking together of the different
+movements. Yet it would not be right to judge it by comparison with the
+symphonies of the last half century.
+
+With regard to the concerto, take that form for the violin only. To go
+no further back than the works of the great Leipzig Cantor, Johann
+Sebastian Bach, we find his two concertos, in A minor, and E major, are
+scored only for strings, though the "continuo" implies the harpsichord.
+The concerto in D minor for two violins is scored in the same manner;
+and in all there is evidence that the soloist took part in the _tutti_
+sections. Then there is the Symphony movement, from an unknown church
+cantata, for violin concertante, with accompaniment of two oboes, three
+trumpets, drums, two violins, viola and continuo. In all these the basic
+principle is the contrasting of the _tutti_ and _solo_ sections, which
+sustain a kind of dialogue. Much the same form is observed in Mozart's
+violin concertos, which, with one exception, are scored for oboes, horns
+and strings. The exception is the sixth, in E flat, which is scored for
+one flute, two oboes, bassoons, and horns. In this the form approaches
+that of the sonata, though the _tutti_ and _solo_ contrasts still
+remain, and evidently the soloist played in the _tutti_ sections. To
+Viotti, born in 1753, three years before Mozart, must be assigned the
+honour of giving the violin concerto its fullest classical form. His
+orchestral background was rich in colour, he having adopted the complete
+Haydn Combination; and his solo parts were of prime importance.
+Beethoven's concerto (1806), and Mendelssohn's (finished in 1844),
+employ the same orchestra. Beethoven links the slow movement to the
+Finale, and Mendelssohn connects the whole. The latest concerto form is
+in part a reversion to the earliest type. The solo part is but a more
+elaborate line in the orchestral column, and the soloist is scarcely
+distinguishable from his orchestral colleagues.
+
+In view of the question I wish to raise, I hope the reader will pardon
+this digression. Paganini sometimes played pieces by Kreutzer and Rode,
+but I have not been able to find evidence of his acquaintance with the
+concertos of Viotti. The reason may not be far to seek. Paganini
+remained in Italy until 1828; Viotti, born in Italy, left his country,
+and only once returned to it--in 1783, and that for a very short time.
+His long residence in Paris led to his being identified with the French
+School of violinists. His works were played by other performers during
+his life-time, but it is questionable whether they were known to
+Paganini. What I want to ask is simply this:--upon what work, or whose
+work, was Paganini's first concerto modelled? It was written in 1811,
+according to the _Musical World_ (Vol. for 1851, p. 822), or in 1820
+according to the "Oxford History of Music" (Vol. VI., p. 225). The form
+of the work will be dealt with later; here the question is one of
+instrumentation. Berlioz wrote: "It was said of Weber, 'He is a meteor!'
+With equal justice it may be said of Paganini, 'He is a comet!'" I would
+paraphrase Berlioz and say Paganini's First Concerto came upon the world
+as a comet--a comet with a most portentous tail! Paganini was the
+Richard Strauss of his day. Fancy, in the scoring of a concerto,
+trombones, double-bassoon, cymbals, and bass-drum! and that in the year
+1811, possibly. Why, it only requires a few more horns and trumpets,
+some tubas, a rattle and other percussion instruments, to come up to the
+latest twentieth century scoring. But a truce to badinage. A big score,
+of itself, is not necessarily a thing to be praised; however, Paganini's
+full scoring never obscured the solo part, and that is more than can be
+said of some violin concertos of later date. I do not pretend to a
+knowledge of the whole of the literature for the violin, but I have
+heard much of it; yet I can recall no violin concerto going beyond the
+orchestral resources adopted by Beethoven in his work, of earlier date
+than Paganini's first concerto. I have further to confess that I have
+never seen an original score of any of Paganini's works, but I have
+written out a score from what I believe to be authentic band parts. I
+have heard the First Concerto, "reduced to one act," with the exordium
+cut out; and however much such a rendering may be in accordance with
+modern taste, I can only regard it as unjust to the composer. In the
+present day Paganini's music is looked upon with pity not far removed
+from scorn; how did his contemporaries esteem it?
+
+Rossini is reported to have said: "Truly, it is fortunate that Paganini
+did not devote himself exclusively to lyric composition; he would have
+become a very dangerous rival."[52] Moscheles wrote: "His concertos are
+beautiful, and have even their grand moments; but they remind me of a
+brilliant firework on a summer's eve, one flash succeeding the
+other--effective, admirable--but always the same. His 'Sonate
+Militaire,' and other pieces, have a southern glow about them, but this
+hero of the violin cannot dispense with the roll of the drum; and
+completely as he may annihilate his less showy colleagues, I long for a
+little of Spohr's earnestness, Baillot's power, and even Mayseder's
+piquancy."
+
+Very little was said of Paganini's compositions--I mean by way of
+description, orchestration, or even criticism--when the composer was in
+England. The writers seemed always engrossed and absorbed by the
+performance and personality of the man.
+
+Schumann repeats what was said of Paganini; that he, himself, rated his
+merit as a composer more highly than his talent as a _virtuoso_. We know
+that Rubinstein desired to have his name handed down to posterity as a
+composer rather than as a pianist. The fates have been unkind to both.
+To return to Schumann. He remarks that "if general opinion has not,
+until now, agreed with him (Paganini), it must at least be allowed
+that his compositions contain many pure and precious qualities,
+worthy of being firmly fixed in the richer setting required by the
+pianoforte." This of course referred to the caprices, Op. 1, but the
+observation is a curious illustration of the way in which individual
+minds regard things from their own standpoint.
+
+Paganini's music appealed to Liszt as a means of creating a new school
+of pianoforte technique, as well as composition; very little can be
+gleaned from Liszt as to his ćsthetic views regarding it. Fétis says
+great worth is revealed in the compositions of Paganini, as much by the
+novelty of the ideas as by the elegance of the form, the richness of the
+harmony, and the effects of the instrumentation. These qualities shine
+above all in the concertos; but, he adds, these works require the magic
+of his talent to produce the effect he intended. Berlioz was, perhaps,
+the most appreciative of Paganini's contemporaries. In his _Soirées de
+l'Orchestre_ he says: "A volume might be written in telling all
+that Paganini has created in his works of novel effect, ingenious
+contrivances, noble and grandiose forms, and orchestral combinations
+unknown before his time. His melodies are broad Italian melodies, but
+full of a passionate ardour seldom found in the best pages of dramatic
+composers of his country. His harmonics are always clear, simple, and of
+extraordinary sonorousness. His orchestration is brilliant and
+energetic, without being noisy. He often introduces the bass drum into
+his _tutti_ with unusual intelligence."
+
+During Paganini's lifetime no one else seems to have played his music,
+although one of his imitators is said to have reproduced some pieces
+from memory. After Paganini's death, the propagandist of his works was
+his nephew and pupil, Ernesto Camillo Sivori. He made his début at the
+Leipzig Gewandhaus Concerts, October 3, 1841, and a week later
+introduced there Paganini's Variations on the Prayer from _Mosé in
+Egitto_. In all, some dozen pieces by Paganini were given at those
+famous concerts from 1841 to 1876. Sivori also introduced Paganini to
+the then very conservative concerts of the Philharmonic Society, London,
+in 1844. But they did strange things in those days. The first movement
+of the Concerto in B minor was included in the first part of the concert
+on April 29, 1844; the Adagio and Rondo coming in the middle of the
+second part! Poor Sivori had to submit to similar treatment of his own
+concerto at the Society's concerts in 1845. It would be interesting
+to know how Paganini's music fared at the concerts of the Paris
+Conservatoire, but I have not been able to procure any reliable data
+relating to the subject.
+
+Rumour was long busy with the project entertained by Paganini's son, the
+Baron Achilles, of publishing a complete edition of the compositions of
+the great violinist; and in 1887 a paragraph in the _Athenćum_ announced
+on apparently good authority that the Baron was preparing for immediate
+publication the whole of the works of his father which still remained in
+manuscript. Several of those were named, but nothing more has been heard
+of the undertaking. I have scrutinised the musical press from that date
+to the present time, and have failed to gather any further information
+on the subject.
+
+From every available source I have compiled the following list of
+Paganini's compositions:--
+
+     Op. 1. Twenty-four Capriccios, for violin alone.
+
+     Op. 2. Six Sonatas, for violin and guitar.
+
+     Op. 3. Six Sonatas, for violin and guitar.
+
+     Op. 4. Three Grand Quartets, for violin, viola, violoncello and
+     guitar.
+
+     Op. 5. Three Grand Quartets, for the same.
+
+     Op. 6. Concerto, No. 1, in E flat (D), for violin and orchestra.
+
+     Op. 7. Concerto, No. 2, in B minor, for the same.
+
+     Op. 8. "Le Streghe." Introduction and Variations.
+
+     Op. 9. "God Save the King." Variations.
+
+     Op. 10. "Carnaval de Venise." Variations.
+
+     Op. 11. "Allegro de Concert." "Moto Perpetuo."
+
+     Op. 12. "Non piů mesta." Introduction and Variations.
+
+     Op. 13. "Di tanti palpiti." Introduction and Variations.
+
+     _All for violin and orchestra._
+
+     Op. 14. Sixty Studies in Variation form, on the Air "Barucaba," for
+     violin alone.
+
+
+_Works without Opus number._
+
+     Sonata in A, for violin, with accompaniment of violin and
+     violoncello.
+
+     Bravura Variations on a theme from Rossini's "Moses in Egypt," for
+     violin and string quartet, or pianoforte.
+
+     Bravura Variations on an Original Theme, for violin and guitar, or
+     pianoforte.
+
+     Introduction and Variations on the Theme, "Nel cor piů non mi
+     sento," for violin alone.
+
+     Duo in C major, for one violin. Solo.
+
+     Recitative and Variations, on Three Airs, for the fourth string.
+
+     "Le Charme de Padua," Divertissement, for violin and pianoforte.
+
+
+_Works that are unpublished, or that have been lost._
+
+     Concertos in D minor, E minor, E major.
+
+     Concerto in two movements. Violin and orchestra.
+
+     Four Concertos, the scoring unfinished.
+
+     Concerto, for bassoon, with string trio accompaniment.
+
+     Nine Quartets, for violin, viola, violoncello and guitar.
+
+     Fantasia. Violin and orchestra.
+
+     Dramatic Sonata, "The Storm," for the same.
+
+     Military Sonata on Mozart's "Non piů andrai."
+
+     Napoleon Sonata for the fourth string.
+
+     Sonata on a Theme by Haydn. Ditto.
+
+     Sonata di un Canto Appassionata, e variazioni sopra un Tema
+     Marziale. Ditto.
+
+     Sonata with variations on a Theme from Jos. Weigl's "L'Amor
+     Marinaro."
+
+     Sonata Amorosa Galante, e Tema con variazioni.
+
+     Sonata for viola and orchestra.
+
+     Sonata Sentimentale.
+
+     Sonata, "Varsovie."
+
+     Sonata for violin alone.
+
+     Preludio e Rondo brilliant, violin and orchestra.
+
+     Chant of the Monks of the Monastery of St. Bernard.
+
+     "La Primavera," Sonata for violin alone.
+
+     Preludio e Fandango, con Variazioni.
+
+     "La ci darem la Mano," Variations.
+
+     Cantabile, violin and pianoforte.
+
+     Polonaise avec variations.
+
+     Cantabile e Valse.
+
+     Cantabile, for two strings.
+
+     Three duos, violin and violoncello.
+
+     Duets and small pieces for guitar.
+
+     Variations sur un thčme comique.
+
+     "The Vagaries of a Farm Yard."
+
+
+     Romance pour le Chant. Fantasie Vocale.
+
+
+WORKS WITH OPUS NUMBER.
+
+Op. 1. The full title reads:--_Ventiquattro Caprici per Violino solo,
+dedicati agli artisti; Opera prima._ It is not necessary to refer to
+these pieces in detail; they are in the repertory of the leading
+violinists, and have been played by Joachim and many others. They
+embrace almost every kind of violin technique, and have merits apart
+from that standpoint. Schumann in his _Etudés d'apres les Caprices de
+Paganini_, Op. 3, has transcribed for the pianoforte six numbers. They
+are, No. 5, Agitato, in A minor, without the alteration of a single
+note; No. 9, Allegretto in E, quite as closely; the Andante of No. 11,
+in C; No. 13, Allegro, in B flat, beautifully harmonized; No. 19, Lento,
+Allegro assai, in E flat, more freely treated; and No. 16, Presto, in G
+minor, the melody assigned to the left hand, and written two octaves
+lower. These studies were the result of Schumann's hearing Paganini at
+Frankfort in 1830. The impression the great violinist made on the
+susceptible youth was so deep, that Wasielewski stated that it was more
+than probable Schumann's decision to devote himself to music dated from
+that experience. So here is another debt the musical world owes to
+Paganini. Schumann's Op. 3 bears the date of 1832. The next year he
+returned to the Italian master, and his Six Studies, Op. 10, are further
+transcriptions of the Capriccios. The first is a very free arrangement
+of No. 12, Allegro molto, in A flat; next is a paraphrase of No. 6,
+Adagio, in G minor, in which different figuration was absolutely
+necessary for the keyboard instrument. In No. 10, Vivace, in G minor, he
+divides the melody for the two hands, and accompanies with bold
+harmonies. The transcription of No. 4, Maestoso, in C, is almost
+literal, but there are "cuts," as also in No. 12. No. 2, Moderato, in B
+minor, with its "leaps and bounds," is altered to bring the intervals
+more within reach of the hand. The bare octaves which form the opening
+of No. 3, have been filled in with rich harmonies, and to the Presto
+movement a counterpoint in semiquavers has been added, making it a very
+attractive piece of the Tocatta order. It will be remembered that one
+short movement of Schumann's "Carnival" is entitled Paganini, but it is
+a reflexion of his style rather than an adaptation of his music. Liszt
+has borrowed much, in regard to form and melodic outline, from the
+Capriccios, in his _Etudés d'exécution transcendante_. Of his _Grandes
+Etudes de Paganini_ notice will be taken later. Brahms has written two
+sets of variations on the theme of the Capriccio, No. 24, Quasi presto,
+in A minor. These are extraordinarily difficult and brilliant. They were
+published in 1866, and Carl Tausig was fond of playing them. Paganini's
+Op. 1, was published by Ricordi about the year 1820.
+
+Op. 2, and Op. 3. The house of Ricordi publish the Twelve Sonatas for
+violin and guitar, and Breitkopf and Härtel publish an edition for
+violin and pianoforte, edited by Ferdinand David. There is no clue as to
+the arranger of the pianoforte part, but it may be the work of
+Moscheles, who, it will be remembered, was induced "to make a pianoforte
+accompaniment for twelve small violin pieces," but who refused to have
+his name affixed to the title-page. Anyway, the pianoforte accompaniment
+is the work of a good musician. The title page of Op. 2 runs thus: _Sei
+Sonate per Violino e chitarra, Composte e Dedicate Al Signor Dellepiane,
+Da Nicolo Paganini_. The pieces are sonatas in the primitive sense of
+the term. Each contains two movements only. No. 1, Minuetto, Adagio in
+A, three-four, the violin part in the nature of a florid _cadenza_ but
+very clear in rhythm, the guitar accompaniment in semiquaver groups of
+broken chords. Second movement, Polonese, Quasi allegro, A major,
+three-four, tuneful, all derived from a short motive, not difficult. No.
+2, Larghetto expressivo, C major, six-eight, lyrical, melody highly
+embellished after the first phrase, varied bowing. Allegro spiritoso,
+same key and measure, in the style of a _Canto popolare_. No. 3, Adagio
+maestoso, D minor, two-four, principal motive of a dramatic kind, with
+brilliant passages intervening. Andantino gallantement, a crisp,
+staccato melody, with middle section in D major. No. 4, Andante
+calcando, A major, four-two, theme, in sixths, thirds and octaves. The
+movement is entitled _La Sinagoga_, but I can trace no Jewish melody
+corresponding to its subject. The second movement, Andantino con brio,
+in two-four measure is as bright and sparkling as the corresponding
+movement in No. 3. No. 5, Andante moderato, D major, two-four, two
+strains of eight bars, with a lyrical theme. The second movement in
+six-eight rhythm, is another specimen of the Italian _Cantilena_. No. 6,
+Largo, A minor, six-eight, a combination of recitative and Cadenza
+passages. Tempo di Valse, in three-eight measure, a tripping, fluent
+theme, for light bowing. The music altogether is light and pleasing,
+abounding in showy passages, and with the real Italian gift of melody.
+The accompaniments are in no way difficult.
+
+The Six Sonatas, Op. 3, have rather a curious dedication: _Alla Ragazza
+Eleonora_. "Ragazza" is a familiar term for a girl, and may be
+translated as "lass," or even "wench." The Eleonora it may be impossible
+now to identify, though the lady possibly was connected with the period
+of Paganini's disappearance when Napoleon invaded Italy. Sonata, No. 1,
+is in two movements, as are all the others. The first, Larghetto, A
+major, six-eight measure, has a theme resembling a popular melody, the
+close of each strain being highly embellished. Ricordi's edition gives
+an alternative reading of the penultimate bar, in the style of a
+cadenza. The second movement, Presto variato, in two-four rhythm, has a
+dance-like theme, with one variation. The two bars preceding the final
+cadence have semiquaver groups to be played pizzicato, each note with
+right and left hand alternately. No. 2, Adagio, con dolcezza, G major,
+three-eight, theme, pure Italian cantilena, in thirds or sixths
+throughout. Andantino scherzoso, two-four, crisp, tripping melody,
+chiefly for staccato bowing, ending with arpeggios extending to four
+octaves. No. 3, Andante sostenuto, D major, two-four, theme for six bars
+to be played on the second string. Rondo, Molto allegro, six-eight,
+bright and spirited; the opening might have been inspired by the Irish
+air "Garyone"--the lilt is so much the same. The movement ends with a
+rapid descending chromatic scale of three octaves. No. 4, Andante largo,
+A minor, two-two, the opening bars of the theme for the third string,
+declamatory, sad. Allegretto mottegiando, two-four, light, tripping
+melody, to be delivered in a spirit of banter. No. 5, Adagio amorosa, A
+major, two-four, theme, Italian melody embellished, in thirds
+throughout, with some semi-staccato bowing. Allegretto energicamente,
+two-four, a merry, quick-step movement of two eight-bar periods. The
+second part, in the tonic minor, has the theme divided equally for
+guitar and violin, in each strain. A coda of four bars, major, is added
+by way of close. In the arrangement for pianoforte, the violin has the
+theme throughout. No. 6, Andante innocentemente, E minor, four-four, a
+pathetic melody, simple, but touching. Allegro vivo e spiritoso,
+six-eight. One could imagine an Italian peasant singing this melody; it
+has all the characteristics of a folk-song. It is written throughout in
+double-notes, mostly thirds. The second part, in the minor, is in a
+different manner to the first part, which is repeated after it. The
+guitar accompaniments, with the exception named, are all in chords or
+arpeggios. The pianoforte part has more variety. It may be observed that
+the movements in two-four measure have much of the spirit of Haydn's
+Allegros.
+
+Op. 4, Three Quartets for violin, viola, violoncello and guitar. These
+were once in the Circulating Music Libraries of the firms of Novello and
+Augener, but are no longer to be met with. I have failed to obtain
+copies elsewhere.
+
+Op. 5, _Tre Quartetti a Violino, Viola, Chitarra e Violoncello. Composti
+e Dedicati Alle Amatrici Da Nicolň Paganini. Milano. Presso Gio.
+Ricordi._ By the courtesy of the firm of Novello, I have been enabled to
+examine this set, the title page of which I quote. The copy I examined
+is evidently of the original edition. Each quartet is in four
+movements. No. 1, Presto, D major, sixteen-eight, a peculiar signature,
+but apparently adopted by reason of the "figures" in quavers. This
+movement is very much in Rossini Overture form. Andante sotto voce e
+staccato, D minor, three-four, Canone a tre. The violin begins, the
+viola answers one bar later, an octave lower, and the violoncello
+follows in like manner. The guitar is silent. The Canon is kept up
+strictly to the end. The Trio--not in Canon--is in B flat major, and the
+guitar supports the strings with full chords. Tema con variazioni,
+Cantabile quasi Larghetto, D major, two-four, two strains of eight bars,
+the theme in each begun by the viola, and repeated by the violoncello.
+Three variations follow, the theme being allotted to each instrument in
+turn, the guitar included. Finale, Prestissimo, D major, three-eight, a
+brilliant, showy movement.
+
+No. 2, Allegro, C major, four-four measure, in binary form, the subjects
+given to the violin and violoncello. Minuetto, Allegretto, A minor,
+three-four, with Trio in two sections, F major and D minor. The violin
+has the theme, the others accompany with chords. Cantabile, Larghetto, A
+major, six-eight, the melody, floridly embellished, for violin, the
+other instruments accompanying. Polacca, Quasi presto, C major,
+six-four. The violin has the chief melody, subordinate parts being given
+to the viola and violoncello. The guitar has full chords throughout.
+
+No. 3, Allegro, D minor, four-four rhythm, Coda in D major, principal
+themes for the violin, the viola and violoncello taking up portions here
+and there with chords and arpeggios for the guitar. Allegro moderato, D
+minor, three-four, Canone a tre, theme for violin, answered by viola and
+violoncello at one bar interval, an octave below, as in No. 1. Guitar
+tacet. Tema Cantabile, Quasi adagio, B flat major, two-four. The
+movement consists of two periods, the theme for viola and violin
+alternately, in each. Variation I., florid, violoncello and violin in
+response; II., in G minor, more elaborate, theme for violoncello and
+violin, rapid arpeggios for guitar; III., in B flat major, theme for
+viola and violin, alternately, and finally for guitar. Polacchetta,
+Allegro con brio, D minor, three-four, a brilliant movement, with themes
+for the violin; the viola and violoncello share in the figurated
+passages, and the guitar has an accompaniment in chords and arpeggios.
+
+Paganini is said to have repudiated this work, although according to
+Fétis, the quartets were published at Genoa under his very eyes. I
+should rather say that the Milan edition was the first, and perhaps the
+only one. Paganini's assertion was that some one had taken a few of his
+themes, and badly arranged them. Fétis further states that various
+pieces published before, and up to, 1851, must be considered as
+"commercial frauds." Some of them are named, and will be referred to in
+due course. The music of Op. 5 cannot be regarded as in any way great,
+but there are graceful melodies, and the movements in Canon form are
+ingeniously worked out.
+
+Op. 6, _Premier Concerto (Mi Bémol), pour le violin avec accomp. de
+l'orchestrč._ This was the first of the posthumous works, published
+by the firm of Schott and Co., Paris, in 1851. It is scored for
+two flutes, oboes, clarinets, bassoon, double bassoon, two horns,
+trumpets, three trombones, kettle drums, bass drum, cymbals, and the
+usual quintet of strings. The solo violin is tuned a semitone higher,
+and the part is in D, while the orchestra plays in E flat. Breitkopf
+and Härtel publish the orchestral parts in the key of D. There is an
+arrangement of the first movement, by August Wilhelmj, but with that I
+have nothing to do here. First movement, Allegro maestoso, E flat,
+four-four. The orchestral exordium extends to ninety-four bars,
+six more than in the introduction of Beethoven's Concerto. The
+movement--so it may be termed--is symphonic in form, with second
+subject in the dominant, and it is richly scored. The exception I take
+to it is the persistent employment of the cymbals with the bass drum.
+There is a delightful little touch in the canonic imitation for
+first violins and violoncellos. The solo has a principal theme scarcely
+indicated in the introduction, and also several important episodes.
+The slow movement, Adagio, C minor, four-four, was inspired, as already
+mentioned, by the Italian tragedian, Demarini. Paganini witnessed
+his performance in a prison scene, where, after recapitulating his
+misfortunes, he supplicated Providence to relieve him of the burden of
+his life. Paganini retired to rest still under the influence of the
+emotions excited by the actor. He could not sleep: he rose and sought
+through his violin a means of expression by which he could pour out the
+feelings that consumed his soul. Thus, genius tortures and produces. It
+must have been this movement in which William Gardiner heard "tones
+more than human, which seemed to be wrung from the deepest anguish of a
+broken heart." Observe, especially, the recitative passages that close
+the movement. Finale, Rondo, Allegro spiritoso, E flat, two-four. This
+is the longest concerto movement known to me, running on to four hundred
+and eighty-three bars, but the "measure" is short. The concerto is not
+so long as that of Beethoven, the first and second movements containing
+fewer bars. It may be noted that in the first and last movements
+Paganini introduces harmonics, and passages in tenths, most probably for
+the first time in a concerto. In the slow movement there is no double
+stopping. The Cadenzas were improvised, and Paganini, like Beethoven, in
+his improvisations surpassed anything he ever committed to paper.
+
+Op. 7, Concerto No. 2, in B minor. Allegro maestoso, B minor,
+twelve-eight. Adagio, D major, two-two. Rondo, Andantino allegretto
+moderato, B minor, six-eight. This is not so long as the first concerto
+by some two hundred bars, and is not so fine a work, but it is a piece
+worthy of being occasionally heard. In the principal theme of the Rondo
+occur the passages where the silver bell three times echoes the violin
+note--the top F sharp of the pianoforte keyboard. Failing the bell, the
+violinist produces the sound by an artificial harmonic. It is this Rondo
+that Liszt has included in his _Grosse Etüden von Paganini_. His
+treatment of Paganini must be briefly described. There are six
+"studies," the first a transcription of Paganini's Caprice, No. 6,
+Adagio, G minor. To this Liszt adds a prefix, the arpeggio prelude of
+No. 5. The Caprice itself is very literally copied, the whole being an
+octave lower, and at first assigned to the left hand alone. After the
+sixteenth bar the treatment becomes more free, while the figuration is
+much the same. The study ends with the arpeggio passage as at the
+beginning. The second takes for subject No. 17, Andante, E flat.
+Scarcely a note is omitted, but the passages are placed higher or lower,
+and the runs given to either hand. This is a marvel of ingenuity,
+forming a most brilliant pianoforte solo. It is followed, as by a second
+sonata movement, by the "Campanella" Rondo, the two being intended to be
+performed in succession. For this purpose the Rondo from the Concerto is
+transposed to G sharp minor, the closing E flat of the previous movement
+changing enharmonically to D sharp.
+
+The first exposition of the subject follows Paganini very closely, but
+in the development and further progress of the movement Liszt follows
+his own bent, repeating the principal theme again and again with ever
+varying treatment. This is a piece for the _virtuoso_, and one of the
+most showy in the pianist's repertory. The fourth study is an extremely
+clever transcription of the Caprice No. 1, Andante, E major. Not a note
+of Paganini's piece is left out, and the arpeggios are ingeniously set
+out for interwoven fingering, causing the performance to be something to
+look at as well as to hear. It is nearly all cross-handed work. The
+fifth study is an arrangement of the Caprice No. 9, Allegretto, E major.
+On paper it appears easier than the setting by Schumann, but it is more
+difficult to play. Here, again, the phrases are divided for both hands.
+The _glissando_ passages in sixths are impossible on modern instruments.
+The sixth and last study, on the Caprice, No. 24, Tema, con variazioni,
+A minor, is the most ingenious of all. The theme is simply harmonised at
+first, then used as a counterpoint to the arpeggios in the first
+variation. The next is more simply treated, and in the third variation
+Paganini's theme forms the bass upon which the figuration of the initial
+motive is superposed. To the end Liszt shows what possibilities in
+keyboard execution were latent in Paganini's violin figures; and if the
+latter had written only these Capriccios he would survive as the cause
+of the most original inventions in pianoforte technique that have yet
+seen the light.
+
+Op. 8, _Le Streghe._ Variations on the "Witches' Dance," theme from the
+Ballet, "Le Nozze di Benevento," by Vigano, music by Süssmayer. It has
+already been stated that Paganini witnessed a performance of this
+ballet, at La Scala, Milan, in 1813. He took the theme from a fantastic
+scene where the witches appear. In his London programmes Paganini thus
+described the piece; "Variations on the Country Dance Della Streghe alla
+Noce di Benevento (or the comic dances of the Witches under the walnut
+tree of Benevento), composed and performed by Signor Paganini." The
+piece is in the key of E flat, and the violin is to be tuned a semitone
+higher, the soloist playing in D. There is an orchestral prelude of
+eighteen bars, Maestoso, followed by a solo, Larghetto, a beautiful
+Italian melody, embellished, in two short strains. The theme is simply
+set forth, and the variations serve for the display of bravura playing
+with pizzicato and harmonics in the second movement, fourth string
+melody, and double harmonics in the third, and with the Finale
+resembling a Galopade. Orchestral parts are published, as well as the
+arrangement with pianoforte.
+
+Op. 9, Variations on "God save the King." Théme, Andante, G major, with
+Six Variations. One principal feature is the intermingling of left hand
+staccato with bowed notes. At the close there are sustained open notes
+on the G and D strings, bowed, with double pizzicato, in sixths, above.
+
+Op. 10, Variations on "The Carnival of Venice." For this the violin
+is tuned a semitone higher, the solo being played in A, and the
+accompaniment in B flat. The theme is a popular Venetian air, "O Mamma!"
+Paganini heard it when in Venice in 1816, but whether he then composed
+the variations is not certain. It was not long, however, before Paganini
+made the air a favourite everywhere he went, and it is to him the melody
+owes its world-wide popularity. The composer of the air remains unknown.
+Joseph Ghys published, at Paris and Berlin, what purported to be
+Paganini's variations; Ernst and Sivori played versions more or less
+exactly in accordance with the original; but the text was finally
+settled by the publication of the piece in 1851. There are twenty
+variations. The 9th and 14th are for the fourth string; the 11th has
+alternate bowed and pizzicato notes; the 15th and 18th are pizzicato
+throughout; the 19th is in tenths and thirds; and the piece ends with a
+short brilliant coda.
+
+Op. 11, _Moto Perpetuo._ Allegro vivace, C major. Fétis terms this piece
+a movement from a Sonata for violin and orchestra. It is in the
+repertory for all violinists, and its running passages of staccato
+semiquavers need no description.
+
+Op. 12, Introduction and Variations on the air "Non piů mesta accanto al
+fuoco." The theme is from Rossini's opera "La Cenerentola" (Cinderella),
+produced at Rome during the Carnival season of 1817, and forms the
+concluding number of the work. Paganini again directs the violin
+to be tuned a semitone higher, writing the solo part in D, and the
+accompaniment in E flat. The Introduction, Adagio Cantabile, is another
+example of Paganini's pure Italian style of melody. The theme seems to
+have appealed to him--doubtless he witnessed the _premičre_ of the
+opera--for the variations have a spontaneity and brilliance of their
+own. There are four variations, and a Finale full of dashing _bravura_.
+
+Op. 13, Introduction and Variations on the air "Di tanti palpiti," from
+Rossini's first serious opera, "Tancredi," produced at Venice in 1813.
+Rossini is said to have taken the theme from a Greek Litany he heard
+sung in a church on one of the Islets of the Laguna, near Venice. A
+Signora Righetti, a singer, writing in 1823 (?), stated that there was
+no truth in the assertion. Be that as it may, "Di tanti palpiti" made
+the opera, and Paganini's variations extended its popularity. The
+introduction is an elaborate movement, the violin tuned a semitone
+higher, and the part written in A, with accompaniment in B flat. There
+are three variations, the second being almost throughout in harmonics,
+single and double, and excessively difficult. This piece is very rarely
+played.
+
+Op. 14, Sixty Studies in Variation form, on the air known at Genoa as
+"Barucabŕ," for violin alone. This is one of the composer's latest
+works, and was written at Genoa in February 1835, and dedicated to
+Paganini's friend the Advocate, L. G. Germi. The theme is short, in
+simple ternary form, the opening sentence of four bars being repeated
+after the middle period of eight bars. The theme is in A major,
+Maestoso. The variations are studies upon various species of
+difficulties, and a special feature is the order of keys. Of the
+fifteen possible major keys, Paganini employs thirteen, and he is
+quite modern in the way in which he causes the one to succeed the
+other. Thus the second variation is in D, the third in B flat, the
+fourth in F sharp, and the fifth in D--in each case the drop of a
+major third or its enharmonic equivalent. Then he starts a new series,
+from D to B, thence to G, E, C, A flat, F, D flat, back to A. In 1835
+such a sequence was very uncommon; even Beethoven, in his Variations,
+only has one such, in the Variations in F, Op. 34. The Variation form
+is again in full vogue; at this distance we can afford to be just in
+our estimate of Paganini's achievements. He was not a Beethoven, but
+his Variations are not to be despised.
+
+
+WORKS WITHOUT OPUS NUMBER.
+
+Sonata in A major. As published in the collection of posthumous
+compositions, this Sonata is for violin, with pianoforte accompaniment.
+The piece consists of an Introduction, Theme, Three Variations and Coda,
+the term "Sonata" being employed quite in its primitive sense:--a piece
+to be played. The Introduction is only eight bars in length, ending with
+a short cadenza leading to the theme, Andantino, A major, two-four
+measure. The first part consists of two four-bar phrases, repeated; the
+second has a phrase extended, by a Codetta, to six bars, and ends with a
+repetition of the first phrase, with close in A. The first variation has
+a more florid version, in triplets, of the melody; the second begins
+with a simple form of the theme for the fourth string, and introduces
+harmonics; the third is a bravura movement, chiefly for staccato bowing
+in demisemiquaver passages. The coda, termed Finale, is made up of
+cadences, on a tonic pedal for eight bars. The accompaniment is easy.
+Messrs. Schott also publish the Sonata for violin, with accompaniment of
+violin and violoncello, very easy parts for these last.
+
+_Variazioni di bravura sopra Temi del Mosč di G. Rossini, per Violino
+sulla quanta corda, di Nicolo Paganini._ This was originally for violin
+and orchestra. Berlioz has a reference to this piece, in which he states
+that Paganini employed the bass-drum with better effect than did Rossini
+himself in the accompaniment to the prayer, "Del tuo stellato soglio."
+Paganini placed the stroke of the drum on the syncopated beat to which
+the verbal accent was assigned, whereas Rossini gave the drum stroke on
+the first beat of the bar. Some one, complimenting Paganini upon his
+composition, added; "It must be confessed that Rossini furnished you a
+very beautiful theme." "That's very true," replied Paganini, "but he
+didn't invent my bang of the big drum." It is said that in this piece
+Paganini produced a tone that dominated the whole orchestra even in
+fortissimo passages.
+
+The firm of Ricordi publish an arrangement, for string quintet, and for
+pianoforte accompaniment. The G string of the solo violin is raised to B
+flat, and the Adagio is played in C minor and major, while the
+accompaniment is in E flat minor and major. The strain in the minor key
+is played three times. The second time, the first eight bars are to be
+played an octave higher then the first time; the third in harmonics. The
+Introductory Adagio is the celebrated Prayer. Then follows a Tema, Tempo
+alla Marcia, E flat, four-four, the violin part in C. This is a
+different theme, and appears to be a paraphrase of part of the March and
+Chorus (in the Oratorio), "Hail, happy day!" There are three variations,
+and a short coda. Harmonics are sparingly introduced. Rossini's opera,
+"Mosč in Egitto," was produced at Naples in 1818, and was remodelled by
+the composer some years later, for performance at the Grand Opera, Paris
+(1827). It is not known when Paganini wrote his variations, but his
+themes were most probably taken from the first version of the opera.
+
+_Variazioni di Bravura per Violino sopra un tema originale con
+accompagnamento di Piano o Chitarra._ The theme is that of the
+Twenty-fourth Caprice, from Op. 1, and the variations are the same, only
+the notation of the eighth is different. The accompaniment, for either
+guitar or pianoforte, is extremely simple. There is a short interlude
+(called _Tutti_ in Ricordi's edition) of six bars to be played between
+the variations.
+
+_Introduzione e Variazioni sul Tema nel cor piů mi sento per Violino
+solo di Nicolň Paganini._ So runs the title in the edition published by
+Ricordi and Co. The theme is the duet in Paisiello's opera, _La
+Molinara_, which Beethoven also took as a subject for variations (in
+1795). Ricordi's publication agrees in every particular with the version
+to be found in Guhr's treatise on Paganini's "Art of Playing the
+Violin," published in 1831--preface dated Frankfurt, November, 1829.
+Guhr[53] heard Paganini many times, closely watched his playing, and
+frequently conversed with him on the subject. This piece was written
+from memory, and is certainly a great accomplishment; but it can
+scarcely be regarded as an authentic version. The introduction is
+brilliant, the theme, Andante, G major, six-eight measure, is profusely
+ornamented, and each of the seven variations--No. 6 is in G minor, the
+others in G major--has some special form of virtuosity. In the third
+there are double shakes in harmonics, which Guhr explains. The last is
+in widespread ascending and descending arpeggios throughout. The theme
+and third variation are written on two staves, one for bowed melody, the
+other for left hand pizzicato.
+
+That Paganini did not always play the piece in the form in which Guhr
+wrote it down, is proved by the existence of another manuscript, which
+is, perhaps, very little known. It was written by the late Mrs. Tom
+Taylor, who gave it to Mr. Alfred Burnett many years ago, and that
+gentleman has kindly permitted me to examine it. For this the violin is
+tuned a whole tone higher. The Introduction is altogether different, and
+the theme much less floridly embellished. The first variation
+corresponds to Guhr's No. 2, but the harmonics are not quite the same.
+In this the melody floats above tremolando chords. The second, in
+outline, resembles Guhr's No. 4, but whereas the latter has alternate
+natural notes and harmonics, Mrs. Taylor gives alternations of detached
+bowed notes and pizzicati. The third is like Guhr's No. 3, in that it
+has short figures in double notes, alternately for fundamental and
+harmonic sounds. Guhr's variation consists of twenty-five bars; Mrs.
+Taylor's of thirty-one, there being a short cadenza. The fourth
+resembles Guhr's No. 7 in the wide-spread arpeggios, but the harmonics
+are differently distributed, and the coda is not the same as in
+Guhr.[54]
+
+[Illustration: PLATE 25. (_See Appendix._)]
+
+[Illustration: PLATE 26. (_See Appendix._)]
+
+In the Imperial Library, Berlin, there is a manuscript by Paganini,
+inscribed "Capriccio a Violino Solo di Nicolo Paganini In cor piů non mi
+sento," in which the embellished theme differs from both those already
+described. The first page is reproduced in facsimile in Paul Stoeving's
+"Story of the Violin," p. 213. Then there is an autograph copy in the
+British Museum with this inscription: "In cuor piů non mi sento, Thema
+con variazioni per Violino, con Accompagnementi di Violino e Violoncello
+Composta da Niccolo Paganini." The piece consists of an Introduction,
+Theme and four Variations, and, so far, agrees with Mrs. Taylor's copy.
+Finally, Paganini played the piece with the orchestra, as will be seen
+from this extract from a programme: "Prelude and Variations on the Tema,
+'Nel cor piů non missento,' with orchestral accompaniment, by Signor
+Paganini." This was played at the concert of June 27th, 1831, at the
+King's Theatre, and the programme from which this extract is taken is in
+possession of Mr. Richard Harrison, of Brighton, who most obligingly
+copied it for me.
+
+Duo pour le violon seul. This begins with an Adagio, C major,
+three-four measure, with a melody for the bow, and left hand pizzicato
+accompaniment. A short Allegro molto follows, in square time, the
+pizzicato accompaniment being chiefly in double notes, with occasional
+chromatic harmonics. This little piece must have been on sale in London
+a year before Paganini arrived, for the following anecdote was in print
+in May, 1830. "A few days since, a footman went into Mori's music shop
+to buy a fiddle string. While he was making his choice a gentleman
+entered the shop, and began to examine various compositions for the
+violin. Among the rest he found Paganini's celebrated _Merveille--duo
+pour un seul Violon_ and, perceiving the difficulties in which it
+abounded, asked the shopman if he thought that Mori himself could
+play it. The young man, a little perplexed and unwilling to imply that
+his master's powers had any limits, at length replied, that he had no
+doubt he could perform it, provided he practised it for a week. Upon
+which the footman, who stood intent upon the conversation, broke in on
+the discourse and swore that Mori could do no such thing, for that he
+himself had been practising the piece for three weeks and could not play
+it yet."
+
+Trois Airs Variés pour le Violon, pour étre éxécutes sur la Quatrieme
+Corda seulement, avec accompagnement de Piano par Gustavo Carulli. Fétis
+says these are merely souvenirs arranged by the author of the
+accompaniments.[55] Antonio Minasi includes them in the lists of works
+performed by Paganini in England. The fourth string is to be raised to
+A, for all three. The first is in C, with two easy variations; the
+second, in G, resembles a folk song, and has three variations; the
+third, in C, also has three variations. The first two are marked
+Andante; the third, Andantino. The accompaniments are of the easiest
+song kind.
+
+Le Charme de Padua, Divertimento pour Violon et Piano concertant,
+composé par Nicolo Paganini. This piece was published in London before
+the date of Paganini's first concert, and possibly before the arrival of
+that artist in England. It was issued by a firm of repute, Wessel and
+Stodar, who were the first publishers in England of the works of Chopin.
+The music was reviewed in _The Harmonicon_, June 1831, the notice
+concluding thus: "It perhaps is a bagatelle on which he (Paganini) has
+bestowed little time and less thought. It certainly is a flimsy affair,
+and might have been produced by the dullest and most mechanical
+_repieno_ in the band of a suburb (_sic_) theatre." The piece consists
+of a Larghetto and Presto, in C major, the slow introduction being in
+six-eight rhythm, the Presto in six-four. There is one principal theme
+in the first part, given out by the violin and repeated by the
+pianoforte, a simple melody, with embellishments. The Presto is in Rondo
+form, with leading theme for pianoforte, continued by violin, and
+relieved by an episode contrasted in character. The music is not great,
+but unprejudiced musicians will scarcely endorse the captious remarks of
+the reviewer. The firm of Edwin Ashdown (successor to Wessel) publish
+the composition, also a version by S. Godbé for viola and pianoforte. In
+this the themes are written an octave lower, and modifications occur in
+double-stops, and so forth, to suit the viola. There is likewise an
+arrangement for flute and pianoforte, by J. Sedlazek. It is not stated
+by whom the pianoforte part was written, but it is very well done, and
+is not a mere accompaniment.
+
+
+WORKS UNPUBLISHED, OR LOST.
+
+Concerto in D minor. Fétis terms this a magnificent concerto; it was
+performed by Paganini at the first concert he gave in Paris, March 25th,
+1831, and that seems to be all that is known about the piece. Concerto
+in E minor. This was in three movements; Allegro maestoso; Adagio
+flebile, con sentimento; Rondo, Andantino Gŕjo, "with a triangle
+accompaniment." It was played by Paganini at the King's Theatre, June
+13th, 1831. Concerto in E major. The three movements of this piece were;
+Allegro Marziale; Cantabile Spianato; and Polacca brillante. Paganini
+played this concerto at his concert, July 4th, 1831. Concerto in two
+movements. This was a medley. The one movement, Cantabile a doppie
+corde, was by Paganini; the other, Ronda scherzoso, by Rodolphe
+Kreutzer. Played, August 17th, 1831.
+
+Four Concertos, of which the instrumentation was not written. Of these
+nothing seems now to be known. Fétis says that the last of the four was
+composed at Nice a short time before the death of Paganini.
+
+Concerto for bassoon, with string trio accompaniment. This was
+discovered at Stockholm in 1890, and the manuscript was said to be in
+the composer's hand-writing. The announcement of the discovery will be
+found in _The Musical Times_, of November, 1890, page 681. I have found
+no further reference to the subject.
+
+Nine Quartets for Violin, Viola, Violoncello and Guitar. These are in
+the list drawn up by Constabile as being among the manuscripts preserved
+by the son of the composer. It is impossible now to say where these
+manuscripts are; the first three seem completely lost. A copy, probably
+unique, of the Quartets, Nos. 10 to 15, is among the treasures in the
+possession of Mr. Alfred Burnett, and by his kindness I am enabled to
+give a description of the music. Five of the Quartets, Nos. 10 to 14,
+were composed and dedicated "Al suo Amico Il Sig. Avvocato Luigi
+Gugličlmo Germi." No. 14 was composed "expressly" for that friend. The
+Quartets dedicated to Germi might be designated "house music," for
+though they are difficult, they do not seem to have been written for the
+"great public." They contain the most lovely music Paganini ever penned.
+If only the guitar were once more in fashion, these pieces might be
+heard, and I feel certain they would charm lovers of pure melody.[56]
+But this is to anticipate.
+
+Quartet, No. 10, in A major, in four movements (as indeed are five out
+of the six). Allegro, A major, four-four rhythm, in free sonata form,
+with first and second subject--both lyrical--middle modulatory section,
+and recapitulation. The violin has the melody, the other instruments
+accompanying. Minuetto Scherzo, Allegretto, A major, three-four measure,
+with first short strain on a figure in triplets. Trio in D major,
+Cantabile theme for violin, doubled by the viola in the octave below.
+Adagio Cantabile, D major, two-four rhythm. A melody that might be
+signed Haydn or Mozart, but embellished with a grace peculiar to Italian
+art. Here the violin is the solo instrument, the others supporting with
+rich harmonies, the 'cello emphasising the rhythm with frequent
+pizzicato notes. Rondo Andantino con brio, A major, two-four measure, a
+bright, sparkling principal theme, staccato, with contrasting episodes,
+one in D, with fourth string phrases, also with brilliant passages in
+thirds for the violin, which again has all the thematic work. This is a
+well developed movement.
+
+Quartet, No. 11, in B major. For this the guitar is tuned a tone higher,
+the _capo tasto_ raising the E strings to F sharp, and the guitar part
+is written in the open key of A. The first movement, Allegro moderato, B
+major, four-four rhythm is free in form, with repeat of the first part.
+The thematic material is assigned chiefly to the violin, but in the
+second part there is an episode, a sort of folk-tune, given to the
+violoncello. Minuetto, Allegretto, B major, three-four, with Trio in G
+major. The melodies are fresh, and move step-wise, very much like those
+in the Minuet of Beethoven's first Symphony. They are in scale
+formation, up and down, and there is only one skip of a third in the
+first sixteen bars. Again the violin takes all the themes. Larghetto con
+passione, F sharp minor, six-eight measure, a Lament, a fine expressive
+theme, opening nobly, but with the elevated style not maintained
+throughout. The viola and violoncello parts are in keeping with the
+pathetic feeling of the movement, but the rhythmic figure of the guitar
+part detracts from its dignity. Polacca, Andantino mosso, B major,
+three-four measure, a well-written movement, with three clearly defined
+subjects, two of which are taken up by the viola and violoncello. The
+violin part in this quartet is brilliant, but not particularly
+difficult; there is no double-stopping, excepting in chords of
+accompaniment.
+
+Quartet, No. 12, in A minor. This number is in three movements only.
+The first, Allegro giusto, A minor, four-four rhythm, is quite
+orchestral in character, and opens with a theme of symphonic breadth.
+There is science displayed in the development of this movement. In the
+first part the second subject is in C major, and in the recapitulation
+in A major. The slow movement, Adagio tenuto, con precisione, C major,
+three-four measure, has at first a very broad and declamatory theme for
+the violin. The writing becomes very elaborate, and the rhythmic
+figuration complex, passages with four and five-stroke notes occurring.
+The Finale, Minuetto, Allegretto mosso, is a fully developed movement
+quite in sonata form, with first part repeated. The exposition has a
+first subject of two extended members, the second in the major mode. The
+second subject, in E, is well contrasted. There is a long working out
+section, with episodial matter, and the recapitulation is very happily
+led up to. The music has a lilt that is irresistible, and the writing is
+interesting for each instrument.
+
+Quartet, No. 13, in F. The first movement, Allegro con brio, F major,
+four-four time, opens with a theme of a declamatory type, and the
+expression is dramatic. The second subject in C, is in the style of the
+Italian _aria_, concluding with the lively _Cabaletta_ strain. A short
+_Coda_ ends the first part. In the working out section there is an
+important episodial theme for the violoncello, and in the recapitulation
+the second subject, now in F, is allotted to the viola, the violin
+taking up the _Cabaletta_. Both parts are marked for repetition.
+Minuetto, Allegretto, F major, three-four measure. The violin has the
+theme of the first strain of eight bars repeated; the violoncello
+responds with the subject of the next strain of twenty-five bars, one
+phrase lengthened to five bars. The Trio in B flat has a tripping theme
+for the viola, legato and staccato bowing in the same "figure." Later
+the phrases are broken into dialogue for violin and viola. In the Minuet
+the guitar has a "second" to the violin melody. Larghetto tenuto, con
+anima, D flat major, six-eight rhythm, a broad, cantabile theme for the
+violin, with spare embellishment. The movement must be slow, for there
+are arpeggios of eight notes to the quaver beat in the guitar part.
+Finale, Prestissimo, F major, two-two measure. The theme for the violin
+resembles very much some of those merry "tributary" motives found
+in Mozart's symphonies towards the close of the first part of a
+movement--the "Jupiter," first movement for instance. The second subject
+affords contrast. The whole is most spirited and light-hearted. Paganini
+must have been in a happy mood when he wrote this quartet.
+
+Quartet, No. 14, in A major. The first movement, Allegro maestoso, A
+major, four-four measure, is very brilliant, opening with a theme in
+which arpeggio and scale figures abound. This closes in B, and the
+second subject begins in E. Here occurs some very free chromatic
+writing, suggestive of Richard Strauss, as, for instance, D sharp for
+violoncello against E flat for guitar and viola; and C natural opposed
+to B sharp. But it is a mere matter of spelling. The first part ends in
+E, and is marked for repetition. Then, with a single prefatory chord of
+E minor, the working out section begins in C, with a new motive, which
+passes through a number of keys, the primary returning with the second
+subject. Minuetto, Scherzo affettuoso, A major, three-four. The subject
+is based on a three-note figure, giving, by cross accents, to the
+four-bar phrase the effect of a six-bar phrase in duple measure--Tempo
+rubato. The Trio, in D, has a theme in triple measure, but the middle
+sentence has the displaced accents of the Minuet. Largo, con sentimento,
+G flat major, four-four measure. For this the pitch of the guitar is
+raised a tone, and the part written in E major. The movement is in song
+form, the melody opening in stately fashion, but the writing soon
+becomes florid. At the second entry the theme begins in A major, the
+return to G flat being ingeniously effected. There are some rapid
+pizzicato passages for the violoncello. Finale, Allegro vivace, A major,
+four-four rhythm. This is a moto perpetuo, sempre staccato, for the
+violin. The theme is quite unlike that of the movement known as Op. 11.
+After the exposition of the subject, the violin has figure-playing of an
+easy kind, while the violoncello has a Cantabile theme. This recurs, and
+snatches of it are heard in the brief coda. The other instruments merely
+accompany. This quartet has distinct character.
+
+Quartet, No. 15. The title simply runs: "Composto da Nicola Paganini,"
+without any dedication. Note the copyist's spelling of the Christian
+name. In the first movement, Maestoso, A minor, four-four measure, the
+first subject is given out by the viola. It begins with a mournful,
+somewhat stern motive, bold, and with an embellished subordinate theme.
+The second subject, also assigned to the viola, is an impassioned
+lyrical theme in C major. In the working out section, the violin takes
+the first subject, and joins the violoncello in an episodial theme, the
+viola contributing a florid counterpoint. There are modifications in the
+recapitulation, but the viola again has the second subject now in the
+tonic major. The guitar is busy throughout the movement, with full
+chords and extended arpeggios. Minuetto a Canone, Andantino, A major,
+three-four measure. The Canon is confined to the violin and viola, the
+latter starting with a theme in short, detached figures, the violin
+following, an octave higher, one beat later. Guitar and violoncello give
+supporting harmonies. In the Trio, in D major, the melody is given to
+the guitar, with a pizzicato accompaniment for the other instruments. At
+the seventeenth bar, there are again four bars of canon, this time in
+the unison, staccato bowing. The Minuet, abbreviated, is then repeated.
+The canon is not continuous, a cadence occurring at the end of each
+eight bars. Next comes an Interlude, Recitative, Andante sostenuto, con
+sentimento, D major. This is for the viola, and extends to twenty-one
+bars, the expression being dramatic. The other instruments have a rather
+elaborate accompaniment. The slow movement immediately ensues, Adagio
+Cantabile, D major, two-four rhythm. The viola has the melody, in the
+form of the Italian aria, embellished with prima donna fioriture. The
+movement is short, only running to forty-six bars. Rondo, Allegretto, A
+minor, two-four. The leading theme, marked by syncopations, is given to
+the viola, the violin joining in the repetition. The tonality is
+constantly changing from the minor to the major and back again. There is
+a new theme in the middle section, and some elaboration before the first
+subject returns. The close is abrupt. The viola has the chief part in
+this quartet, which is quite different to the others.
+
+I have only a few notes concerning some of the works yet to be
+considered. Dramatic Sonata, "The Storm," for violin and orchestra.
+This was evidently a piece of programme music, for it was thus
+described:--Part I., the approach of the storm; II., the commencement of
+the tempest; III., the prayer; IV., the fury of the sea; V., the
+hurricane; VI., the tumult at its height; VII., the stilling of the
+tempest; VIII., an outburst of the most lively joy. It was played at
+Paganini's third and last concert at Prague, December 20th, 1828, and
+one account refers to it as a "dramatic sonata for a full orchestra,
+with analogous embellishments and solos and variations, by Paganini on
+the fourth string."[57]
+
+"Sonata Militaire," in G, for the fourth string, theme, the air "Non piů
+andrai," from Mozart's opera "Le Nozze di Figaro." This piece was
+composed expressly for the second of the two concerts Paganini gave in
+Genoa in 1824, when the young singer, Antonia Bianchi, made her début.
+The Sonata was played by Paganini at his first concert in London. All
+traces of it appear to have been lost.
+
+"Napoleon Sonata," for the fourth string. Paganini gave an account of
+the origin of this piece to his friend, Julius Schottky, and to what has
+already been related in connection therewith may now be added the
+further statement he made. Paganini sang to his friend the first
+movement of this Sonata "in an animated though feeble tone," and said
+that Rossini transferred the theme into one of his earlier operas. It
+would be interesting to know the opera in question, but the early works
+of Rossini would be searched in vain without the clue afforded by the
+Sonata, which appears to have vanished completely.
+
+"Sonata Maestosa Sentimentale," with variations on a theme by Haydn, for
+the fourth string. It is probable that the theme for these variations
+was the well-known Emperor's Hymn, and that this Sonata was performed by
+Paganini before the Austrian Court in 1828.
+
+Sonata with variations on a theme from the opera "L'Amor Marinaro."
+Nothing is now known of this Sonata, nor of the particular theme chosen
+from the opera. "L'Amor Marinaro" (the Corsair in Love) was one of the
+early productions of Joseph Weigl, being written in 1798. An opera
+buffa, it was distinguished by natural charm, freshness of colouring and
+beauty of melody, and to the latter quality Paganini's choice of it must
+doubtless be attributed.
+
+"Chant of the Monks of the Monastery of St. Bernard." This was the title
+given to a piece in the programme of a concert at Covent Garden Theatre.
+It was performed on a darkened stage and the solemn character of its
+music was emphasized by a beautiful scene representing a monastery with
+stained glass windows. The introduction, a movement of some length of
+the basses in unison, was followed by a chant "of lovely harmonies,
+performed in harmonics (I believe, on the fourth strings) in combination
+with the wood instruments." Minasi, who gives this account of the piece,
+states that he believes it to be merely the second movement of the
+Concerto in B minor, Op. 7.
+
+Cantabile for two strings. This piece was performed at the King's
+Theatre, on June 13th, 1831. Possibly it was the same as the musical
+fantasia already referred to as played at Lucca under the title of "A
+Love Scene." Of the remaining pieces, except the one mentioned below,
+nothing seems now to be known save the names.
+
+The one exception is the piece entitled "The Vagaries of a Farmyard,"
+which contained a wonderful series of imitations of farmyard sounds. In
+this connection the following anecdote, illustrating Paganini's
+extraordinary power of portraying curious sounds on his violin, may
+be worth repeating. One fine night, when staying at a little inn
+just outside Frankfort, he was sitting at his window lost in the
+contemplation of the glorious heavens. The striking of a clock broke
+through his reverie and called back to his mind an occurrence of which
+he had but recently been an ear-witness. He seized his violin, and there
+arose on the stillness of the night the moans and cries of a mother and
+her new-born babe. The landlord of the inn, awakened by the unusual
+sounds and wondering how such visitors had found their way into his
+house without his knowledge, called his son and hastened to the room
+whence the plaintive cries proceeded; and he found Paganini, too deep in
+thought to perceive his entrance, making his violin bring forth these
+human sounds. It is stated of Paganini that he was wont to produce his
+animal cries under the stress of special excitement or during an access
+of fever, and that with his farmyard piece he electrified the audience
+at one of the last of his concerts in London.
+
+FOOTNOTES:
+
+[52] Lapheléque, p. 45.
+
+[53] Carl F. W. Guhr, born at Militsch, Silesia, October 30th, 1787,
+violinist, pianist and composer, became Director of the Museum Concerts
+and Conductor of the Opera at Frankfort-on-the-Main, in which city he
+died July 22nd, 1848.
+
+[54] Mrs. Tom Taylor (_née_ Laura Wilson Barker) was a fine musician, a
+composer, and almost phenomenal performer on the pianoforte and the
+violin. She played with both Spohr and Paganini, and took down this set
+of variations after hearing Paganini play them twice. She died at
+Coleshill, Bucks, May 22nd, 1905, at the advanced age of eighty-six.
+
+[55] Gustavo Carulli was the son of the celebrated guitarrist,
+Ferdinando Carulli, and was born at Leghorn in 1801.
+
+[56] They were performed at the private quartet concerts given by Mr.
+Burnett in the Art Club, Blackheath, from about the year 1893 onward.
+
+[57] _The Quarterly Musical Magazine and Review_, Vol. X., p. 205.
+
+
+
+
+CHAPTER XII.
+
+
+This may have been the concert at which, according to a lithograph,[58]
+Paganini received "the homage of five thousand persons after having
+pocketed Ł2,000 for two hours' performance." While the great world
+showed their appreciation of his playing in this way, and Royal patrons
+delighted to invest him with noble orders, the more humble admirers of
+Paganini caused medals to be struck in his honour. One of these, a
+tribute from the city of Vienna, has already been referred to; another
+very fine medal, struck in Paris during Paganini's first visit there in
+1831 is reproduced here. The inscription round Paganini's head fills one
+with a strangely ironical feeling, when one remembers that the fame of
+Paganini did but survive to lead to the homage of exhumation.
+
+[Illustration: _Plate 27.--See Appendix._
+
+MEDAL STRUCK IN PAGANINI'S HONOUR IN 1831.]
+
+True, the world has remembered him sufficiently to place memorial
+tablets on the houses where he was born and died. Fifty years after his
+death a tablet was affixed to the house wherein he breathed his last,
+and at the centenary celebration of his birth the following inscription
+was placed on the house wherein he first saw the light: "A great honour
+fell to the lot of this modest house, in which, on the 27th October,
+1782, Nicolo Paganini, unsurpassed in the divine art of tone, was born,
+to the glory of Genoa and to the delight of the world." At present one
+may enquire in vain of most Genoese people as to the position of
+Paganini's birthplace, and chance alone will direct one, who trusts to
+them for the information, to the slum quarter and the narrow street
+where the building stands. Difficult though it may be, however, to find
+this spot, it is an easy task to find the Palazzo Municipale where
+reposes the famous Guarnerius violin of Paganini.
+
+This superb instrument, bequeathed to the city of Genoa by Paganini
+himself, has been most carefully preserved by the civic authorities.
+It has only twice been heard in public--once at the 1882
+celebrations--since Paganini's death, and on both occasions it was
+played by his favourite pupil Sivori. It was carefully examined and
+photographed by Mr. Edward Heron-Allen in 1885, and a very interesting
+account was given by him[59] of the manner in which the violin was worn
+away by Paganini's peculiar method of playing. After describing its
+general condition he says, "The patch by the side of the tailpiece and
+the large wear on the back tell of the force with which he held the
+instrument in those high and pizzicato passages, which account for the
+long groove down the side of the fingerboard and the broad patch at the
+side of the neck, on the table of the instrument. The wearing away of
+the edges in the curves of the instrument bear a striking testimony to
+the force with which he sawed the gut in his bravura passages on the
+first and fourth strings." In the same glass case as the violin is
+placed the medal presented to Paganini by the Decurional Council of
+Genoa in 1834. On the reverse it bears this inscription:--
+
+     Nic. Paganino, Fidicini, cui nemo par fuit civique bene mecrenti
+     A.D. MDCCCXXXIIII.
+
+Such outward honours as the world gives to its dead have indeed been
+offered to the memory of Paganini; but it is doubtful whether the higher
+honour of a frank recognition by the musical world of the work that
+he did for it, has ever been his. Unlike the great composer the
+instrumentalist leaves behind him no visible proof of the part he has
+played in the development of his art. And the world has easily forgotten
+that from the day of Paganini not only was the violin transformed into a
+new instrument, not only were its capabilities, previously undreamt of,
+newly revealed, but also in other branches of musical art, in orchestral
+music especially, a fresh field was opened up before the composer. It is
+scarcely too much to say that the scores of Tchaikovsky and Richard
+Strauss could not have been written, had Paganini never lived. We do not
+desire to see another Paganini, so complete a slave to his instrument,
+albeit its master; we do not desire to see another such life, with
+bodily health and moral vigour sacrificed to so absorbing a devotion to
+one single end. We would fain believe that Nicolo Paganini did not live
+in vain, that like a real artist he had and fulfilled his mission, that
+the evil he did died with him and that the good lives on to benefit the
+world.
+
+    THE END.
+
+FOOTNOTES:
+
+[58] Reproduced on page 144.
+
+[59] _The Musical Times_, May 1st, 1886.
+
+
+
+
+APPENDIX.
+
+NOTES ON THE ILLUSTRATIONS IN THIS VOLUME.
+
+
+_Plate 1_--Frontispiece.
+
+Portrait of NICOLŇ PAGANINI, by Maurin, a French Artist. Free from
+caricature, it is probably the most authentic picture of the great
+virtuoso. It appeared in the seventh volume of the "Revue Musicale."
+
+_Plate 2_--Facing page 4.
+
+THE BIRTHPLACE OF THE CELEBRATED PAGANINI in the Passo di Gatto Moro,
+Genoa, Italy. The house is in a squalid neighbourhood--a dirty, narrow
+alley now occupied by the poorest of the city. Probably no worse than at
+the time of Paganini's birth. There is a tablet which reads as
+follows:--
+
+     Alta ventura sortita ad umile luogo
+     in questa casa
+     il giorno XXVII di Ottobre dell' anno
+     MDCCLXXXII
+     Nacque
+     a decoro di Genova a delizia del mondo
+     Nicolň Paganini
+     nella divina arte dei suoni insuperato maestro.
+
+The date 1782 given here confirms the latest research that Paganini was
+born in that year and not in 1784 so usually quoted.
+
+_Plate 3_--Facing page 14.
+
+PAGANINI'S VIOLIN, BOW, CASE, ETC., in the Municipal Museum at Genoa.
+This is the celebrated Joseph Guarnerius on which the great virtuoso
+invariably performed. The instrument is under a glass shade, and with
+other relics of Paganini, preserved in a strong safe. It is stated that
+Ł5,000 has, in vain, been offered for the violin.
+
+_Plate 4_--Facing page 20.
+
+THIS IS ANOTHER CARICATURE--Paganini performing on a tight rope--under
+which is printed "Exercices sur une seule corde,"--in reference to his
+one string solos. This was published by Mori and Lavenu, London, circa
+1831.
+
+_Plate 5_--Facing page 40.
+
+This is, we believe, from a contemporary German picture.
+
+_Plate 6_--Facing page 50.
+
+This humorous picture is on the title-page of a comic song, "The
+wonderful Paganini, or London fiddling mad." The poetry by W. T.
+Moncrieff, Esq., and the melody by one of the first composers of the
+day! London, published by Leoni Lee, circa 1831. The "poetry" is not of
+a classical standard.
+
+    "What a hubbub! what a fuss! all London sure are frantic Sirs,
+        The Prince of Fiddlers has arriv'd, great Paganini has come.
+    So wonderful, exorbitant, so frightful, so romantic, Sirs, the
+            world of Music at his mighty presence are struck dumb.
+    So firm his touch, so fine his stop, everyone must own his sway,
+    Great King King of Catgut! Agitato! presto! Who but he Sirs,
+        Mori, Spagnoletti, now must second fiddle play, Sirs--
+    Glory be to Tweedle dum! Success to Tweedle dee! Sirs--
+    Such golden sounds, he from one string can draw, no sum can pay
+            him, Sirs,
+    Germany, France, Italy, combined his fame to puff
+    The prices must be doubled, all the world crowd to survey him, Sirs,
+    Four thousand pounds a night to pay him is not half enough,
+    Sixpences, none, after this, must dare call fiddlers' money Sirs.
+    Thousands, tens of thousands, must the wondrous man reward,"
+                    etc., etc.,
+            and so on for five verses!
+
+_Plate 7_--Facing page 54.
+
+SIGR. PAGANINI. During one of his performances at the King's Theatre,
+June, 1831. From a contemporary lithograph of the celebrated sketch by
+D. Maclise, R.A., now in the Foster Collection, South Kensington Museum.
+In the background are J. B. Cramer, Lindley, Dragonetti, Mori, etc. This
+is, perhaps, the most interesting print of the great violinist. It was
+published on July 12th, 1831, by W. Spooner, 259, Regent Street, London.
+
+_Plate 8_--Facing page 60.
+
+Reproduction of the celebrated Statuette (caricature), by Dainton.
+
+_Plate 9_--Facing page 66.
+
+PAGANINI WITH THE VIOLIN, Rossini at the pianoforte and the celebrated
+prima-donna Pasta. (Jos. McGuire, delt., printed by Englemann & Co.),
+circa 1832.
+
+_Plate 10_--Facing page 76.
+
+A COPY OF THE ORIGINAL OIL PAINTING OF PAGANINI in the Municipal Museum
+at Genoa. The face full of intellect, shows the ravages of the disease
+which was so soon to terminate his existence.
+
+_Plate 11_--Facing page 80.
+
+THE HOUSE AT NICE IN WHICH PAGANINI DIED on the 27th May, 1840. It was
+formerly the residence of the Count de Sessol. The lower part has been
+converted into shops.
+
+_Plate 12_--Facing page 80.
+
+THE TABLET, with inscription, fixed on the front of the house, Rue de la
+Prefecture, Nice, France.
+
+_Plate 13_--Facing page 84.
+
+THE TOMB OF PAGANINI AT PARMA. Neither religious nor political martyr
+ever had so many objections made to his obsequies. To the cemetery, near
+Parma, in November, 1876, the embalmed remains of Paganini were
+transposed from the family villa at Gaione, by order of his son, the
+Baron Achille (who died in December, 1895). The funeral was held at
+night by torchlight. A nephew, the Baron Attila Paganini, followed, and
+crowds of curious sightseers joined the procession. In 1893 there was
+erected the beautiful mausoleum which is now depicted from the only
+known photograph, taken expressly for THE STRAD. It bears this
+inscription:--
+
+        Qui riposano le ceneri
+          di Nicolň Paganini
+    Che traendo dal violino armonie divine
+    Scosse genio insuperabile tutta Europa
+          e cinse all'Italia,
+        Nuova sfolgorante corona.
+
+          Mente elettissima
+    Compose stupendamente in musica
+    Ammirato dai piu illustri maestri.
+
+        Cuore oltremodo generoso
+          donň largamente
+    ai parenti, agli artisti ai poveri.
+
+Beneath this cupola of white marble, with its granite columns, may the
+ashes of Paganini rest in peace. His true remains--his reputation, his
+influence, his music, are with us for ever.
+
+_Plate 14_--Facing page 90.
+
+PAGANINI IN PRISON. One of the many scandals which is contradicted in
+the text. (See page 90.) There is another prison story that during
+Paganini's incarceration, he was reduced to the G, in consequence of the
+other strings having broken--hence his wonderful development of the
+fourth. This is again apocryphal. Paganini has greater claim to a
+scientific knowledge of the acoustical property of strings.
+
+_Plates 15, 16, and 17_, see pages 101, 102, and 103,
+
+are reproductions of Paganini's MSS. in the British Museum. No. 15, a
+letter (dated April 16th, 1832, and in French) thanking the person
+addressed, for kindness shown to his "cher fils Achille," Nos. 16 (dated
+February 19th, 1835) and 17 (dated May 5th, 1838); short notes (in
+Italian) are interesting autographs. Paganini was proverbially a "silent
+man"--his epistles are very rare.
+
+_Plates 18, 19, 20, 21, and 22_--Pages 129-133.
+
+These reproductions of rare programmes tell their own tales--they are
+interesting, because there are seen the items and the arrangement of
+concerts, also the prices, for admission, etc.--in those years.
+
+_Plate 23_--Facing page 136.
+
+FACSIMILE OF A LETTER BY PAGANINI, dated 1829. It was formerly in the
+possession of the late Mr. Carrodus, the great English violinist.
+
+_Plate 24_--Facing page 144.
+
+A SEMI-CARICATURE OF PAGANINI with the inscription.
+
+     The Modern Apollo (not Belvedere)
+     Receiving the homage of 5,000 persons, after having pocketed
+     Ł2,000 for two hours' performance.
+
+Sketched at his last Concert at the King's Theatre. Published by G.
+Madeley, Wellington Street, Strand, 1831.
+
+_Plates 25 and 26_, see pages 176 and 177.
+
+Reproductions of music MS. in British Museum. A Theme, with variations
+for violin, with accompaniment, is a curious example of the great
+master's compositions.
+
+_Plate 27_--Facing page 190.
+
+COPY OF A RARE COPPER MEDAL struck in Paganini's honor in 1831.
+
+
+
+
+BIBLIOGRAPHY.
+
+
+The extraordinary career of Paganini has received more attention than
+the life of any other instrumentalist. Of these biographies, it is
+impossible to give a complete list.
+
+The following may, however, be commended.
+
+     "Paganini in seinem Reisewagen und Zimmer, in seinen redseligen
+     Stunden, in gesellsschaftlichen Kirkeln, und seinen Concerten."
+     Brunswick, Vieweg, 1830. Mr. George Harris, the writer of this
+     pamphlet, was an Englishman, who in order to study Paganini, became
+     the Violinist's secretary and interpreter.
+
+     "Leben, Charakter und Kunst N. Paganini's--Eine Skizze,"--by M. F.
+     Shütz, a Professor at Halle. Leipzig, 1830.
+
+     "Paganini's Leben und Treiben als Künstler und als Mensch." Prague,
+     1830. Written by Professor Schottky.
+
+     "Paganini's Leben und Charakter," by M. L. Vinela. Hamburg, 1830.
+
+     "Notice sur le célčbre violoniste Nicolň Paganini," by M. J. Imbert
+     de Laphaléque. Paris.
+
+     "Paganini et de Bériot, ou Avis aux artistes qui se destinent ŕ
+     l'enseignement du Violon," by F. Fayolle. Paris, 1831.
+
+     "Paganini, his life, his person, and a few words upon his secret,"
+     by J. L. Anders. Paris, 1831.
+
+     "Vita di Nicolň Paganini di Genova, scritta ed illustrata da
+     Giancarlo Conestabile, socio di varie Academie." Perugia, 1831.
+
+     "Nicolo Paganini," by F. J. Fétis. Published by Schott and Co.
+
+     "L'Album." "Paganini." Rome, 1840.
+
+     "Good Words." Three articles by Rev. H. R. Haweis, M.A.
+
+     "Musical Gem." "Paganini." Portrait by R. J. Hamerton. London,
+     1832.
+
+     "The Violin," with some account of that leading instrument and its
+     most eminent professors, by George Dubourg, 1836 and 1878. This
+     interesting book contains a long account of Paganini (illustrated.)
+
+     "Life of Moscheles." Two vols. 1873. In Vol. I., chapters 13 and
+     14, "Paganini."
+
+     "Louis Spohr's Autobiography," _vide_ "Paganini," Vol. I., page
+     279, and Vol. II., page 168. Spohr says: "His (Paganini's) left
+     hand and his constantly pure intonation were to me astonishing."
+
+     "Dictionary of Music and Musicians," by Sir George Grove, D.C.L.,
+     _vide_ article Paganini.
+
+     "Encyclopädie der gesammten musicalischen Wissenschaften," by Dr.
+     Gustav Schilling. Article Paganini.
+
+     Dr. Riemann's "Dictionary of Music," article Paganini.
+
+     "The Strad," various articles and paragraphs in the series of this
+     journal.
+
+     "The Violin," by George Hart. Engravings of Paganini's Violin.
+
+     "Old Violins and their Makers," by James M. Fleming.
+
+     "Ole Bull," by Sara C. Bull. Various notices of Paganini.
+
+     "Musical Opinion," July, August, and September, 1888. A renowned
+     fiddler (Paganini.) Three articles by Richard Harrison.
+
+     "Musical News," 1903.
+
+     "A Wooden Shoe" (Story of Paganini) by M. P. Audebrand.
+
+     "Paganiniana," (circa 1865.)
+
+     "Troubadour," August, 1899. Paganini, by Richard Harrison.
+
+     "The Athenćum," 1831. Critiques on Paganini.
+
+     "The Tatler," 1831.
+
+     "An account of Paganini's début in London," June 3rd, 1831, by Mr.
+     Gardner of Leicester, appears in Dubourg's "Violin."
+
+     "Paganini's Concerts in Paris." A clever description was published
+     in "Le Globe."
+
+     "Foreign Quarterly Review" (circa 1832).
+
+     "Catalogue of Paganini's compositions," by M. Conestabile.
+
+     Paganini's works are published by Ricordi and Co., of Milan, and
+     Schott and Co., of Mayence and London.
+
+     "Revue et Gazette Musicale de Paris," December 23rd, 1840. Article
+     Paganini.
+
+     "Story of the Violin," by Paul Stoeving.
+
+     "The Quarterly Musical Magazine and Review," Vol. X.
+
+     "Ueber Paganini's Kunst, die Violine zu spielen," by Carl F. W.
+     Guhr, original edition 1831. Modern. Schott and Co.
+
+     "Biographical Sketches of Celebrated Violinists." London: Bentley,
+     publisher.
+
+     "Celebrated Violinists, Past and Present." Translated from the
+     German of A. Ehrlich, and edited with notes and additions by Robin
+     H. Legge (eighteen pages devoted to Paganini). Portraits. STRAD
+     Office, London.
+
+     "Notice of Antony Stradivari," by F. J. Fétis. Translated by John
+     Bishop. London, 1864.
+
+     "The Harmonicon." An excellent musical journal. Published in London
+     (contemporary with Paganini).
+
+     "The Life of Rossini," by Sutherland Edwards.
+
+     "History of Music," by Emil Naumann. 2 vols. Cassell and Co.,
+     London, 1886.
+
+     "Life and Letters of Sir Charles Hallé." Paganini is mentioned by a
+     musical amateur (Count de Stendhal), 1814 and 1817.
+
+     "Diary of an Invalid," by Mathews, 1818.
+
+     "History of the Violin," by William Sandys and S. A. Forster, 1864.
+
+     "Old Violins," by Rev. H. R. Haweis, M.A. 1898.
+
+     "Researches into the History of the Violin Family," by Carl Engel.
+     1883.
+
+     "Musical World." 1836.
+
+     "Musical and Personal Recollections," by Henry Phillips, 1864.
+
+     "Music and Manners in France and Germany," by Henry F. Chorley.
+     1841.
+
+     "The Student's History of Music," by F. L. Ritter. 1880.
+
+
+Collectors will be interested in the Medals and Busts of Paganini.
+
+The English and Continental contemporary Press notices, etc., would
+alone make a Paganini volume.
+
+Of Paganini, there are many portraits, though too generally caricatures.
+M. Fétis, in his Life of Paganini, gives a short but incomplete
+catalogue. Those included in this volume have been carefully selected
+from contemporary prints, etc.
+
+
+
+
+ADVERTISEMENTS
+
+
+"THE STRAD" LIBRARY No. I.
+
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+_"THE STRAD" LIBRARY EDITION is the only Authorised Edition of_
+
+     Technics of Violin Playing
+     ON
+     JOACHIM'S METHOD
+
+     BY
+     CARL COURVOISIER,
+
+     With Folding Plates, containing Fifteen Illustrations.
+
+
+LETTER FROM DR. JOACHIM.
+
+[COPY.]
+
+MY DEAR MR. COURVOISIER: I have read the book on Violin Playing you have
+sent me, and have to congratulate you sincerely on the manner in which
+you have performed a most difficult task, _i.e._, to describe the best
+way of arriving at a correct manner of playing the violin.
+
+It cannot but be welcome to thoughtful teachers, who reflect on the
+method of our art, and I hope that your work will prove useful to many
+students.
+
+Believe me, my dear Mr. Courvoisier, to be most faithfully yours,
+
+    JOSEPH JOACHIM.
+
+Berlin, November 3rd, 1894.
+
+
+The New and Revised Edition of "Technics of Violin Playing," issued by
+THE STRAD, is the only authorised edition of my work. The several
+English Editions which have all appeared without my knowledge are
+_incomplete_ and _faulty_.
+
+    CARL COURVOISIER.
+
+
+
+
+"THE STRAD" LIBRARY, No. II.
+
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+     HOW TO STUDY THE VIOLIN
+     By J. T. CARRODUS.
+
+
+CONTENTS.
+
+Strings and Tuning. The Bow and Bowing. Faults and their Correction.
+Scales and their Importance. Course of Study. Advice on Elementary
+Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some
+Experiences as a Soloist. With full page portraits of Carrodus, Molique,
+Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, and a
+photo-reproduction of Dr. Spohr's testimonial to Carrodus.
+
+
+"An interesting series of articles 'How to Study the Violin,' which
+Carrodus contributed to THE STRAD, and completed only a week or two
+before his death, have now been collected in cheap book form. The
+technical hints to violin students, which are practical, plainly worded,
+and from such a pen most valuable."--_Daily News._
+
+"But a few weeks before his sudden death the most distinguished of
+native violinists completed in THE STRAD a series of chats to students
+of the instrument associated with his name. These chats are now
+re-issued, with a sympathetic preface and instructive annotations. All
+who care to listen to what were virtually the last words of such a
+conscientious teacher will recognise the pains taken by Carrodus to
+render every detail as clear to the novice as to the advanced pupil.
+Pleasant gossip concerning provincial festivals at which Carrodus was
+for many years 'leader' of the orchestra, ends a little volume worthy a
+place in musical libraries both for its practical value and as a memento
+of the life-work of an artist universally esteemed."--_Daily Chronicle._
+
+"It is surely, hardly necessary to direct the attention of students to
+the unique value of the hints and advice given by so experienced and
+accomplished a virtuoso as the late Mr. Carrodus, so that it only
+remains to state that the 'Recollections' make delightful reading, and
+that the book, as a whole, is as entertaining as it is instructive. The
+value of the _brochure_ is enhanced by an excellent portrait of Mr.
+Carrodus, as well as of a number of other violin worthies, and the
+printing, paper, and get up generally are good as could possibly
+be."--_Musical Answers._
+
+
+
+
+"THE STRAD" LIBRARY, No. III.
+
+_Crown 8vo, Cloth, 2/6, Post Free, 2/9._
+
+     THE BOW
+     Its History, Manufacture and Use
+
+     BY
+     HENRY SAINT-GEORGE.
+
+With Full Page Illustrations (exact size) by Photo Process.
+
+
+MONS. EMILE SAURET writes--"I have read it with great interest, and
+think that it supplies a real want in giving musicians such an excellent
+description of all matters referring to this important instrument."
+
+SIGNOR GUIDO PAPINI writes--"Thanks so much for your splendid and
+interesting book. You are quite successful and all the artists and
+amateurs are indebted to you for so exact and correct a '_Texte_' on the
+subject."
+
+ADOLF BRODSKY writes--"I am delighted with the book and find it very
+instructive, even for those who think to know everything about the bow.
+It is very original and at times very amusing. No violinist should miss
+the opportunity to buy it."
+
+THE TIMES--"A useful treatise on the Bow, in which the history,
+manufacture and use of the bow are discussed with considerable technical
+knowledge."
+
+DAILY TELEGRAPH--"To the student there is much of interest in the work,
+which has the advantage of being copiously illustrated."
+
+DAILY NEWS--"This book seems practically to exhaust its subject."
+
+
+
+
+_"THE STRAD" LIBRARY, No. IV._
+
+_Crown 8vo., Cloth, 5/-, Post Free, 5/4._
+
+     CELEBRATED VIOLINISTS:
+     PAST AND PRESENT,
+
+     _Translated from the German of_
+     A. EHRLICH,
+
+     _And Edited with Notes and Additions by_
+     ROBIN H. LEGGE.
+
+_WITH EIGHTY-NINE PORTRAITS._
+
+
+PRESS NOTICES.
+
+"Those who love their fiddles better than their fellows, and who
+treasure up every detail that can be found and recorded about their
+favourite and cherished players, will not fail to provide themselves
+with a copy of this book."--_Musical Opinion._
+
+"This book of 280 pages is a most interesting and valuable addition to
+the violinist's library. It contains 89 biographical sketches of
+well-known artists, ancient and modern, of all nations. This is not
+intended to be a perfect dictionary of violinists; the aim of the Editor
+of the present volume being merely to give a few more up-to-date details
+concerning some of the greatest of stringed instrument players, and we
+must concede that no name of the first importance has been omitted.
+Germany is represented by 21 names, Italy by 13, France by 10, England
+by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known
+ladies, such as Teresina Tua, Therése and Marie Milanollo, Lady Hallé,
+Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this is
+most agreeable reading to the numerous army of violinists, both
+professionals and amateurs, and after careful examination we can find
+nothing but praise for this translation into English of a book well
+known on the Continent."--_The Piano, Organ and Music Trades Journal._
+
+
+
+
+"THE STRAD" LIBRARY, No. V.
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+     TECHNICS OF
+     VIOLONCELLO PLAYING
+
+     BY
+     E. VAN DER STRAETEN.
+
+COPIOUSLY ILLUSTRATED.
+
+
+_Copy of Letter received by the Author from the great 'cellist, SIGNOR
+ALFRED PIATTI._
+
+    Cadenabbia, Lake of Como, March 9th, 1898.
+
+DEAR SIR,--I received the book you kindly sent me on "The Technics of
+Violoncello Playing," which I found excellent, particularly for
+beginners, which naturally was your scope. With many thanks for kindly
+remembering an old ex-violoncello player.
+
+    Believe me, yours sincerely,
+        ALFRED PIATTI.
+
+_Copy of Letter received by the Author from the eminent 'cellist, HERR
+DAVID POPPER._
+
+    Budapest, February 22nd, 1898.
+
+DEAR SIR,--In sending me your book on "The Technics of Violoncello
+Playing" you have given me a real and true pleasure. I know of no work,
+tutors and studies not excepted, which presents so much valuable
+material, so much that is absolutely to the point, avoiding--I might
+say, on principle--all that is superfluous and dispensable. Every
+earnest thinking violoncello student will in future make your book his
+own and thereby receive hints which will further and complete the
+instructions of his master.
+
+I congratulate you and ourselves most heartily on the new violoncello
+book. With kind regards, Yours most sincerely,
+
+    DAVID POPPER.
+
+
+
+
+"THE STRAD" LIBRARY, No. VI.
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+     VIOLIN PLAYING
+
+     BY
+     JOHN DUNN.
+
+
+CONTENTS
+
+INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints on
+the Choice of a Teacher--Some Tricks of pretending professors exposed.
+
+ON THE CHOICE OF A VIOLIN AND BOW--Advice regarding general adjustment
+and repairs.
+
+ON THE CHOICE OF STRINGS--Stringing the Instrument and keeping the Pegs
+in Order.
+
+ON THE GENERAL POSTURE--The manner of holding the Violin and Bow as
+accepted by the leading artists of the day.
+
+ON FINGERING GENERALLY--The various positions--Scales recommended--The
+Modern Orchestral "Principal" or (so-called) Leader.
+
+ON GLIDING--Special Characteristics of some of the most Eminent Players.
+
+DOUBLE STOPPING--The main difficulty in Double Stopping--How to gain
+Independence of Finger.
+
+BOWINGS--Smooth Bowings--Solid Staccato--Spiccato--Spring Bow--Mixed
+Bowings.
+
+TONE PRODUCTION--Character of Tone--Rules and Conditions necessary to
+produce a good tone--Style and Expression.
+
+
+
+
+"THE STRAD" LIBRARY, No. VII.
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+     Chats to 'Cello Students
+
+     BY
+     ARTHUR BROADLEY.
+
+
+"Musicians, devotees of the 'cello in particular, will welcome the
+latest volume of THE 'STRAD Library,' 'Chats to 'Cello Students,' by
+Arthur Broadley.... Mr. Broadley not only knows what he is talking
+about, but has practised what he says. From the choice of an instrument
+to finished delivery and orchestral playing, 'Chats to 'Cello Students'
+leaves nothing undiscussed. The treatment is simple and practical. The
+exhaustive chapter on 'bowing' should be an invaluable aid to students.
+In the last chapter of his book, 'On Delivery and Style' Mr. Broadley
+has given a lucid expression to a subject which has sadly needed
+voicing."--_The Tribune, Nuneaton._
+
+"Is a brightly written little volume filled with practical information
+for those who seek to bring out the wealth of expression of which the
+violoncello is capable. The instruction is presented in homely,
+common-sense fashion, and there are upwards of fifty examples in music
+type to illustrate the author's meaning."--_Lloyd's Weekly._
+
+"Every kind of bowing and fingering, the portamento, harmonic effects,
+arpeggios and their evolution from various chords, are all ably treated,
+and the work concludes with a few remarks on orchestral playing which
+are of especial interest."--_Musical News._
+
+"As a writer on the technique of his instrument Mr. Broadley is known
+all over the world, perhaps his most successful work being a little book
+published by THE STRAD, 'Chats to 'Cello Students.'"--_The Violinist._
+
+
+
+
+"THE STRAD" LIBRARY, No. VIII.
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+     ANTONIO STRADIVARI
+
+     BY
+     HORACE PETHERICK.
+
+_Of the Music Jury, International Inventions Exhibition, South
+Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in
+Law Courts, 1891; President of the Cremona Society._
+
+ILLUSTRATED BY THE AUTHOR.
+
+
+"This is the history of the life-work of the great Italian stringed
+musical instrument maker.... There is a most interesting analysis of
+Stradivari's method of mechanical construction which again is
+illustrated by original drawings from the many Strads which it has been
+Mr. Petherick's privilege to examine. All lovers of the king of
+instruments will read this delightful little volume."--_Reynolds._
+
+"Among makers of violins Stradivari perhaps occupies the premier
+position, and this account of his work, designs, and variations in
+finish of details will afford pleasure to many readers."--_Morning
+Post._
+
+"This is a monograph which all students of the violin will be happy to
+possess. The author is a connoisseur and expert, and his account of the
+great Cremonese master and his life-work, is singularly well and clearly
+told, whilst the technical descriptions and diagrams cannot fail to
+interest everyone who has fallen under the spell of the violin.... Mr.
+Petherick traces the career of Stradivari from his earliest insight into
+the mysteries of the craft to his highest achievements. Numerous
+illustrations lend attraction to the volume, not the least being a view
+of Stradivari's atelier, from a painting by Rinaldi, the sketch of which
+was made on the premises."--_Music._
+
+"Mr. Petherick is well known in the musical world as a violin expert
+with a special knowledge of the instruments made by the Cremonese
+master, whose biography he has here given us. He tells us how the master
+worked, what his pupils did, and where their work differs from that of
+their preceptor. In fact, the volume is as much a dissertation on the
+violins of Stradivari as a biography of the master, and is full of
+deeply interesting matter."--_Lloyds._
+
+
+
+
+"THE STRAD" LIBRARY, No. IX.
+
+_Crown 8vo., Cloth, 5/-, Post Free, 5/4._
+
+     VIOLIN MAKING
+
+     BY
+     WALTER H. MAYSON,
+
+With Thirty-one Full-page PHOTO ETCHINGS,
+
+Illustrating the process of Violin-making in every stage--from the rough
+slab of wood to the finished Instrument.
+
+The text is written by an =Actual Violin Maker=, in a very clear and
+lucid style.
+
+
+"'Popular lecture' style, with photographic illustrations."--_The Times._
+
+"A feature of the book is the clearness of the illustrations."--_Morning
+Post._
+
+"Describes a very fascinating art from start to finish."--_Morning
+Leader._
+
+"This new booklet, on how to make a violin, is an admirable exposition
+of methods. Mr. Mayson avoids learned terminology. He uses the simplest
+English, and goes straight to the point. He begins by showing the young
+learner how to choose the best wood for the violin that is to be.
+Throughout a whole chatty, perfectly simple chapter, he discourses on
+the back. A separate chapter is devoted to the modelling of the back,
+and a third to its 'working out.' The art of sound-holes, ribs, neck,
+fingerboard, the scroll, the belly. Among the illustrations is one
+showing the tools which the author himself uses in the making of his
+instruments. To learners of the well-known Manchester maker's delicate
+art we commend this little volume."--_Daily News._
+
+
+
+
+"THE STRAD" LIBRARY, No. X.
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+(DEDICATED, BY PERMISSION, TO DR. JOSEPH JOACHIM)
+
+     THE VIOLIN MUSIC OF
+     BEETHOVEN,
+
+     Critically discussed, and Illustrated with over
+     FIFTY MUSICAL EXAMPLES,
+
+     BY
+     J. MATTHEWS.
+
+The book contains analytical and historical notes upon the Chamber
+Music of Beethoven, in which the violin takes part as a solo instrument,
+with some account of the various editions of the principal works;
+Beethoven's method of working, as shown by his Sketch Books, etc. It is
+dedicated to Dr. JOACHIM, who has furnished some notes respecting the
+stringed instruments possessed by Beethoven.
+
+
+_Extract from Author's Preface_:--
+
+"Young students often suppose that they ought to admire every work which
+proceeds from a great genius; an attempt therefore has been made to
+convey some idea of the relative art-value and importance of the various
+compositions discussed in these pages. For between the best work of any
+man and his least inspired, there is a wide difference. Certainly
+nothing annoyed the great master more than to hear his least mature
+works praised, especially at a time when many of his greatest creations
+were too little studied to be understood save by a few."
+
+
+"Mr. John Matthews--dealing with Beethoven's music in pleasant fashion,
+and at not too great length--gives an historical account, and in many
+instances short analyses, with illustrations in music type of
+Beethoven's works for this instrument, and particularly the sonatas (to
+which considerable space is devoted), the trios, the quartets, and other
+compositions in which the master employed the violin. The book will be
+found by amateurs both interesting and instructive."--_Daily News._
+
+LONDON:
+
+"STRAD" OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C.
+
+
+
+
+"THE STRAD" LIBRARY, No. I.
+
+12MO., CLOTH, 1.00.
+
+_"THE STRAD" LIBRARY EDITION is the only Authorised Edition of_
+
+     Technics of Violin Playing
+     ON
+     JOACHIM'S METHOD
+
+     BY
+     CARL COURVOISIER,
+
+     With Folding Plates, containing Fifteen Illustrations.
+
+
+LETTER FROM DR. JOACHIM.
+
+[COPY.]
+
+MY DEAR MR. COURVOISIER: I have read the book on Violin Playing you have
+sent me, and have to congratulate you sincerely on the manner in which
+you have performed a most difficult task, _i.e._, to describe the best
+way of arriving at a correct manner of playing the violin.
+
+It cannot but be welcome to thoughtful teachers, who reflect on the
+method of our art, and I hope that your work will prove useful to many
+students.
+
+Believe me, my dear Mr. Courvoisier, to be most faithfully yours,
+
+    JOSEPH JOACHIM.
+
+Berlin, November 3rd, 1894.
+
+
+The New and Revised Edition of "Technics of Violin Playing," issued by
+THE STRAD, is the only authorised edition of my work. The several
+English Editions which have all appeared without my knowledge are
+_incomplete_ and _faulty_.
+
+    CARL COURVOISIER.
+
+
+
+
+"THE STRAD" LIBRARY, No. II.
+
+12MO., CLOTH, 1.00.
+
+
+     HOW TO STUDY THE VIOLIN
+     By J. T. CARRODUS.
+
+
+CONTENTS.
+
+Strings and Tuning. The Bow and Bowing. Faults and their Correction.
+Scales and their Importance. Course of Study. Advice on Elementary
+Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some
+Experiences as a Soloist. With full page portraits of Carrodus, Molique,
+Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, and a
+photo-reproduction of Dr. Spohr's testimonial to Carrodus.
+
+
+"An interesting series of articles 'How to Study the Violin,' which
+Carrodus contributed to THE STRAD, and completed only a week or two
+before his death, have now been collected in cheap book form. The
+technical hints to violin students, which are practical, plainly worded,
+and from such a pen most valuable."--_Daily News._
+
+"But a few weeks before his sudden death the most distinguished of
+native violinists completed in THE STRAD a series of chats to students
+of the instrument associated with his name. These chats are now
+re-issued, with a sympathetic preface and instructive annotations. All
+who care to listen to what were virtually the last words of such a
+conscientious teacher will recognise the pains taken by Carrodus to
+render every detail as clear to the novice as to the advanced pupil.
+Pleasant gossip concerning provincial festivals at which Carrodus was
+for many years 'leader' of the orchestra, ends a little volume worthy a
+place in musical libraries both for its practical value and as a memento
+of the life-work of an artist universally esteemed."--_Daily Chronicle._
+
+"It is surely, hardly necessary to direct the attention of students to
+the unique value of the hints and advice given by so experienced and
+accomplished a virtuoso as the late Mr. Carrodus, so that it only
+remains to state that the 'Recollections' make delightful reading, and
+that the book, as a whole, is as entertaining as it is instructive. The
+value of the _brochure_ is enhanced by an excellent portrait of Mr.
+Carrodus, as well as of a number of other violin worthies, and the
+printing, paper, and get up generally are good as could possibly
+be."--_Musical Answers._
+
+
+
+
+"THE STRAD" LIBRARY, No. III.
+
+12MO., CLOTH, 1.00.
+
+     THE BOW
+     Its History, Manufacture and Use
+
+     BY
+     HENRY SAINT-GEORGE.
+
+With Full Page Illustrations (exact size) by Photo Process.
+
+
+MONS. EMILE SAURET writes--"I have read it with great interest, and
+think that it supplies a real want in giving musicians such an excellent
+description of all matters referring to this important instrument."
+
+SIGNOR GUIDO PAPINI writes--"Thanks so much for your splendid and
+interesting book. You are quite successful and all the artists and
+amateurs are indebted to you for so exact and correct a '_Texte_' on the
+subject."
+
+ADOLF BRODSKY writes--"I am delighted with the book and find it very
+instructive, even for those who think to know everything about the bow.
+It is very original and at times very amusing. No violinist should miss
+the opportunity to buy it."
+
+THE TIMES--"A useful treatise on the Bow, in which the history,
+manufacture and use of the bow are discussed with considerable technical
+knowledge."
+
+DAILY TELEGRAPH--"To the student there is much of interest in the work,
+which has the advantage of being copiously illustrated."
+
+DAILY NEWS--"This book seems practically to exhaust its subject."
+
+
+
+
+"THE STRAD" LIBRARY, No. IV.
+
+12MO., CLOTH, 2.00.
+
+     CELEBRATED VIOLINISTS:
+     PAST AND PRESENT,
+
+     _Translated from the German of_
+     A. EHRLICH,
+
+     _And Edited with Notes and Additions by_
+     ROBIN H. LEGGE.
+
+_WITH EIGHTY-NINE PORTRAITS._
+
+
+PRESS NOTICES.
+
+"Those who love their fiddles better than their fellows, and who
+treasure up every detail that can be found and recorded about their
+favourite and cherished players, will not fail to provide themselves
+with a copy of this book."--_Musical Opinion._
+
+"This book of 280 pages is a most interesting and valuable addition to
+the violinist's library. It contains 89 biographical sketches of
+well-known artists, ancient and modern, of all nations. This is not
+intended to be a perfect dictionary of violinists; the aim of the Editor
+of the present volume being merely to give a few more up-to-date details
+concerning some of the greatest of stringed instrument players, and we
+must concede that no name of the first importance has been omitted.
+Germany is represented by 21 names, Italy by 13, France by 10, England
+by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known
+ladies, such as Teresina Tua, Therése and Marie Milanollo, Lady Hallé,
+Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this is
+most agreeable reading to the numerous army of violinists, both
+professionals and amateurs, and after careful examination we can find
+nothing but praise for this translation into English of a book well
+known on the Continent."--_The Piano, Organ and Music Trades Journal._
+
+
+
+
+"THE STRAD" LIBRARY, No. V.
+
+12MO., CLOTH, 1.00.
+
+     TECHNICS OF
+     VIOLONCELLO PLAYING
+
+     BY
+     E. VAN DER STRAETEN.
+
+COPIOUSLY ILLUSTRATED.
+
+
+_Copy of Letter received by the Author from the great 'cellist, SIGNOR
+ALFRED PIATTI._
+
+    Cadenabbia, Lake of Como, March 9th, 1898.
+
+DEAR SIR,--I received the book you kindly sent me on "The Technics of
+Violoncello Playing," which I found excellent, particularly for
+beginners, which naturally was your scope. With many thanks for kindly
+remembering an old ex-violoncello player.
+
+    Believe me, yours sincerely,
+        ALFRED PIATTI.
+
+_Copy of Letter received by the Author from the eminent 'cellist, HERR
+DAVID POPPER._
+
+    Budapest, February 22nd, 1898.
+
+DEAR SIR,--In sending me your book on "The Technics of Violoncello
+Playing" you have given me a real and true pleasure. I know of no work,
+tutors and studies not excepted, which presents so much valuable
+material, so much that is absolutely to the point, avoiding--I might
+say, on principle--all that is superfluous and dispensable. Every
+earnest thinking violoncello student will in future make your book his
+own and thereby receive hints which will further and complete the
+instructions of his master.
+
+I congratulate you and ourselves most heartily on the new violoncello
+book. With kind regards, Yours most sincerely,
+
+    DAVID POPPER.
+
+
+
+
+"THE STRAD" LIBRARY, No. VI.
+
+12MO., CLOTH, 1.00
+
+     VIOLIN PLAYING
+
+     BY
+     JOHN DUNN.
+
+
+CONTENTS
+
+INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints on
+the Choice of a Teacher--Some Tricks of pretending professors exposed.
+
+ON THE CHOICE OF A VIOLIN AND BOW--Advice regarding general adjustment
+and repairs.
+
+ON THE CHOICE OF STRINGS--Stringing the Instrument and keeping the Pegs
+in Order.
+
+ON THE GENERAL POSTURE--The manner of holding the Violin and Bow as
+accepted by the leading artists of the day.
+
+ON FINGERING GENERALLY--The various positions--Scales recommended--The
+Modern Orchestral "Principal" or (so-called) Leader.
+
+ON GLIDING--Special Characteristics of some of the most Eminent Players.
+
+DOUBLE STOPPING--The main difficulty in Double Stopping--How to gain
+Independence of Finger.
+
+BOWINGS--Smooth Bowings--Solid Staccato--Spiccato--Spring Bow--Mixed
+Bowings.
+
+TONE PRODUCTION--Character of Tone--Rules and Conditions necessary to
+produce a good tone--Style and Expression.
+
+
+
+
+"THE STRAD" LIBRARY, NO. VII.
+
+12MO., CLOTH, 1.00.
+
+     Chats to 'Cello Students
+
+     BY
+     ARTHUR BROADLEY.
+
+
+"Musicians, devotees of the 'cello in particular, will welcome the
+latest volume of THE 'STRAD Library,' 'Chats to 'Cello Students,' by
+Arthur Broadley.... Mr. Broadley not only knows what he is talking
+about, but has practised what he says. From the choice of an instrument
+to finished delivery and orchestral playing, 'Chats to 'Cello Students'
+leaves nothing undiscussed. The treatment is simple and practical. The
+exhaustive chapter on 'bowing' should be an invaluable aid to students.
+In the last chapter of his book, 'On Delivery and Style' Mr. Broadley
+has given a lucid expression to a subject which has sadly needed
+voicing."--_The Tribune, Nuneaton._
+
+"Is a brightly written little volume filled with practical information
+for those who seek to bring out the wealth of expression of which the
+violoncello is capable. The instruction is presented in homely,
+common-sense fashion, and there are upwards of fifty examples in music
+type to illustrate the author's meaning."--_Lloyd's Weekly._
+
+"Every kind of bowing and fingering, the portamento, harmonic effects,
+arpeggios and their evolution from various chords, are all ably treated,
+and the work concludes with a few remarks on orchestral playing which
+are of especial interest."--_Musical News._
+
+"As a writer on the technique of his instrument Mr. Broadley is known
+all over the world, perhaps his most successful work being a little book
+published by THE STRAD, 'Chats to 'Cello Students.'"--_The Violinist._
+
+
+
+
+"THE STRAD" LIBRARY, No. VIII.
+
+12MO., CLOTH, 1.00.
+
+     ANTONIO STRADIVARI
+
+     BY
+     HORACE PETHERICK.
+
+_Of the Music Jury, International Inventions Exhibition, South
+Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in
+Law Courts, 1891; President of the Cremona Society._
+
+ILLUSTRATED BY THE AUTHOR.
+
+
+"This is the history of the life-work of the great Italian stringed
+musical instrument maker.... There is a most interesting analysis of
+Stradivari's method of mechanical construction which again is
+illustrated by original drawings from the many Strads which it has been
+Mr. Petherick's privilege to examine. All lovers of the king of
+instruments will read this delightful little volume."--_Reynolds._
+
+"Among makers of violins Stradivari perhaps occupies the premier
+position, and this account of his work, designs, and variations in
+finish of details will afford pleasure to many readers."--_Morning
+Post._
+
+"This is a monograph which all students of the violin will be happy to
+possess. The author is a connoisseur and expert, and his account of the
+great Cremonese master and his life-work, is singularly well and clearly
+told, whilst the technical descriptions and diagrams cannot fail to
+interest everyone who has fallen under the spell of the violin.... Mr.
+Petherick traces the career of Stradivari from his earliest insight into
+the mysteries of the craft to his highest achievements. Numerous
+illustrations lend attraction to the volume, not the least being a view
+of Stradivari's atelier, from a painting by Rinaldi, the sketch of which
+was made on the premises."--_Music._
+
+"Mr. Petherick is well known in the musical world as a violin expert
+with a special knowledge of the instruments made by the Cremonese
+master, whose biography he has here given us. He tells us how the master
+worked, what his pupils did, and where their work differs from that of
+their preceptor. In fact, the volume is as much a dissertation on the
+violins of Stradivari as a biography of the master, and is full of
+deeply interesting matter."--_Lloyds._
+
+
+
+
+"THE STRAD" LIBRARY, No. IX.
+
+12MO., CLOTH, 2.00.
+
+     VIOLIN MAKING
+
+     BY
+     WALTER H. MAYSON,
+
+With Thirty-one Full-page PHOTO ETCHINGS,
+
+Illustrating the process of Violin-making in every stage--from the rough
+slab of wood to the finished Instrument.
+
+The text is written by an =Actual Violin Maker=, in a very clear and
+lucid style.
+
+
+"'Popular lecture' style, with photographic illustrations."--_The Times._
+
+"A feature of the book is the clearness of the illustrations."--_Morning
+Post._
+
+"Describes a very fascinating art from start to finish."--_Morning
+Leader._
+
+"This new booklet, on how to make a violin, is an admirable exposition
+of methods. Mr. Mayson avoids learned terminology. He uses the simplest
+English, and goes straight to the point. He begins by showing the young
+learner how to choose the best wood for the violin that is to be.
+Throughout a whole chatty, perfectly simple chapter, he discourses on
+the back. A separate chapter is devoted to the modelling of the back,
+and a third to its 'working out.' The art of sound-holes, ribs, neck,
+fingerboard, the scroll, the belly. Among the illustrations is one
+showing the tools which the author himself uses in the making of his
+instruments. To learners of the well-known Manchester maker's delicate
+art we commend this little volume."--_Daily News._
+
+
+
+
+"THE STRAD" LIBRARY, No. X.
+
+12MO., CLOTH, 1.00.
+
+(DEDICATED, BY PERMISSION, TO DR. JOSEPH JOACHIM)
+
+     THE VIOLIN MUSIC OF
+     BEETHOVEN,
+
+     Critically discussed, and Illustrated with over
+     FIFTY MUSICAL EXAMPLES,
+
+     BY
+     J. MATTHEWS.
+
+The book contains analytical and historical notes upon the Chamber
+Music of Beethoven, in which the violin takes part as a solo instrument,
+with some account of the various editions of the principal works;
+Beethoven's method of working, as shown by his Sketch Books, etc. It is
+dedicated to Dr. JOACHIM, who has furnished some notes respecting the
+stringed instruments possessed by Beethoven.
+
+
+_Extract from Author's Preface_:--
+
+"Young students often suppose that they ought to admire every work which
+proceeds from a great genius; an attempt therefore has been made to
+convey some idea of the relative art-value and importance of the various
+compositions discussed in these pages. For between the best work of any
+man and his least inspired, there is a wide difference. Certainly
+nothing annoyed the great master more than to hear his least mature
+works praised, especially at a time when many of his greatest creations
+were too little studied to be understood save by a few."
+
+
+"Mr. John Matthews--dealing with Beethoven's music in pleasant fashion,
+and at not too great length--gives an historical account, and in many
+instances short analyses, with illustrations in music type of
+Beethoven's works for this instrument, and particularly the sonatas (to
+which considerable space is devoted), the trios, the quartets, and other
+compositions in which the master employed the violin. The book will be
+found by amateurs both interesting and instructive."--_Daily News._
+
+
+
+
+"THE STRAD" LIBRARY, NO. XI.
+
+12MO., CLOTH, 1.00.
+
+     Advice to Pupils & Teachers
+     of the Violin,
+
+     BY
+     BASIL ALTHAUS.
+
+_Strongly recommended by_ =AUGUST WILHELMJ= & =GUIDO PAPINI=.
+
+
+    _London, March 18th, 1903._
+
+    DEAR MR. ALTHAUS,
+
+I read your book, "Advice to Pupils and Teachers of the Violin," with
+great interest, and find it very useful. Hoping your book will meet with
+the success it deserves.
+
+    I am, yours sincerely,
+        AUGUST WILHELMJ.
+
+
+    _London, Feb. 19th, 1903._
+
+    DEAR MR. ALTHAUS,
+
+I have read with interest your admirable book, "Advice to Pupils and
+Teachers of the Violin." I have no hesitation in recommending it as an
+indispensable work to all aspiring violinists and teachers. Your remarks
+on the acquirement of the various bowings, with the many musical
+examples, are excellent. I know of no work on this important subject so
+explicit and exhaustive. Wishing your book the great success it
+deserves,
+
+    Believe me, yours sincerely,
+        GUIDO PAPINI.
+
+
+"I have read the 157 pages that go to form the book in question, and can
+say, without any misgiving, that Mr. Althaus has successfully achieved
+what he set out to do."--_Musical Standard._
+
+
+
+
+"THE STRAD" LIBRARY, No. XII.
+
+12MO., CLOTH, 1.00.
+
+     THE
+     Repairing and Restoration
+     of Violins,
+
+     BY
+     HORACE PETHERICK.
+
+_Of the Music Jury, International Inventions Exhibition, South
+Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in
+Law Courts, 1891; President of the Cremona Society._
+
+WITH FIFTY ILLUSTRATIONS BY THE AUTHOR.
+
+
+CONTENTS.
+
+The proper sort of glue--Its preparation and use--Loose
+fingerboards--Injuries to the scroll--Insertion of fresh wood--Fracture
+of peg-box and shell--Worn peg-holes--Refilling or boring
+same--Grafting--Lengthening the neck--Treatment of worm-holes--Fixing on
+graft on neck--Ways of removing the upper table and the neck--Cleansing
+the interior--Closing of cracks in upper table--Getting parts
+together that apparently do not fit--Treatment of warped lower
+table--Repairing old end blocks by new ones--Matching wood for large
+cracks--Replacing lost portions--Repairs to purfling--Removal of a fixed
+sound-post--Fitting a fresh part of worm-eaten rib--Lining a thin
+back--Fixing the bar--Varnishing, etc., etc.
+
+
+"The author is a man of wide experience, and with him it is a labour of
+love, so that few more suitable hands could be found for the task. To
+him fiddles are quite human in their characteristics, needing a
+'physician within beck and call,' and developing symptoms capable of
+temporary alleviation or permanent cure, as the case may be, and no
+remedial measures are left undescribed."--_Musical News._
+
+"Mr. Petherick is a man of wide experience in violins, so his hints
+about the treatment and care of the instrument are invaluable. His
+imaginary interviews are both clever and amusing, and, moreover, contain
+useful information of what to do, and avoid, in the treatment of
+violins."--_Hereford Times._
+
+
+
+
+"THE STRAD" LIBRARY, No. XIII.
+
+12MO., CLOTH, 1.00.
+
+     THE VIOLIN:
+     Solo Playing, Soloists and Solos,
+
+     BY
+     WILLIAM HENLEY.
+
+
+"Mr. William Henley is an excellent performer, and his book, 'The
+Violin: Solo Playing, Soloists and Solos,' is the result of considerable
+practice in the art he discusses.... The opening advice to violin
+students, the insistence on tune first and then on tone, the latter
+depending greatly for its excellence upon the correctness of the former,
+is not only worth saying, but is said well, and with conviction. Mr.
+Henley discriminates well between violinists: Joachim, the classic;
+Carrodus, the plain; Sarasate, the neat and elegant; and Wilhelmj, the
+fiery and bold.... The list of violin concertos, given in the last
+chapter but one of the book, seems a very complete one, and should be
+useful for purposes of reference."--_The London and Provincial Music
+Trades Review._
+
+"For the student whose intention it is to make the violin a means
+of livelihood--the professional soloist or orchestral player in
+embryo--this little work, written in a spirit of obvious sincerity, is
+well-nigh invaluable.... The chapters on 'Teaching and Studies,' 'The
+Artist,' 'Phrasing,' 'Conception,' and 'True Feeling,' are very
+well written, and the whole work is worth careful and diligent
+perusal."--_The Musical World._
+
+"The author of this book has thought much and deeply on the fascinating
+subject of which he treats, and is entitled to a hearing.... The
+author's remarks on 'Tone' are excellently conceived, and of no small
+interest, the subject being less hackneyed than that of ordinary
+technique. In his chapter on 'Style' he reminds the readers of the many
+factors which go to the making of a fine violinist, among which
+Style--which is the outcome of the imagination and the sensibility of
+the player--is one of the most important. The fine executant is common
+enough now-a-days, but the fine stylist as rare as ever."--_Musical
+News._
+
+
+
+
+"THE STRAD" LIBRARY, No. XIV.
+
+12MO., CLOTH, 1.00.
+
+     SELECTED VIOLIN SOLOS,
+
+     AND
+     HOW TO PLAY THEM,
+
+     BY
+     BASIL ALTHAUS
+     (_Author of "Advice to Pupils and Teachers of the Violin."_)
+
+With 283 Musical Examples.
+
+
+CONTENTS.
+
+INTRODUCTION.
+
+SECTION I.
+
+    GRADE A.--Elementary Pieces.
+
+    GRADE B.--Easy, not exceeding First Position.
+
+    GRADE C.--Easy, using First and Third Position.
+
+SECTION II.
+
+    GRADE D.--Moderately Difficult, not exceeding the Third Position.
+
+    GRADE E.--Moderately Difficult, as far as the Fifth Position.
+
+    GRADE F.--Difficult, especially as regards Sentiment and
+    Expression.
+
+SECTION III.
+
+    GRADE G.--Difficult, using all Positions.
+
+    GRADE H.--Very Difficult, including Standard Concertos and
+    Concert Pieces.
+
+    GRADE I.--For Virtuosi.
+
+
+
+
+"THE STRAD" LIBRARY, No. XV.
+
+12MO., CLOTH, 1.00.
+
+     THE
+     VIOLIN AND ITS STORY:
+
+     OR THE
+     HISTORY AND CONSTRUCTION
+     OF THE VIOLIN.
+
+     _Translated and Adapted from the German of_
+     HYACINTH ABELE
+
+     BY
+     GEOFFREY ALWYN.
+
+_WITH TWENTY-EIGHT ILLUSTRATIONS._
+
+
+"The school of Cremona is dealt with at great length, but in the most
+interesting way. Short biographical sketches are given of the great
+exponents of this school, which was founded by Andreas Amati. To it
+belonged Antonio Stradivari, who is said to be the greatest of all
+violin makers, and Joseph Guarnerius. The pupils of the Amati and the
+others mentioned are duly tabulated before the schools of Milan and
+Venice are discussed. Following these we have the German school, etc.,
+etc. Part III. of the book under notice deals with the constituent parts
+of the violin, and there is nothing that the seeker after knowledge
+cannot find here, even to the number of hairs which should go to the
+making of a bow. Strings, bridges, sound-posts, bass-bars, nuts,
+pegs--indeed, everything about a violin is treated in an authoritative
+way. Not for a very long time have we been so interested in a book, and
+for that reason we wish our violin players to share that pleasure by
+getting a copy."--_The Cumnock Chronicle._
+
+
+
+
+"THE STRAD" LIBRARY, No. XVI.
+
+12MO., CLOTH, 2.00.
+
+     JOSEPH GUARNERIUS,
+     HIS WORK & HIS MASTER,
+
+     BY
+     HORACE PETHERICK
+
+(_Of the Music Jury, International Inventions Exhibition, South
+Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in
+Law Courts, 1891; President of the Cremona Society_).
+
+With numerous Illustrations by the Author, 41 full-page Reproductions of
+Photographs,
+
+AND
+
+220 pages of Letterpress.
+
+
+"Mr. Petherick is well known in the musical world as a violin expert
+with a special knowledge of the instruments made by the Cremonese
+master."--_Lloyds._
+
+
+This is the only exhaustive work published on JOSEPH GUARNERIUS, and the
+Author claims to have discovered his Teacher in Andreas Gisalberti,
+whose name is here mentioned for the first time as a maker of renown.
+
+NEW YORK:
+
+CHARLES SCRIBNER'S SONS, 153-157, FIFTH AVENUE.
+
+
+       *       *       *       *       *
+
+
+Transcriber's Notes:
+
+"Nicolň" and "Nicolo" were both used in the text. Many other variant and
+alternative spellings have been preserved, except where obviously
+misspelled in the original. Obvious punctuation errors have also been
+corrected.
+
+The illustrations have been moved so that they do not break up paragraphs
+and so that they are next the text they illustrate. Thus the location of
+an illustration may not match the references to it in the text.
+
+The printed text was followed by two series of advertisements. The first
+series was reproduced in the second, except with American rather than
+British pricing. The first series bore a header "Advertisements." on each
+page; this has been replaced by a heading preceding the advertisements.
+Only the second series had page numbers.
+
+
+
+
+
+End of the Project Gutenberg EBook of Nicolo Paganini: His Life and Work, by 
+Stephen Samuel Stratton
+
+*** END OF THIS PROJECT GUTENBERG EBOOK NICOLO PAGANINI: HIS LIFE AND WORK ***
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+<pre>
+
+The Project Gutenberg EBook of Nicolo Paganini: His Life and Work, by 
+Stephen Samuel Stratton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Nicolo Paganini: His Life and Work
+
+Author: Stephen Samuel Stratton
+
+Release Date: April 29, 2012 [EBook #39571]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NICOLO PAGANINI: HIS LIFE AND WORK ***
+
+
+
+
+Produced by Bryan Ness, Henry Flower and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+book was produced from scanned images of public domain
+material from the Google Print project.)
+
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+
+
+</pre>
+
+<div class="figcenter" style="width: 427px;">
+<a href="images/cover.jpg">
+<img src="images/covers.jpg" width="427" height="600" alt="Cover" title="" /></a>
+</div>
+<p><span class="pagenum"><a name="Page_i" id="Page_i">[i]</a></span><br />
+<span class="pagenum"><a name="Page_ii" id="Page_ii">[ii]</a></span></p>
+<h1>NICOLO PAGANINI:<br />
+
+HIS LIFE AND WORK.</h1>
+
+<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[iii]</a></span></p>
+<p class="p4 center">
+<small>PRINTED BY E. SHORE AND CO.,<br />
+3, GREEN TERRACE, ROSEBERY AVENUE, LONDON, E.C.</small></p>
+
+<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[iv]</a><br /><a name="Page_v" id="Page_v">[v]</a></span></p>
+
+<div class="figcenter" style="width: 451px;">
+<a name="Illustration_Plate_I_See_Appendix" id="Illustration_Plate_I_See_Appendix"></a>
+<a href="images/plate_001.jpg">
+<img src="images/plate_001s.jpg" width="451" height="600" alt="" title="" />
+</a>
+<span class="caption"><i><a href="#Plate_1">Plate I.&mdash;See Appendix.</a></i><br /> <span class="smcap">Portrait of Nicolo Paganini by Maurin.</span></span>
+</div>
+<p><span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a></span></p>
+
+<p class="p4">
+<i>"THE STRAD" LIBRARY, No. XVII.</i>
+</p>
+<h1>NICOLO PAGANINI:<br />
+<small>HIS LIFE AND WORK,</small>
+</h1>
+
+<p class="p2 center">BY<br />
+STEPHEN S. STRATTON.</p>
+
+<p class="p2 center">
+"<i><span lang="it">Natura il fece, e poi ruppe la stampa.</span></i>"<br />
+<span class="sig"><span class="smcap">Ariosto.</span></span></p>
+
+<p class="p4 center"><i>WITH TWENTY-SEVEN ILLUSTRATIONS.</i></p>
+
+<p class="p4 center">London:<br />
+"THE STRAD" <span class="smcap">Office, 3, Green Terrace, Rosebery Avenue</span>, E.C.<br />
+J. LENG &amp; CO., 186, <span class="smcap">Fleet Street</span>, E.C.<br />
+<br />
+New York:<br />
+CHARLES SCRIBNER'S SONS, 153-157, <span class="smcap">Fifth Avenue</span>.<br />
+<br />
+1907.<br /></p>
+<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[vii]</a><br /><a name="Page_viii" id="Page_viii">[viii]</a></span></p>
+
+
+
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+
+<p>The author of this work did not live to see the final
+sheets in print. Although it has not received his revision,
+yet the book has had careful editing. Mr. Stratton did
+not undertake the Life of Paganini without adequate
+preparation. He had during many years thoughtfully
+studied the artist and his attributes, and became an
+acknowledged authority on the subject. He gathered
+from all available sources the most reliable information.
+Almost his last journey was a pilgrimage to Paganini's
+birthplace. This volume will exhibit his versatility,
+particularly the chapter giving the analyses of Paganini's
+compositions. It is therefore the most complete account of
+the greatest virtuoso recorded in the annals of music.
+Those who peruse this most interesting biography of
+Paganini, will naturally desire to learn something of the
+writer.</p>
+
+<p>Stephen Samuel Stratton was born in London on
+December 19th, 1840. He began his career as a chorister
+of St. Mary's Church, Ealing. He studied harmony and
+composition under Charles Lucas. As an organist, he
+held these appointments&mdash;St. Mary the Virgin, Soho; and
+St. James's Church, Friern Barnet. On his removal to
+Birmingham in 1866, he was organist at St. Barnabas
+Church; Edgbaston Old Parish Church; St. John's,<span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span>
+Harborne; and the Church of the Saviour (1878-1882).
+In 1879 he commenced a series of chamber concerts in
+Birmingham.</p>
+
+<p>From 1877 until the day of his death, Mr. Stratton
+was the musical critic of the "Birmingham Daily Post."
+In that position his influence was decidedly beneficial.
+He was also a contributor to the London Musical
+Press. He will be remembered as the joint author
+(with Mr. James D. Brown) of "British Musical
+Biography." His "Life of Mendelssohn" was written
+for Messrs. Dent's "Master Musicians." Among other
+items may be mentioned "Musical Curiosities," and
+valuable papers read before the "Incorporated Society
+of Musicians."</p>
+
+<p>In private life he was highly esteemed&mdash;an honorable
+citizen&mdash;a genial, kind hearted man, with a genuine love
+of his profession. He died, after a short illness, in
+Birmingham, on June 25th, 1906.</p>
+
+<p class="sig">
+R. H.<br />
+</p><p><span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span></p>
+
+
+
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.<br /></h2>
+<div>
+<table border="0" cellpadding="2" cellspacing="0" summary="Contents">
+<tr><td>CHAPTER I.</td></tr>
+<tr><td>&nbsp;</td><td align="right"><small><span class="smcap">Page</span></small></td></tr>
+<tr><td align='left'><span class="smcap">Boyhood</span></td><td align='right'><a href="#Page_1">1</a></td></tr>
+<tr><td>CHAPTER II.</td></tr>
+<tr><td align='left'><span class="smcap">Early Triumphs</span></td><td align='right'><a href="#Page_9">9</a></td></tr>
+<tr><td>CHAPTER III.</td></tr>
+<tr><td align='left'><span class="smcap">Italian Tours</span></td><td align='right'><a href="#Page_22">22</a></td></tr>
+<tr><td>CHAPTER IV.</td></tr>
+<tr><td align='left'><span class="smcap">Tours on the Continent</span></td><td align='right'><a href="#Page_35">35</a></td></tr>
+<tr><td>CHAPTER V.</td></tr>
+<tr><td align='left'><span class="smcap">First Visit to England</span></td><td align='right'><a href="#Page_50">50</a></td></tr>
+<tr><td>CHAPTER VI.</td></tr>
+<tr><td align='left'><span class="smcap">Final Tour</span></td><td align='right'><a href="#Page_61">61</a></td></tr>
+<tr><td>CHAPTER VII.</td></tr>
+<tr><td align='left'><span class="smcap">Death</span></td><td align='right'><a href="#Page_73">73</a></td></tr>
+<tr><td>CHAPTER VIII.</td></tr>
+<tr><td align='left'><span class="smcap">Paganini, the Man</span></td><td align='right'><a href="#Page_85">85</a></td></tr>
+<tr><td>CHAPTER IX.</td></tr>
+<tr><td align='left'><span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span><span class="smcap">The Artist and his Contemporaries</span></td><td align='right'><a href="#Page_107">107</a></td></tr>
+<tr><td>CHAPTER X.</td></tr>
+<tr><td align='left'><span class="smcap">His Methods in Playing</span></td><td align='right'><a href="#Page_128">128</a></td></tr>
+<tr><td>CHAPTER XI.</td></tr>
+<tr><td align='left'><span class="smcap">His Compositions</span></td><td align='right'><a href="#Page_148">148</a></td></tr>
+<tr><td>CHAPTER XII.</td></tr>
+<tr><td align='left'><span class="smcap">Memorials</span></td><td align='right'><a href="#Page_191">191</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>APPENDIX.&mdash;<span class="smcap">Notes on the Illustrations</span></td><td align='right'><a href="#Page_195">195</a></td></tr>
+<tr><td align='left'>BIBLIOGRAPHY</td><td align='right'><a href="#Page_201">201</a></td></tr>
+</table></div>
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p>
+
+
+
+
+<h1><a name="NICOLO_PAGANINI" id="NICOLO_PAGANINI"></a>NICOLO PAGANINI:<br />
+
+HIS LIFE AND WORK.</h1>
+
+
+
+
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h2>
+
+
+<p>There are some names, the mere mention or
+thought of which conjure up distinct personalities;
+such are Handel, Bach, Beethoven, Wagner; but not
+one has the extraordinary individuality of that of Paganini.
+Though few can be living who ever saw the
+man, though his portraits are not now commonly to
+be met with, the name of Paganini at once calls up a
+picture&mdash;weird, uncanny, demoniacal; brings back the
+faint echo of performances long lost in the corridors of
+time; and excites the imagination in a manner altogether
+unique. The last few years have witnessed the appearance
+of an unprecedented number of wonderful young
+violinists, whose achievements culminate in the marvellous
+playing of the boy Franz von Vecsey. These manifestations
+are almost enough to induce belief in the theory or
+doctrine of reincarnation, and to make one fancy that
+the great Genoese is once again in the flesh. These
+violinists, too, are all playing Paganini's music; they
+seem to glory in it, and so do the audiences, although<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span>
+to many serious and worthy folk it is mere clap-trap
+stuff. This revived interest in Paganini and his music
+seems to render the present an appropriate time to
+restate the case of the man and the artist, notwithstanding
+the extensive literature already associated with
+his name.</p>
+
+<p>It is a curious fact that nearly every distinguished
+musician, composer or executant, has his namesakes.
+There was a constant succession of Bachs in Thuringia
+for nearly two centuries; Beethoven's father and grand-father
+were musicians; there were four Mozarts,
+musicians; and more than twenty Wagners of some
+standing in the musical world. No one seems to have
+traced the pedigree of Paganini, but he was preceded and
+followed by others bearing the same name, and such
+particulars as can be gleaned concerning these Paganinis
+may not be without interest, and at least may serve by
+way of introduction to the greatest of them all.</p>
+
+<p>Dr. Burney, in his account of Italian Opera in London
+during the last half of the eighteenth century, names a
+Signor and Signora Paganini as engaged for the season
+of 1760-61. They came from Berlin, and the Doctor is
+ungallant enough to say that the lady, known as "The
+Paganini," was not young. She made her <i>début</i> on
+November 22, 1760, in Galuppi's "<span lang="it">Il Mondo della Luna</span>,"
+in a <i>buffa</i> part, and was very captivating. At her benefit,
+when another opera by Galuppi was given&mdash;"<span lang="it">Il Filosofo
+di Campagna</span>,"&mdash;such a crowd assembled as had never
+been seen on any other occasion. Not one third of those
+who presented themselves at the Opera-house were able<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span>
+to obtain admission. "Caps were lost, and gowns torn
+to pieces, without number or mercy, in the struggle to
+get in. Ladies in full dress, who had sent away their
+carriages, were obliged to appear in the streets and walk
+home without caps or attendants." "Luckily the
+weather was fine," adds the Doctor, who witnessed this
+uncommon spectacle. "The Paganini" thus anticipated
+the extraordinary triumphs of the more famous artist of
+half a century later. Signor Paganini, the husband, was
+only "a coarse first man," and sang almost without a
+voice. Next comes Ercole Paganini, born at Ferrara,
+about 1770, the composer of several operas, produced at
+La Scala, Milan, and at Florence, from 1804 to 1810.
+A tenor singer named Paganini appeared in opera at
+Florence in 1830, was decidedly successful and became
+highly popular in Genoa in 1836. After Francesco
+Lamperti was appointed (in 1850) professor of singing at
+the Conservatorio, Milan, among the good pupils he
+turned out was one named Paganini, of whom, however,
+no particulars are forthcoming. In 1865, Cesare
+Paganini, a theoretical writer, published a treatise at
+Florence; and in November, 1898, Signora Franceschati-Paganini
+was the Brünnhilde in a performance of
+"Götterdämmerung," at Bologna. Then there was Dr.
+Paganini, who was perhaps the brother in whose charge
+young Nicolo was allowed to go to Lucca in 1798.
+Whomsoever he may have been, this Dr. Paganini died
+in 1835, which event gave rise to a rumour that the great
+violinist was dead&mdash;a rumour happily untrue. This
+Dr. Paganini was not a fiddle-player, but a fiddle-fancier.<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span>
+He possessed a violin ornamented with mother-o'-pearl
+and ebony, which had belonged to a Shah of Persia, the
+favourite violin of Lord Byron (so it was said), one that
+had belonged to Stanislaus of Poland, father-in-law of
+Louis XV., one that had been played upon by Charles IV.
+of Spain (the enthusiast who had quartet performances
+at six in the morning, and who scorned to "keep
+time,") and another, once the property of that monarch's
+favourite, Don Manuel de Godoy, Duke of Alcudia.</p>
+
+<p>All the Paganinis mentioned above were eclipsed by <i>the</i>
+Paganini (<i>pace</i> Dr. Burney), the artist who stood alone,
+whose life was full of strange vicissitudes, who was
+worshipped and calumniated, who was applauded as
+perhaps never artist was before nor since, yet who was
+laughed at, hissed&mdash;only once&mdash;brought before the law-courts&mdash;threatened
+with imprisonment and mobbed
+within an ace of being lynched. As a child of four,
+Paganini narrowly escaped being buried alive; from
+youth up he was a constant sufferer from physical disorders;
+he had no real home till he was fifty-two; after
+death his remains were refused burial for five years; and
+when his body had rested in the grave for half a century
+it was exhumed, apparently in order that his features
+might once more be gazed upon. Truly, Paganini's story
+is a romance, a drama, a tragedy. We may not look
+upon his like again, nor is it desirable that we should;
+for his life conveys a moral that few can fail to discern.</p>
+
+<p>The artist is the child of his age. What kind of age
+was it that produced Paganini? A few years before he
+was born there came into the world one who was to set<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span>
+Europe aflame. The age was the age of revolution.
+Thrones tottered; armies devastated the Continent, and
+Italy became a mere appanage of the French Empire.
+The political upheaval was accompanied by a revolution
+in art. The romantic school in music arose, and
+Beethoven, Schubert, Berlioz, Chopin, Schumann, Liszt,
+and Wagner, were the psychic results of the turmoil into
+which the world was thrown. Into such a world, already
+feeling the premonitory tremors of the great Revolution,
+was Nicolo Paganini born, at Genoa, on October 27th,
+1782.<a name="Anchor-1" id="Anchor-1"></a><a href="#Footnote-1" class="Anchor" title="Go to footnote 1.">[1]</a></p>
+
+<div class="figcenter" style="width: 440px;">
+<a name="Illustration_Plate_2" id="Illustration_Plate_2"></a>
+<a href="images/plate_002.jpg">
+<img src="images/plate_002s.jpg" width="440" height="600" alt="" title="" />
+</a>
+<span class="caption"><i><a href="#Plate_2">Plate II.&mdash;See Appendix.</a></i><br />
+<span class="smcap">The Birthplace of Paganini.</span></span>
+</div>
+
+<p>The Genoese&mdash;thrifty and industrious&mdash;bore no very
+good moral character at that time; but they were then
+perhaps not alone in that respect. Little information is
+available concerning the family of Paganini. The
+father, Antonio Paganini, kept a small shop in the
+vicinity of the port; he is described as a man of extraordinarily
+avaricious character, hard and brutal, but possessing
+the redeeming quality of a love for music, and
+showing some skill in the art; his instrument was the
+mandoline, though Laphaléque says he was a violinist.
+The mother must have been of a lovable disposition,
+from what little has been recorded of her. The family
+consisted of two sons and two daughters. Of the elder
+son, mention is made but once; of the daughters, nothing
+seems to be known. Little Nicolo must have given<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>
+evidence of musical talent very early, but ere he was put
+to his studies he was attacked by the measles, and that so
+severely that he remained for a whole day in a state of
+catalepsy. He was given up for dead and was wrapped
+in a shroud, and only a slight movement at the last,
+showing symptoms of life, saved him from the horror of
+premature burial. Scarcely had he recovered, when his
+father began his lessons in violin playing. The child's
+evident disposition for the art excited the father's avarice,
+which found little scope for gratification in his small
+business undertakings. He indulged in golden dreams
+of the future, and to hasten their realisation was unremitting
+in his work of instruction. His method was
+cruel in the extreme. The poor child was kept to his
+task from morn till night; slight faults were punished
+with rigour, even blows and starvation being resorted to
+in order to force the talent which nature had bestowed.
+This unnatural treatment must have wrung the heart of
+the gentle mother, and doubtless by way of encouragement
+she told the poor little fellow of her wonderful
+dream. An Angel had appeared to her, and promised
+her the fulfilment of any desire. She asked that her son
+might become the greatest of violinists, and her prayer
+was to be granted. This disclosure may have fired the
+ambition of the child, for he was the hardest of workers,
+and needed no spur. Already, at six years of age, he
+was a tolerable player, and was even beginning to find
+out new paths. His performances excited the admiration
+and amazement of the neighbours, and even the
+Maestro Francesco Gnecco visited the little house by the<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>
+harbour to listen to the wonder-child. He introduced
+the boy to the circle of his own friends, and made the
+father understand that he had long outgrown his training.
+In short, the germ of the <i>virtuoso</i> of later days was
+already manifesting itself. Nicolo was now placed
+under Giovanni Servetto, leader of the theatre band&mdash;a
+man of slight attainments, with whom the boy did not
+stay long. His next master was Giacomo Costa, the
+foremost violinist in Genoa and maestro di capella of the
+Cathedral, a genial man, who took a lively interest in
+the boy. Under Costa, Nicolo made rapid progress, and
+was introduced to a new world, though the pedantry of
+the master frequently came into collision with the peculiarities
+of the pupil. Young Paganini now had to play
+a new concerto each week at one of the churches: that
+was one of the conditions Costa imposed when taking
+him as a pupil. Paganini's extraordinary powers as a
+player at sight were in great measure due to this early
+experience. The father still exercised stern oversight,
+and there was little relaxation or youthful pleasure for
+Nicolo. His health was already undermined, and, as
+Dubourg touchingly puts it:&mdash;"the sickly child, incapable
+of attaining a healthy maturity, was merged into the
+suffering man."</p>
+
+<p>In his eighth year Nicolo composed a sonata for the
+violin&mdash;since, with other works, lost. About that time a
+very vivid, almost shamefaced, impression was made
+upon him by hearing that Mozart, at the age of six, had
+composed a pianoforte concerto, with parts for orchestra,
+and so difficult that only a <i>virtuoso</i> could execute it. For<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>
+long Nicolo tormented himself with the thought of this
+musical superiority, and strove day and night to remedy
+his own imperfection in the art.</p><hr class="chap" /><p><span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span></p>
+
+
+
+
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h2>
+
+
+<p>In 1793 Paganini made his <i>début</i> in the great Theatre
+of Genoa (the Carlo Felice?). He was in his
+eleventh year, and his reputation must have been
+considerable, for the occasion was of some importance,
+being the benefit concert of two singers of repute, Luigi
+Marchesi and Teresa Bertinotti.<a name="Anchor-2" id="Anchor-2"></a><a href="#Footnote-2" class="Anchor" title="Go to footnote 2.">[2]</a> Marchesi was second
+only to Pacchierotti among the male <i>soprani</i> of the time,
+and sang at the King's Theatre, London, during the
+season of 1788; in the "Musical Reminiscences" of the
+Earl of Mount Edgcumbe he is highly praised as the
+most brilliant singer of his day. It was a great compliment
+to the talent of the young Nicolo that these
+singers should apply for his assistance. Moreover, they
+promised to sing for him when he should give a concert.
+Both functions duly took place, and the boy-artist at
+each played a set of variations of his own composition
+on "<span lang="fr">La Carmagnole</span>"; an air then greatly in vogue.
+That old melody "<span lang="fr">Malbrough s'en-va-t-en guerre</span>,"<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span>
+pressed into the service of the French Revolution, was
+appropriately associated with the young artist, himself
+a revolutionist. His success was phenomenal, performers
+and audience being thrown into transports of
+admiration.</p>
+
+<p>It would appear that young Paganini studied with
+Giacomo Costa for a period of six months only. He
+must then have continued to work by himself, for it was
+not until about 1795 that his father took him to Parma,
+to place him under the "Pride of Italy," Alessandro Rolla,
+to whom the boy had been recommended by Costa.
+There was an affecting farewell between Nicolo and his
+mother, for they were tenderly attached to each other.
+Paganini has himself related the story of his interview
+with Rolla, which, for the sake of completeness, must be
+summarised here.</p>
+
+<p>When Nicolo with his father arrived at Rolla's house,
+the famous violinist was ill in bed. His wife showed
+the visitors into an apartment adjoining, and went to
+inform her husband of their arrival, but he was disinclined
+to receive the strangers. On a table in the
+room where they were waiting lay a violin, and a composition
+in manuscript&mdash;Rolla's latest concerto. Paganini,
+prompted by his father, took up the violin, and
+played the concerto through. Astonished at the performance,
+Rolla asked what <i>virtuoso</i> was in the next room,
+and on being told it was only a boy he had heard, would
+not credit the statement without the evidence of his own
+eyes. To the father's entreaty Rolla replied that he
+could teach the boy nothing; it would waste his time<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
+to remain with him. He must go to Ferdinando Paer,
+who would teach him composition.</p>
+
+<p>There are several versions of this story, and much
+uncertainty respecting some points. Rolla was chamber
+<i>virtuoso</i>, and director of the concerts at the Court of
+Parma. Paer, whose first opera was produced in 1789,
+was at this time in great request at Venice, where he
+brought out a succession of operas. In 1796 he may
+have been in Parma, for his "Griselda" was produced
+there that year. Paganini, at some time or other, doubtless
+did profit by Paer's friendly assistance; but his real
+teacher was Gasparo Ghiretti, chamber musician to
+Prince Ferdinand of Parma, and the master of Paer.
+Ghiretti was a violinist, as were nearly all the Italian
+composers of that period. Under Ghiretti, Paganini
+went through a systematic course of study in counterpoint
+and composition, devoting himself to the instrumental
+style. He must, about the same time, have received
+violin lessons from Rolla, though he afterwards refused
+to acknowledge that he had been his pupil. Fétis tells
+of discussions between Rolla and Paganini concerning
+the innovations the latter was attempting, for he was
+always striving after new effects. As he could but
+imperfectly execute what he aimed at, these eccentric
+flights did not commend themselves to Rolla, whose
+taste and style were of a more severe order. Of Paganini's
+work in composition little appears to be known.
+Anders states that Paer when in Parma devoted several
+hours daily to Paganini; and at the end of the fourth
+month entrusted him with a composition of a <i>duo</i>, in which<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span>
+Nicolo succeeded to the complete satisfaction of his
+master. Paganini may also at that time have sketched,
+if he did not complete, the Studies, or Caprices,
+Op. 1.</p>
+
+<p>In 1797 the father took the boy from Parma, and set out
+with him on a tour through Lombardy. Concerts were
+given in Milan, Bologna, Florence, Pisa, and Leghorn.</p>
+
+<p>The young artist achieved an extraordinary reputation;
+the father took possession of the more material rewards of
+art. The "golden dreams" were in process of realisation!
+Returning to Genoa, young Paganini finished the
+composition of his Twenty-four Studies, which were
+of such excessive difficulty that he could not play them.
+He would try a single passage over in a hundred ways,
+working for ten or eleven hours at a stretch, and then
+would come the inevitable collapse. He was still under
+the stern domination of his father, and his spirit must
+have chafed under the bondage. His own ardour was
+sufficient to carry his labours to the verge of exhaustion,
+and he needed no spur as an incentive to exertion. In
+all directions save that of music his education was utterly
+neglected. The moral side of his nature was allowed
+to grow wild. There was the restraining influence of a
+mother's love, but there was little else. It might indeed
+be said that, musically, Paganini was self-educated; but
+that one of the world's great geniuses should lack the
+intellectual and moral training that go to make the complete
+man was sad in the extreme. Paganini's was a
+nature warped; on the one side phenomenal power,
+on the other bodily suffering, intellectual and spiritual<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span>
+atrophy. But more of this when we turn from his career
+to the man himself.</p>
+
+<p>As the youth grew older the spirit of revolt arose. He
+must and would escape from the tyranny of his avaricious
+father. But how? A way soon offered itself. At
+Lucca, the festival of St. Martin, held each November,
+was an event of such importance, musically, that it drew
+visitors from all parts of Italy. As the November of
+1798 drew near, young Paganini besought his father's
+permission to attend the festival, but his request was met
+by a point-blank refusal. The importunities of the youth,
+aided by the prayers of the mother, at length prevailed,
+and in care of the elder brother afterwards Dr. Paganini
+(?)&mdash;Nicolo was allowed to leave home.</p>
+
+<p>Free at last, the youth, now in his seventeenth year,
+went on his way, his whole being thrilled with dreams
+of success and happiness. At Lucca he was most
+enthusiastically received, and, elated by his good fortune,
+Paganini extended his tour, playing in Pisa and other
+towns. Enabled now to earn his own living, Paganini
+determined never to return to the home where he had
+suffered so much. His father must have obtained
+information as to the youth's whereabouts, for it has been
+stated that he managed to obtain a large part of the
+young artist's earnings. The money was freely yielded
+to a certain extent, and the residue was obtained by
+threats. But no threat or entreaty could induce Nicolo
+to return to his paternal home. The bird had escaped,
+and liberty was sweet. But young Paganini was scarcely
+fitted for an independent, uncontrolled career. He had no<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span>
+moral ballast, and much would depend upon what kind of
+company he kept.</p>
+
+<p>One has to bear in mind that at the period now under
+notice&mdash;1798&mdash;Europe was in a very unsettled state.
+The very pillars of society were shaken, and there were
+many dangers in the path of the young and inexperienced.
+But that is a very trite observation, for it applies to all
+times and places. However, Paganini seems to have
+become acquainted with what Fétis terms "artists of
+another kind," who encouraged "play" of a more exciting,
+if less exalted order, than the young musician had
+hitherto devoted himself to. With his ardent southern
+temperament Paganini threw himself with the greatest
+zest into the vortex of gambling, and frequently lost at a
+sitting the earnings of several concerts and was reduced
+to the greatest embarrassment. Soon his talent provided
+fresh resources, and his days ran on in alternations of
+good and evil fortune. Tall, slight, delicate and handsome,<a name="Anchor-3" id="Anchor-3"></a><a href="#Footnote-3" class="Anchor" title="Go to footnote 3.">[3]</a>
+Paganini, despite his frail constitution, was an
+object of attraction to the fair sex. Incidents in his
+early manhood probably formed the foundation for some
+of the stories told of him later. As Fétis puts it; the
+enthusiasm for art, love and "play," reigned by turns in
+his soul. He ought to have been careful of himself, but
+he went to excess in everything. Then came a period of
+enforced repose, of absolute exhaustion, lasting sometimes
+for weeks. This would be followed by a display<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
+of extraordinary energy, when his marvellous talent took
+its highest flights, and he plunged once more into the
+wildest bohemianism. Such a course of life was enough
+to wreck the artist, and no friend seemed to be at hand
+to save him from himself. Frequently he had to part
+with his violin in order to raise money to pay his debts
+of honour, and it was upon one such occasion that he
+met with the greatest good fortune he had yet experienced,
+and acquired a violin which became the instrument of
+his conversion from the fatal passion for gambling.</p>
+
+
+<div class="figcenter" style="width: 398px;">
+<a name="Illustration_Plate_III" id="Illustration_Plate_III"></a>
+<a href="images/plate_003.jpg">
+<img src="images/plate_003s.jpg" width="398" height="600" alt="" title="" />
+</a>
+<span class="caption"><i><a href="#Plate_3">Plate III.&mdash;See Appendix.</a></i><br />
+<span class="smcap">Paganini's Violin in the Municipal Museum at Genoa.</span></span>
+</div>
+
+<p>Arriving at Leghorn, where he was to give a concert,
+Paganini yielded to his weakness for the other kind of
+play and lost his money and his violin. He was in a
+dilemma indeed, but was fortunate in meeting with an
+enthusiastic musical amateur, M. Livron, a French
+merchant, the owner of a superb Guarnerius violin.
+This instrument M. Livron lent to the young artist, and
+attended the concert. When Paganini went to return
+the violin to its owner, M. Livron at once exclaimed, "I
+shall take care never to profane the strings your fingers
+have touched. It is to you now that my violin belongs."
+A noble benefactor, that M. Livron. The Guarnerius
+became Paganini's inseparable companion; he played
+upon it throughout all his tours, and its subsequent
+history will be duly related.</p>
+
+<p>Paganini acquired another instrument on the same
+easy terms, but attended by different circumstances.
+Signor Pasini, of Parma, a painter of some distinction,
+and an amateur violinist, had heard of Paganini's wonderful
+powers as a reader of music at sight, but refused to<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>
+credit the statements. Pasini one day placed before
+Paganini a manuscript concerto, in which difficulties of
+all kinds were brought together, and putting into the
+artist's hands a splendid Stradivari violin, said: "This
+instrument is yours if you can play that at sight, like a
+master, without studying its difficulties in advance." "If
+that is so," replied Paganini, "You may bid farewell to
+it at once." His terrific<a name="Anchor-4" id="Anchor-4"></a><a href="#Footnote-4" class="Anchor" title="Go to footnote 4.">[4]</a> execution made the music
+seem as if it played itself as his eye fell upon it. Pasini
+was petrified with astonishment.</p>
+
+<p>The abandonment of the vice of gambling came about
+in this way, his own words being quoted. "I shall never
+forget," said he, "one day placing myself in a position
+which was to decide my whole career. The Prince
+De * * * * * had long desired to possess my excellent
+violin (the Guarnerius), the only one I then had, and
+which I still possess. One day he desired me to fix a
+price; but, unwilling to part from my instrument, I
+declared I would not sell it for less than 250 gold
+Napoleons. A short time after, the Prince remarked
+that I was probably indulging in banter in asking so
+high a price, and added that he was disposed to give
+2,000 francs for it. Precisely that very day I found
+myself in great want of money, in consequence of a
+heavy loss at play, and I almost resolved to yield my
+violin for the sum he had offered, when a friend came in
+to invite me to a party that evening. My capital then
+consisted of thirty francs, and I had already deprived<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>
+myself of my jewels, watch, rings, pins, etc. I instantly
+formed the resolve to risk this last resource, and if fortune
+went against me, to sell the violin and to set out for St.
+Petersburg, without instrument and without funds, with
+the object of retrieving my position. Soon my thirty
+francs were reduced to three, and I saw myself on the
+road to the great city, when fortune, changing in the
+twinkling of an eye, gained me one hundred francs with
+the little that yet remained. That moment saved my
+violin and set me up again. From that day I withdrew
+from play, to which I had sacrificed a portion of my
+youth: and convinced that a gambler is universally
+despised, I renounced for ever that fatal passion."</p>
+
+<p>It would be interesting to know when these things
+occurred, but dates are wanting; it is sufficient to find the
+artist triumphant in one great crisis in his life. Gambling,
+to which, however, he was not a party, was destined
+to trouble the last years of his life, as will be seen
+further on.</p>
+
+<p>Paganini's career, gambling apart, was by no means of
+a conventional character. His irregular habits, fits of
+extraordinary energy followed by langour and depression,
+led to frequent disappearances from public view. One
+such disappearance lasted for about four years, and only
+the romantic aspect of it has been described; the prime
+cause may have been overlooked. Here is one view of
+the matter. Enter Napoleon; exit Paganini. In 1800
+Napoleon crossed the Alps; in 1804, he proclaimed himself
+Emperor. He parcelled out Europe, providing for
+his brothers and sisters, creating sovereigns at his own<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span>
+sweet will. Italy, invaded by a foreign foe, shaken with
+wars, "alarums and excursions," was not a happy hunting
+ground for a travelling virtuoso. Paganini vanished from
+view. In absolute retirement he lived for over three years
+at the chateau of a Tuscan lady of rank, who was a performer
+upon the guitar. Paganini threw himself with
+ardour into the study of that instrument, and became as
+great a virtuoso upon it as upon the violin. He composed
+a number of pieces for guitar and violin. According to
+Fétis, Paganini also devoted himself to the study of agriculture.</p>
+
+<p>But eventually he tired of a life of indolence and dalliance,
+and in 1804&mdash;the country settled now under French
+government&mdash;Paganini returned to Genoa, but whether
+to the paternal roof is not clear. He was doubtless invigorated
+by his long rest, and now resumed his arduous
+course of study. It has been remarked that it was only
+after Paganini had attained an almost perfect mastery
+over his instrument that he began to investigate the
+methods of other virtuosi<a name="Anchor-5" id="Anchor-5"></a><a href="#Footnote-5" class="Anchor" title="Go to footnote 5.">[5]</a>; even so, he had formed his own
+style of composition before studying the works of others.
+Now, he busied himself with the studies of Locatelli,
+whose extravagances almost equalled his own. It is said
+that he even gave lessons while in Genoa, and mention is
+made of one pupil, Catarina Calcagno, who had a brilliant,
+but brief career.</p>
+
+<p>In 1805, Paganini resumed his artistic tours, and arriving
+at Lucca, played a concerto at an evening festival in
+a convent church. So great was the enthusiasm of the<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>
+audience (or congregation), that the monks had to leave
+their stalls to put a stop to the applause. At that time,
+Maria Anna (Elise), sister of Napoleon, was Princess of
+Lucca, and the Tuscan court was held in that Capital.
+The fame of Paganini could not fail to have reached the
+ears of the Princess, and it was but natural that the first
+<i>virtuoso</i> of Italy should receive an official appointment.
+So it happened that in the year 1805 he was offered, and
+accepted, the post of leader of the Court orchestra, and
+solo violinist. He also gave violin lessons to Prince
+Bacciochi, the husband of Maria Anna. It was during
+this period that Paganini began his experiments of employing
+less than the four strings of his violin. He gave
+an account of the origin of the practice to a friend at
+Prague many years later.<a name="Anchor-6" id="Anchor-6"></a><a href="#Footnote-6" class="Anchor" title="Go to footnote 6.">[6]</a> "It fell to my lot," he said,
+"to direct the opera whenever the reigning family visited
+it, as well as to perform at Court three times a week, and
+to get up a public concert for the higher circles every
+fortnight. Whenever these were visited by the Princess,
+she never remained to the close, because the flageolet
+tones of my violin were too much for her nerves. On the
+other hand there was another fascinating creature ... who,
+I flattered myself, felt a penchant for me, and was
+never absent from my performances; on my own side, I
+had long been her admirer (Paganini was now twenty-three
+years of age, susceptible, and possibly himself fascinating.)
+Our mutual fondness became gradually stronger
+and stronger; but we were forced to conceal it, and by
+this means its strength and fervour were sensibly enhanced.<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
+One day I promised to surprise her at the next concert,
+with a musical joke, which should convey an allusion to
+our attachment; and I accordingly gave notice at Court
+that I should bring forward a musical novelty, under the
+title of 'A Love Scene.' The whole world was on tiptoe
+at the tidings; and on the evening appointed, I made my
+appearance, violin in hand; I had previously robbed it of
+the two middle strings, so that none but E and G remained.
+The first string being designed to play the maiden's part,
+and the second (fourth) the youth's, I began with a species
+of dialogue, in which I attempted to introduce movements
+analogous to transient bickerings and reconciliations
+between the lovers. Now my strings growled, and then
+sighed; and anon they lisped, hesitated, joked and joyed,
+till at last they sported with merry jubilee. In the course
+of time, both souls joined once more in harmony, and the
+appeased lovers' quarrel led to a <i>pas de deux</i>, which terminated
+in a brilliant <i>coda</i>. This musical fantasia of mine
+was greeted with loud applause. The lady, to whom every
+scene referred, rewarded me by looks full of delight and
+sweetness, and the Princess was charmed into such amiable
+condescension, that she loaded me with encomiums&mdash;asking
+me, whether, since I could produce so much with
+<i>two</i> strings, it would not be possible for me to gratify them
+by playing on <i>one</i>. I yielded instant assent&mdash;the idea
+tickled my fancy&mdash;and, as the Emperor's birthday occurred
+some weeks afterwards (August 15th,) I composed a sonata
+for the G string, which I entitled 'Napoleon,' and played
+before the Court to so much effect, that a cantata, by
+Cimarosa, given the same evening, fell through without<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>
+producing any impression on its hearers.<a name="Anchor-7" id="Anchor-7"></a><a href="#Footnote-7" class="Anchor" title="Go to footnote 7.">[7]</a> This is the
+genuine and original cause of my prejudice in favour for
+the G string. People were afterwards importunate to
+hear more of this performance, and in this way I became
+day by day a greater adept at it, and acquired constantly
+increasing confidence in this peculiar mystery of handling
+the bow." More of the "Napoleon Sonata" later.</p>
+
+<div class="figcenter" style="width: 368px;">
+<a name="Illustration_Plate_4" id="Illustration_Plate_4"></a><a href="images/plate_004.jpg">
+<img src="images/plate_004s.jpg" width="368" height="600"
+alt="Plate IV.&mdash;See Appendix. Caricature of Paganini published 1831." title="" />
+</a>
+<span class="caption"><i><a href="#Plate_4">Plate IV.&mdash;See Appendix.</a></i><br />
+<span class="smcap">Caricature published 1831.</span></span>
+</div>
+
+<p>When the Princess became Grand Duchess of Tuscany,
+the Court removed to Florence, and Paganini, as a matter
+of course, was in the retinue. His official career, however,
+came to an abrupt termination in the early part of
+1813. When appointed Court Musical Director, Paganini
+was accorded the rank of Captain in the Royal Guard,
+and, as such, was permitted to wear a brilliant uniform.
+Appearing in this garb at a State function at Florence,
+in 1813, the artist was "commanded" to change it for the
+ordinary dress suit. This request Paganini construed as
+an insult, and refused compliance; whereupon there was
+a sudden rupture, and instant resignation of office.
+Paganini, at different times, obtained leave of absence,
+and undertook various professional tours; and as he met
+with some strange experiences, we will follow him in his
+wanderings.</p>
+<hr class="chap" />
+<p><span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h2>
+
+
+<p>In 1808 occurred the first of these excursions. Paganini
+went to Leghorn, the scene of his early triumphs.
+He had not been there for seven years, but his first
+concert, this visit, was attended with some unpleasant mishaps.
+He had run a nail into his heel, and came limping
+on the stage, whereupon the audience set up a titter&mdash;an
+incident quite enough to upset a sensitive artist. Then,
+just as he was commencing his concerto, the candles fell
+from his music-stand, and the laughter was unrestrained;
+after a few bars of his solo, the first string of his violin
+snapped, and the merriment became uproarious; but he
+finished the performance upon the three strings, and the
+artist soon converted the audience to a demonstration of
+a more grateful character. Thus his "one string" experience
+served him in good stead.</p>
+
+<p>At Ferrara something worse befell. For his concert
+there, Paganini had engaged a vocalist, Signora Marietta
+Marcolini; but at the last moment, the lady, either from
+indisposition or caprice, refused to sing. Paganini went
+to his hostel boiling with rage, but was somewhat mollified
+on being told there was a lady occupying an apartment
+in the same house, who might perhaps take the place of<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>
+the recalcitrant singer. This was Signora Pallerini, the
+principal dancer at the theatre, who had a very agreeable
+voice, but who made no pretension to being a singer,
+although she was not without training and talent. Paganini
+lost no time in seeking the young dancer, and by dint
+of perseverance obtained her consent to his wish.</p>
+
+<p>But when the Signora came on to sing she was seized
+with stage-fright. Her voice failed her, and her song
+produced no effect. Paganini offered his arm to conduct
+her behind the scenes, but just before they reached the
+wing, a shrill whistle was heard&mdash;equivalent to a hiss in
+England. This was too much; the poor <i>débutante</i> lost
+consciousness, and fell into the arms of her friend. Pale
+with rage, Paganini promised himself a signal vengeance.
+The concert was drawing to a close when the angry artist
+whispered to Signora Pallerini, "Come! Listen!" He
+rushed on the stage, and announcing to the audience that
+he would conclude the concert with a musical jest, proceeded
+to imitate the cries of various animals, the chirping
+of birds, the howling of dogs, and the crowing of cocks;
+then, with a stolen glance towards the wing, as if to make
+known the carrying out of his revenge, he advanced to
+the footlights, rested his bow on the "chanterelle," close
+to the bridge, and with a single stroke brought it violently
+on the "G," producing distinctly the sound of the donkey's
+hee-haw! "This is for the man who whistled," he exclaimed,
+with an air of triumph, and for the second time gave his
+imitation&mdash;with added energy. Then he awaited the shouts
+of laughter that should assail the poor whistler, but something
+quite different happened. The pit rose to a man,<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span>
+and howling, whistling, and stamping, the audience proceeded
+to storm the stage; and only precipitate flight by
+means of a private door, saved the unlucky artist's life.</p>
+
+<p>The explanation came to Paganini later. The inhabitants
+of the villages around Ferrara had from time immemorial
+a strong prejudice against their Capital. The citizens
+they alleged were stupid in their nature, and deserved
+the sobriquet "hee-haw." If a countryman, returning
+from Ferrara, were asked where he came from, he replied
+by throwing back his head and braying like an ass! Paganini
+had no knowledge of local history; he was not a reader,
+he never even glanced at the papers, except when they
+contained something concerning himself. His revenge
+caused quite a tumult, in what way can be well perceived:
+and the magistrate, to restore quiet, advised Paganini
+not to give his second concert in the town, so that the
+offenders were really punished all round.</p>
+
+<p>It is not necessary to enter into details concerning all
+Paganini's tours. It appears to have been in 1810 that
+he wrote the "Napoleon Sonata," and he performed it in
+public at a concert given by him at Parma, August 18th,
+1811. His fame was spreading beyond his own country,
+and Schilling states that from 1812 the German musical
+journals bestowed much attention upon him. He was at
+Milan in 1813, and his success there was greater than
+ever. For that city he appeared to have a predilection,
+for he was there, with the exception of a short stay at
+Genoa, until the autumn of 1814. At that time he was
+by no means a recluse. He visited the theatre, La Scala,
+and witnessed a performance of Vigano's ballet, "<span lang="it">Il Noce
+di Benevento</span>," to which Süssmayer wrote the music; and<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span>
+from a certain scene he took the theme of his variations
+known as "<span lang="it">Le Streghe</span>." At a theatre he was inspired
+to write one of his finest movements. He went to hear
+Demarini, Italy's greatest tragedian, and was so affected
+by one scene that he could not sleep, and his emotion
+ultimately found expression in music. This will be dealt
+with when noticing his compositions.</p>
+
+<p>In October, 1814, Paganini went to Bologna, and there
+met Rossini for the first time. Rossini, nine years the
+junior of Paganini, had already produced a dozen operas&mdash;two
+in Milan that year. By Court favour Rossini had
+just escaped the conscription, and had hastened away to
+Bologna. The meeting of these artists was of importance
+to both. Meyerbeer went to Italy in 1815, and was there
+for some years, producing several operas. Laphaléque
+tells a story to this effect: Meyerbeer was on the eve of
+leaving Florence to proceed to Naples to bring out one of
+his works. He did not yet know that place, and it offered
+a double attraction; he wanted to enjoy the beautiful blue
+sky as well as his artistic triumph. But he went to hear
+Paganini, and dreamt no more of Naples, nor of his opera.
+Paganini travelled all through Tuscany, and Meyerbeer
+followed; and not until he had heard Paganini eighteen
+times could he tear himself away from him.</p>
+
+<p>Within the period of five years, Paganini returned to
+Milan five times, making a long stay on each occasion,
+and giving a great number of concerts. He played at
+Verona, Padua&mdash;where the "prison" stories seem to have
+originated&mdash;returned to Milan early in 1816, when he met<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span>
+the French violinist, Charles Lafont, with whom he played
+and of whom more will be said. Then to Venice, Trieste,
+and back to Venice in time to hear Spohr (October 18th),
+on whom he called both before and after the concert.
+Spohr greatly desired to hear Paganini play, but the
+latter excused himself.</p>
+
+<p>Paganini must ere this have received invitations to
+visit other countries, for Spohr in his diary remarks, when
+referring to Paganini's first visit, that he had apparently
+abandoned his project of going to Vienna. In 1817, Paganini
+visited Piacenza, where he met the Polish violinist,
+Karl Joseph von Lipinski, who had gone to Italy expressly
+to hear Paganini. The Italian treated his Polish brother
+artist generously, and played with him at two concerts.
+Paganini was also again at Milan that year and paid a
+visit to his mother at Genoa. According to Anders, his
+father died in 1817. At the close of the same year Paganini
+was in Rome, where Rossini's opera "<span lang="it">La Cenerentola</span>"
+was produced at the opening of the Carnival season,
+December 26th. It is related that Meyerbeer was also
+in Rome at this time, and that Rossini's "Carnovale"
+was sung in the streets by the composer, Meyerbeer, and
+Paganini, who disguised themselves for the frolic. Paganini
+in the Palace of Prince von Kaunitz, the Austrian
+Ambassador, was introduced to Prince Metternich, who,
+charmed with his talent, pressed him to visit Vienna.
+But the violinist's health was in a precarious state. He
+suffered from an intestinal disorder, aggravated by his
+addiction to some quack remedy. He gave concerts in
+Rome, of which Schilling, who gives the date, however,<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span>
+as 1827, gives a very curious account. The first concert,
+though held in a Palace&mdash;such buildings being met with at
+every step&mdash;was in a room like a hay-loft. The orchestra
+consisted of some half-dozen shabbily dressed players, the
+singers were mechanics, members of the chorus of the
+Teatro Argentina, and the audience scarcely numbered
+fifty. Rome, professedly the first musical city of Italy,
+and of Europe, was ignorant of Paganini, the greatest
+violin virtuoso of Italy and the world. But his extraordinary
+genius kindled coldness into enthusiasm. At his
+second concert the attendance increased tenfold; at the
+third the success was even greater.</p>
+
+<p>In 1818, and the following year, he gave concerts at
+Verona, Turin, Florence, and other towns. At Verona,
+the conductor of the theatre orchestra, one Valdabrini,
+persuaded himself that Paganini was little else than a
+charlatan, one who might play the pieces of his own
+repertory very well, but who could not execute a work
+such as a concerto of his, Valdabrini's, composition.
+Paganini was informed of this estimate of his abilities,
+and hastened to assure Valdabrini that he would be happy
+to reproduce the inspirations of the <i><span lang="fr">chef d'orchestre</span></i> of
+Verona; and as this trial would be a powerful attraction,
+he would reserve it for his last concert. The day of
+rehearsal arrived, and Paganini was in his place. Instead
+of the music of the concerto, however, the artist improvised
+all kinds of fanciful passages, insomuch that the
+astonished orchestral players, lost in admiration, forgot
+to go on with their own work. The disappointed Valdabrini
+exclaimed: "My friend, this is not my concerto<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span>
+you are playing, I can recognise nothing of what I have
+written." "Don't distress yourself," replied Paganini,
+"at the concert you will recognise your work well enough,
+only now I claim a little indulgence."</p>
+
+<p>The concert night arrived, and Paganini commenced
+with pieces of his own choice, reserving the concerto for
+the end. All were attention for the great event. Paganini
+came on at last, holding in his hand a Malacca walking
+cane. Everyone asked himself: What will he do
+with that? Suddenly he seized his violin, and, employing
+the cane as a bow, played the concerto (thought by
+the composer to be practicable only after long study)
+from beginning to end, not only rendering the most difficult
+passages, but introducing charming variations, never
+failing for an instant to display the purity, grace and
+verve that characterised his art.<a name="Anchor-8" id="Anchor-8"></a><a href="#Footnote-8" class="Anchor" title="Go to footnote 8.">[8]</a> This pleasantry was
+not to the taste of Valdabrini, we may be sure; but it
+was a rebuke to his presumption. Such amenities are
+scarcely possible now-a-days.</p>
+
+<p>Paganini visited Naples in 1819 for the first time.
+When he arrived he found the local musicians badly
+disposed towards him, and he had something like a repetition
+of his experience at Verona, only he used the cane no
+more! These musicians affected to doubt the reality of
+the marvels fame attributed to Paganini, and proposed
+to amuse themselves at his expense. They engaged a
+young composer, Danna (Dana?)<a name="Anchor-9" id="Anchor-9"></a><a href="#Footnote-9" class="Anchor" title="Go to footnote 9.">[9]</a> fresh from the Conservatorio,
+to write a string quartet, filled with difficulties<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>
+of every kind&mdash;for the first violin&mdash;persuading themselves
+that the great violinist could not overcome them. When
+all was ready&mdash;no doubt the other parts had been well
+practised&mdash;Paganini was invited to a musical réunion,
+where he found the violinists Onorio de Vito, Giuseppe
+Mario Festa, the violoncellist Ciandelli, and the composer
+Danna. Hardly had he arrived, when they placed
+the music before him, and invited him to play it at sight.
+Perceiving that they had set a trap for him, Paganini
+cast a hurried glance at the music, and played it off as
+though it had long been familiar to him. Confounded
+by what they heard, his assistants were prodigal in their
+admiration, and declared him incomparable.</p>
+
+<p>Paganini's health now gave way to an alarming degree,
+and his landlord, fearing the malady was consumption&mdash;infectious,
+according to current opinion&mdash;proceeded to turn
+the violinist and his belongings into the street. Medical
+science has confirmed the views of the Neapolitans in
+respect to the contagious character of consumption, and the
+open-air treatment is now considered the proper method
+to adopt; but the landlord's rough and ready application
+of the remedy was highly objectionable, and so thought
+Ciandelli, who chanced to be passing at the time. He
+gave the landlord a severe thrashing, and conveyed Paganini
+to more comfortable lodgings, where he was carefully
+tended. Paganini repaid this act of kindness, as will be
+seen. These little scenes throw curious side-lights on life
+in Naples at that period.</p>
+
+<p>In 1820, Paganini returned to Milan, where he founded
+an Amateur Society, <i><span lang="it">Gli Orfei</span></i>, and conducted its concerts<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span>
+for a time; but the roving habits he had acquired rendered
+a settled life irksome, and he was soon again on the move.
+The winter found him once more in Rome, where he
+must have stayed on and off for another year; for he was
+there in December, 1821, when Rossini was about to
+produce his opera, "<span lang="it">Matilda di Sabran</span>," at the opening
+of the Carnival season. On the day of the last rehearsal
+the conductor fell ill, and Rossini was in despair to replace
+him. Paganini, hearing of his friend's dilemma, offered
+to conduct the rehearsal and the first performance&mdash;his
+operatic experience at Lucca must not be forgotten&mdash;an
+offer Rossini gratefully accepted. Without a moment's
+preparation, Paganini set to work to communicate to an
+unskilled orchestra&mdash;it was at the <i>Teatro d'Apollone</i>&mdash;the
+composer's intentions and the manner in which they
+should be interpreted. Having no time for verbal explanation,
+he did everything by example, playing the first violin
+part an octave higher than it was written, and making
+himself heard above the strongest <i>fortissimo</i>. At a glance
+he penetrated the meaning of every movement, and he so
+worked upon the executants that they obeyed him as if
+by enchantment. This single rehearsal sufficed to bring
+about an irreproachable performance, the orchestra
+undergoing a veritable metamorphosis, to the astonishment
+of everyone, Rossini included. So far Laphaléque.
+Sutherland Edwards<a name="Anchor-10" id="Anchor-10"></a><a href="#Footnote-10" class="Anchor" title="Go to footnote 10.">[10]</a> says Paganini conducted the first
+three performances, adding, "Never, it is said, did the
+band of the 'Apollo' play with so much spirit before."</p>
+
+<p>For the next two years Paganini was constantly travelling,<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span>
+and in the year 1823 we have the first glimpse of
+him through the medium of an English musical journal.<a name="Anchor-11" id="Anchor-11"></a><a href="#Footnote-11" class="Anchor" title="Go to footnote 11.">[11]</a>
+This first reference is quite incidental. Giuseppe Rastrelli
+was playing in Naples in 1822 (or 1823), and was
+well received, "although his predecessor, the celebrated
+Paganini," was still fresh in the public remembrance.
+This assumes that Paganini was well known to English
+readers. He had indeed been mentioned in books published
+before this date. On his way to Pavia in 1823,
+Paganini was attacked with illness, and his life was
+despaired of. At that time he had again intended going
+to Austria, but a long rest was needed to restore his
+health. This repose he enjoyed at Genoa, and recovered
+sufficiently to give two concerts in the <i>Teatro da Sant'Agostino</i>,
+in 1824. The second concert introduced two
+youthful claimants to public favour. The first was a
+Signora Bianchi, under twenty years of age, who was
+characterised in the bills as the little <i><span lang="it">virtuosa forestiera</span></i>,
+and who sang three airs; the other was a Signora Barette,
+who played a <i>Pezzo Cantabile</i> and a <i>Sonatina</i> upon the
+violoncello. They both experienced a flattering reception.<a name="Anchor-12" id="Anchor-12"></a><a href="#Footnote-12" class="Anchor" title="Go to footnote 12.">[12]</a>
+The young violoncellist was not more than fourteen
+years old, and there is no reason to suppose that she
+was the first of her sex to appear in public as a violoncellist.<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
+The other "little guest" or stranger was to play
+an important part in Paganini's history.</p>
+
+
+<p>This concert afforded another proof of Paganini's
+power of attraction. A certain M. Bergman, a (Swedish?)
+traveller and passionate lover of music, reading accidentally
+the evening before in the journal at Leghorn, an
+announcement of Paganini's concert, lost no time, but
+instantly set out for Genoa, a distance of a hundred
+miles, and luckily reached the spot just half an hour
+before the concert began. He went with his expectations
+raised to the utmost, but, to use his own expression,
+the reality was as far above his anticipations as the
+heavens are above the earth. Nor could this enthusiastic
+amateur rest content with once hearing Paganini,
+but actually followed him to Milan, in order to hear him
+exercise his talents a second time. Now-a-days the
+enthusiasts are young ladies, who mob their favourites
+in the artists' room!</p>
+
+<p>In 1824 Paganini gave two concerts in <i>La Scala</i>, Milan,
+which was crowded to excess. At the first he played a
+concerto, and three airs with variations&mdash;all on the fourth
+string, so said the report. A surfeit, this, even for his
+fervent admirers. In the same year at Pavia, he gave
+two concerts, the bills being headed:</p>
+
+<blockquote>
+<p>PAGANINI</p>
+<p><i lang="it">Farŕ sentire il suo Violino.</i></p>
+</blockquote>
+
+<p>(Paganini will cause his violin to be heard.) He was
+received with no less enthusiasm than at Milan. Paganini
+then returned to Genoa, but soon left for Venice.<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span>
+There he formed an union with Antonia Bianchi, the
+young singer he introduced at Genoa, who became his
+companion, sang at his concerts, and shared his triumphs.</p>
+
+<p>In 1825, Paganini was again at Naples, where he gave
+a concert, causing his name to be announced in the bills
+as&mdash;</p>
+
+<blockquote>
+<p><i lang="it">Filarmonico</i>,</p>
+</blockquote>
+
+<p>a term which gave rise to much discussion, some considering
+it as indicating modesty, others just the reverse;
+but at all events it savoured of affectation. In the
+summer of 1825, Paganini went to Palermo, where he
+also gave a concert. The delicious climate of Sicily had
+a great charm for him, and he remained there for nearly
+a year, giving concerts at different places, but enjoying
+prolonged intervals of repose. His health strengthened,
+Paganini again entertained the idea of leaving Italy, but
+determined upon one more tour before carrying out his
+intention. In 1826, he visited Trieste, Venice, and
+finally Rome, where he gave five concerts. In April,
+1827, Pope Leo XII. invested Paganini with the order
+of the Golden Spur, a distinction so rare that it afforded
+a topic for conversation for some time. From Rome
+Paganini went to Florence, and as "Il Cavaliere Paganini"
+gave a concert at the <i>Teatro Pergola</i>, which was
+attended by all the rank and fashion of the place. He
+was detained for some time at Florence owing to a
+disease breaking out in one of his legs. As soon as he
+was able to travel he set out for Milan, where he was
+received with every demonstration of affection. He
+gave four musical soirées at the close of 1827, and in<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>
+the early part of 1828, two concerts in <i>La Scala</i>, when he
+appears to have played for the first time the concerto
+with the "Rondo ad un Campanello;" the piece created
+a great effect. Paganini had now traversed the whole of
+Italy at least three times, giving hundreds of concerts,
+building up an ever growing reputation and exciting
+universal admiration, despite those detractors whose
+machinations have been exposed. At last, on the 2nd
+of March, 1828, Paganini started on his long projected
+visit to Vienna.</p><hr class="chap" /><p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h2>
+
+
+<p>Paganini arrived at Vienna, March 16th, 1828,
+and gave his first concert in the Redouten-Saal<a name="Anchor-13" id="Anchor-13"></a><a href="#Footnote-13" class="Anchor" title="Go to footnote 13.">[13]</a>
+on the 29th of the same month, creating a <i>furore</i> the
+like of which had never been witnessed. It must be
+borne in mind that Paganini was now no romantic-looking
+youth to move the feelings of sentimental or hysterical
+young ladies. He was in his forty-sixth year, and his
+face bore the marks of suffering; he wore his long hair in
+ringlets falling over his shoulders, but physically he was a
+wreck. Yet no youthful artist of to-day has made a more
+sensational <i>début</i> than that of Paganini in the Austrian
+Capital in 1828. To repeat the oft-quoted account given
+by Schilling: "At the first stroke of the bow on his
+Guarnerius, one might almost say at the first step he took
+into the hall, his reputation was decided in Germany.
+Kindled as by an electric flash, he suddenly shone and
+sparkled like a miraculous apparition in the domain of
+art."</p>
+
+<p>Another account, if less familiar, is equally interesting.
+In a letter from Vienna, addressed to the <i>Literary Gazette</i>,
+the writer says:&mdash;"The great novelty and prodigy of the<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>
+day is one M. Paganini, an Italian performer on the
+violin.</p>
+
+<p>"This is the first time he has left Italy; but I heard
+him previously, about five years ago, at Milan, in competition
+with M. Lafont, whom he beat fairly.<a name="Anchor-14" id="Anchor-14"></a><a href="#Footnote-14" class="Anchor" title="Go to footnote 14.">[14]</a> He is, without
+contradiction, not only the finest player on the violin, but
+no other performer, upon what instrument soever, can be
+styled his equal: Kalkbrenner, Rode, Romberg, Moscheles,
+Jew and Gentile, are his inferiors by at least some
+thousand degrees; they are not fit, as we say in Germany,
+to <i>reach him water</i>. He is Mathews of the violin, performs
+a whole concert on a single string, where you are sure to
+hear, besides his own instrument, a harp, a guitar, and a
+flute. In one word, he is a necromancer, and bids fair to
+beat <i>la Giraffe</i>. We have here hats, shawls, gloves and
+nonsense of every description, <i>ŕ la Giraffe</i>; but yesterday
+I actually ate <i>Auflaufy</i>&mdash;a very innocent, rather insipid
+sweetmeat&mdash;<i>ŕ la Paganini</i>.... He has already performed
+twice to crowded houses in our great masquerade-hall.
+The beginning of the concert was, as usual,
+advertised for half-past eleven [in the morning]: at eleven
+o'clock not a pin dropping from the roof would have
+reached the ground; people were already there at nine
+o'clock. He came hither with six florins in his pocket;
+now you may style him a warm man. From Vienna he
+intends to proceed to Paris, and thence to London."<a name="Anchor-15" id="Anchor-15"></a><a href="#Footnote-15" class="Anchor" title="Go to footnote 15.">[15]</a></p>
+
+<p>Here a brief digression is pardonable. The Pasha of<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>
+Egypt, a short time before Paganini's visit, had presented
+to the Emperor of Austria a Giraffe, an animal then new
+to Europe. That interesting quadruped, a superb specimen
+of its kind, created such a sensation, and so completely
+absorbed public attention, that as seen in the
+letter just quoted, everything was <i>ŕ la Giraffe</i>.<a name="Anchor-16" id="Anchor-16"></a><a href="#Footnote-16" class="Anchor" title="Go to footnote 16.">[16]</a> Paganini's
+phenomenal success gained him a popularity that
+quite eclipsed the poor Giraffe, and now the mode was <i>ŕ la
+Paganini</i>. All kinds of articles were named after him;
+a good stroke at billiards was a <i>coup ŕ la Paganini</i>; his
+bust in butter and crystallised sugar figured on every
+banquet table; and portraits, more or less faithful, adorned
+snuff-boxes, cigar-boxes, or were carved on the canes
+carried by the fops. Paganini himself went into a shop
+one day to buy gloves. "<i>A la Giraffe?</i>" asked the
+salesman. "No, no, some other animal," said the
+<i>maestro</i>, whereupon he was handed a pair <i>ŕ la Paganini</i>!
+It is said that a certain driver, whom Paganini had
+once engaged, obtained permission to paint on his
+vehicle the words <i>Cabriolet de Paganini</i>, by which means
+he gained notoriety and enough money to set up as a
+hotel-keeper. Paganini was much sought after by the
+leaders of society and fashion; but Prince Metternich
+alone received the favour of a visit.</p>
+
+<p>It may be remembered that Franz Schubert gave his
+first, and as it turned out, his only concert, in the hall of
+the Musik-Verein, Vienna, on the 26th of March, three<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
+days before that of Paganini. Schubert cleared over
+Ł30&mdash;the first piece of luck that came to the poor composer.
+The money flowed freely; he paid his five Gulden
+(something over six shillings) to hear Paganini, and went
+a second time, not so much for his own sake, as to take
+his friend Bauernfeld,<a name="Anchor-17" id="Anchor-17"></a><a href="#Footnote-17" class="Anchor" title="Go to footnote 17.">[17]</a> who had not five farthings, while
+with him (Schubert) "money was as plentiful as black-berries."
+Generous, simple Schubert! Did he and Paganini
+ever meet? What a pair they would have made!</p>
+
+<p>Paganini's Vienna concerts were so successful that
+he increased the number from six to twelve. It is said
+that poor musicians actually sold their clothes to raise
+the needful in order to hear him; and that no halls were
+large enough to contain all who wished to attend his
+concerts. Paganini's last concert was given by express
+command of the Emperor of Austria, who honoured the
+occasion by his presence. Among other things, Paganini
+introduced the National hymn "God preserve the
+Emperor," which he performed with a truth and fervour
+of expression that seemed to impart a novelty even to so
+familiar a theme. He did some wonderful things on the
+G string, astonishing and delighting all present, especially
+rivetting the attention of the Emperor, who led the
+applause.</p>
+
+<p>The Court Gazette announced that His Majesty, as a
+testimony of his admiration, had sent Paganini a diploma,
+appointing him one of the Emperor's chamber musicians,
+and exempting him from the usual fees of office; this
+was accompanied by a splendid gold snuff-box set with<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span>
+brilliants. The chief magistrate of Vienna presented
+Paganini with the gold medal of San Salvador; and, to
+crown all, a medal was struck in Paganini's honour.
+This, the work of J. Lang, has on the face a portrait in
+relief of the violinist, with the inscription:&mdash;</p>
+
+<blockquote>
+<p>NICOLAO PAGANINI <span class="smcap">Vindobona</span></p>
+<p><span class="smcap">MDCCCXXVIII.</span></p>
+</blockquote>
+
+<p>and on the back the words:&mdash;</p>
+
+<blockquote><p><span class="smcap">Perituris Sonis non Peritura Gloria.</span></p></blockquote>
+
+<p>surrounding an open music book with the theme of the
+"Bell Rondo," upon which lies the famous Guarnerius
+wreathed with laurel. This was the city's parting gift
+to the great artist.</p>
+
+<p>These doings were too good to escape the notice of the
+caricaturist, and a two-act piece was produced at the
+<i>Theater an der Wien</i>, entitled "The Counterfeit Virtuoso;
+or, the Concerto on the G string," the music by Kapellmeister
+Franz Gläser. The overture was ingeniously
+made up of the principal subjects of Paganini's concertos,
+ludicrously contrasted with counter subjects of a popular
+kind. Several of the <i>quodlibets</i> were full of humour, and,
+with the <i>bon mots</i> and anecdotes, tended to make it a
+very amusing production for the moment.</p>
+
+<p>It was at Vienna that the rumour spread abroad of
+Paganini being in league with the Devil, which accounted
+for his marvellous performances. The great violinist
+was much disturbed and annoyed by these calumnies,
+and had to appeal to the press for aid in refuting them.
+It may be that his estrangement from the world, his<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span>
+love of solitude, morose temper, and the avarice which
+displayed itself, all had their origin in the hostile attitude
+assumed by a section of the public during his foreign
+tours, for when in Italy Paganini seems to have lived
+much as others did. Paganini was accompanied by his
+companion Signora Bianchi, and the son born to them,
+when he visited Vienna.</p>
+
+<p>It was in May the little party left Vienna. The concerts
+had quite prostrated Paganini, and the family went
+to Carlsbad. After resting there some time Paganini
+departed for Prague, but an abscess in the face kept him
+a prisoner for three weeks. Here is a contemporary
+account which is interesting. Paganini was obliged to
+place himself under the care of two celebrated medical
+men, Krumblholz and Nusshardt, and they were the only
+visitors he received during his lonely residence up three
+pair of stairs. After a successful operation on the jaw-bone,
+one of his physicians expressed a desire which was
+cherished in vain by the whole city&mdash;that of hearing some
+notes from the hitherto silent instrument of the great
+master; and he entreated him to try if he could rest his
+violin on his hardly healed chin. Paganini confirmed
+what has long been said, that even before friends he was
+very niggardly in the display of his talents. He took his
+instrument, played one stroke with his bow, and said,
+"<i><span lang="de">Es geht schon</span></i>" (that will do). "For eight days before
+the first concert," continues the writer, "every place was
+engaged. When I reached the theatre at four o'clock in
+the afternoon, it appeared as if the house was about to be
+stormed, so great was the throng on the outside. Many<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>
+magistrates and people of the first rank were amongst
+the crowd, and shared my anxious expectation. At last
+I found myself, I scarcely know how, in the pit, and
+there awaited for two hours and a half the opening of the
+concert." The writer then goes on to describe the violinist,
+his appearance, his smile that made everyone shudder,
+and the extraordinary performance which roused the
+audience to the wildest enthusiasm. He then quotes the
+saying of a Vienna critic: "Paganini has nothing in
+common with other players but the violin and the bow,"
+and regrets that his friend will not for some time have
+the opportunity of hearing the superb performer, for he
+learns that Paganini does not yet intend to visit Paris or
+London.<a name="Anchor-18" id="Anchor-18"></a><a href="#Footnote-18" class="Anchor" title="Go to footnote 18.">[18]</a></p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="Illustration_Plate_5" id="Illustration_Plate_5"></a><a href="images/plate_005.jpg">
+<img src="images/plate_005s.jpg" width="400" height="600"
+alt="Plate V.&mdash;See Appendix. Portrait of Paganini from a contemporary German picture." title="" />
+</a>
+<span class="caption"><i><a href="#Plate_5">Plate V.&mdash;See Appendix.</a></i><br />
+<span class="smcap">From a Contemporary German Picture.</span></span>
+</div>
+
+
+<p>Paganini's first concert only was well attended. There
+was then a reaction. Some attributed the falling off to
+the high prices charged for admission, but there was, in
+fact, a traditional hostility in art matters between Prague
+and Vienna; that which was praised in Vienna must be
+condemned in Prague, and what was approved in Prague
+must not be tolerated in Vienna. It was at Prague that
+Paganini actually published this letter from his mother
+as proof that he was not the son of the devil!</p>
+
+<blockquote><p><span class="smcap">Dearest Son</span>,&mdash;At last, after seven months have elapsed since I
+wrote to you at Milan, I had the happiness of receiving your letter
+of the 9th current, through the intermediary of Signor Agnino, and
+was much rejoiced to find that you were in the enjoyment of good
+health. I am also delighted to find that, after your travels to
+Paris and London, you purpose visiting Genoa expressly to embrace<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span>
+me. I assure you, my prayers are daily offered up to the Most
+High, that my health may be sustained, also yours, so that my
+desire may be realised.</p>
+
+<p>My dream has been fulfilled, and that which God promised me
+has been accomplished. Your name is great, and art, with the
+help of God, has placed you in a position of independence.
+Beloved, esteemed by your fellow citizens, you will find in my
+bosom and those of your friends, that repose which your health
+demands.</p>
+
+<p>The portraits which accompanied your letter have given me great
+pleasure. I had seen in the papers all the accounts you give me
+of yourself. You may imagine, as your mother, what an infinite
+source of joy it was to me. Dear son, I entreat you to continue
+to inform me of all that concerns you, for with this assurance I
+shall feel that it will prolong my days, and be convinced that I
+shall still have the happiness of embracing you.</p>
+
+<p>We are all well. In the name of your relations, I thank you for
+the sums of money you have sent. Omit nothing that will render
+your name immortal. Eschew the vices of great cities, remembering
+that you have a mother who loves you affectionately, and
+whose fondest aspirations are your health and happiness. She
+will never cease her supplications to the All-powerful for your
+preservation.</p>
+
+<p>Embrace your amiable companion for me, and kiss little Achille.
+Love me as I love you.</p>
+
+<p><span class="signoff">
+Your ever affectionate mother,</span></p>
+<p><i>21st July, 1828.</i>  <span class="sig">TERESA PAGANINI.</span>
+</p></blockquote>
+
+<p>From Prague, Paganini went to Berlin, where he
+remained four months. He was received with the utmost
+enthusiasm, and on the evening of his first concert he
+exclaimed: "I have found my Vienna public again."
+Wherever Paganini stayed for any length of time it
+suddenly became the fashion to learn to play the violin;
+and the fair members of the aristocratic families were
+among the most eager to become pupils of the famous
+man. Paganini made a great deal of money in Berlin.
+The critics were divided in opinion as to his merits; but<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>
+Rellstab, whom Schumann once called "Wretched
+Berlinese reviewer," was favourably impressed. Paganini
+is said to have received a challenge from Baron
+Sigismond von Praun, to a public contest for supremacy
+in performance, but as the would-be opponent was a
+youth of seventeen, Paganini disdained him. Perhaps
+he thought of his own presumption in his young days!</p>
+
+<p>Paganini's tour was one continual triumphal progress.
+At Königsberg his first concert realised about Ł330, an
+unprecedented sum in that place; at Frankfort his four
+concerts produced something like Ł1,000. A critic wrote
+of him: "One striking peculiarity of his playing is the
+extraordinary effect it produces on persons wholly devoid
+of musical cultivation. Most <i>virtuosi</i> play only for the
+learned; not so Paganini. His performance is alike
+appreciated by men of business and connoisseurs, by
+children and grown persons&mdash;it is felt and understood
+by all. This is the distinctive characteristic of all that
+is great in art."</p>
+
+<p>He was at Leipzig in 1829, and was among the visitors
+at the house of Abraham Mendelssohn&mdash;the pleasant
+garden-house in the Leipziger Strasse&mdash;and his portrait
+figures in Hensel's collection. In June, 1830, Paganini
+was in Cassel, when Spohr heard him for the first time&mdash;of
+which more later. In Hamburg the same year Heine
+heard him, and his vivid and extraordinary notice of the
+artist must be briefly quoted. "I believe," said Heine,
+"that only one man has succeeded in putting Paganini's
+true physiognomy upon paper&mdash;a deaf painter, Lyser by
+name, who in a frenzy full of genius has with a few<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>
+strokes of chalk so well hit the great violinist's head that
+one is at the same time amused and terrified at the truth
+of the drawing. 'The devil guided my hand,' the deaf
+painter said to me, chuckling mysteriously, and nodding
+his head with a good-natured irony in the way he generally
+accompanied his genial witticisms.... The
+Hamburg Opera House was the scene of this concert,
+and the art-loving public had flocked there so early, and
+in such numbers, that I only just succeeded in obtaining
+a little place in the orchestra." Then he goes on to
+describe the audience and the entrance of Paganini.
+"Is that a man brought into the arena at the moment of
+death, like a dying gladiator, to delight the public
+with his convulsions? Or is it one risen from the dead,
+a vampire with a violin, who, if not the blood out of our
+hearts, at any rate sucks the gold out of our pockets?
+Such questions crossed our minds while Paganini was
+performing his strange bows, but all those thoughts were
+at once still when the wonderful master placed his violin
+under his chin and began to play. As for me, you already
+know my musical second-sight, my gift of seeing at each
+tone a figure equivalent to the sound, and so Paganini
+with each stroke of his bow brought visible forms and
+situations before my eyes; he told me in melodious
+hieroglyphics all kinds of brilliant tales; he, as it were,
+made a magic lantern play its coloured antics before me,
+he himself being chief actor.... A holy, ineffable
+ardour dwelt in the sounds, which often trembled, scarce
+audibly, in mysterious whisper on the water, then swelled
+out again with a shuddering sweetness, like a bugle's<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span>
+notes heard by moonlight, and then finally poured forth
+in unrestrained jubilee, as if a thousand bards had struck
+their harps and raised their voices in a song of victory."
+Thus, a poet on a poet in tones.</p>
+
+<p>In 1829 Paganini was in Warsaw, and Chopin was
+among those who heard him. As he was leaving, in
+July, he was stopped some distance from the city by a
+numerous company who had met together in a garden.
+They drank the health of the artist, and Joseph Xaver
+Elsner, Director of the Conservatoire, handed him a
+costly snuff box, bearing this inscription: "<span lang="it">Al Cavaliere
+Nicolo Paganini, gli ammiratori del suo talento, Varsovia
+19 Luglio 1829.</span>" Paganini pressed it to his lips, speechless
+with surprise, and affected almost to tears. At
+Munich he gave three concerts in November of the same
+year; and at the close of the last <i>soirée</i> the artist was
+crowned by Stunz, the Kapellmeister, while thousands
+of laudatory poems were showered from different parts
+of the hall. At Stuttgart, the King of Würtemberg presented
+him with 100 <i>louis d'or</i>, and it is said that before
+leaving Germany Paganini sent over Ł6,000 to the Bank
+of England for safe custody, a proceeding which showed
+his good sense, and perhaps revealed a mistrust of his
+continental friends.</p>
+
+<p>Paganini's tours, extending over three years, embraced
+Bohemia, Poland, Saxony, Bavaria, Prussia, and the
+Rhine provinces. Many more details might be given,
+but they are really needless: it was always the same
+story of the artist's success, excepting, indeed, at Augsburg,
+where the criticisms were adverse, as at Prague.<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span>
+An anecdote may fitly close the narration of Paganini's
+long stay in Germany, as it reveals an interesting trait
+in the character of the peasantry. Paganini, in the
+autumn of 1829, was summoned to appear before the
+Queen Dowager of Bavaria, at the Castle of Tegernsee,
+a magnificent residence of the Kings of Bavaria, situated
+on the banks of a lake of the same name. At the
+moment the concert was about to begin, a great bustle
+was heard outside. The Queen, having enquired the
+cause, was informed that about sixty of the neighbouring
+peasantry, having been told of the arrival of the famous
+Italian violinist, were come with the hope of hearing
+some of his notes, and requested that the windows should
+be opened, in order that they also might enjoy his talent.
+The Queen went beyond their wishes, and with truly
+Royal good-nature, gave orders that they should all be
+admitted into the saloon, where she had the pleasure of
+remarking their discernment, and the judicious manner
+in which they applauded the most striking parts of the
+distinguished artist's performance.</p>
+
+<p>Frankfort seems to have been a favourite stopping
+place with Paganini, and from there, at last, he quitted
+the fatherland, and arrived at Strasburg, where he gave
+two concerts, and thence proceeded direct to Paris.</p>
+
+<p>It has to be observed that France had just been
+through another Revolution, and the turmoil, social and
+political, had not subsided. To a populace seething in
+this fevered atmosphere anything by way of diversion
+would be welcome. The man of the hour was Paganini,
+for in a sense he combined within himself the surrounding<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>
+elements and influences. At the moment the public
+was just in the mood for Paganini, and the artist met the
+craving for excitement. He gave his first concert in the
+Opera House on March 9th, 1831, and notwithstanding
+that the prices of admission were tripled, the house was
+crammed. It would be impossible, says Fétis, to describe
+the enthusiasm with which the audience were seized
+when listening to the extraordinary artist, an enthusiasm
+approaching delirium, frenzy. Paganini's Studies had
+long been known to Parisian violinists, but they remained
+enigmas impossible of solution. At his third concert,
+March 25th, Paganini introduced a new concerto, in D
+minor, which, like so much of his music, is lost. In
+Paris the infamous persecution of the artist seems to
+have reached its climax. Fétis states that Paris was
+above all places hostile to Paganini, although that city
+had contributed more than any other place to the <i>éclat</i> of
+his success. His portrait was on every wall, and exhibited
+in the windows of print shops. Paganini himself stopped
+to look at one representing him in prison; and while
+scanning it with some amusement, found he was being
+surrounded by a crowd who were scrutinising him with
+close interest, evidently comparing his features with
+those of the lithograph. This was too much, and Paganini
+sought his friend Fétis, and confided to him his
+troubles, seeking his aid for their amelioration. Fétis
+requested Paganini to supply him with particulars, and
+then indited a long epistle, which, signed by Paganini,
+appeared in the <i><span lang="fr">Revue Musicale</span></i>. Quotation may be
+deferred until the narration of Paganini's public career<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span>
+is completed, and a more detailed consideration of the
+character of the man and the artist is entered upon.</p>
+
+<p>One incident that occurred during Paganini's visit to
+Paris may be related. The officers of the different legions
+of the National Guard combined to organise a grand ball
+to be held in the Opera House for the benefit of the poor.
+They thought it would add greatly to the attractions of
+the function if they could prevail upon Paganini to attend
+and play a few pieces. To ask for violin solos in a place
+prepared for a ball, and among an assemblage met for
+dancing, argued a very curious taste, or want of it.
+Paganini owed it to his dignity as an artist to refuse
+the invitation, which he did. For this he was bitterly
+assailed by a section of the press, and was compelled to
+publish a letter justifying himself.<a name="Anchor-19" id="Anchor-19"></a><a href="#Footnote-19" class="Anchor" title="Go to footnote 19.">[19]</a> He explained that
+he had already given up the Opera House, which was at
+his disposal, for the preparations for the ball, and that
+involved the loss of receipts for one concert&mdash;from 15,000
+to 20,000 francs. He added that in Berlin, Vienna, and
+all the towns where he had continued any time, he made
+it a duty to perform for the benefit of the unfortunate;
+and he certainly should not leave Paris without devoting
+the proceeds of one of his <i>soirées</i> to the relief of the poor
+of that capital. He kept his word; gave the promised
+concert, and the poor profited by a refusal that was
+attributed to him as a crime.</p>
+
+<p>Berlioz, then in Italy&mdash;he had just won the Grand
+Prix de Rome&mdash;passing through a crisis in his life,<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>
+stayed a few days in Genoa. In his autobiography he
+wrote: "All Paris was raving about Paganini, while I,
+with my usual luck, was kicking my heels in his native
+town instead of listening to him. I tried to gather some
+information about their distinguished townsman from the
+Genoese, but found that, like other people engaged in
+commerce, they cared little for the fine arts, and spoke quite
+indifferently of the genius whom Germany, France and
+England had received with open arms. They could not
+even show me his father's house." So quickly and easily
+can one be forgotten! England had not yet received
+Paganini, but it was many years after this time that
+Berlioz penned his autobiography.</p>
+
+<p>Liszt, in Paris, his first dream of love cruelly dispelled,
+shunned the world and buried himself in seclusion. For
+the time the artist within him was dead, and his thoughts
+turned to the priesthood. The revolution of 1830 awoke
+him. The Magyar blood was aroused, and sympathising
+with the people's struggles Liszt planned a <i><span lang="fr">Symphonie
+révolutionnaire</span></i>. But it was Paganini who, the next year,
+touched Liszt as it were with a magic wand, and gave
+the direction to the genius and energy of the young artist.
+Of this more in its proper place. Early in May, 1831,
+Paganini left Paris for London.</p><hr class="chap" /><p><span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span></p>
+
+
+
+
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h2>
+
+
+<p>Fétis stated that Paganini's visit to London excited
+the most lively curiosity, but did not awake that
+intelligent interest which welcomed him in the Capital
+of France. This does not sound complimentary to
+London, but perhaps Fétis read some of the introductory
+comments of the press when Paganini was about to
+reach our shores. This is a specimen: "We shall talk
+of Paganini very much till he comes. When he arrives
+nobody will speak or think of anything else for nine,
+perhaps eighteen, days: he will be everywhere: all other
+violinists will be utterly forgotten: it will be agreed that
+the instrument was never before heard; that his predecessors
+were all tyros; all other fiddles mere kits.
+There will be Paganini rondos and waltzes; variations,
+long, short, hard, easy, all <i>ŕ la Paganini</i>. We shall have
+Paganini hats, caps, etc., and the hair of all the beaux
+patronised by beauty, will be after his curious pattern.
+His influence will extend to our tables, and there will be
+Paganini puffs served up daily. Then, all at once, his
+very name will cease to be pronounced by persons of <i>ton</i>;
+and, as a matter of course, people not of <i>ton</i>&mdash;not of the
+Devonshire circle, not of Almack's&mdash;will imitate those
+who are: and the Italian player, like the penultimate
+fashion, will be utterly forgotten!&mdash;<i>in good society</i>. I
+will even allow him to flourish here two whole months,
+provided no new chin-chopper<a name="Anchor-20" id="Anchor-20"></a><a href="#Footnote-20" class="Anchor" title="Go to footnote 20.">[20]</a> arrive in the interim, no
+<i><span lang="fr">danseuse</span></i> with a miraculous toe, to contest the supremacy
+of his wonderful bow: should any such rival enter the
+lists with him, his glory will set in less than a moon, and
+never blaze again above our fashionable horizon."<a name="Anchor-21" id="Anchor-21"></a><a href="#Footnote-21" class="Anchor" title="Go to footnote 21.">[21]</a></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Illustration_Plate_6" id="Illustration_Plate_6"></a><a href="images/plate_006.jpg">
+<img src="images/plate_006s.jpg" width="600" height="495"
+alt="Plate VI.&mdash;See Appendix. Cartoon of Paganini frm the title-page of a comic Song, 1831." title="" />
+</a>
+<span class="caption"><i><a href="#Plate_6">Plate VI.&mdash;See Appendix.</a></i>&mdash;<span class="smcap">Title-Page of Comic Song, 1831.</span></span>
+</div>
+
+<p>Here is another from <i>The Examiner</i>:&mdash;"There cannot
+be a more inoffensive creature. His sole propensity is
+to gain money by his art, and his passion to lose it at the
+gambling table. Paganini's bow (<i>Scotticé</i>, boo) is almost
+as wonderful as his bow (<i>Anglicé</i>, fiddle-stick)&mdash;the craw-fish
+would attempt something like it were he on the stage,
+but not so well."</p>
+
+<p>Well, we've improved in manners somewhat since
+1831. No respectable paper would publish now such
+notices in advance of any distinguished artist, however
+eccentric he might be. Paganini duly arrived in London
+in May, 1831. His first concert was announced for the
+21st in this manner:</p>
+
+<blockquote><div class="center"><p><span class="smcap">The King's Theatre.</span></p></div>
+
+<p><span class="smcap">Signor Paganini</span> respectfully informs the Nobility,
+Subscribers, and Frequenters of the Opera, and the
+public, that he will give a <span class="smcap">Grand Miscellaneous<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a><br /><a name="Page_52" id="Page_52">[52]</a></span></span>
+CONCERT of <span class="smcap">Vocal</span> and <span class="smcap">Instrumemtal Music</span>, at
+this theatre, <span class="smcap">To-morrow Evening</span>.</p>
+
+<p><i>Prices of Boxes</i>:&mdash;Pit Tier, 8 Guineas; Grand Tier, 10
+Guineas; One Pair, 9 Guineas; Two Pair, 6 Guineas;
+Three Pair, 4 Guineas; Stalls, 2 Guineas; Orchestra,
+1-1/2 Guineas; Admission to the Pit, 1 Guinea; Ditto to
+the Gallery, Half a Guinea.</p></blockquote>
+
+<p>This announcement produced a storm of indignation.
+Articles appeared in <i>The Times</i>, <i>The Courier</i>, <i>The Observer</i>,
+<i>The Chronicle</i>, and correspondence of a heated character
+was carried on. The editor of <i>The Harmonicon</i>, calculated
+that a full house at the prices would realise more than
+3,000 guineas, and M. Laporte, the manager of the
+King's Theatre, was virtually accused of conspiring to
+rob the public. It must be explained that Laporte
+"farmed" Paganini; and as the latter invariably
+doubled the ordinary prices of admission, his impressario
+naturally desired to share in the golden harvest. Laporte
+wrote to <i>The Times</i> a hurried note on May 19th, at eleven
+p.m., stating that at some future time he would refute
+the charges brought against him; and the next day a
+letter from Paganini to Laporte, and advertised in the
+newspaper, gave pause to the wordy warfare. It was
+as follows:&mdash;</p>
+
+<blockquote><p>
+
+Sir,                 <span class="letterdate"><i>Friday</i>, 29th May.</span><br />
+</p>
+
+<p>Finding myself too unwell, I request you will
+respectfully inform the public that the Concert announced
+for to-morrow will not take place.</p>
+
+<p>
+<span class="signoff">Your obedient Servant,</span></p>
+<p class="sig"><span class="smcap">Nicolo Paganini</span>.</p>
+<p>To M. Laporte.
+</p></blockquote><p><span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span></p>
+
+<p>Paganini was in a wretched state of health when he
+reached London, and his condition was not improved by
+the turmoil his announcement had created. The terms
+of his contract with Laporte were published in <i>The
+Observer</i>, and it was shown that Paganini had practically
+surrendered his freedom of action. This may be illustrated
+by a story that I have not met with in any English
+publication, though it may be true all the same. It is
+from the notice of Paganini in Mendel's "Musikalisches
+Conversations-Lexikon." His Majesty William IV.
+sent to enquire what honorarium Paganini required to
+play at the Court. Paganini answered: Ł100, a mere
+bagatelle. As the messenger tendered him one half that
+sum, Paganini haughtily replied, "His Majesty can hear
+me at a much cheaper rate if he will attend my concert.
+But my terms are not left for me to settle."</p>
+
+<p>The concert postponed from May 21st was then
+announced for June 3rd, but the question of the high
+prices had yet to be disposed of. Conflicting statements
+were made&mdash;one to the effect that Paganini expressed
+his regret that they had not been fixed still higher! Be
+that as it may, that was not the time to trifle with an
+angry public. There was not a moment to be lost, and
+some one must give way. The matter was soon decided.
+On June 2nd, appeared in <i>The Courier</i> and <i>The Globe</i> the
+translation of a letter from Paganini, which may be
+reproduced for the sake of its contents:</p>
+
+<blockquote><p>"The time appointed for my first Concert at the King's
+Theatre so nearly approaches, that I feel it my duty to
+announce it myself, and to claim the favour of the English<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span>
+nation, which honours the arts as much as I respect her.
+Having been accustomed in all the towns of the Continent
+to double the usual prices at the theatres where I
+have given my Concerts, and, but little acquainted with
+the customs of this Capital, where I present myself for
+the first time, I thought I might do the same here. But
+having been informed by several papers that the existing
+prices here are higher than those on the Continent, and
+having myself ascertained that the statement was correct,
+I willingly second the wish of a public whose esteem and
+protection I desire as my greatest recompense.</p>
+
+<p>
+(Signed)</p>
+<p class="sig"><span class="smcap">NICOLO PAGANINI.</span></p>
+<p>London, June 1st, 1831."
+</p></blockquote>
+
+<p>At last the concert took place in the King's Theatre,
+June 3rd, 1831. There was an orchestra erected on the
+stage. Many musicians have left a record of the extraordinary
+impression made by Paganini on that occasion,
+and have attempted to describe the man. In the present
+place quotation may be limited to the remarks of the
+editor of <i>The Harmonicon</i>, William Ayrton, a cultivated
+musician, and a sober-minded critic. He wrote thus:
+"The long, laboured, reiterated articles relative to Paganini,
+in all the foreign journals for years past, have
+spoken of his powers as so astonishing, that we were
+quite prepared to find them fall far short of report; but
+his performances at his first concert, on the 3rd of last
+month, convinced us that it is possible to exceed the most
+sanguine expectation, and to surpass what the most
+eulogistic writers have asserted. We speak, however,
+let it be understood, in reference to his powers of execution
+solely. These are little less than marvellous, and
+such as we could only have believed on the evidence of
+our own senses; they imply a strong natural propensity
+to music, with an industry, a perseverance, a devotedness,
+and also a skill in inventing means, without any parallel
+in the history of his instrument."</p>
+
+<div class="figcenter" style="width: 580px;">
+<a name="Illustration_Plate_7" id="Illustration_Plate_7"></a><a href="images/plate_007.jpg">
+<img src="images/plate_007s.jpg" width="580" height="600"
+alt="Plate VII.&mdash;See Appendix. Sketch of Paganini by D. Maclise, R.A." title="" />
+</a>
+<span class="caption"><i><a href="#Plate_7">Plate VII.&mdash;See Appendix.</a></i><br/>
+<span class="smcap">Sketch by D. Maclise, R.A.</span></span>
+</div>
+
+<p>So far, the musician. The critics on the press may
+also have been musicians, though at that time it was not
+usual to have a musical department, if such a term may
+pass, in the daily or weekly papers. <i>The Athenćum</i>, in its
+notice, does not reveal the polished style of a high-class
+literary journal. This is how it deals with the concert:&mdash;"At
+length all differences have been arranged, and the
+<i>mighty wonder</i> has come forth&mdash;a very Zamiel in appearance,
+and certainly a very devil in performance! He is,
+beyond rivalry, the <i>bow</i> ideal of fiddling faculty! He
+possesses a demon-like influence over his instrument,
+and makes it utter sounds almost superhuman....
+The arrival of this magician is quite enough to make the
+greater part of the fiddling tribe commit suicide."</p>
+
+<p>And now let us turn to the concert itself. The
+fashionable world did not rush to the theatre, and only two
+boxes were let. The stalls and orchestra were full, and
+also the pit, but not crowded. The audience consisted in
+great part of musicians; and even those engaged in the
+orchestra were listeners for the first time, as Paganini
+at rehearsal only played such passages as served for
+"cues," and in nowise revealed his powers.</p>
+
+<p>The object of a great <i>virtuoso</i> would naturally be an
+exhibition of his own talent, but Paganini was not<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a><br /><a name="Page_56" id="Page_56">[56]</a></span>
+prodigal of his playing at the first concert. He had
+engaged the orchestra of the Philharmonic Society, then
+probably the finest in Europe, and his programme opened
+with Beethoven's Symphony, No. 2, in D. It will be
+shown later that Paganini had a great veneration for
+Beethoven. Then Signor Lablache was the solo vocalist,
+so Paganini was in the best of company. His first piece
+was the Concerto in E flat<a name="Anchor-22" id="Anchor-22"></a><a href="#Footnote-22" class="Anchor" title="Go to footnote 22.">[22]</a>, and his second solo the
+Military Sonata for the G string, the theme being
+Mozart's "<span lang="it">Non piů andrai</span>." The receipts were Ł700.
+Paganini had a most flattering reception, and his performances
+were greeted with acclamations, and waving of
+hats and handkerchiefs. The members of the orchestra
+were astounded. Mori avowed that if he could not
+sell, he would at least burn, his fiddle; Lindley, who
+stammered terribly, said that "it was the d-d-devil";
+and Dragonetti (whose "he's were she's") growled out,
+"She's mighty esprit!" Cramer thanked heaven that he
+was not a violinist. A striking feature of Paganini's performance
+was his playing from memory. The <i>Athenćum</i>
+remarked, "He plays without a reading desk or book
+stand; this gives an air of <i>improvising</i> to his performance,
+which we hope to see imitated, if any one be found hardy
+enough to undertake a violin solo for the next seven
+years." No violinist would venture to play a concerto
+now with the music before him, but he may not be aware
+that it was Paganini who set the fashion of playing
+without book.</p>
+<p><span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span></p>
+<p>The public now forgot all about the trouble of the high
+prices, and the second concert, given in the same place
+on the 10th, was so well attended that the receipts were
+about Ł1,200. On this occasion Paganini played his
+Concerto in B minor, and Lablache struck the little
+silver bell in the Rondo. He also gave his variations
+on "The Carnival of Venice," and a Sonata on the
+fourth string, in which the Prayer from <i><span lang="it">Mosé in Egitto</span></i>
+was introduced. The third concert took place on the
+13th, when Paganini brought out another new Concerto.
+Something like Ł900 was realised. At the fourth
+concert, on the 16th, Paganini played a <i>Cantabile</i> on two
+strings, a <i>Rondo Scherzoso</i>, by Rodolphe Kreutzer&mdash;a
+detail to be noticed,&mdash;a <i>Larghetto gajo</i>, the Military
+Sonata, and the variations on "Non piů mesta," from
+Rossini's <i><span lang="it">La Cenerentola</span></i>. The fifth and last Concert
+was on the 22nd, when the house was crowded to excess,
+and the enthusiasm greater than ever.</p>
+
+<p>But Paganini, or his astute manager, began to presume
+a little too much on the good nature of the public.
+Parting was "such sweet sorrow," that, like another
+Juliet, Paganini was inclined to prolong that process
+as long as possible. Final concerts succeeded each other&mdash;much
+like the "Farewells" of popular singers&mdash;until
+the audiences began to dwindle. At one, at the King's
+Theatre on July 4th, Paganini played a new Concerto
+in E major, "all expression and grace," and by far the
+best proof given of his talent since his arrival in London.
+Paganini gave two concerts at the London Tavern in
+July. The first was well attended, but at the second there<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span>
+was no orchestra. The concert was a failure&mdash;"and no
+wonder, for the Signor tried an experiment on the forbearance
+of the citizens, and actually took only a pianist
+and one or two second-rate singers with him to make up a
+half-guinea concert! This was too much even for John
+Bull to submit to."<a name="Anchor-23" id="Anchor-23"></a><a href="#Footnote-23" class="Anchor" title="Go to footnote 23.">[23]</a></p>
+
+<p>What a curious side-light this shows upon concert
+matters in the first half of the nineteenth century! Now-a-days
+the "experiment" is for the <i>virtuoso</i> to engage an
+orchestra.<a name="Anchor-24" id="Anchor-24"></a><a href="#Footnote-24" class="Anchor" title="Go to footnote 24.">[24]</a></p>
+
+<p>Paganini played at some of the benefit concerts during
+the season, taking one-third of the gross receipts. There
+was evidently ill-feeling on this point, for Lablache and
+Rubini now refused to sing where Paganini played. It
+was said, even, that the leader of his orchestra had to
+sue Paganini for recovery of his fees, but the artist in
+question, Spagnoletti, put the matter right by publicly
+stating that his action was against M. Laporte, and
+that against Signor Paganini he had never had the
+slightest cause of complaint. Time was found for a few
+provincial visits. In July Paganini gave two concerts
+at Cheltenham, and there he got into trouble. It was
+announced that his engagements would not permit his
+remaining beyond the second day. His concerts were
+well supported, and one of the Subscription Balls, at
+the Rotunda, was relinquished in order that no hindrance<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>
+should stand in the way of those desirous of hearing
+the violinist. But when it was given out that Paganini
+would give a third performance, there was a disturbance.
+Some leading residents had a handbill printed calling
+upon the "nobility and gentry" to support the established
+amusements of the town, by patronizing the Ball, if only
+as an act of justice to the proprietor. The effect was to
+secure a thronged attendance at the Rotunda, and so
+poor an assemblage at the theatre, that Paganini refused
+to perform. Of course the manager had to communicate
+this unpleasant piece of information to the audience, at
+the same time offering to return the admission money;
+but the people were in no pacific frame of mind, and
+they marched straightway to the hotel where Paganini
+was staying, and demanded the fulfilment of his engagement.
+A mob soon collected, and their demeanour
+became so threatening that there was nothing left but
+compliance with their demand. Paganini went to the
+theatre, played two of his most favourite pieces with
+great success, and at midnight posted off for London.
+It appeared that he had agreed to perform for two-thirds
+of the receipts, but finding the house not half full,
+demanded two hundred guineas in advance. This the
+local manager refused, and informed the audience of the
+fact; and the outbreak was the natural result. The local
+paper remarked: "We believe this is the only instance
+as yet upon record of Paganini's playing to empty benches,
+and himself unpaid." Paganini addressed a letter to the
+<i>Times</i>, giving another version of the incident, but he did
+not appear to have come out of the affair very well.<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>
+His manager's share in the business may be left to
+conjecture.</p>
+
+<p>One other little circumstance seems to have caused a
+certain amount of irritation. Paganini was engaged for
+the Lord Mayor's banquet at the Mansion House on
+July 9th. When the Lord Mayor proposed the toast
+of the Lord Chancellor, before Lord Brougham's rising
+to return thanks, Paganini played a solo. He evidently
+displaced the usual glee party, but in any case it was not
+the most artistic function to assist at, and money must
+have been the chief consideration.</p>
+
+<p>Paganini carried his London concerts into August,
+and visited Norwich, where again a third performance
+took place when only two were announced. The local
+manager was a heavy loser, as Paganini (or his agent)
+had arranged for a specific sum, and there was very
+little in excess for the payment of vocalists, and general
+expenses. There was also a clashing with an important
+fixture at the theatre, and feeling ran high, though there
+was no violent demonstration as at Cheltenham. Towards
+the end of August, Paganini set out for Dublin, being
+engaged for the first Musical Festival held in that city.</p>
+
+<div class="figcenter" style="width: 267px;">
+<a name="Illustration_Plate_8" id="Illustration_Plate_8"></a><a href="images/plate_008.jpg">
+<img src="images/plate_008s.jpg" width="267" height="600"
+alt="Plate VIII.&mdash;See Appendix. Celebrated Statuette (Caricature) of Paganini by Dainton." title="" />
+</a><span class="caption"> <i><a href="#Plate_8">Plate VIII.&mdash;See Appendix.</a></i>
+<br />
+<span class="smcap">The Celebrated Statuette (Caricature),<br />
+by Dainton.</span></span>
+</div>
+<p><span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span></p>
+
+<hr class="chap" />
+
+
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.</h2>
+
+
+<p>Dublin held her first Musical Festival from
+August 30th to September 3rd, 1831, and in
+connection with this event, it is interesting to note,
+Henry Fothergill Chorley contributed his first musical
+criticism to the <i>Athenćum</i>.<a name="Anchor-25" id="Anchor-25"></a><a href="#Footnote-25" class="Anchor" title="Go to footnote 25.">[25]</a> There was very little
+about Paganini, but much about the oratorio, "The
+Triumph of Faith," of Ferdinand Ries. It may be
+observed, in passing, that in the first half of the nineteenth
+century musical festivals were more numerous
+than they are now&mdash;there were five in 1831. With the
+exception of those given in York Minster (1823-1835),
+they were not on the large scale of the principal present
+day celebrations; but they were relatively of more importance,
+inasmuch as there were then fewer musical centres
+beyond the metropolis, and small towns would have had
+little music but for those periodic gatherings.</p>
+
+<p>Dublin's scheme was ambitious; for Paganini's fees
+for the three evening concerts was 500 guineas. Braham
+and Henry Phillips were among the vocalists engaged,
+and the latter, in his "Musical Recollections," gives a<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span>
+very interesting and amusing account of Paganini at the
+festival. No one seemed to know how Paganini arrived
+in Dublin, which gave rise to a vague idea that he was
+wafted across by the <i>Flying Dutchman</i>. Where he lodged
+was equally a mystery. He arrived at the stage door of
+the Theatre Royal on the evening of the first concert,
+and immediately ordered an apartment to be got ready,
+and the room to be perfectly darkened. There he paced
+up and down, playing snatches of his music until the
+time for his <i>début</i> before a Dublin audience.</p>
+
+<p>The Theatre was crammed to suffocation. The Lord
+Lieutenant and his Suite attended in State, and all the
+<i>élite</i> of Dublin were in the dress tier. When the Conductor,
+Sir George Smart, led Paganini to the centre
+of the stage there was a terrific outburst of applause,
+followed by breathless silence, as the great artist went
+through his deliberate process of adjusting his violin,
+raising his bow, and letting it rest upon the strings
+before commencing. This was too trying to the mercurial
+temperament of the occupants of the gallery, and
+before many seconds there was a stentorian shout,
+"Well! we're all ready!" The house was convulsed
+with laughter, peal after peal rang through the theatre.
+Paganini, stamping with rage, turned to Sir George
+Smart, and cried, "<i><span lang="fr">Qu'est ce que c'est?</span></i>" The explanation
+seemed to make matters worse, and Paganini left the
+orchestra. Some time elapsed before he could be induced
+to return; but when he did so, and began to play, he
+created the same effect as elsewhere. The next day
+everybody was exclaiming: "Ah! sure, have you heard<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span>
+the Paganini; och murther! and his fiddle?" Such is
+the account Henry Phillips gives, but it is not easy to
+attach credence to all he has put in his book.</p>
+
+<p>At one of the concerts Paganini played the concerto in
+B minor, with the Rondo <i><span lang="fr">ŕ la clochette</span></i>, when an excited
+Hibernian shouted above the storm of applause, "Arrah
+now, Signor Paganini, have a drop of whiskey, darling,
+and ring the bell again!" Paganini's departure from
+Dublin was as mysterious as his arrival. On his return
+to London he failed to attract much attention, and seems
+to have been mostly on tour in the provinces and in
+Scotland. One incident in London was so singular that
+it deserves mention. Carlyle was supposed to have
+taken a walk with Paganini. Fancy "the Sage of Chelsea"
+in company with "the magician of the bow"!
+Thomas Carlyle was in London in 1831 vainly negotiating
+for the publication of "<span lang="la">Sartor Resartus</span>." One day
+his friend, Edward Irving, took him to Belgrave Square
+to dine with Henry Drummond. They walked along
+Piccadilly, thronged with fashionable promenaders;
+and as both men were of pecular personal appearance,
+they doubtless attracted some attention. This is what
+Carlyle subsequently wrote:&mdash;"Irving, I heard afterward,
+was judged, from the broad hat, brown skin, and
+flowing black hair, to be in all probability the one-string
+fiddler, Paganini&mdash;a tall, lean, taciturn abstruse-looking
+figure&mdash;who was then, after his sort, astonishing the idle
+of mankind."<a name="Anchor-26" id="Anchor-26"></a><a href="#Footnote-26" class="Anchor" title="Go to footnote 26.">[26]</a> Carlyle has said many true, and many<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span>
+beautiful things about music, but one may search his
+writings in vain for a good word about musicians!</p>
+
+<p>In December of this year (1831) Paganini was
+announced to play in Bristol. The following "squib" or
+lampoon was issued:&mdash;</p>
+
+<blockquote><div class="center">PAGANINI.<br />
+
+<span class="smcap">To the Citizens of Bristol.</span></div>
+
+<p><span class="smcap">Fellow Citizens</span>,&mdash;It is with feelings of unqualified disgust
+that I witness the announcement of <span class="smcap">Signor Paganini's</span> Performance
+to take place in this City: Why at this period of Distress?
+With the recollection of so many scenes of misery still fresh in our
+minds, and whilst <span class="smcap">Subscriptions</span> are required to the extent of our
+means in order to <span class="smcap">Feed</span> and <span class="smcap">Clothe</span> the <span class="smcap">Poor</span>: why is this
+<span class="smcap">Foreign Fiddler</span> now to appear? for the purpose of draining
+those resources which would be infinitely better applied in the
+exercise of the best feeling of man&mdash;<span class="smcap">Charity</span>. Do not suffer yourselves
+to be imposed upon by the Payment of Charges which are well
+worthy the name of extortion; rather suffer under the imputation
+of a want of <span class="smcap">Taste</span> than support any of the tribe of Foreign
+<span class="smcap">Music-Monsters</span>, who collect the Cash of this Country and waft it
+to their own shores, laughing at the infatuation of John Bull.</p>
+
+<p>
+<i>December 10th, 1831.</i>      <span class="signature">PHILADELPHUS.</span><br />
+</p>
+
+<div class="center"><small><span class="smcap">A. Saint. Typ. Castle Printing Office</span>, 54, Castle Street, Bristol.</small></div></blockquote>
+
+<p>Paganini's concerts at Leeds, early in 1832, were so
+well managed that, out of the profits, a liberal donation
+was presented to the fund for the relief of the poor. At
+Birmingham, in February of that year, his visit caused
+such an influx of strangers to the town, that neither
+lodgings nor stabling could meet the demand made upon
+them. A popular song was written for the occasion, and
+the streets rang with it long after the violinist had left
+the place. Two lines ran thus:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"It's well worth a guinea to see Paganini,<br /></span>
+<span class="i0">To see how he curls his hair."<br /></span>
+<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span></div></div>
+
+<p>At Brighton some time earlier, the high prices were
+nearly causing a riot, through the issue of an inflammatory
+placard against them. Mr. William Gutteridge, a
+well-known musician of that place, who had arranged
+for the concerts, had to ask the protection of the magistrates,
+but fortunately no outbreak occurred. The
+squabbles about prices, the charges of avarice brought
+against Paganini, and the acrimonious tone of part of
+the press, afford melancholy reading. His gains were
+said to reach Ł20,000. In March, 1832, he left London
+for Paris. There, he gave a concert for the poor on
+March 18th. He did not stay very long in France, and
+on his way again to this country, occurred the incident
+referred to as one of the indignities to which he was
+subjected. This is the story.</p>
+
+<p>Paganini having to pass through Boulogne on his
+way to England, decided to give a concert in that town,
+which boasted of a Philharmonic Society. Paganini
+deputed a friend to arrange for that Society to assist at
+the concert.</p>
+
+<p>All seemed going well until Paganini arrived on the
+scene, when the amateurs stipulated for a certain number
+of free admissions for their friends and families, as a recognition
+for their assistance. Paganini represented to them
+that in a small concert room so many free admissions
+would leave little room for the paying public, and he could
+not accede to their demand. However, they would not
+give way, so Paganini declared his intention to engage a
+professional band. This did not suit the views of the
+amateurs, and they threatened the professional players<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span>
+with the loss of patronage and pupils if they dared assist
+Paganini; and the unfortunate artists, dependent as they
+were upon that support, had to refuse the offer made
+them. But Paganini was not to be baffled; he determined
+to give the concert, and to perform without any
+accompaniment at all. This he did; and now came the
+ludicrous sequel. A number of those amateurs actually
+paid for admission to the concert, on purpose to hiss the
+independent artist. This they did as soon as he entered
+the concert-room. Despising such petty spite, Paganini
+entrusted his revenge to his art, and the rapturous plaudits
+of the audience proper soon reduced to a pitiable silence
+those who had offered so gross an insult. As a writer
+said at the time: "The amateurs of Boulogne have
+earned for themselves a niche in the history of the art&mdash;they
+have <i>hissed</i> Paganini."</p>
+
+<p>To digress, for a moment. Paganini's performance,
+solus, was a recital pure and simple; perhaps the first
+ever given in a concert room. In Grove's "Dictionary
+of Music and Musicians" there is this definition: "Recital,
+a term which has come into use in England to signify a
+performance of solo music by one instrument and one
+performer." It was probably first used by Liszt, in
+1840, when he advertised his performances as "Recitals."
+The first was given at the Hanover Square Rooms, on
+June 9th, and was called by the <i>Musical World</i> a curious
+exhibition. The "one man show," as the recital has
+been irreverently termed, may not conduce to the
+highest interest of art, but Paganini&mdash;not Liszt&mdash;was its
+inventor.</p><p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Illustration_Plate_9" id="Illustration_Plate_9"></a><a href="images/plate_009.jpg">
+<img src="images/plate_009s.jpg" width="600" height="570"
+alt="PLATE 9. (See Appendix.) Drawing of Paganini playing the violin with Rossini and Pasta, circa 1832." title="" />
+</a>
+<span class="caption"><a href="#Plate_9">PLATE 9. (<i>See Appendix.</i>)</a></span>
+</div>
+ <p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p>
+
+<p>Paganini made his <i>rentrée</i> at Covent Garden Theatre
+on July 6th, but he did not appear to have played anything
+new. Neither did he attract much attention, and
+little need be said respecting his visit. He was back
+again in London in 1833, but was out of favour, and was
+advised to postpone his concerts until the public anger,
+caused by his refusal to play for the distressed English
+actors in Paris, had subsided. His first concert was
+given in the King's Theatre, on June 21st, when apparently
+he played nothing new, and had but a small
+audience. The press in general appeared to be hostile&mdash;the
+<i>Athenćum</i> did not notice him at all&mdash;and it is probable
+that his stay was not prolonged. He was in Paris later
+in the year, and was present at the concert given by
+Berlioz on the 22nd of December, when he heard the
+<i><span lang="fr">Symphonie Fantastique</span></i>, and was so impressed that he
+wished Berlioz to write a solo for the wonderful Stradivari
+viola he possessed.<a name="Anchor-27" id="Anchor-27"></a><a href="#Footnote-27" class="Anchor" title="Go to footnote 27.">[27]</a></p>
+
+<p>Between Paganini and Berlioz there was a mutual
+attraction. Both had something of the volcanic in their
+nature; both did much battling with the hostile outer
+world. But more of their friendship later.</p>
+
+<p>Paganini was in London once more in 1834, and gave
+a concert at the Adelphi Theatre on April 7th. Again
+nothing new, according to report. The next morning he
+gave a second concert at the Hanover Square Rooms, at
+which it was said not more than one hundred persons
+were present, and half of those went in with free tickets.<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span>
+The erstwhile popular idol was now dethroned. Paganini
+fell ill after this, and postponed his third concert.</p>
+
+<p>The <i>Athenćum</i> referred to Paganini's playing to
+crowded houses at the Adelphi, and empty benches
+at the Hanover Square Rooms, and then went on to
+say: "His performance on the <i>Viol di Gamba</i>,<a name="Anchor-28" id="Anchor-28"></a><a href="#Footnote-28" class="Anchor" title="Go to footnote 28.">[28]</a> or some
+such instrument, is yet to come as is also a duet with
+Dragonetti, which, we are told, is to be the <i><span lang="la">ne plus ultra</span></i>
+of what is beautiful and amazing. He has, hitherto, only
+repeated his best compositions, and, as before, left every
+other violinist, ancient and modern, at an inconceivable
+distance behind him." This concert was to be the last,
+which induced the writer of the <i>Athenćum</i> notice to
+attend it. He found the "new instrument" nothing but
+a full-sized viola, tuned in the ordinary way. "Considering
+the difference of stop between this and the violin, his
+precision and brilliancy upon the former, as displayed in
+double stop passages, harmonics, and <i>arpeggi</i>, of extraordinary
+difficulty, were most amazing.... In his
+grand concerto in E flat, his cadenza was one of the
+most wonderful combinations of novel harmony, and
+passages of execution, we ever heard." Apparently the
+duet with Dragonetti was not played, as nothing was
+said of it.</p>
+
+<p>The directors of the music at the Oxford Commemoration
+week, May, 1834, were anxious to add Paganini's<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span>
+name to the attractions offered. He was approached,
+accordingly, and, through his manager, announced his
+terms&mdash;one thousand pounds. Astounded by the answer,
+the Oxford Delegate desired that it might be committed
+to writing. This was done, but when shown to Paganini,
+he directed that guineas should be substituted for pounds.
+He knew that art was not commerce! There is no
+record of his playing at Oxford.</p>
+
+<p>This last visit of Paganini to England had a romantic
+termination. He had separated from Signora Bianca on
+account of her jealous temper, and had fallen in love
+with a young English girl&mdash;that is if current report may
+be trusted. He proposed, for the purpose of securing
+her a proper legal settlement, that the marriage should
+take place in Paris, and he left London on June 26th,
+arranging for her to follow him to Boulogne. The
+young lady secretly left her home, but her father had his
+suspicions, and apparently arrived at Boulogne first, for
+the daughter, instead of meeting Paganini, was confronted,
+on landing, by her father, with whom she
+returned home. There is no doubt as to the occurrence,
+for it was "in the papers," and names were given.
+Schilling, whose <i>Encyclopćdia</i> was published in 1837,
+gives a long account of the affair, which he would not
+have done had there been no truth in it, even though the
+law of libel was not then very stringent. Here it will
+suffice to say that the young lady was the daughter of a
+man with whom Paganini lodged, and who was associated
+with the concert work of the artist. Moreover, the girl
+herself had, it would seem, sung at some of the concerts,<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span>
+and had become fascinated with the great
+violinist.</p>
+
+<p>The incident might be passed over, only for the fact
+that to it was owing the impression that Paganini visited
+America before returning to Italy. Dubourg, in the later
+editions of his work "The Violin," states that Paganini
+spent part of his time in America, previous to his return
+to Italy in 1834. Now George Dubourg was a contemporary
+of Paganini, and his statement is not to be
+dismissed lightly, though he offers no evidence in support
+of it. At the present time it is difficult to find proof, one
+way or the other. The American papers in 1835 were
+speculating as to the birthplace of Paganini, and some of
+the explanations were meant to be funny, but are too
+vapid for repetition now. The <i>Musical World</i> for August
+4th, 1837, in quoting an anecdote concerning Paganini's
+kindness to a poor musician, ends by saying Paganini
+took the poor man with him to America. The question
+was raised in the <i>Musical World</i> for January the 9th,
+1886, and decided in the negative. The legend had this
+slender foundation. In the early part of 1835, the young
+lady whom Paganini wished to marry, went to the United
+States&mdash;she was an actress and vocalist of moderate
+ability&mdash;but her stay was brief. Still, everybody wished
+to see her, for wherever she went she was looked upon
+as the heroine of a romantic episode, and her name was
+always coupled with Paganini's. The story of the elopement
+had been carried across the Atlantic by scandal's
+winged feet; and it was said that Paganini sent a special
+messenger to America to reopen negotiations on the<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>
+delicate subject&mdash;arrangements that came to nothing.
+The agent might have been taken, by Dubourg, for the
+principal&mdash;hence the mistake. Paganini never went to
+America, neither did he again return to the shores of
+Albion.</p><hr class="chap" /><p><span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span></p>
+
+
+
+
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.</h2>
+
+
+<p>In the summer of 1834, Paganini, after an absence of
+six years, returned to his native land. He was now
+a rich man, and he invested part of his fortune in
+landed property, purchasing, among others, the Villa
+Gajona, near Parma, which he made his home&mdash;the first
+he could really call his own, and he was in his fifty-second
+year! His health was irretrievably broken down;
+he suffered from consumption of the larynx, and was
+losing the power of speech. He now sought peace and
+quiet, and thought of preparing for publication a complete
+edition of his compositions, which, if he had accomplished
+it, might have led to the explanation of his alleged secret.
+In November, or December, Paganini gave a concert at
+Piacenza&mdash;on the very same boards where he almost
+began his brilliant career&mdash;for the benefit of the poor;
+this was the first time he had been heard in Italy since
+1828. The year 1835, Paganini passed alternately at
+Genoa, Milan, and his villa near Parma. The cholera
+then raging at Genoa was the cause of the rumour of
+Paganini's death. The dread scourge had claimed him
+for a victim, it was said, and the Continental journals
+devoted columns to him in the form of obituary notices.</p><p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p>
+
+<p>The only English contribution to the necrology of
+Paganini known to me was written by Chorley in the
+<i>Athenćum</i>. It is both interesting and curious: for Chorley
+manages to squeeze in his account of Paganini at the
+Dublin festival, which the editor evidently cut out in
+1831. That scarcely concerns us now, though it relates
+that the <i>furore</i> caused by Paganini's performance could
+not be appeased until he had mounted the grand pianoforte,
+in order that the audience might obtain a better
+view of his lank proportions! An extract from his notice
+must be given. It begins thus:&mdash;"<i><span lang="it">E Morto!</span></i>&mdash;the words
+which the silent and absorbed man murmured to himself,
+in a tone of deep feeling, after listening to one of
+Beethoven's magnificent symphonies, are now&mdash;alas!&mdash;to
+be uttered sadly for their speaker&mdash;Paganini is
+dead!</p>
+
+<p>"We would fain believe that the newspaper reports are
+in error.... Let us hope that the intelligence from
+Genoa, received this week [September], that the artist
+had been carried off by the sudden and fearful death of
+cholera, may, by some happy chance, prove one of those
+'mistakes which it gives them pleasure to contradict.'
+But, should it not then, indeed, may Music put on
+sackcloth and sit in ashes for her High Priest!" Then
+follows an "appreciation," to use a modern expression,
+to which reference may be made later.</p>
+
+<p>Chorley was an impressionable young man, in his
+twenty-third year, when he attended the Dublin festival,
+and so excited did he become over Paganini's performances,
+that he gave vent to his feelings in verse. That<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span>
+poem he now inserted in the <i>Athenćum</i>, "as a farewell to
+one whose like we shall never hear again!" There are
+really fine thoughts in the poem, and, though too long to
+quote in its entirety, a few stanzas may well be rescued
+from the periodical in which they are buried.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">O Paganini!&mdash;most undoubted king<br /></span>
+<span class="i2">Of St. Cecilia's flock, alive or dead,<br /></span>
+<span class="i0">Whether their pasture be of pipe, or string,<br /></span>
+<span class="i2">Or mighty organ, which doth overspread<br /></span>
+<span class="i0">Ancient Cathedral aisles with flood of sound,&mdash;<br /></span>
+<span class="i2">In all the wizard craft, matured by labour,<br /></span>
+<span class="i0">That doth the spirit move, delight, astound,<br /></span>
+<span class="i2">Thou hast no peer&mdash;thou hast not even a neighbour,<br /></span>
+<span class="i2">In the long lapse of years from Tubal Cain to Weber.<br /></span>
+</div><div class="stanza">
+<span class="i0">Sages have said, who read the book of night,<br /></span>
+<span class="i2">That once each hundred years some meteor flares<br /></span>
+<span class="i0">Across the startled heavens with brilliant flight,<br /></span>
+<span class="i2">Making strange tumults in the land of stars;<br /></span>
+<span class="i0">And, 'mid the realm of constellations vast,<br /></span>
+<span class="i2">In steady splendour ever rolling on,<br /></span>
+<span class="i0">Sweeps far and wide with fierce and furious haste,<br /></span>
+<span class="i2">Rushing from pole to distant pole anon;<br /></span>
+<span class="i2">And, like the monarch's ghost&mdash;"'Tis here&mdash;'tis there&mdash;'tis gone!"<br /></span>
+</div><div class="stanza">
+<span class="i0">Thou dost to these, the meteor-born, belong,<br /></span>
+<span class="i2">O mighty monarch of the strings and bow!<br /></span>
+<span class="i0">And though it were to do sweet Cupid wrong<br /></span>
+<span class="i2">To call thee else like him&mdash;yet on thy brow,<br /></span>
+<span class="i0">And in thy curved lips and flashing eyes,<br /></span>
+<span class="i2">His clearest seal hath god-like Genius set,<br /></span>
+<span class="i0">Who bade thee from the common herd arise<br /></span>
+<span class="i2">And win thyself a crown&mdash;nor ever yet<br /></span>
+<span class="i2">Hath Art her votary graced with brighter coronet.<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span><br /></span>
+</div><div class="stanza">
+<span class="i0">O that a stately temple might be reared<br /></span>
+<span class="i2">On some wide plain&mdash;and open to the sky&mdash;<br /></span>
+<span class="i0">Where all the great, the gifted, the revered<br /></span>
+<span class="i2">Side close to side, ensepulchred might lie!<br /></span>
+<span class="i0">And there, where many a breeze at evening's close<br /></span>
+<span class="i2">In solemn dirge around their tomb should sweep,<br /></span>
+<span class="i0">Should all the sons of melody repose,<br /></span>
+<span class="i2">That pilgrims from afar might come and weep,<br /></span>
+<span class="i2">And by their sainted dust a silent vigil keep!<br /></span>
+</div><div class="stanza">
+<span class="i0">And there together in renown should rest,<br /></span>
+<span class="i2">The Italian minstrel of the broken heart!<a name="Anchor-29" id="Anchor-29"></a><a href="#Footnote-29" class="Anchor" title="Go to footnote 29.">[29]</a><br /></span>
+<span class="i0">And he whose Requiem for a spirit blest<br /></span>
+<span class="i2">Was his own dirge&mdash;too early lost Mozart!<br /></span>
+<span class="i0">And he of the Messiah&mdash;and the flight<br /></span>
+<span class="i2">Of Israel's children from their bonds abhorred,<br /></span>
+<span class="i0">When God was cloud by day, and fire by night!<br /></span>
+<span class="i2">And he, who sung of darkness, at one word<br /></span>
+<span class="i2">Bursting to light&mdash;and Earth created by its Lord!<br /></span>
+</div><div class="stanza">
+<span class="i0">And many more&mdash;with whom ungentle Time<br /></span>
+<span class="i2">Forbids my weak and wandering verse to say;<br /></span>
+<span class="i0">Save one great master-spirit, whom my rhyme<br /></span>
+<span class="i2"><i>Must</i> pause to honour&mdash;for the meteor ray<br /></span>
+<span class="i0">Burnt with intensest radiance o'er his head;<br /></span>
+<span class="i2">Albeit too soon within his eager ear<br /></span>
+<span class="i0">The realm of sound deep silence overspread,<br /></span>
+<span class="i2">Whom yet the world is learning to revere&mdash;<br /></span>
+<span class="i2">Beethoven! he should sleep with thee&mdash;the Wizard&mdash;near!<br /></span>
+</div><div class="stanza">
+<span class="i0">There's left a space, beside his hallowed dust,<br /></span>
+<span class="i2">For thee with whom began my feeble song;<br /></span>
+<span class="i0">But be it long before the encroaching rust<br /></span>
+<span class="i2">Of Time wear out thy energies&mdash;and long<br /></span>
+<span class="i0">Ere the grim Tyrant with resistless call<br /></span>
+<span class="i2">Beckon thee hence&mdash;before thy bow be hung<br /></span>
+<span class="i0">In some gray chapel&mdash;and thy brethren all<br /></span>
+<span class="i2">Strive for thy magic instruments unstrung;<br /></span>
+<span class="i2">If Heaven were kind to man, thou shouldst be ever young!<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p>
+
+<p>A fortnight later, Chorley was able to reassure his
+readers by contradicting the report. It seems that the
+rumour was started through the death of Dr. Paganini
+(referred to at the beginning of this essay), and there
+seems little doubt but that he was the brother of the
+violinist.</p>
+
+<div class="figcenter" style="width: 409px;">
+<a name="Illustration_Plate_10" id="Illustration_Plate_10"></a><a href="images/plate_010.jpg">
+<img src="images/plate_010s.jpg" width="409" height="600" alt="" title="" />
+</a>
+<span class="caption"><i><a href="#Plate_10">Plate X.&mdash;See Appendix.</a></i><br />
+<span class="smcap">Copy of Oil Painting of Paganini in the Municipal Museum at Genoa.</span></span>
+</div>
+
+<p>In 1836, some speculators applied to Paganini to give
+the support of his name and his talent to the founding
+of a Casino in Paris, of which the ostensible object was
+music, the real end, gambling. It has been suggested
+that the project appealed to Paganini's avarice, which
+caused him to lend himself to the accomplishment of the
+undertaking. On the other hand, it is fair to assume that
+the artist was in ignorance of the true motive of the
+promoters of the scheme; and the fact that certain
+instructions to the trustees of the fortune settled on his
+son had been made public some four years earlier lends
+countenance to the impression that he was disgusted with
+gambling, and had long ceased to indulge in the vicious
+pastime.</p>
+
+<p>In the early summer of 1837, Paganini's health having
+improved, he gave several concerts in Turin, both for the
+benefit of the poor, and on his own behalf. Later in the
+year, however, he was in Paris, living in the greatest
+seclusion. The <span class="smcap">Casino Paganini</span> was opened, apparently
+in October, 1837. The building was situated in the Rue
+Mont Blanc, and was supposed to be a kind of Club of
+Art and Literature. An orchestra of some fifty performers
+was engaged for concerts, which were open to subscribers
+only. In the grounds a brass band played to those<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span>
+assembled, and admission there apparently was free to
+the public. The object of the undertaking was not made
+known. A French paper stated by way of a joke that
+Paganini's part in the proceedings was to walk round the
+garden when the weather was fine. The Government
+refused to license the place as a gambling-house, and the
+management had to rely upon the concerts alone. It
+would appear that Paganini had signed a contract to play
+at the concerts, but the wretched state of his health was
+the excuse for his not doing so. He had been in Paris
+off and on from 1837 to some time in 1839. In 1838,
+certainly before April, he was there, and went to hear a
+newly invented instrument termed the Harmoniphone.
+This was the work of an ingenious musician, Jacques
+Reine Paris. It was a small key-board instrument
+designed to imitate the oboe, and intended as a substitute
+for it, in places where oboe players were not available.
+A distinguished company was invited to meet Paganini,
+who was greatly interested and pleased with the invention.
+Then, in December, Paganini witnessed what Berlioz
+described as the massacre of his "Benvenuto Cellini" at
+the opera. In the same month was inaugurated a society
+for the production of classical compositions, and for the
+encouragement of musical artists, and at this brilliant
+function, held in the Salle Erard, Paganini was present,
+with Meyerbeer, Auber, De Beriot, Donizetti, and a host
+of other celebrities. On the 16th of the month Paganini
+attended the concert given by Berlioz at the Conservatoire,
+when the symphony, "Harold," was performed.
+Paganini heard it for the first time, and at the close of<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>
+the concert occurred the affecting incident of Paganini
+kneeling on the stage and kissing the hand of Berlioz,
+the demonstration being followed by a magnificent
+donation of 20,000 francs. Paganini seems to have had a
+transient recovery, for the papers spoke of his becoming
+corpulent.</p>
+
+<p>Still, he did not play at the Casino Concerts, and a
+crisis soon arose. Early in 1839, the directors of the
+Casino brought an action against Paganini for breach of
+contract, and he was decreed to pay damages to the
+amount of 20,000 francs. This decision so much displeased
+both plaintiffs and defendant that they appealed
+against it. The case did not come on again for some
+time, and Paganini sought rest and change in the south
+of France. He stayed for some time at Marseilles,
+where, at the house of a friend, he once more abandoned
+himself to his art, devoting his time alternately to his
+violin and his guitar. Fétis states that notwithstanding
+his feeble health, Paganini attended a performance of
+Cherubini's <i>Requiem</i> for men's voices; and on June 21st
+went to one of the churches to take part in the performance
+of Beethoven's Mass in C.</p>
+
+<p>But his malady could only be alleviated by frequent
+change of clime. Accordingly, in October we find him at
+Genoa, in the vain hope that his native air would prove
+beneficial; but he was prostrated by a violent nervous
+attack almost immediately following his arrival. He
+must, soon after, have left for Nice, which he never
+quitted alive. Nice, though a pleasant place, was not
+regarded as at all a favourable retreat for persons suffering<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
+from pulmonary or bronchial affections, and it proved
+fatal to the great artist. But we must, for the moment,
+return to Paris.</p>
+
+<p>The rehearing of the Casino case came before the
+<i>Cour Royale</i>, Paris, on January 3rd, 1840. Paganini
+could not, of course, attend in person, but he was represented
+by Counsel, and it may be of interest to name the
+man who was entrusted with his defence. It was a
+certain Mons. Chaix-d'Est-Ange. From accounts of the
+proceedings, this legal luminary addressed the Court at
+great length. He described the prayers and entreaties of
+the proprietors of what he termed "this catchpenny
+establishment" to induce the grand <i>Maestro</i> to lend his
+mighty arm and name to their speculation. He had
+promised, in writing, to play nowhere but at their
+concerts; but as he had played nowhere else, the proprietors
+could have no legal right to such excessive
+damages. The counsel for the plaintiff, Mons. Barillon,
+declared that as Paganini's defection had ruined the
+speculation, the damages ought to be proportionate to his
+transcendent talent. Going into details, he stated that
+Paganini was installed in a splendid suite of apartments
+at the Casino, one boudoir being lined with flannel
+expressly for him; and that when he was complaining of
+his wretched health, he accepted a dinner offered him by
+the musicians of the orchestra, and gave toasts in both
+French and Italian. After that, he allowed bills to be
+printed, announcing that he would play at the Casino
+concert. Hundreds of tickets were eagerly bought at
+twenty francs each, when suddenly Paganini refused to<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span>
+play. Entreaties were in vain; Paganini, in his own
+room, with closed doors, would practise, but would not
+play at the concert. Recourse was had to the musicians
+of the Grand Opera, so as not to disappoint the
+audience, but the prefect of police would not allow the
+<i>employés</i> of the opera to be taken from their theatre,
+and ordered the Casino to be closed. Ruin stared the
+proprietors in the face, and 20,000 francs was no
+adequate compensation. The former decision was reversed,
+and Paganini was condemned by the Court in
+50,000 francs<a name="Anchor-30" id="Anchor-30"></a><a href="#Footnote-30" class="Anchor" title="Go to footnote 30.">[30]</a> damages, and ten years imprisonment in
+default of payment.</p>
+
+<div class="figcenter" style="width: 530px;">
+<a name="Illustration_Plate_11" id="Illustration_Plate_11"></a><a href="images/plate_011.jpg">
+<img src="images/plate_011s.jpg" width="530" height="600" alt="" title="" />
+</a>
+<span class="caption"><i><a href="#Plate_11">Plate XI.&mdash;See Appendix.</a></i><br />
+<span class="smcap">The House in which Paganini died.</span></span>
+</div>
+
+<p>Whether the fine was actually paid, I have found no
+evidence to prove, but the imprisonment was certainly
+not enforced. In a few months' time, the gaoler whom
+none can deny, touched Paganini with his icy hand, and
+the troubled spirit left its frail earthly tenement on
+May 27th, 1840.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Illustration_Plate_12" id="Illustration_Plate_12"></a><a href="images/plate_012.jpg">
+<img src="images/plate_012s.jpg" width="600" height="425" alt="" title="" />
+</a>
+<span class="caption"><i><a href="#Plate_12">Plate XII.&mdash;See Appendix.</a></i>&mdash;<span class="smcap">Tablet on House in which Paganini died.</span></span>
+</div>
+
+<p>But not to rest were the mortal remains consigned.
+No peaceful grave for the wandering, restless being
+whose fitful fever of life was over at last. Paganini died
+without receiving the last Sacrament of the Church.
+He had indeed been visited by a priest, sent by the
+Bishop of Nice; but not deeming his end so near, made
+no confession, nor prepared himself for death according
+to the rite of the Church of Rome. The doubt as to his
+faith caused the Bishop of Nice to refuse burial in
+consecrated ground. The son, the friends of Paganini,<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span>
+and the principal artists of the place solicited the
+authorisation of a solemn service for his eternal repose,
+but in vain; all that was conceded was the offer of an
+authentic record of death, with leave to transport the
+corpse whither they might wish. This compromise was
+not accepted, and the matter came before the Court of
+Justice, when the decision was in favour of the Bishop.
+There was no alternative but to appeal to Rome, when
+the Bishop's decree was annulled, and the Archbishop of
+Turin was charged, conjointly with the Canons of the
+Cathedral of Genoa, to institute an inquiry into the
+Catholicism of Paganini. Meanwhile the remains&mdash;stated
+by the <i>Athenćum</i> to have been embalmed for
+interment at Genoa&mdash;were subjected to shocking indignities.
+The landlord wanted to let the house where the
+artist had died, and the corpse was laid in the cellar until
+a more fitting resting-place was found. Then it is said
+to have been moved to the hospital of Nice, thence by
+sea to the <i>Lazzaretto</i> of Villa Franca, and finally to a
+country house Polcevera, near Genoa, part of the property
+of the heir of the illustrious artist. There the body
+remained four years. Rumours spread abroad of piteous
+moans and other lamentable noises being heard at night.
+To put a stop to these unpleasant reports, the young
+Baron Achille made an application for permission for a
+solemn service to be celebrated at Parma, in virtue of
+Paganini having been a knight of St. George. This was
+not fruitless. The service was celebrated in the church
+of <i><span lang="it">La Steccata</span></i>, appropriated to that order of chivalry.
+After the solemnity the friends of the deceased obtained<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span>
+the permission of the Bishop of Parma to bring the body
+within the boundary of the Duchy, when it was transferred
+to the <i>Villa Gajona</i>, for interment in the Communal
+cemetery. So, at last, in May, 1845, the mortal remains
+of the illustrious violinist were laid in the grave; by order
+of the government, there was no display of any kind, no
+outward symbol of homage. The mourners might, however,
+hope at least for the repose of the casket that once
+enclosed the fiery, turbulent, soaring spirit of one who
+knew no rest in life. But, alas! even that was not the
+end. In the letter addressed by Paganini to the Editor
+of the Paris <i><span lang="fr">Révue Musicale</span></i>, the closing sentence breathed
+a prayer that, however calumniated he might be in life,
+the world would at least allow his ashes to repose in
+peace. That appeal was not granted. It has been
+shown that five years elapsed between his death and his
+burial; fifty years more, and the repose of the grave was
+broken. The <i>Athenćum</i> of September 7th, 1895, contained
+this paragraph:&mdash;</p>
+
+<blockquote><p>"In the Communal Cemetery of Parma the mortal
+remains of the great violin player, Paganini, have just
+been exhumed. The violinist was buried there fifty-five
+years ago, nevertheless his face has been found
+to be well preserved and easily recognizable. It is
+proposed to show the body to the public before it is
+re-interred."</p></blockquote>
+
+<p>Horrible! But first note the mistake. The body was
+buried fifty, not fifty-five, years before. Those terrible
+five years seem to have been unnoticed in this country,<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span>
+and I have been unable to find any reference to the
+mournful function of May, 1845.<a name="Anchor-31" id="Anchor-31"></a><a href="#Footnote-31" class="Anchor" title="Go to footnote 31.">[31]</a></p>
+
+<p>Now, what was the reason for exhuming the remains?
+For the purpose of removal to a more prominent site!
+Thus is homage paid to genius! Such, too, was the fate
+of Beethoven. His remains were removed in 1888 to
+the Central Cemetery at Vienna, and lamentable incidents
+attended the exhumation. Schubert, who, by his own
+desire, was buried by the side of the great master, did
+not escape the doom; but Mozart was mercifully spared;
+he was buried in a pauper's grave, and his body has
+remained undiscovered. The story of the preservation of
+his skull may be dismissed as apocryphal. But what are
+gorgeous monuments? Does the true artist value the
+case more than the instrument? Why seek ye the living
+among the dead? The artist does not die&mdash;he puts off
+the "muddy vesture of decay"; he lives in his art-work.</p>
+
+<div class="figcenter" style="width: 385px;">
+<a name="Illustration_Plate_13" id="Illustration_Plate_13"></a><a href="images/plate_013.jpg">
+<img src="images/plate_013s.jpg" width="385" height="600" alt="" title="" />
+</a>
+<span class="caption"><i><a href="#Plate_13">Plate XIII.&mdash;See Appendix.</a></i><br />
+<span class="smcap">The Tomb of Paganini at Parma.</span></span>
+</div><hr class="chap" /><p><span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span></p>
+
+
+
+
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.</h2>
+
+
+<p>Having traced the career of Paganini "from the
+cradle to the grave," let us now look a little
+more closely at the man, the artist. Glimpses of his
+character have already been revealed, but so curiously
+interesting a personality will repay further study. Totally
+uneducated, he yet made himself so much a man of the
+world, as to enjoy the personal friendship of such
+notabilities as Lord Byron, Sir Thomas Clifford Constable,
+Lord Holland, Prince Metternich and others. In
+his official positions at Court he comported himself with
+dignity. He had the pride of the artist, and would not
+play if the conditions were not suitable. One instance
+has already been given. Here is another, which also
+occurred in Paris. Paganini was asked to play at a
+Court concert at the Tuilleries. He went the day before
+to inspect the <i>salon</i> where the function was to take place,
+and found the heavy draperies so numerous that the tones
+of his violin would be deadened, and the effect of his
+playing would be lost unless the curtains were removed
+or rearranged; he acquainted an official with his wish to
+alter them. To that august personage a "fiddler" was a
+mere nobody, and Paganini was given to understand his
+proper place. Highly offended with the manner of the<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
+official, Paganini resolved not to play. The Court was
+assembled for the concert, but the great violinist was
+absent. A messenger was sent to his hotel, and was
+informed that the Signor had retired to rest very early.</p>
+
+<p>Mobbed by ill-mannered crowds whenever he appeared
+in the streets, (and this especially in London, when
+strangers not only spoke to him, but even felt him, to
+ascertain if he was really flesh and blood), Paganini, with
+his sensitive nature, shrank more and more from contact
+with the outer world. He was not a Milton, "whose
+soul was like a star, and dwelt apart," but he was
+essentially a solitary, a recluse. His character was the
+result of his environment. Accustomed to brutal treatment
+in his childhood, he became hardened; set free
+from restraint, he tasted the wild joys of youth, only to
+find them turn to Dead Sea apples. Schumann, in his
+"Advice to young musicians," wrote: "The laws of
+morality are also the laws of art." But Paganini had no
+mentor, and learnt by bitter experience the lesson of life.
+He was accused of avarice, and many ridiculous stories
+were told of him. When at Prague, it is said that even
+the members of the theatre were struck off the free list,
+and he was annoyed that the police who watched the
+upper galleries could not be made to pay for their places!
+He beat down a London laundress a halfpenny in her
+charge for washing his shirts, and Moscheles gives
+currency to the story, though he cannot vouch for its
+truth, that Paganini gave his servant a gallery ticket for
+one of his concerts on condition that the man served him
+gratuitously for one day! All these wretched things may<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>
+have been true, more's the pity. But there is one little
+story that appears to have been overlooked. The father
+of Nicolo Paganini was avaricious, and compelled his
+son to minister to his avarice, even robbing him of the
+first-fruits of his own earnings; Nicolo in turn became
+avaricious, but it was for the sake of his little son, whose
+life he desired might be better than his own. "He saves
+for his yet uneducated child," wrote Guhr, in 1829. Yes,
+this man, proud, scornful, despising the crowds whose
+money made him rich, in the recesses of his heart
+nourished a love, pure and unselfish. That was the fine
+gold; his wealth was dross. His affection for the child
+was boundless, and he allowed the little fellow to
+tyrannise over him completely. There are pretty stories
+of his playing with the boy, but there is nothing about
+teaching the boy to play&mdash;the violin. The memory of
+his own childhood was quite sufficient to deter him from
+any attempt to force instruction on his boy, and cloud the
+sunshine of his young life.</p>
+
+<p>The world gave Paganini its plaudits and its money;
+but there never seemed to be any bond of sympathy
+between the artist and the public. Yet Paganini could
+appreciate kindness. Moscheles relates that the father of
+his wife rendered Paganini some important service before
+the visit to England. When Paganini first called upon
+Moscheles he was profuse in expressions of gratitude, and
+taking down a miniature portrait of his benefactor he
+covered it with kisses. "Meantime," Moscheles writes,
+"we had leisure to study those olive-tinted, sharply
+defined features, the glowing eyes, the scanty, but long<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span>
+black hair, and the thin, gaunt figure, upon which the
+clothes hung loosely, the deep sunken cheeks, and those
+long, bony fingers." Moscheles was of service to
+Paganini during his first days in London, and, to use his
+own words, he was paid with quite as many honied
+epithets as his father-in-law received. But he suspected
+the Italian to be rather too sweet to be genuine. Indeed,
+the friendship was too fervent to last long, and money
+was the cause of the rupture. Mori commissioned
+Moscheles to write a piece "Gems ŕ la Paganini," taking
+the precaution of obtaining the violinist's consent. His
+style is imitated, and he expresses his admiration of the
+piece. A second and third book of "Gems" are
+published, and down comes Paganini with the charge of
+musical piracy. His permission extended only to the
+first book. A lawsuit was commenced, but Paganini
+effected a compromise with Moscheles, conceding the
+free sale of the three books of "Gems" in return for
+pianoforte accompaniments to twelve small violin pieces.
+Moscheles reluctantly consented to write the accompaniments,
+but refused to allow his name (which
+Paganini wanted) to appear on the title-page. Mori had
+to pay something by way of damages, and Moscheles at
+last rejoiced at being quit of an episode so little worthy
+of an artist, and at having done with those dreadful
+lawyers.<a name="Anchor-32" id="Anchor-32"></a><a href="#Footnote-32" class="Anchor" title="Go to footnote 32.">[32]</a></p>
+
+<p>But quite enough has been said in reference to
+Paganini's avarice: it has been shown that he had a
+motive for saving money. Is it as easy to account for<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span>
+other traits of his character? That aloofness, that scorn
+of the world, that hard bargaining: "Take me or leave
+me," revealing callous indifference, was there no cause
+for all that? There is a very graphic, and at the same
+time, appalling, account of the impression produced by
+Paganini among the Parisians, which is translated at
+length in Dubourg's "The Violin." Berlioz wrote of the
+weird genius making his appearance in France during
+the uproar of the collapse of a dynasty, and arriving in
+Paris&mdash;with the cholera. The terrors of the scourge
+were powerless to check the tide of curiosity: the people
+were mad for the time being. This is the conclusion of
+the notice just mentioned: "Of such a public, and such
+an artist, how saddening is the sight!... The public,
+made up of idlers&mdash;of beings isolated, cold, corrupt&mdash;must
+be <i>amused</i>, forsooth! and the artist exhausts his
+taste and his sentiment, and well nigh perspires blood
+and water, to comply with their exactions&mdash;to <i>amuse</i>
+them! and if he attain this end, the public clap their
+hands, the manager of the theatre counts out to him a
+heap of gold, and he goes away, with his ears deafened
+at the noise which has surrounded him, and which, for a
+moment, it may be, has made his heart beat high;&mdash;he
+goes away, with a loving grasp tightened over the coin
+he has so hardly won; and now inwardly exclaims, with
+a smile of pity, 'The blockheads&mdash;the barbarians! who
+is there among them that can comprehend me&mdash;that can
+<i>feel</i> my intentions!' and then the home-returning public,
+selfish to the very soul, indemnify themselves for their
+finger's-end applause by sottish contempt, by remarks<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span>
+that are empty, or worse&mdash;that are scornful, bitter,
+shocking, disgusting even&mdash;such as those which may
+have been buzzed into one's ears in Italy or in Paris, but
+varied in a hundred ways, and aggravated at will, just as
+<i>he</i> varies and enlarges, twists and turns, beneath his
+magic bow, a subject of apparently the most simple and
+insignificant kind. And now the voices most distinguishable
+among the ebbing crowd murmur out the words,
+'Gambler, Libertine'! or worse.... And the privileged
+public resort again to the theatre, to admire the talent of
+him who they comprehend not; and the artist returns, in
+like manner, to <i>amuse</i> those who provoke his pity, and
+whom he beholds so far below him! Thus we have
+contempt on one side, compassion on the other; applause
+from hands chilled with the touch of gold, on the one
+part,&mdash;on the other, sounds that borrow their animation
+from no social sympathy! Such are the relations between
+the public and the professor such the bonds that connect
+them!" Unhappy artist; miserable public! How shall
+we account for this pitiful state of things, this gulf
+between the performer and the auditor? We must seek
+the explanation in the letter to the <i>Revue</i>, referred to
+more than once, but now claiming our attention more
+directly.</p>
+
+<div class="figcenter" style="width: 447px;">
+<a name="Illustration_Plate_14" id="Illustration_Plate_14"></a><a href="images/plate_014.jpg">
+<img src="images/plate_014s.jpg" width="447" height="600" alt="" title="" />
+</a>
+<span class="caption"><i><a href="#Plate_14">Plate XIV.&mdash;See Appendix.</a></i><br />
+<span class="smcap">Paganini in Prison.</span></span>
+</div>
+
+<p>The pictures of "Paganini in Prison," exhibited so
+lavishly while the artist was in Paris in 1831, provoked
+him to remark that there were some "honest fellows"
+making money of a calumny that had pursued his steps
+for the last fifteen years. He then referred to the
+different versions of the crime imputed to him: that he<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span>
+killed a rival whom he found in company with his
+mistress; or that it was his mistress who had been the
+victim of his jealous fury; the only point of agreement
+was the imprisonment. "Let me tell you," the letter
+continued, "what happened to myself in Padua about
+fifteen years ago (1816), on this very subject. I had
+given a concert with some success: the next day I went
+to a table-d'hôte; I entered the room late; was, perhaps,
+the sixtieth guest, and took my seat unnoticed. One of
+the company expressed himself in flattering terms of the
+effect produced by my performance the evening before.
+His next neighbour agreed in the praises bestowed on
+me, but added, 'Nobody ought to be surprised at
+Paganini's ability: he owes it all to an eight years'
+solitary imprisonment in a dungeon, with nothing but his
+violin to occupy his time, or soften the rigours of his
+confinement. He was condemned to this long incarceration
+for having assassinated a friend of <i>mine</i>, who was
+unfortunate enough to be his rival.' As you may easily
+believe, every one was loud in denouncing the enormity
+of my crime; when I addressed myself to the speaker,
+begging him to inform me where and when this tragical
+adventure had occurred. All eyes were in an instant
+turned upon me, and you may judge the astonishment of
+the company at finding the hero of this tale of murder
+and imprisonment one amongst them. The relater of the
+story was not a little embarrassed. 'It was not a friend
+of his own that had fallen&mdash;he had heard&mdash;he had been
+told&mdash;he believed&mdash;but after all it was very possible he
+might have been deceived,' etc. Now see, Sir, how easy<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span>
+it is to play with the reputation of an artist merely
+because men, inclined to indulge in idleness themselves,
+cannot conceive it possible that he may have studied as
+closely in his own chamber and in full possession of his
+liberty, as he would if he had been chained up in a
+dungeon."</p>
+
+<p>There was an occurrence that gave rise to these
+reports, and which Paganini related in the same letter.
+"A violin player, named D&mdash;&mdash;i,<a name="Anchor-33" id="Anchor-33"></a><a href="#Footnote-33" class="Anchor" title="Go to footnote 33.">[33]</a> who was at Milan
+in 1798, associated himself with two other men of bad
+character, and engaged with them in a plot to assassinate,
+by night, the curate of a neighbouring village, supposed
+to be in possession of much wealth. Luckily for the
+curate the heart of one of the conspirators failed him,
+and he denounced his companions. The gendarmes
+watched the spot, and took D&mdash;&mdash;i and his accomplice
+into custody at the moment they arrived at the curate's
+dwelling. They were condemned to twenty years' confinement
+in irons, but General Menou, after he had been
+appointed governor of Milan, at the end of two years
+restored the violinist to liberty. Would you believe it,
+Sir? this is the sole foundation upon which the whole
+history of my incarceration has been erected. A violin
+player, whose name ended in <i>i</i>, had been engaged in a
+murder and imprisoned&mdash;it could only be <i>Paganini</i>&mdash;the
+assassinated party was converted into either my rival or<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span>
+my mistress, and it was I, <i>Paganini</i>, who had been so
+many years loaded with chains, and immured in a
+dungeon. Solely with the view of wringing from me the
+secret of my new system, have they complimented me
+with fetters, whose only effect would have been to
+paralyze my arms."</p>
+
+<p>Paganini further stated that he called on the Italian
+ambassador resident in Vienna, to testify that he had
+known the artist for nearly twenty years, during all
+which time his conduct has been that of an honest man.
+He also pointed out that having been constantly before
+the public from the age of fourteen, he must have had a
+mistress and a rival when he was seven! for there was
+no room for an interval of eight years afterwards. It
+was at Vienna that one of the audience, while Paganini
+was playing "The Witches' Dance," distinctly saw the
+devil close to the violinist, guiding his fingers and
+directing his bow; the said devil was dressed in red and
+had horns and a tail, and the striking likeness of the
+countenances of the two, plainly proved the relationship
+between them. That pretty story followed Paganini
+everywhere: and, as has been seen, in Prague he had to
+publish a letter from his mother disproving the rumour of
+his Satanic parentage. There is something intensely
+pathetic in Paganini's conclusion: "I see nothing else
+for it but to leave malignity at liberty to disport itself at
+my expense."</p>
+
+<p>In this prosaic, materialistic twentieth century, which
+believes in little besides money, there is no fear of any of
+our violin wonders being associated with the arch-fiend.<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span>
+They may be regarded as physic problems, but the
+supernatural is eliminated from the study. But Paganini
+did not live in the twentieth century, and in his day the
+devil was a very real personage, notwithstanding the
+temporary overthrow of much belief through the French
+Revolution, and the enthronement of the "Goddess of
+Reason" in the Church of Notre Dame, Paris. It may
+seem absurd, now, even to recall these calumnies; but
+we have to deal with the environment of a great genius,
+to study the cause of his failing to become great as a
+man; for surely he had the making of a fine character.
+That he should traverse the greater part of Europe,
+pursued by tales of devilry and murder, is one of
+the saddest comments on that period; that the "iron
+entered into his soul," and the man capable of
+affection became a miser and a misanthrope, is more
+mournful still. He was the "Flying Dutchman" of
+the violin.</p>
+
+<p>How was it that the devil and the violin came into
+relationship? We have it on the authority of Martin
+Luther that the devil hates music. Luther not only
+believed in the devil, but he fancied he saw him: and in
+the room of the Castle of Wartburg may still be seen the
+mark on the wall, where he threw his inkpot at the fiend,
+who tried to thwart his work of translating the Bible. It
+is curious that the only instrument which, to the present
+writer's knowledge, Satan has been represented as playing
+upon, is one of the precursors of the violin. There is
+a piece of sculpture in the Cathedral of Amiens, depicting
+Satan playing on an oval three-stringed Vielle, of the<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span>
+thirteenth century.<a name="Anchor-34" id="Anchor-34"></a><a href="#Footnote-34" class="Anchor" title="Go to footnote 34.">[34]</a> The story of Tartini and his dream,
+when the devil played so marvellously on the violin, is
+known to everyone, and is, moreover, perpetuated in the
+sonata <i><span lang="it">Il Trillo del Diavolo</span></i>. It is related of Thomas
+Baltzar, the first great violinist ever heard in England,
+that when he played at Oxford he astonished everyone by
+"running up his fingers to the end of the finger-board."
+John Wilson, the Oxford Professor of Music, "the
+greatest judge of musick that ever was," according to
+Anthony ŕ Wood, "did, after his humoursome way,
+stoop down to Baltzar's feet, to see whether he had a
+huff on, that is to say, whether he was a devil or not,
+because he acted beyond the parts of man." As this
+took place in 1658 there was some excuse for the grim
+pleasantry; moreover music had suffered an eclipse, and
+performers in this country were comparatively few.
+Even the gentle and polite Corelli forgot himself so far
+as to apply the term, devil, to another violinist. As the
+story may not be so well known as the foregoing, I shall
+briefly repeat it. Nicolaus Adam Strungk (or Strunck),
+violinist to Ernest Augustus, Elector of Hanover, when
+in Rome (<i>circa</i> 1684) made it his business to see Corelli.
+Introducing himself to the Italian master as a musician,
+Corelli asked what was his instrument. Strungk replied
+that he could play upon the harpsichord, and a little upon
+the violin; but he particularly wished to hear Corelli on
+the latter instrument, his fame being widely known.
+Corelli obligingly consented, and played a piece to the<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span>
+harpsichord accompaniment of Strungk. Strungk afterwards
+played a toccata, with which Corelli was so much
+taken that he laid aside his instrument in his transport of
+admiration. When Strungk had finished at the harpsichord,
+he took up the violin, and began handling it in a
+careless manner, whereupon Corelli remarked that he had
+a good bow-hand, and wanted nothing but practice to
+become a master of his instrument. At that moment
+Strungk put the violin out of tune, and played on with
+such dexterity, attempering the dissonances occasioned
+by the mistuning with such amazing skill, that Corelli
+cried out in broken German: "I am called Arcangelo, a
+name that in the language of my country signifies an
+Archangel; but let me tell you, that you, Sir, are an
+Arch-devil!"</p>
+
+<p>There is nothing malicious in these stories of the devil
+and the fiddler; and if Paganini had experienced nothing
+worse than what has just been related, he might have
+treated the matter as a joke. But that which malice or
+envy originated, a "reptile press" promulgated. Innocent
+of crime, Paganini was branded as a felon; gifted with
+genius of the rarest order, cultivated to a perfection
+absolutely unique, his skill was attributed to the aid
+received from the devil. Add to this his wretched health,
+and there is both mental and bodily suffering. In his
+later years he was cut off from intercourse with others,
+like Beethoven&mdash;but with this difference: Beethoven
+employed a tablet or note-book for his friends to convey
+their words to him; Paganini transmitted, through a
+similar medium, his thoughts to others. He was dumb!<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span>
+Is there no brighter side to this picture? If there be, let
+us turn to it.</p>
+
+<p>It is, perhaps, fortunate that no man can be consistent
+throughout his life; the morose must smile at times,
+and the misanthrope mitigate his hatred of mankind.
+Paganini was but human, and his life was not all shadow.
+Though his intimate friends were few, there were some
+who were able to place on record details of the private
+life of the great violinist. Of such, the most useful to
+biographers was George Harris. He was an Englishman,
+attached to the Court at Hanover then connected with
+Britain; a dramatist of a certain order, he accompanied
+Paganini on his tours in Germany, acting for a time as
+his secretary, and apparently he was with him when in
+England. From him we learn a good deal.</p>
+
+<p>Paganini was always on the move, and travelling in
+his day was not the rapid, comfortable, even luxurious
+process it is now. In the post-chaise Paganini stowed
+his luggage, which was of the simplest&mdash;and shabbiest&mdash;description.
+A dilapidated box held his beloved violin,
+his linen, cash and jewellery; a carpet-bag and a hat-box
+completed his outfit. He was philosophically indifferent
+to comfort, but in his later years he always had the
+windows of his carriage closed. When he arrived at his
+quarters, the windows of his room were thrown open,
+and he indulged in a sun-bath&mdash;again anticipating modern
+medical advice. Paganini, when travelling, was fond of
+taking a stroll when the horses were changed. It was a
+relief to stretch his legs after the close confinement of
+the post-chaise, but sometimes his rambles were so<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span>
+prolonged that there was weary waiting for him when all
+was ready to resume the journey, and drivers became
+exasperated. Paganini was made to suffer on one
+occasion. That was when travelling from London to
+Birmingham. He had already tried the patience of his
+coachman by causing loss of time, and the man declared
+he would drive on without him, rather than wait again.
+At the next stopping place Paganini walked off as usual,
+leaving Harris asleep in the vehicle. The horses being
+changed, the driver started, leaving Paganini behind.
+This caused some trouble, for a post-chaise had to be
+sent from the next station in search of the derelict, and
+Paganini in his rage refused to pay the extra expense.
+He was summoned before the Birmingham magistrates,
+and the case going against him he was compelled to
+discharge the debt. Poor Paganini, he always suffered
+when he came into contact with the law.</p>
+
+<div class="figright" style="width: 188px;">
+<a name="Illustration_Plate_15" id="Illustration_Plate_15"></a><a href="images/plate_015.png">
+<img src="images/plate_015s.png" width="188" height="200"
+alt="PLATE 15. (See Appendix.) Letter in French by Paganini." title="" />
+</a>
+<span class="caption"><a href="#Plate_15">PLATE 15. (<i>See Appendix.</i>)</a></span>
+</div>
+
+
+<div class="figright" style="width: 200px;">
+<a name="Illustration_Plate_16" id="Illustration_Plate_16"></a><a href="images/plate_016.png">
+<img src="images/plate_016s.png" width="200" height="321"
+alt="PLATE 16. (See Appendix.) Note in Italian by Paganini." title="" />
+</a>
+<span class="caption"><a href="#Plate_16">PLATE 16. (<i>See Appendix.</i>)</a></span>
+</div>
+
+
+<div class="figright" style="width: 200px;">
+<a name="Illustration_Plate_17" id="Illustration_Plate_17"></a><a href="images/plate_017.jpg">
+<img src="images/plate_017s.png" width="200" height="116"
+alt="PLATE 17. (See Appendix.) Note in Italian by Paganini." title="" />
+</a><span class="caption"><a href="#Plate_17">PLATE 17. (<i>See Appendix.</i>)</a></span>
+</div>
+
+<p>In his personal habits Paganini was simplicity itself.
+Frugal to a degree in his repasts, a cup of chocolate
+sufficed for a meal when starting early on a journey, and
+often he would fast until evening. When in a happy
+mood after a concert, he would join the table d'hôte and
+do as others did, but the slightest indulgence was
+punished the next day. He preferred solitude, but when
+he mixed with others he would join freely in the conversation;
+if music were touched upon he became silent,
+or left the room. So long as he could find accommodation
+that was quiet, he cared little for its quality. Scenery
+had no charms for him, and all climates but his own
+were equally indifferent to him. His accounts were kept<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
+in a little red pocket-book (found under his pillow after
+his death), in a kind of arithmetical shorthand only
+decipherable by himself. He never had been taught the
+science of numbers, or he might have been made a first-rate
+mathematician.</p>
+
+<p>Harris stated that all the time he was with Paganini
+he never heard him play a single note except before an
+audience. That may have been correct so far as
+Germany was concerned, but the Rev. John Edmund
+Cox, in his "Musical Recollections," has something very
+different to say about Paganini. "During his career he
+visited my native town,<a name="Anchor-35" id="Anchor-35"></a><a href="#Footnote-35" class="Anchor" title="Go to footnote 35.">[35]</a> and as I had the good fortune
+then to be able to converse in French, the friends who
+had engaged him for a sound of concerts in that place
+and its vicinity placed me in direct communication with
+him somewhat in the capacity of a secretary; so that I
+not only travelled in his company and heard him at every
+concert at which he appeared, but I lived in the same
+hotels and lodgings which had been secured for him.
+This kind of semi-official position necessitated my seeing
+much of him during his leisure hours, when he threw off
+the suspicious restraint which was always apparent in his
+manner when he was among strangers, whom he
+imagined were bent upon getting as much as possible out
+of him for their own advantage. Then, indeed, he would
+evince anything but a hard and ungenerous nature, his
+manner being not only kind but courteous; whilst any
+attention that was afforded to his wants or to his comforts<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span>
+was sure to elicit not only looks but words of gratitude.
+In public he confined himself almost exclusively to the
+performance of his own music,&mdash;... but in private&mdash;for
+he had his violin constantly in his hand&mdash;he would sit
+and dash off by the hour together snatches from the
+compositions of the best masters, and give readings of
+such originality to passages that had been heard again
+and again, as apparently have never been supposed to be
+possible by any other player. As an instance in point, he
+one morning, whilst I was writing several notes for him,
+commenced the first <i>motivo</i> of Beethoven's magnificent
+violin concerto. To write was then impossible; and he,
+perceiving how entranced I seemed, asked whether I
+knew what it was. On my replying in the negative, he
+promised, if it could be managed, that I should hear the
+whole of that movement before we separated." The
+promise was redeemed. The above is valuable as showing
+that Paganini was not quite so wanting in knowledge
+as was generally supposed. He could converse in
+French, though at that time&mdash;1831&mdash;he had only spent a
+few weeks in France. Education, proper, he had none;
+but the statement that he could speak no language but
+his own, is evidently incorrect. The allusion to strangers
+bent upon getting as much as possible out of him for their
+own advantage, finds an illustration in the story of the
+Englishman who is said to have followed Paganini for
+some six months, watching his every movement, lodging
+at the same hotels, and employing every means to get at
+the great secret of the violinist's art. At last his
+perseverance seemed about to be rewarded. Looking<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a><br /><a name="Page_102" id="Page_102">[102]</a><br /><a name="Page_103" id="Page_103">[103]</a><br /><a name="Page_104" id="Page_104">[104]</a></span>
+through the keyhole of Paganini's door, the Englishman
+saw the violinist take his instrument from its case&mdash;raise
+it to his shoulder, even shift the left hand up and down
+the neck; but not the ghost of a sound. It was just
+a study of positions, and the violin was then restored to
+its place. In despair, the inquisitive amateur gave up
+the quest.</p>
+
+<p>The concerts Paganini gave for the poor were evidence
+of his natural goodness of heart. It is true, such efforts
+cost him little; he gave a few hours' time: the public
+found the money. One day, when walking in Vienna, he
+saw a poor little Italian boy playing the violin in front of
+a large house. He drew from him a touching story of
+poverty, and a sick mother; and emptying his pockets
+into the boy's hands, he took from him his violin and
+began to play. He was soon recognised, and a crowd
+assembled; the people were immensely diverted, and
+gave a generous response when the hat was handed
+round. With "Take that to your mother," Paganini
+sent the boy off rejoicing, and turning to the companion
+of his walk, he remarked, "I hope I've done a good turn
+to that little animal." He was fond of applying the word
+"animal" to those sometimes spoken of as "the lower
+classes," but was not altogether singular in that respect.</p>
+
+<p>At the anniversary dinner of the Royal Society of
+Musicians, in 1832, among the donations announced was
+one of ten guineas from Paganini. This was thought so
+excessively mean an acknowledgment of the generosity
+of the English nation, that the announcement was
+received with groans and hisses. That was distinctly<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span>
+rude on the part of those who, having dined well, ought
+to have been in a genial state of mind.</p>
+
+<p>At least one generous action must be placed on record.
+It was told by George Augustus Sala many years ago.<a name="Anchor-36" id="Anchor-36"></a><a href="#Footnote-36" class="Anchor" title="Go to footnote 36.">[36]</a>
+The mother of that voluminous writer was a vocalist,
+and made her <i>début</i> at Covent Garden Theatre in 1827,
+as the Countess in Bishop's version (or perversion) of
+Mozart's "Marriage of Figaro." In 1828 she became a
+widow, and supported her family by teaching singing and
+giving annual concerts, chiefly at Brighton, where she
+lived. For one of her benefit concerts she engaged
+Paganini. The most distinguished artists of her day had
+gladly given their gratuitous assistance at similar
+functions, and Paganini accepted the small fee of twenty-five
+guineas. Sala was a very small boy at that time
+(born in 1828), and possibly drew upon his imagination
+when recounting the event so many years later. This is
+what he wrote:&mdash;"'Take your little boy with you,
+Madame Sala,' was the shrewd counsel of &mdash;&mdash;, a
+valued friend of my mother; 'take the boy with you
+when you pay Pag.; perhaps <i>that</i> will soften him a little.'
+I was the smallest and chubbiest of the tribe; then, duly
+washed, combed and made spruce, my parent took me in
+her hand, and led me to the Old Ship, where Paganini
+was staying. We were ushered, not without fear and
+trembling on my part, into the presence of the mighty
+musician, who was at breakfast. Then my mother,
+alluding as far as she in delicacy could to her large family<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span>
+and small means, proceeded to count out&mdash;sovereign by
+sovereign, shilling by shilling&mdash;Paganini's fee of five and
+twenty guineas. I can see with the eye of memory the
+whole man before me now, his gaunt angular form, his
+black elf-like locks falling in weird confusion over his
+neck and shoulders, his cadaverous face and shaggy
+brows, his long bony hands with the veins standing out
+like cordage, his amazingly large feet, and especially his
+neck, disproportionately long, scraggy, and corrugated.
+I can see the glare&mdash;so it seemed to me&mdash;which, when he
+raised his bent brows, darted upon the pile of money, and
+the spasmodic avidity with which he extended his hand
+and swept the pile towards him.... 'A very nice little
+boy,' he was good enough to say, alluding to myself; 'but
+time is bad, and there is no monish in de vorld: no, never
+no monish at all.' My mother rose with a heavy heart to
+depart. 'Stop, little boy,' said the great violinist, and he
+beckoned to me with a skinny finger, which any of the
+witches in Macbeth would have been proud to own;
+'stop, take this, it will buy you a cake.' He thrust a
+crumpled piece of paper into my hand, rose from his
+chair, and, without more ado 'bolted'&mdash;that is the only
+word suited to the action&mdash;into his bedroom. He had
+given me a bank note for fifty pounds! Superstitious
+people used to whisper that Paganini had sold himself to
+the enemy of mankind; spiteful people used to draw him
+as a greedy, flint-hearted miser.... I only know how
+he acted towards my mother."</p>
+<hr class="chap" /><p><span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX.</h2>
+
+
+<p>From the man we now turn to the artist. Schiller
+wrote: "The artist is the son of his age, but pity
+for him if he is its pupil or even its favourite." It
+has been shown how truly Paganini was the child of his
+age; the pity was that he became its pupil and its
+favourite; in consequence he failed to attain the supreme
+height where dwell the spirits of the greatest. But he was
+a great artist, in spite of his concessions to the public
+taste; and he held in reverence that which he found great
+in others. When in Vienna in 1828, exactly a year after
+the death of Beethoven, Paganini attended a concert, and
+heard a performance of the great master's Symphony,
+No. 7, in A. Profoundly moved by that sublime composition,
+he remained mute, his gaze fixed and mournful;
+suddenly the tears rolled from his eyes; his grief and
+emotion wrung from him the words: <i><span lang="it">E morto!</span></i> Anders,
+who relates the incident, adds: "Never was the immortal
+author of <i>Fidelio</i> more worthily extolled than by those
+tears, by that simple word. The day may come when
+some disciple, some friend of the Genoese artist, will say
+in his turn, seized with bitter sadness, <i><span lang="it">E morto!</span></i>" Strange,
+that Chorley should have employed the very words, in the<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span>
+premature obituary notice which has been already
+referred to.</p>
+
+<p>When in Paris, Paganini once visited the Institution
+for the Blind. He was so much struck with the beauty
+and purity of intonation that characterised the singing of
+the pupils, that he declared that never before had he an
+adequate notion of what harmony was.</p>
+
+<p>The artist, as well as the art, claimed his respect.
+There seems to have been no artistic jealousy about him,
+and to the young performer he was invariably kind, whilst
+to the established professor he was just. It is said that
+when Paganini's concerts took place at the King's
+Theatre, it was proposed to dispense with the services of
+the "leader" at the Opera. When Paganini heard of
+this, he paid a well-merited compliment to the abilities of
+Signor Spagnoletti, and insisted upon his engagement at
+all the concerts, he, Paganini, might give at the Theatre.
+It is true, at rehearsal, Paganini never gratified the
+members of the orchestra as to what the concert performances
+were likely to be; but he was careful to have
+the accompaniments well prepared. Quick-tempered, he
+was irritated at any faulty work, but when all went well
+he expressed his approbation by exclaiming, "<i><span lang="it">Bravissimi!
+Siete tutti virtuosi!</span></i>" ("You are all artists!") Paganini
+brought the orchestral parts with him to rehearsal, and
+took them away afterwards; as to the solo part, no one
+had a chance of looking at that, for Paganini played
+everything from memory. His kindness to brother-artists
+has been placed on record. The young violoncellist
+Ciandelli, who rendered such service to Paganini<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span>
+when he was turned into the street by the brutal landlord,
+was afterwards well repaid by the instruction Paganini
+gave him. The great violinist told Schottky, his
+biographer, that he took a lively interest in young
+Ciandelli, and that he imparted to him his secret. He
+gave him lessons, and at the end of three days so transformed
+his playing, that from being a mediocre performer,
+he became the first violoncellist at the Theatre Royal,
+Naples, with a possibility of becoming the first in the
+world. However, as history is silent respecting the
+subsequent achievements of Gaetano Ciandelli, he need
+not claim further attention.</p>
+
+<p>The Bohemian violinist, Joseph Slavik, appeared at
+Vienna in 1826, when he was twenty years of age.
+Moscheles heard him play, and said he was considered in
+Vienna as the second Paganini. Of course that was
+hearsay; <i>the</i> Paganini had not then been heard outside
+Italy. When Paganini was in Vienna, in 1828, he
+become acquainted with young Slavik, and held him in
+affectionate regard. At all hours the young student had
+access to the idol of his worship, and received many
+valuable hints and ideas upon fingering, etc., and friendly
+encouragement to pursue his daring course with unwearying
+application. He spent two years in retirement,
+zealously studying the Paganini method, and when he
+reappeared in Vienna, he was spoken of as no petty
+imitator, but a second original. A contemporary notice,
+comparing Slavik with Paganini, states:&mdash;"The only
+difference between the two at present is, that the pupil,
+carried away by the ardour of youth, often suffers himself<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span>
+to be seduced into the most gigantic attempts, the success
+of which on every occasion no mortal can with certainty
+rely upon; while the other, possessing the plaintive and
+deeply pathetic tones of a singer, at the same time
+resembles a consummate piece of musical mechanism,
+which accomplishes the most extraordinary feats quietly
+and without effort." Slavik died at Pesth, in 1833, at the
+early age of twenty-seven; what he might have become
+his actual achievements plainly indicated.</p>
+
+<p>In his later years, Paganini appears to have had great
+delight in listening to young artists. In 1836, Antonio
+Bazzini, then a youth of eighteen, played to Paganini,
+who was enraptured with his performance. A year later,
+in Paris, Paganini heard a much younger violinist, the
+boy Apollinaire de Kontski, and actually went so far as
+to give him a testimonial. Articles in the musical
+dictionaries all state that Paganini gave some lessons to
+the child; some say that the friendship between the two
+resulted in Paganini bequeathing to De Kontski his
+violins and compositions. Grove, in quoting Mendel,
+says this statement requires confirmation. When Apollinaire
+de Kontski died, in 1879, nothing, so far as I have
+been able to ascertain, transpired concerning the alleged
+bequest. But the testimonial seems to have escaped the
+notice of dictionary compilers, so, as a curiosity, I
+reproduce it from the <i>Musical World</i>, of June 21st,
+1838:&mdash;</p>
+
+<blockquote><p>"Having heard M. de Kontski, aged eleven years,
+perform several pieces of music on the violin, and having
+found him worthy of being ranked among the most<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span>
+celebrated artists of the present day, permit me to say,
+that if he continues his studies in this fine art, he will, in
+course of time, surpass the most distinguished performers
+of the age.</p>
+<p class="sig">
+(Signed) <span class="smcap">Paganini</span>."</p>
+</blockquote>
+
+<p>But if Paganini was fond of hearing and encouraging
+other artists, he was averse to anything like competitive
+display. When he met Lafont at Milan in 1816, as
+already related, he played at the concert given by that
+artist. The function came to be regarded as a contest,
+and an account of it appears in Laphaléque's pamphlet.
+Some paper, early in 1830, having quoted this notice,
+Lafont wrote a letter of protest, which is interesting
+enough to reproduce in part. He wrote:&mdash;</p>
+
+<p>"Sir, I have just read, in your journal of the 2nd of
+Feb., an extract from the Notice published on the
+celebrated violinist, Paganini. As this notice contains
+statements utterly erroneous, as regards me, I owe it to
+truth, to the advice of my friends, and to the favour with
+which the public has been pleased to honour me during
+twenty-five years, to give an exact statement of the facts
+of the case. The following is a narration of what
+occurred. In the month of March, 1816, I gave in
+conjunction with M. Paganini, a concert in the great
+theatre, La Scala, at Milan, and, far from making a cruel
+trial of the powers of my adversary, or of being beaten
+by him, as is pretended by the author of the Notice, I
+obtained a success the more flattering, as I was a
+stranger in the country and had no other support than
+my talent.</p>
+
+<p>"I played, with M. Paganini, the concerted symphony<span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span>
+of Kreutzer, in <i>fa</i> major. For several days previously to
+the concert we rehearsed this symphony together, and
+with the greatest care. On the day of the concert it was
+performed by us as it had been rehearsed, with no change
+whatever; and we both obtained an equal success in the
+passages executed together or separately. On coming to
+the <i><span lang="fr">phrase de chant</span></i> in <i>fa</i> minor, in the second solo of the
+first part, there was a decided advantage for one of us.
+This passage is of a deep and melancholy expression.
+M. Paganini performed it first. Whether the strong and
+pathetic character of the piece was ill-suited to the
+ornaments and brilliant notes which he gave in it, or
+whatever else was the cause, his <i>solo</i> produced but little
+effect. Immediately after him, I repeated the same
+passage, and treated it differently. It seems that the
+emotion by which I was then agitated, caused me to give
+an expression more effective, though more simple, and it
+was so felt by the audience, that I was overwhelmed
+with plaudits from all parts of the house. During
+fourteen years I have been silent on this trifling advantage
+obtained over M. Paganini in this instance, only in the
+symphony, and probably rather by the superiority of the
+school than by that of talent. It is painful to me to
+speak of myself; nothing short of the misrepresentation
+of the article in question could have provoked me to
+reply. I was not beaten by M. Paganini, nor was he by
+me. On all occasions, I have taken pleasure in rendering
+homage to his great talent; but I have never said that he
+was the first violinist in the world; I have not done such
+injustice to the celebrated men&mdash;Kreutzer, Rode, Baillot,<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
+and Habeneck, and I declare now, as I have always done,
+that the French school is the first in the world for the
+violin."</p>
+
+<p>After this modest assertion Lafont concludes with an
+expression of rejoicing in the opportunity of praising a
+talent of which he felt it an honour to be the rival, but of
+which no one could make him the adversary.</p>
+
+<p>This epistle provoked a rejoinder from Francesco
+Cianchettini<a name="Anchor-37" id="Anchor-37"></a><a href="#Footnote-37" class="Anchor" title="Go to footnote 37.">[37]</a> who wrote:&mdash;"As I was present at that
+contest, I do assert that the account given by Mr. Imbert
+is not erroneous, but correct. The public decision was in
+favour of Paganini; Mr. Lafont having acquiesced in
+silence to such a decision, does not diminish one iota of
+his acquired fame: as not only himself, but every living
+violinist who dares to enter into rivalry with Paganini,
+will be prostrated, although the Signor has not had the
+advantage of being a pupil of the <i>super-excellent Parisian
+Violin School</i>. In Paris, I have heard how the talented
+violinists, mentioned in Mr. Lafont's letter, speak of
+Paganini. The <i>Coriosi</i> gladiators of the Neronian age
+spoke with the same freedom of Hercules. Had this
+demigod suddenly appeared on the arena with his club,
+all of them would instantly have shrunk into pigmies."</p>
+
+<p>In a footnote Cianchettini added that whatever excellence
+the Parisian Violin School might lay claim to,
+was derived from Italians; from Viotti, through Pugnani
+and Tartini, to Corelli, "the father of the violin."</p>
+<p><span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p>
+<p>But the genius of Paganini was fully understood and
+appreciated by a far greater Frenchman than Charles
+Lafont:&mdash;Hector Berlioz.</p>
+
+<p>The friendship between Paganini and Berlioz has been
+briefly referred to, but it is a subject for further consideration,
+as it reveals the influence that the one artist
+wielded over the other. The first meeting of the two
+men must be told in the words of Berlioz himself. A few
+remarks are needed by way of preface. In the summer
+of 1833, Berlioz married the English actress Miss
+Smithson, who, still weak from her carriage accident,
+had, on her wedding day, "nothing in the world but debts,
+and the fear of never again being able to appear to
+advantage on the stage." To pay off these debts Berlioz
+organized a benefit entertainment, beginning with drama
+and ending with a concert. But his programme was too
+long, and he had forgotten something&mdash;<i>the claque</i>. His
+poor wife could not conceal her lameness, and though
+talented as ever, she failed to obtain a recall. Another
+actress, having taken precautions, had an ovation. Then
+at midnight the band of the <i>Théâtre Italien</i>, not being
+obliged to play after that hour, left the place, and the
+<i><span lang="fr">Symphonie Fantastique</span></i> could not be played. Liszt assisted,
+and the affair was not quite a failure, financially, though
+the promoter came in for bitter attacks. Poor Berlioz
+was in despair, but he took his courage in both hands,
+and announced a concert at the <i>Conservatoire</i>. He took
+care to engage artists he could trust, and with his friend
+Girard as conductor everything went well, the <i><span lang="fr">Symphonie
+Fantastique</span></i> taking the room by storm. Now let Berlioz<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
+speak: "My success was complete, and the former
+judgment on me was reversed. My musicians looked
+radiant with delight as they left the orchestra. Lastly,
+my happiness was completed when the public had all
+gone, and a man stopped me in the passage&mdash;a man with
+long hair, piercing eyes, a strange and haggard face&mdash;a
+genius, a Titan among the giants, whom I had never seen
+before, and at first sight of whom I was deeply moved;
+this man pressed my hand, and overwhelmed me with
+burning eulogies, which literally set both my heart and
+brain on fire. It <i>was Paganini</i> (22nd December, 1833).
+From that date my relations with that great artist, who
+exercised such a happy influence upon my destiny, and
+whose noble generosity has given birth to such absurd
+and malicious comments."</p>
+
+<p>It was some time in January, 1834, that Paganini
+called upon Berlioz and said he had a wonderful viola, a
+Stradivari, upon which he should much like to play in
+public, but he had no music for it. Would Berlioz write
+a solo for him? Berlioz was flattered by the proposal,
+but replied that in order to produce a composition
+sufficiently brilliant to suit such a virtuoso, he&mdash;Berlioz&mdash;ought
+to be able to play the viola, and that he could
+not do. So he thought Paganini alone could meet his
+own wishes. Paganini, however, pressed his own point,
+adding that he himself was too unwell to compose
+anything. Berlioz then set to work. To quote his own
+words: "In order to please the illustrious virtuoso, I
+then endeavoured to write a solo for the viola, but so
+combined with the orchestra as not to diminish the<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span>
+importance of the latter, feeling sure that Paganini's
+incomparable execution would enable him to give the
+solo instrument all its due prominence. The proposition
+was a new one. A happy idea soon occurred to me, and
+I became intensely eager to carry it out."</p>
+
+<p>Paganini was impatient to see the music, and as soon
+as the first movement was finished, it was shown to him.
+He did not like the long silences. "That is not at all
+what I want," he said; "I must be playing the whole
+time." "You really want a <i>concerto</i> for the tenor,"
+Berlioz replied, "and you are the only man who can
+write it." Paganini said no more, and soon afterwards
+left for Nice. Berlioz then gave free play to his fancy,
+and wrote the series of scenes for the orchestra, the
+background formed from the recollections of his wanderings
+in the Abruzzi, the viola introduced as a sort of
+melancholy dreamer, in the style of Byron's "Childe
+Harold." Hence the title "Harold in Italy." Now,
+this is the point: "Harold" was inspired by Paganini,
+who indirectly gave a new art-form to the world. The
+piece was produced on November 23rd, 1834, but
+Paganini was then in Italy, and he did not hear it until
+four years later.</p>
+
+<p>But Paganini was destined to inspire something greater
+still. He was again in Paris in 1838, and, as before
+related, was present at the "horrible performance" of
+Berlioz' "Benvenuto Cellini." Sad at heart Paganini
+said: "If I were manager of the <i>Opéra</i>, I would at once
+engage that young man<a name="Anchor-38" id="Anchor-38"></a><a href="#Footnote-38" class="Anchor" title="Go to footnote 38.">[38]</a> to write me three such operas:<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span>
+I would pay him in advance, and should make a capital
+bargain by it." The failure of the opera threw Berlioz
+on a bed of sickness. But he had to live, and was soon
+arranging to give concerts at the <i>Conservatoire</i>. The first
+barely paid expenses, but the second, at which both the
+<i><span lang="fr">Symphonie Fantastique</span></i> and <i><span lang="fr">Harold en Italie</span></i> were performed,
+was more successful, and at this Paganini was present.
+This has also been incidentally mentioned, but further
+notice is required on account of the sequel. Again we
+must allow Berlioz to speak for himself. "The concert
+was just over; I was in a profuse perspiration, and
+trembling with exhaustion, when Paganini, followed by
+his son Achilles, came up to me at the orchestra door,
+gesticulating violently. Owing to the throat affection of
+which he ultimately died, he had already completely lost
+his voice, and unless everything was perfectly quiet, no
+one but his son could hear or even guess what he was
+saying. He made a sign to the child, who got up on a
+chair, put his ear close to his father's mouth and listened
+attentively. Achilles then got down, and turning to me,
+said, 'My father desires me to assure you, sir, that he has
+never in his life been so powerfully impressed at a
+concert; that your music has quite upset him, and that
+if he did not restrain himself he should go down on his
+knees to thank you for it.' I made a movement of
+incredulous embarrassment at these strange words, but
+Paganini seizing my arm, and rattling out 'Yes, yes!'
+with the little voice he had left, dragged me up on the
+stage, where there were still a good many of the
+performers, knelt down, and kissed my hand. I need<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span>
+not describe my stupefaction; I relate the facts, that
+is all."</p>
+
+<p>In his frenzied state Berlioz went out into the bitter
+cold, met Armand Bertin on the boulevard, told him what
+had occurred, caught a chill, and again had to keep his
+bed. Two days later, the little Achilles called, the
+bearer of a letter, and of a message to the effect that his
+father would himself have paid the visit, but was too ill
+to do so. The letter ran as follows:&mdash;</p>
+
+<blockquote><p>"<span class="smcap">My Dear Friend</span>,</p>
+
+<p>Beethoven dead, only Berlioz now can revive
+him; and I, who have enjoyed your divine compositions,
+worthy of the genius which you are, entreat you to accept,
+in token of my homage, twenty thousand francs, which
+will be remitted you by the Baron de Rothschild on
+presentation of the enclosed. Believe me always your
+most affectionate friend,</p>
+
+<p class="sig"><span class="smcap">Nicolo Paganini</span>.</p>
+<p>Paris, December 18th, 1838."</p>
+</blockquote>
+
+<p>Picture the scene! Berlioz, pale with excitement;
+his wife, entering the room, imagines some new misfortune
+has befallen them. Told of what has happened,
+she calls her son Louis. Berlioz' words again: "And
+my wife and child ran back together, and fell on their
+knees beside my bed, the mother praying, the child
+in astonishment joining his little hands beside her. O
+Paganini! what a sight! Would that he could have
+seen it!"</p>
+
+<p>The news soon spread abroad, and there were mixed
+feelings with regard to Berlioz; delight on the one hand,<span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span>
+detractions on the other, and "scandalous insinuations"
+against Paganini. It was some six days before Berlioz
+recovered sufficiently to visit and thank Paganini. The
+latter would not hear a word; it was the greatest
+pleasure he had ever felt in his life, he said; adding,
+"Ah! now none of the people who cabal against you will
+dare to say another word, for they know that I am a good
+judge, and that I am not easy" the last clause bearing
+two meanings: "I am not in easy circumstances," or,
+"I do not part with money easily." I know that this
+gift of Paganini to Berlioz is now regarded as a myth.
+One version of the story is that Paganini was merely the
+agent, the real donor being Armand Bertin, the great
+friend of Berlioz, who wished to remain in the background.
+Another version is to the effect that Jules Janin,
+editor of the <i><span lang="fr">Journal des Débats</span></i>, compelled Paganini to
+make the gift to Berlioz, who was the musical critic
+on that paper; and that Paganini, fearing to lose his
+prestige with the public if Berlioz turned against him,
+yielded to the pressure put upon him. I am going to
+give chapter and verse for all this, for it is a matter that
+should be put at rest. But first, what a condition is
+revealed of the press in relation to art. Berlioz in money
+matters was incorruptable, though he was often poor
+enough; therefore I leave him out of the discussion.
+But think of the possibility of the transaction! Janin,
+years before, had written bitter things of Paganini&mdash;things
+I have declined to quote in this memoir; but
+Janin must have been quite as bad as he asserted
+Paganini to have been, if he was capable of this<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span>
+monstrous proposition. There are two details to be
+considered, and the first is the date. In 1838, the public
+career of Paganini was at an end. There was the
+wretched Casino business, it is true, but there was no
+performance by Paganini. In the second place, supposing
+for a moment that Berlioz could or would employ his pen
+in disparagement of the great violinist, could he have
+written anything more violent, more depreciatory, than
+critics had been writing for the previous twenty years,
+criticisms which Paganini had survived, and grown rich
+upon? Besides, if the Janin story be true, the Bertin
+must be false. Where then is the authority for the
+former? In 1840, Liszt wrote a memorial notice of
+Paganini. In it passing reference is made to some deeds
+of benevolence. Lina Ramann, in her "Life of Liszt,"
+of which the first part was published in 1880, prints this
+essay, and at the point above mentioned adds a long foot
+note<a name="Anchor-39" id="Anchor-39"></a><a href="#Footnote-39" class="Anchor" title="Go to footnote 39.">[39]</a> giving the Janin story, which she averred Liszt
+knew through Janin himself. That was a safe story to
+reproduce, though it might have been contradicted by
+Liszt if he ever saw the book. Now for the Bertin
+version. The authority quoted for that is always
+Ferdinand Hiller. In 1868, Hiller published his work
+"On the Musical Life of our Time," in which he relates
+some gossiping with Rossini, in 1856. The conversation
+turned upon Paganini on one occasion, and Hiller asked
+about the kingly gift to Berlioz. Rossini replied that all
+Paris knew it, and he must needs believe it, but at
+bottom he held the thing impossible. Nothing more<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span>
+definite is there recorded. In 1871, Hiller published a
+new series of similar papers or essays, but of this work I
+know nothing. Rossini was a raconteur, and fond of
+saying good things. There is no reason to doubt the
+good faith of Ferdinand Hiller; he set down what Rossini
+said, which, after all, was only the expression of a doubt.
+This reticence was perhaps owing to the fact that Berlioz
+was still living. But how was Rossini likely to know the
+facts of the case? He went to Italy in 1836, and
+returned to Paris about the end of May, 1855; consequently
+he knew nothing of the alleged gift at the time,
+and as Armand Bertin died in 1854, Rossini could not
+have heard the story from him. So far, one would be
+justified in attaching little credence to Hiller's gossip
+with Rossini.</p>
+
+<p>But there was a sequel. Rossini died in November,
+1868, and Berlioz passed away in March, 1869. His
+Autobiography was published in 1870, with the Paganini
+incident as it has already been related. To the last,
+Berlioz believed that the money came from Paganini.
+In 1880, Hiller published a work entitled "<span lang="de">Künstlerleben</span>,"
+in which a chapter was devoted to Berlioz. Again
+reference is made to the princely gift, incredible from so
+mean a man as Paganini. "Rossini gave me the key to
+this enigma," writes Hiller, "and I do not hesitate to
+communicate the same, as it can no longer be unpleasant
+to anyone concerned in the matter." He then goes on
+to say that Paganini consented to be the agent of Armand
+Bertin, who really found the money. "Are you sure
+that this was true?" asked Hiller; "I <i>know</i> it," replied<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span>
+Rossini, seriously. Hiller then states his conviction that
+Rossini's account must be correct.<a name="Anchor-40" id="Anchor-40"></a><a href="#Footnote-40" class="Anchor" title="Go to footnote 40.">[40]</a> Now was this the
+outcome of a subsequent conversation with Rossini, or
+an amplification of the "gossip" at Trouville? Hiller
+is candid enough to say that some may doubt, and I
+should confess to being among the doubters if his evidence
+was the sole support of the story.</p>
+
+<p>But in 1896, appeared the evidence of one whose
+testimony was unimpeachable. The late Sir Charles
+Hallé went to Paris in 1836, when a youth of seventeen.
+In 1838, he was introduced to Paganini, was invited to
+visit him, and often played to him; and, once, nearly
+heard Paganini play! An extract from Hallé's "Autobiography"
+will show what he thought of the great
+violinist: "From my earliest childhood I had heard of
+Paganini and his art as of something supernatural, and
+there I actually sat opposite to the man himself, but only
+looking at the hands that had created such wonders. On
+one never-to-be-forgotten occasion, after I had played
+and we had enjoyed a long silence, Paganini rose and
+approached his violin case. What then passed in me can
+hardly be imagined; I was all in a tremble, and my heart
+thumped as if it would burst my chest; in fact, no young
+swain going to the first rendezvous with his beloved
+could possible feel more violent emotions. Paganini
+opened the case, took the violin out, and began to tune it
+carefully with his fingers without using the bow; my
+agitation became almost intolerable. When he was
+satisfied, and I said to myself, with a lump in my throat,<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span>
+'Now, now, he'll take the bow!' he carefully put the
+violin back and shut the case. And this is how I heard
+Paganini." Hallé also became acquainted with Berlioz
+and acquaintance ripened into a close friendship. He
+saw the change worked in Berlioz through the Paganini
+incident; how his courage was strengthened, and from a
+morose, he became a cheerful companion. Then he
+divulges what had been a life-secret: "Armand Bertin,
+the wealthy and distinguished proprietor of the <i>Journal
+des Débats</i>, had a high regard for Berlioz and knew of all
+his struggles, which he, Bertin, was anxious to lighten.
+He resolved therefore to make him a present of 20,000 fr.,
+and in order to enhance the moral effect of this gift he
+persuaded Paganini to appear as the donor of the money.
+How well Bertin had judged was proved immediately;
+what would have been a simple <i><span lang="fr">gracieuseté</span></i> from a rich
+and powerful editor towards one of his staff became a
+significant tribute from one genius to another, and had a
+colossal <i><span lang="fr">retentissement</span></i>. The secret was well kept and
+never divulged to Berlioz. It was known, I believe, to
+but two of Bertin's friends besides myself, one of whom
+is (Victor) Mottez, the celebrated painter; I learned it
+about seven years later when I had become an intimate
+friend of the house, and Madame Armand Bertin had
+been for years one of my best pupils."<a name="Anchor-41" id="Anchor-41"></a><a href="#Footnote-41" class="Anchor" title="Go to footnote 41.">[41]</a> This must be
+accepted as a true statement of the case, but it proves no
+more than that Paganini became a party to a benevolent
+conspiracy; he never boasted of the gift, nor claimed any
+credit for it. Even when Berlioz, relieved of his financial<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span>
+troubles, set to work with a light heart at the composition
+which was to be worthy of dedication to the illustrious
+artist to whom he owed so much (his own words), even
+when he wrote to Paganini about a subject, all the
+answer he could get was: "I can give you no advice."
+He chose Shakespeare's "Romeo and Juliet" as a theme,
+worked at it for seven months, and produced a masterpiece.
+Paganini inspired him, but never heard the work
+"undertaken chiefly to please him."</p>
+
+<p>To Paganini the world owes still more. It has been
+already stated that Paganini's playing when in Paris in
+1831 exerted an extraordinary influence over Franz Liszt,
+and gave the direction to his genius. I use the word
+"genius" advisedly, believing that Liszt is one of that
+sacred band to whom the term belongs of right. This is
+not the place to discuss the position Liszt occupies
+among composers; nor is this country yet qualified
+properly to judge him. Wagner, Schumann and Chopin
+have passed the ordeal; from persecution they have
+arrived at deification, so to speak, and even their faults
+are regarded as merits. But prejudice dies hard, and
+Liszt has yet to suffer. His earnest disciple Walter
+Bache sacrificed time and means in his Liszt propaganda,
+but with scant success. My point here is to try and show
+that Paganini, despite all shortcomings as a man and as
+an artist, had a mission&mdash;whether he knew it or not&mdash;and
+fulfilled it through others.</p>
+
+<p>Beethoven's pianoforte playing, and pianoforte compositions,
+led makers of that instrument to extend its
+compass; Liszt led the way to a new system for the<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span>
+pianoforte, with effects hitherto undreamt of, and the
+impulse came from Paganini. No other instance is on
+record of an instrument like the violin absolutely
+revolutionising the treatment of the pianoforte. I have
+already referred to Liszt in Paris, how, depressed and
+suffering, he withdrew from art and buried himself in
+solitude. The revolution of 1830 aroused him, but it was
+Paganini who rekindled the flame of art. Here I must
+have recourse to Lina Ramann's "Franz Liszt."</p>
+
+<p>Liszt went to hear Paganini: "Charmed, stunned, yet
+seeing clearly at the same time, he could have cried out
+for sorrow and exultation. This playing! it was the
+vision of his soul, after which he had sought and grasped
+and yet could never find or seize. Now here he felt it
+realised before him. With kindling power it seized his
+artistic will. Until then Liszt had groped and sought
+without any conscious aim; following the hidden impulse
+of his spirit, he had given place to all kinds of whims....
+Now, all at once, he was led by Paganini into fixed paths
+and the lost thread of his development was found again.
+By Paganini's playing the veil had been torn away which
+lay between him and his artistic will.... Paganini's
+playing had fanned the Promethean spark of his genius to
+a brilliant flame. That for which the poets of the time
+strove in their literary productions&mdash;freedom of form and
+of subject&mdash;he saw here in the domain of reproducing
+music. With all this the serious defects and onesidedness
+of the great violinist's capabilities and genius did not
+escape the youthful pianist. He measured him by the
+ideals of artistic culture which shone before his own<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span>
+eyes.... He recognised plainly the limits of the
+influence which Paganini exercised over him, and saw
+how human was the mission of the artist&mdash;a consciousness
+was awakened that <i>artistic culture is inseparable from human
+sympathies, that only a great man can become a great artist</i>.
+This conviction drew from his lips the proud but noble
+words '<span lang="fr">Génie oblige</span>.'<a name="Anchor-42" id="Anchor-42"></a><a href="#Footnote-42" class="Anchor" title="Go to footnote 42.">[42]</a> With indescribable eagerness,
+and at the same time with exulting triumph, Liszt, after
+having heard Paganini, turned again to his instrument.
+He was seldom seen; in public, as a pianist, never. His
+mother alone was the silent witness of his perseverance
+and restless working. As Wieland, he hammered at his
+piano. He, who, already as a boy, had climbed the
+Parnassus of study, now sat at the instrument often six
+hours a day and practised; yes, he exercised the language
+of his spirit, and created for it an organ of expression."
+The author then goes on to describe the new ideas that
+came to Liszt when studying the Twenty-four Capricii of
+Paganini, and how he discovered new combinations, and
+also that the hand of the pianist had yet much to learn.
+"With this perception a bridge was built to new technical
+triumphs in the art of pianoforte playing.... On the
+one hand he increased the beauty and breadth of sound of
+this instrument in a marvellous degree, while on the
+other, he gave at the same time a fatal blow to the
+modern pianoforte music of his day. This was the new
+discovery which Liszt made through Paganini, and on<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span>
+the foundation of which he has created an extension of
+the arena of sound.... Thus Paganini's capriccios
+gave Liszt the first impulse towards the modern system
+for the pianoforte, and at the same time prompted him to
+enter on the territory till then unknown of transferring
+effects."<a name="Anchor-43" id="Anchor-43"></a><a href="#Footnote-43" class="Anchor" title="Go to footnote 43.">[43]</a></p>
+
+<p>What the influence of Liszt has been, is beyond the
+present purpose to inquire. But, blot out Paganini and
+every note he has written, and he reappears in the art
+work of at least one great French composer, and in that
+of the greatest pianist the world has yet seen&mdash;one to
+whom the high compliment has been paid in the epithet&mdash;"The
+Paganini of the Pianoforte."</p>
+<hr class="chap" /><p><span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span></p>
+
+
+
+<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X.</h2>
+
+
+<p>Is it worth while at this distance of time to refer
+to the actual playing of Paganini? Can one recall
+"the touch of a vanished hand?" This memoir would
+not be complete without some account of Paganini's art
+beyond that given in the story of his life. Here I do not
+venture to write as a violin expert, and I shall only quote
+from Guhr's "On Paganini's Art of Playing the Violin"&mdash;which
+is presumably still accessible to students&mdash;in so
+far as it may be serviceable to the general reader.
+Leaving ćsthetic, and higher considerations generally,
+out of count for the moment and limiting our attention
+to matters technical, we find much that was absolutely
+new. As regards mere extravagance and eccentricity of
+execution, Paganini was surpassed by Locatelli. We
+have to take into consideration the concert-pitch in use at
+the time of Paganini's public career. That, I take it,
+corresponded very closely with the Diapason normal now
+coming into general use. Paganini employed thin strings,
+and, for purposes to be named presently, often tuned his
+violin a semitone higher than the pitch of the band which
+accompanied him&mdash;equivalent to the English pitch, or
+high pitch still in use in some places. These thin strings<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a><br /><a name="Page_130" id="Page_130">[130]</a><br /><a name="Page_131" id="Page_131">[131]</a><br /><a name="Page_132" id="Page_132">[132]</a><br /><a name="Page_133" id="Page_133">[133]</a><br /><a name="Page_134" id="Page_134">[134]</a></span>
+served another purpose&mdash;the easy production of harmonics.
+If there was one thing more novel than any other in
+Paganini's playing it was the introduction of harmonics,
+melodies, double notes, and double shakes in harmonics.
+The natural harmonics were of course known to all
+violinists, but the artificial harmonics, if not the invention
+of Paganini, were first employed by him as integral
+features of his compositions as well as of his performances.
+Then there was his particular kind of <i>staccato</i>,
+produced by throwing his bow forcibly on the string,
+"letting it spring while he runs through the scales with
+incredible rapidity, the tones rolling like pearls" (Guhr).
+The Rev. Dr. Fox said the bow seemed to act with the
+elasticity of a spring fixed at one end, and made to
+vibrate. The combination of bowing, with <i>pizzicato</i> by
+the left hand, if not new, was employed by Paganini to a
+degree never attempted before. Lastly, there was his
+wonderful performance on the fourth string, which he
+tuned up to B flat, and sometimes even a semitone
+higher. Much of his use of these devices is put down as
+clap-trap, yet since his day many violinists have employed
+the same means, if they have not achieved the same result.</p>
+
+<div class="figleft" style="width: 390px;">
+<a name="Illustration_Plate_18" id="Illustration_Plate_18"></a><a href="images/plate_018.jpg">
+<img src="images/plate_018s.png" width="390" height="600"
+alt="PLATE 18. (See Appendix.) Programme for a concert by Paganini." title="" />
+</a>
+<span class="caption"><a href="#Plate_18">PLATE 18. (<i>See Appendix.</i>)</a></span>
+</div>
+
+<div class="figleft" style="width: 325px;">
+<a name="Illustration_Plate_19" id="Illustration_Plate_19"></a><a href="images/plate_019.jpg">
+<img src="images/plate_019s.jpg" width="325" height="600"
+alt="PLATE 19. (See Appendix.) Programme for a concert by Paganini." title="" />
+</a>
+<span class="caption"><a href="#Plate_19">PLATE 19. (<i>See Appendix.</i>)</a></span>
+</div>
+
+<div class="figleft" style="width: 338px;">
+<a name="Illustration_Plate_20" id="Illustration_Plate_20"></a><a href="images/plate_020.jpg">
+<img src="images/plate_020s.jpg" width="338" height="600"
+alt="PLATE 20. (See Appendix.) Programme for a concert by Paganini." title="" />
+</a>
+<span class="caption"><a href="#Plate_20">PLATE 20. (<i>See Appendix.</i>)</a></span>
+</div>
+
+<div class="figleft" style="width: 326px;">
+<a name="Illustration_Plate_21" id="Illustration_Plate_21"></a><a href="images/plate_021.jpg">
+<img src="images/plate_021s.jpg" width="326" height="600"
+alt="PLATE 21. (See Appendix.) Programme for a concert by Paganini." title="" />
+</a>
+<span class="caption"><a href="#Plate_21">PLATE 21. (<i>See Appendix.</i>)</a></span>
+</div>
+
+<div class="figcenter" style="width: 259px;">
+<a name="Illustration_Plate_22" id="Illustration_Plate_22"></a><a href="images/plate_022.jpg">
+<img src="images/plate_022s.jpg" width="259" height="600"
+alt="PLATE 22. (See Appendix.) Programme for a concert by Paganini." title="" />
+</a><span class="caption"><a href="#Plate_22">PLATE 22. (<i>See Appendix.</i>)</a></span>
+</div>
+
+<p>Let us consider, for a moment, the performances on
+the G string. It is certain that Paganini was not the
+originator of that manner of playing, for Leopold Mozart
+wrote of Esser<a name="Anchor-44" id="Anchor-44"></a><a href="#Footnote-44" class="Anchor" title="Go to footnote 44.">[44]</a> as playing on the G string alone with the
+greatest ease. Compositions for a single string were also
+written before Paganini's day, for Friedrich Wilhelm
+Rust (1739-1796) composed a violin sonata for the E<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span>
+string. But Paganini made such a feature of this species
+of performance because it pleased the public, and, in
+giving the audiences that which they preferred rather
+than that which his artistic conscience should have
+prompted, he became the pupil of his age, and fell from
+his high estate. On the other hand, he may be said to
+have discovered the powers of the fourth string, to which,
+by the employment of harmonics, he gave a compass of
+three octaves. He was censured for his partiality in this
+direction, but in these days every violinist plays a solo on
+the G string. Is not Bach's "Aria" played everywhere
+as a fourth string solo? Yet, as musicians know, it was
+not written for that string, nor as a solo, forming, as it
+does, the theme of the slow movement of the "Overture
+in D," for strings, two oboes, three trumpets, and drums.
+Moreover, in Mozart's Violin Concerto in E flat, No. 6,
+composed in 1766, there is in the slow movement, an
+eight-bar period for the G string, and also one of the
+same length in the Finale. In Beethoven's Violin
+Concerto the principal theme of the Rondo is assigned to
+the G string, and also when it recurs after the second
+subject. This work was composed in 1806, a short time
+after Paganini wrote his "Napoleon Sonata," but was
+heard in public years before Paganini's was so performed.
+These two compositions are mentioned merely
+to show that the charm of the fourth string was not
+unknown in early days; to refer to later works would be
+superfluous.</p>
+
+<p>Now, as to Paganini's tuning his instrument a semitone
+higher than the ordinary pitch. It will be conceded that<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span>
+the different keys have distinctive qualities, to which
+some musicians are more sensitive than others. Some
+term it key-colour: I prefer the expression key-character.
+On the violin some keys are more sonorous than others.
+The effect may be partly mental, and I believe&mdash;though
+I may be wrong&mdash;that a violinist plays with a different
+feeling in the key of E, to that which would be excited
+by the key of E flat, and this apart from the ćsthetic
+import of the composition itself.<a name="Anchor-45" id="Anchor-45"></a><a href="#Footnote-45" class="Anchor" title="Go to footnote 45.">[45]</a> In many concertos the
+chorus violins&mdash;if I may so call them&mdash;sometimes play
+the same notes with the soloist, and so absorb the tone of
+the latter that the listener can only hear the mass of
+violin tone. It is on record that Paganini was never
+overpowered by the <i>tutti</i> in any of the pieces he played,
+though some writers say his tone was not remarkable for
+volume. The explanation may be found in what follows.
+Paganini had an almost morbidly keen musical organisation,
+an acute sense of hearing, in which he resembled
+Mozart and Berlioz. Paganini wrote the solo part of his
+first concerto in D (tuning his violin a semitone higher),
+and the orchestral parts in E flat. Why? Not because
+D was an easier key to play in, nor because some
+passages if viewed as in E flat were marvels of execution;
+but because he felt the difference in the "power"
+of the two keys. Mozart's Concertante for violin and
+viola, with orchestra, is in E flat, but the viola part is in
+D, and the instrument was to be tuned a semitone higher.
+This was done "both to give it a clear sound and to make<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a><br /><a name="Page_138" id="Page_138">[138]</a></span>
+the execution easier."<a name="Anchor-46" id="Anchor-46"></a><a href="#Footnote-46" class="Anchor" title="Go to footnote 46.">[46]</a> Mozart's piece was probably
+written in 1780, so here is one of the expedients ascribed
+to Paganini as a trick made use of by a great master
+before the famous violinist was born. Berlioz never
+heard Paganini play, but he was the first among his
+contemporaries to understand and appreciate Paganini's
+intention in this respect. In his <i><span lang="fr">Soirées de l'Orchestre</span></i> he
+wrote: "He (Paganini) has known how to render distinct
+and dominating the tones of a solo violin by tuning its
+four strings a semitone above those of the orchestra;
+which enabled him to play in the brilliant keys of D and
+A, while the orchestra accompanied him in the less
+sonorous keys of E flat and B flat." Berlioz knew, if
+any one did, what was the distinctive character of a key.
+It is highly improbable that either he or Paganini ever
+heard, or even knew anything of Mozart's "Concertante"
+just mentioned. So much by way of clearing Paganini
+from the charge of charlatanry. Artistic faults and failings
+he had, and these no attempt has been made to
+conceal; but every succeeding generation of violinists
+has been deeply indebted to the great Genoese for opening
+up new possibilities, by the way in which he advanced
+the character and power of the violin. Leaving now the
+technical side of his art, let us hear what his great
+contemporaries have to say of his playing from the
+ćsthetic standpoint. We need not refer again to Lafont
+and Lipinski, but will begin with Spohr. It has been
+mentioned that Spohr met Paganini at Venice, in 1816.
+Spohr wished to hear the great Italian play something,<span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span>
+but the latter declined. He afterwards explained to
+Spohr that his style of playing was calculated for the
+great public only; and that if he were to play to Spohr he
+must play in a different manner, for which he was not
+then inclined. So it was not until 1830 that Spohr heard
+Paganini at Cassel. This is what he wrote: "In June,
+1830, Paganini came to Cassel and gave two concerts in
+the theatre, which I heard with great interest. His left
+hand, and his constantly pure intonation were to me
+astonishing. But in his compositions and his execution,
+I found a strange mixture of the highly genial and
+childishly tasteless, by which one felt alternately charmed
+and disappointed, so that the impression left as a whole
+was, after frequent hearing, by no means satisfactory to
+me." Paganini was playing to his "great public," and in
+that respect lost Spohr's esteem; but can a great violinist,
+of strong personality, be perfectly just to a contemporary
+of a different temperament? Schumann, as a composer,
+could look upon Paganini from a different point of view.
+This is what he says: "When I heard him for the first
+time, I expected him to begin with a tone such as had
+never been heard before. But with how small, how thin
+a tone he commenced! Then he began to weave his
+spells; invisibly he threw out his magnetic chains among
+the public; they oscillated above and around. And then
+the rings became more and more intricate; even the
+audience seemed to contract, while he interlaced his tones
+until they seemed melted into one&mdash;one with the master
+himself, all counterbalancing each other with sympathetic
+influence." This is not criticism; it is scarcely description:<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span>
+it is as fanciful as Heinrich Heine's description,
+but it is a proof of the great violinist's power to touch the
+imagination. Ignaz Moscheles, a virtuoso pianist, complains
+of his utter inability to find language capable of
+conveying a description of Paganini's wonderful performance.
+"Had that long-drawn, soul-searching tone lost
+for a single second its balance, it would have lapsed into
+a discordant cat's-mew; but it never did so, and
+Paganini's tone was always his own, and unique of its
+kind. The thin strings of his instrument&mdash;on which
+alone it was possible to conjure forth those myriads of
+notes and thrills and cadenzas would have been fatal in
+the hands of any other violin player, but with him they
+were indispensable adjuncts." Again: "Nothing could
+exceed my surprise and admiration; his constant and
+venturesome flights, his newly discovered source of
+flageolet tones, his gift of fusing and beautifying subjects
+of the most heterogeneous kind; all these phases of
+genius so completely bewildered my musical perceptions,
+that for several days afterwards my head seemed on fire
+and my brain reeled. I never wearied of the intense
+expression, soft and melting like that of an Italian singer,
+which he could draw from his violin." Yet, later,
+Moscheles had to say: "I find both his style and manner
+of playing monotonous." Liszt, many years later said:
+"No one who has not heard him can form the least idea
+of his playing." Paganini indeed could soar to the
+Empyrean, but he had not the Peri's pure gift which
+would open the gate of Paradise!</p>
+
+<div class="figright" style="width: 200px;">
+<a name="Illustration_Plate_23" id="Illustration_Plate_23"></a><a href="images/plate_023.jpg">
+<img src="images/plate_023s.jpg" width="200" height="252" alt="PLATE 23. (See Appendix.) A letter by Paganini."
+title="" />
+</a>
+<span class="caption"><a href="#Plate_23">PLATE 23. (<i>See Appendix.</i>)</a></span>
+</div>
+
+<p>François Joseph Fétis, who befriended Paganini when<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span>
+first he visited Paris, certainly held no brief for the
+celebrated artist, but rather presided over him as judge.
+He stated that the art of Paganini was an art apart,
+which was born with him, and of which he carried the
+secret to the grave. He further stated that Paganini
+often assured him that his talent was the result of a secret
+discovered by himself, a secret he intended to reveal,
+before his death, in a method for the violin, which should
+have but few pages, but which should throw all violinists
+into confusion. Fétis questions the existence of the
+secret, and thinks the great artist was labouring under a
+delusion. Yet he has to acknowledge that there was something
+extraordinary and mysterious in the power that Paganini
+possessed in the execution of unheard of difficulties in
+an infallible manner. His intonation was always perfect.<a name="Anchor-47" id="Anchor-47"></a><a href="#Footnote-47" class="Anchor" title="Go to footnote 47.">[47]</a></p>
+
+<p>William Gardiner, the Leicester amateur, who became
+acquainted with Paganini, wrote: "There was no trick
+in his playing; it was all fair, scientific execution,
+opening to us a new order of sounds, the highest of which
+ascended two octaves above C in alt."</p>
+
+<p>An Italian physician, Francesco Bennati,<a name="Anchor-48" id="Anchor-48"></a><a href="#Footnote-48" class="Anchor" title="Go to footnote 48.">[48]</a> made a
+physiological study of Paganini, accounting for his
+wonderful executive powers as due not so much to his<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span>
+musical genius as to his peculiar physical formation. In
+particular, the flexibility of his wrist, and the great
+lateral extension of his finger joints, enabled him to
+execute passages impossible to others. But there must
+have been something beyond technique. I have heard
+many persons, professional and amateur, speak of his
+playing as something beyond conception, not only in
+regard to execution, but in the power of swaying an
+audience, playing upon their emotions; the whole man
+was an instrument. No other artist was so widely quoted
+by his contemporaries. Mendelssohn, Chopin, and others
+make reference to Paganini whenever anything wonderful
+is spoken of. Chopin was a great admirer of Slavik, and
+considered him only second to Paganini. Every volume
+of reminiscences down to the present day includes the
+name of Paganini, if only to relate that somebody once
+heard him play. But not only musicians, poets also sang
+his praises. Is there anything more beautiful than the
+tribute paid him by Leigh Hunt? A few lines may be
+quoted:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">So played of late to every passing thought<br /></span>
+<span class="i0">With finest change (might I but half as well<br /></span>
+<span class="i0">So write!) the pale magician of the bow,<br /></span>
+<span class="i0">Who brought from Italy the tales made true,<br /></span>
+<span class="i0">Of Grecian lyres, and on his sphery hand,<br /></span>
+<span class="i0">Loading the air with dumb expectancy,<br /></span>
+<span class="i0">Suspended, ere it fell, a nation's breath.<br /></span>
+</div><div class="stanza">
+<span class="i0">He smote&mdash;and clinging to the serious chords<br /></span>
+<span class="i0">With godlike ravishment, drew forth a breath,<br /></span>
+<span class="i0">So deep, so strong, so fervid thick with love,<br /></span>
+<span class="i0">Blissful, yet laden as with twenty prayers,<br /></span>
+<span class="i0">That Juno yearn'd with no diviner soul<br /></span>
+<span class="i0">To the first burthen of the lips of Jove.<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span><br /></span>
+<span class="i0">The exceeding mystery of the loveliness<br /></span>
+<span class="i0">Sadden'd delight; and with his mournful look,<br /></span>
+<span class="i0">Dreary and gaunt, hanging his pallid face<br /></span>
+<span class="i0">'Twixt his dark and flowing locks, he almost seem'd,<br /></span>
+<span class="i0">To feeble or to melancholy eyes,<br /></span>
+<span class="i0">One that had parted with his soul for pride,<br /></span>
+<span class="i0">And in the sable secret liv'd forlorn.<br /></span>
+</div><div class="stanza">
+<span class="i0">But true and earnest, all too happily<br /></span>
+<span class="i0">That skill dwelt in him, serious with its joy;<br /></span>
+<span class="i0">For noble now he smote the exulting strings,<br /></span>
+<span class="i0">And bade them march before his stately will;<br /></span>
+<span class="i0">And now he lov'd them like a cheek, and laid<br /></span>
+<span class="i0">Endearment on them, and took pity sweet;<br /></span>
+<span class="i0">And now he was all mirth, or all for sense<br /></span>
+<span class="i0">And reason, carving out his thoughts like prose<br /></span>
+<span class="i0">After his poetry; or else he laid<br /></span>
+<span class="i0">His own soul prostrate at the feet of love,<br /></span>
+<span class="i0">And with a full and trembling fervour deep,<br /></span>
+<span class="i0">In kneeling and close-creeping urgency,<br /></span>
+<span class="i0">Implored some mistress with hot tears; which past,<br /></span>
+<span class="i0">And after patience had brought right of peace,<br /></span>
+<span class="i0">He drew as if from thoughts finer than hope<br /></span>
+<span class="i0">Comfort around him in ear-soothing strains<br /></span>
+<span class="i0">And elegant composure; or he turn'd<br /></span>
+<span class="i0">To heaven instead of earth, and raise a prayer<br /></span>
+<span class="i0">So earnest-vehement, yet so lowly sad,<br /></span>
+<span class="i0">Mighty with want and all poor human tears,<br /></span>
+<span class="i0">That never saint, wrestling with earthly love,<br /></span>
+<span class="i0">And in mid-age unable to get free,<br /></span>
+<span class="i0">Tore down from heaven such pity.<br /></span>
+</div></div>
+
+<p>It was urged against Paganini as a fault, that he
+rarely played any other music than his own. Paganini
+was one of the latter-day examples of the virtuoso and
+the composer represented by one and the same person.
+From the days of Handel to the time of Beethoven,
+the composer was his own interpreter, and never gave
+concerts with compositions by others. But Paganini did<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span>
+at times play concertos by Rode and Kreutzer, though it
+was said that in these he was less successful than in his
+own. The Rev. Dr. Cox heard Paganini play the first
+movement of Beethoven's Concerto&mdash;in fact it was performed
+for his special edification. This is what he said
+of it: "Never shall I forget the smile on that sad, pale,
+wan, and haggard face, upon every lineament of which
+intense pain was written in the deepest lines, when I
+caught his eye, or the playing, into which a spirit and
+sympathy were thrown that carried one wholly away. As
+soon as he had concluded, and before I could rush up to
+him to express my thanks, he glided away. I never saw
+him afterwards." It was also stated that Paganini failed
+as a quartet player. His strong individuality might have
+been an obstacle in the way of securing the perfect
+unanimity of feeling and expression that characterise fine
+quartet playing; but to imply that he could not perform
+the music was absurd. As an executant, pure and simple,
+Paganini never had, and possibly never may have, a
+compeer.</p>
+
+<p>But the question remains: did Paganini's playing
+result in any permanent benefit to the art? Had he a
+permanent influence, and if so, was it for good? To take
+a material aspect, it was owing to Paganini that the fame
+of Joseph Guarnerius was published beyond Italy. "The
+names of Amati and Stradivarius became familiar to the
+musical world gradually, but Guarnerius, in the hands of
+a Paganini, came forth at a bound. This illustrious
+violin was often credited with the charm which belonged
+to the performer; the magical effects and sublime strains<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span>
+that he drew forth from it, must, it was thought, rest in the
+violin. Every would-be violinist, whose means permitted
+him to indulge in the luxury, endeavoured to secure an
+instrument by the great Guarnerius. The demand thus
+raised brought forth those gems of the violin maker's art
+now in the possession of wealthy amateurs and a few professors.
+When the various works of the gifted Guarnerius
+were brought to light, much surprise was felt that such
+treasures should have been known only to a handful of
+obscure players, chiefly in the churches of Italy."<a name="Anchor-49" id="Anchor-49"></a><a href="#Footnote-49" class="Anchor" title="Go to footnote 49.">[49]</a></p>
+
+<div class="figcenter" style="width: 461px;">
+<a name="Illustration_Plate_24" id="Illustration_Plate_24"></a><a href="images/plate_024.jpg">
+</a>
+<img src="images/plate_024s.jpg" width="461" height="600" alt="" title="" />
+<span class="caption"><i><a href="#Plate_24">Plate XXIV.&mdash;See Appendix.</a></i><br />
+<span class="smcap">A Semi-Caricature of Paganini, 1831.</span></span>
+</div>
+
+<p>It has been shown that Paganini's performances caused
+a revolution in the style of composition and execution in
+pianoforte music, as exemplified in the works of Liszt.
+But did violin playing benefit? As Paganini belonged to
+no school, so he founded no school. He had his imitators,
+but he had few pupils, and no absolute successor. Camillo
+Sivori is generally put forth as his only pupil. I have
+heard that great artist, but&mdash;I say it with diffidence&mdash;I
+could never consider him the equal of what I imagined
+Paganini to have been. According to William Gardiner,
+Paganini was accompanied by Antonio Oury when he
+first went to London. It was Oury who introduced
+Gardiner to Paganini, and the former stated that Oury
+was Paganini's favourite pupil.<a name="Anchor-50" id="Anchor-50"></a><a href="#Footnote-50" class="Anchor" title="Go to footnote 50.">[50]</a> Then the Chevalier<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
+Robbio, who appeared at Jullien's concerts at Drury
+Lane Theatre in 1854, claimed to have been a pupil of
+Paganini. Acknowledged pupils were Teresa Ottavio,
+who was playing in Vienna, in 1835, and Mlle. Neumann,
+who gave concerts in Venice and elsewhere, in 1838.
+But all these were of small account. The question
+remains. Did Paganini influence the art of violin playing,
+and in what direction? Let a very recent writer contribute
+an answer. "We would not miss this greatest of
+fiddlers in the annals of violin playing&mdash;no, not for a
+Spohr or any other great modern violin master; but his
+influence can hardly be called beneficial. It forced
+violin playing into a Procrustean bed unsuited to its true
+nature and mission. Paganini had temporarily transformed
+the angel into a devil, and the angel did not
+escape unscathed&mdash;Lucifer burned his wings. Violin-playing
+will never be quite what it was before Paganini.
+He helped to hurry the growing old process&mdash;brought
+out the lines, the spots, and the wrinkles on the once fair
+face. He, before all others, established the iron rule of
+technique, with its train of other evils, in the place of the
+gentler reign of charming naiveté of the elder master."<a name="Anchor-51" id="Anchor-51"></a><a href="#Footnote-51" class="Anchor" title="Go to footnote 51.">[51]</a>
+There is truth here, and cause for sadness; but can the
+hand of time be turned back, and music regain the artless
+joy of the seventeenth century, when technique was
+unknown? Paganini, after all, was only one of the
+forces that effected the revolution that produced the
+music of the last half of the nineteenth century. It is
+not too much to say that the technique of the modern<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>
+orchestra, in regard to the string section, is due to
+Paganini. Compare the scores of the classical composers
+with those of the most modern writers, and see what an
+enormous difference there is in the work for the strings&mdash;from
+the violins to the double-basses. The orchestral
+player of to-day is a virtuoso. For good or evil, music
+has entered upon a phase that has raised executive skill
+to a pinnacle never attained before: and this it owes to
+Paganini: may it be the prelude to higher achievements
+in the spiritual domain of art!</p>
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span></p>
+
+
+<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI.</h2>
+
+
+<p>There remains the consideration of Paganini as a
+composer. It is a truism to say that a composition
+has primarily to be judged from the standpoint of
+the age in which it was written. A Genius, we are told,
+is not only before his own age, but before all ages. All
+the same, the great Geniuses come into the world
+precisely at the right moment. To some music one may
+fitly apply the epithet "Immortal"; for it seems to be
+written, "not for an age, but for all time." That title is
+not claimed for the music of Paganini, but, in view of
+what has been written for the violin, it is necessary to
+take into consideration the date of Paganini's compositions.
+Take the two greatest surviving forms&mdash;the
+symphony and the concerto&mdash;and compare works in those
+forms, belonging to different periods. Mendelssohn and
+Schumann were innovators, so it was said, in regard to
+symphonic form. Both wrote symphonies of which the
+movements were connected, and Schumann by the
+recurrence of themes anticipated the "organic whole" of
+the symphonic poem. But in 1776, Carl Philipp Emanuel
+Bach composed symphonies in the modern one-movement
+style. This is not the time to discuss them, but just<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span>
+taking the first, in D, I may point to the coda of the
+opening movement, which effects a modulation to E flat,
+the key of the slow movement. In this the subject
+enters, for the second time, in B flat; and a deceptive
+cadence is followed by a passage ending on the dominant
+of D, and so returning to the primary key for the last
+movement. The score is for flutes, oboes, one bassoon,
+horns, first and second violins, viola, violoncello, violone,
+and cembalo. Now, here is a work quite modern in its
+disregard of key relationship, and in the linking together
+of the different movements. Yet it would not be right to
+judge it by comparison with the symphonies of the last
+half century.</p>
+
+<p>With regard to the concerto, take that form for the
+violin only. To go no further back than the works of the
+great Leipzig Cantor, Johann Sebastian Bach, we find
+his two concertos, in A minor, and E major, are scored
+only for strings, though the "continuo" implies the
+harpsichord. The concerto in D minor for two violins is
+scored in the same manner; and in all there is evidence
+that the soloist took part in the <i>tutti</i> sections. Then
+there is the Symphony movement, from an unknown
+church cantata, for violin concertante, with accompaniment
+of two oboes, three trumpets, drums, two violins, viola
+and continuo. In all these the basic principle is the
+contrasting of the <i>tutti</i> and <i>solo</i> sections, which sustain a
+kind of dialogue. Much the same form is observed in
+Mozart's violin concertos, which, with one exception, are
+scored for oboes, horns and strings. The exception is the
+sixth, in E flat, which is scored for one flute, two oboes,<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span>
+bassoons, and horns. In this the form approaches that of
+the sonata, though the <i>tutti</i> and <i>solo</i> contrasts still remain,
+and evidently the soloist played in the <i>tutti</i> sections. To
+Viotti, born in 1753, three years before Mozart, must be
+assigned the honour of giving the violin concerto its
+fullest classical form. His orchestral background was
+rich in colour, he having adopted the complete Haydn
+Combination; and his solo parts were of prime importance.
+Beethoven's concerto (1806), and Mendelssohn's
+(finished in 1844), employ the same orchestra. Beethoven
+links the slow movement to the Finale, and Mendelssohn
+connects the whole. The latest concerto form is in part
+a reversion to the earliest type. The solo part is but a
+more elaborate line in the orchestral column, and the
+soloist is scarcely distinguishable from his orchestral
+colleagues.</p>
+
+<p>In view of the question I wish to raise, I hope the
+reader will pardon this digression. Paganini sometimes
+played pieces by Kreutzer and Rode, but I have not been
+able to find evidence of his acquaintance with the
+concertos of Viotti. The reason may not be far to seek.
+Paganini remained in Italy until 1828; Viotti, born in
+Italy, left his country, and only once returned to it&mdash;in
+1783, and that for a very short time. His long residence
+in Paris led to his being identified with the French School
+of violinists. His works were played by other performers
+during his life-time, but it is questionable whether they
+were known to Paganini. What I want to ask is simply
+this:&mdash;upon what work, or whose work, was Paganini's
+first concerto modelled? It was written in 1811, according<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span>
+to the <i>Musical World</i> (Vol. for 1851, p. 822), or in
+1820 according to the "Oxford History of Music" (Vol.
+VI., p. 225). The form of the work will be dealt with
+later; here the question is one of instrumentation.
+Berlioz wrote: "It was said of Weber, 'He is a meteor!'
+With equal justice it may be said of Paganini, 'He is a
+comet!'" I would paraphrase Berlioz and say Paganini's
+First Concerto came upon the world as a comet&mdash;a comet
+with a most portentous tail! Paganini was the Richard
+Strauss of his day. Fancy, in the scoring of a concerto,
+trombones, double-bassoon, cymbals, and bass-drum! and
+that in the year 1811, possibly. Why, it only requires a
+few more horns and trumpets, some tubas, a rattle and
+other percussion instruments, to come up to the latest
+twentieth century scoring. But a truce to badinage. A
+big score, of itself, is not necessarily a thing to be
+praised; however, Paganini's full scoring never obscured
+the solo part, and that is more than can be said of some
+violin concertos of later date. I do not pretend to a
+knowledge of the whole of the literature for the violin,
+but I have heard much of it; yet I can recall no violin
+concerto going beyond the orchestral resources adopted
+by Beethoven in his work, of earlier date than Paganini's
+first concerto. I have further to confess that I have never
+seen an original score of any of Paganini's works, but I
+have written out a score from what I believe to be
+authentic band parts. I have heard the First Concerto,
+"reduced to one act," with the exordium cut out; and
+however much such a rendering may be in accordance
+with modern taste, I can only regard it as unjust to the<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span>
+composer. In the present day Paganini's music is looked
+upon with pity not far removed from scorn; how did his
+contemporaries esteem it?</p>
+
+<p>Rossini is reported to have said: "Truly, it is fortunate
+that Paganini did not devote himself exclusively to lyric
+composition; he would have become a very dangerous
+rival."<a name="Anchor-52" id="Anchor-52"></a><a href="#Footnote-52" class="Anchor" title="Go to footnote 52.">[52]</a> Moscheles wrote: "His concertos are beautiful,
+and have even their grand moments; but they remind
+me of a brilliant firework on a summer's eve, one flash
+succeeding the other&mdash;effective, admirable&mdash;but always
+the same. His 'Sonate Militaire,' and other pieces, have
+a southern glow about them, but this hero of the violin
+cannot dispense with the roll of the drum; and completely
+as he may annihilate his less showy colleagues, I long for
+a little of Spohr's earnestness, Baillot's power, and even
+Mayseder's piquancy."</p>
+
+<p>Very little was said of Paganini's compositions&mdash;I
+mean by way of description, orchestration, or even
+criticism&mdash;when the composer was in England. The
+writers seemed always engrossed and absorbed by the
+performance and personality of the man.</p>
+
+<p>Schumann repeats what was said of Paganini; that he,
+himself, rated his merit as a composer more highly than
+his talent as a <i>virtuoso</i>. We know that Rubinstein desired
+to have his name handed down to posterity as a composer
+rather than as a pianist. The fates have been unkind to
+both. To return to Schumann. He remarks that "if
+general opinion has not, until now, agreed with him
+(Paganini), it must at least be allowed that his compositions<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span>
+contain many pure and precious qualities, worthy of
+being firmly fixed in the richer setting required by the
+pianoforte." This of course referred to the caprices,
+Op. 1, but the observation is a curious illustration of the
+way in which individual minds regard things from their
+own standpoint.</p>
+
+<p>Paganini's music appealed to Liszt as a means of
+creating a new school of pianoforte technique, as well as
+composition; very little can be gleaned from Liszt as to
+his ćsthetic views regarding it. Fétis says great worth
+is revealed in the compositions of Paganini, as much by
+the novelty of the ideas as by the elegance of the form,
+the richness of the harmony, and the effects of the
+instrumentation. These qualities shine above all in the
+concertos; but, he adds, these works require the magic
+of his talent to produce the effect he intended. Berlioz
+was, perhaps, the most appreciative of Paganini's contemporaries.
+In his <i><span lang="fr">Soirées de l'Orchestre</span></i> he says: "A
+volume might be written in telling all that Paganini has
+created in his works of novel effect, ingenious contrivances,
+noble and grandiose forms, and orchestral
+combinations unknown before his time. His melodies
+are broad Italian melodies, but full of a passionate ardour
+seldom found in the best pages of dramatic composers of
+his country. His harmonics are always clear, simple,
+and of extraordinary sonorousness. His orchestration is
+brilliant and energetic, without being noisy. He often
+introduces the bass drum into his <i>tutti</i> with unusual
+intelligence."</p>
+
+<p>During Paganini's lifetime no one else seems to have<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span>
+played his music, although one of his imitators is said to
+have reproduced some pieces from memory. After
+Paganini's death, the propagandist of his works was his
+nephew and pupil, Ernesto Camillo Sivori. He made his
+début at the Leipzig Gewandhaus Concerts, October 3,
+1841, and a week later introduced there Paganini's
+Variations on the Prayer from <i><span lang="it">Mosé in Egitto</span></i>. In all,
+some dozen pieces by Paganini were given at those
+famous concerts from 1841 to 1876. Sivori also introduced
+Paganini to the then very conservative concerts of
+the Philharmonic Society, London, in 1844. But they
+did strange things in those days. The first movement of
+the Concerto in B minor was included in the first part of
+the concert on April 29, 1844; the Adagio and Rondo
+coming in the middle of the second part! Poor Sivori
+had to submit to similar treatment of his own concerto
+at the Society's concerts in 1845. It would be
+interesting to know how Paganini's music fared at the
+concerts of the Paris Conservatoire, but I have not
+been able to procure any reliable data relating to the
+subject.</p>
+
+<p>Rumour was long busy with the project entertained by
+Paganini's son, the Baron Achilles, of publishing a
+complete edition of the compositions of the great
+violinist; and in 1887 a paragraph in the <i>Athenćum</i>
+announced on apparently good authority that the Baron
+was preparing for immediate publication the whole of the
+works of his father which still remained in manuscript.
+Several of those were named, but nothing more has been
+heard of the undertaking. I have scrutinised the musical<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span>
+press from that date to the present time, and have failed
+to gather any further information on the subject.</p>
+
+<p>From every available source I have compiled the
+following list of Paganini's compositions:&mdash;</p>
+
+<blockquote><p>Op. 1. Twenty-four Capriccios, for violin alone.</p>
+
+<p>Op. 2. Six Sonatas, for violin and guitar.</p>
+
+<p>Op. 3. Six Sonatas, for violin and guitar.</p>
+
+<p>Op. 4. Three Grand Quartets, for violin, viola, violoncello and
+guitar.</p>
+
+<p>Op. 5. Three Grand Quartets, for the same.</p>
+
+<p>Op. 6. Concerto, No. 1, in E flat (D), for violin and orchestra.</p>
+
+<p>Op. 7. Concerto, No. 2, in B minor, for the same.</p>
+
+<p>Op. 8. "<span lang="it">Le Streghe.</span>" Introduction and Variations.</p>
+
+<p>Op. 9. "God Save the King." Variations.</p>
+
+<p>Op. 10. "<span lang="fr">Carnaval de Venise.</span>" Variations.</p>
+
+<p>Op. 11. "Allegro de Concert." "Moto Perpetuo."</p>
+
+<p>Op. 12. "<span lang="it">Non piů mesta.</span>" Introduction and Variations.</p>
+
+<p>Op. 13. "<span lang="it">Di tanti palpiti.</span>" Introduction and Variations.</p>
+
+<div class="center"><i>All for violin and orchestra.</i></div>
+
+<p>Op. 14. Sixty Studies in Variation form, on the Air "Barucaba,"
+for violin alone.</p></blockquote>
+
+
+<div class="center"><i>Works without Opus number.</i></div>
+
+<blockquote><p>Sonata in A, for violin, with accompaniment of violin and violoncello.</p>
+
+<p>Bravura Variations on a theme from Rossini's "Moses in Egypt," for violin and string quartet, or pianoforte.</p>
+
+<p>Bravura Variations on an Original Theme, for violin and guitar, or
+pianoforte.</p>
+
+<p>Introduction and Variations on the Theme, "<span lang="it">Nel cor piů non mi sento</span>," for violin alone.</p>
+
+<p>Duo in C major, for one violin. Solo.</p>
+
+<p>Recitative and Variations, on Three Airs, for the fourth string.</p>
+
+<p>"<span lang="fr">Le Charme de Padua</span>," Divertissement, for violin and pianoforte.</p></blockquote>
+
+
+<div class="center"><i>Works that are unpublished, or that have been lost.</i></div>
+
+<blockquote><p>Concertos in D minor, E minor, E major.</p>
+
+<p>Concerto in two movements. Violin and orchestra.</p>
+
+<p>Four Concertos, the scoring unfinished.</p><p><span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span></p>
+
+<p>Concerto, for bassoon, with string trio accompaniment.</p>
+
+<p>Nine Quartets, for violin, viola, violoncello and guitar.</p>
+
+<p>Fantasia. Violin and orchestra.</p>
+
+<p>Dramatic Sonata, "The Storm," for the same.</p>
+
+<p>Military Sonata on Mozart's "<span lang="it">Non piů andrai</span>."</p>
+
+<p>Napoleon Sonata for the fourth string.</p>
+
+<p>Sonata on a Theme by Haydn. Ditto.</p>
+
+<p><span lang="it">Sonata di un Canto Appassionata, e variazioni sopra un Tema Marziale.</span> Ditto.</p>
+
+<p>Sonata with variations on a Theme from Jos. Weigl's "<span lang="it">L'Amor Marinaro</span>."</p>
+
+<p><span lang="it">Sonata Amorosa Galante, e Tema con variazioni.</span></p>
+
+<p>Sonata for viola and orchestra.</p>
+
+<p>Sonata Sentimentale.</p>
+
+<p>Sonata, "Varsovie."</p>
+
+<p>Sonata for violin alone.</p>
+
+<p><span lang="it">Preludio e Rondo brilliant</span>, violin and orchestra.</p>
+
+<p>Chant of the Monks of the Monastery of St. Bernard.</p>
+
+<p>"<span lang="it">La Primavera</span>," Sonata for violin alone.</p>
+
+<p><span lang="it">Preludio e Fandango, con Variazioni.</span></p>
+
+<p>"<span lang="it">La ci darem la Mano</span>," Variations.</p>
+
+<p>Cantabile, violin and pianoforte.</p>
+
+<p><span lang="fr">Polonaise avec variations.</span></p>
+
+<p><span lang="it">Cantabile e Valse.</span></p>
+
+<p>Cantabile, for two strings.</p>
+
+<p>Three duos, violin and violoncello.</p>
+
+<p>Duets and small pieces for guitar.</p>
+
+<p><span lang="fr">Variations sur un thčme comique.</span></p>
+
+<p>"The Vagaries of a Farm Yard."</p>
+
+<p><br /></p>
+<p><span lang="fr">Romance pour le Chant.</span></p>
+<p><span lang="fr">Fantasie Vocale.</span></p></blockquote>
+
+
+<div class="center"><span class="smcap">Works with Opus Number.</span></div>
+
+<p>Op. 1. The full title reads:&mdash;<i><span lang="it">Ventiquattro Caprici per
+Violino solo, dedicati agli artisti; Opera prima.</span></i> It is not
+necessary to refer to these pieces in detail; they are in
+the repertory of the leading violinists, and have been
+played by Joachim and many others. They embrace<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span>
+almost every kind of violin technique, and have merits
+apart from that standpoint. Schumann in his <i><span lang="fr">Etudés
+d'apres les Caprices de Paganini</span></i>, Op. 3, has transcribed for
+the pianoforte six numbers. They are, No. 5, Agitato, in
+A minor, without the alteration of a single note; No. 9,
+Allegretto in E, quite as closely; the Andante of No. 11,
+in C; No. 13, Allegro, in B flat, beautifully harmonized;
+No. 19, Lento, Allegro assai, in E flat, more freely
+treated; and No. 16, Presto, in G minor, the melody
+assigned to the left hand, and written two octaves lower.
+These studies were the result of Schumann's hearing
+Paganini at Frankfort in 1830. The impression the
+great violinist made on the susceptible youth was so
+deep, that Wasielewski stated that it was more than
+probable Schumann's decision to devote himself to music
+dated from that experience. So here is another debt the
+musical world owes to Paganini. Schumann's Op. 3
+bears the date of 1832. The next year he returned to the
+Italian master, and his Six Studies, Op. 10, are further
+transcriptions of the Capriccios. The first is a very free
+arrangement of No. 12, Allegro molto, in A flat; next is
+a paraphrase of No. 6, Adagio, in G minor, in which
+different figuration was absolutely necessary for the keyboard
+instrument. In No. 10, Vivace, in G minor, he
+divides the melody for the two hands, and accompanies
+with bold harmonies. The transcription of No. 4,
+Maestoso, in C, is almost literal, but there are "cuts," as
+also in No. 12. No. 2, Moderato, in B minor, with its
+"leaps and bounds," is altered to bring the intervals more
+within reach of the hand. The bare octaves which form<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span>
+the opening of No. 3, have been filled in with rich
+harmonies, and to the Presto movement a counterpoint in
+semiquavers has been added, making it a very attractive
+piece of the Tocatta order. It will be remembered that
+one short movement of Schumann's "Carnival" is
+entitled Paganini, but it is a reflexion of his style rather
+than an adaptation of his music. Liszt has borrowed
+much, in regard to form and melodic outline, from the
+Capriccios, in his <i><span lang="fr">Etudés d'exécution transcendante</span></i>. Of his
+<i><span lang="fr">Grandes Etudes de Paganini</span></i> notice will be taken later.
+Brahms has written two sets of variations on the theme
+of the Capriccio, No. 24, Quasi presto, in A minor.
+These are extraordinarily difficult and brilliant. They
+were published in 1866, and Carl Tausig was fond of
+playing them. Paganini's Op. 1, was published by
+Ricordi about the year 1820.</p>
+
+<p>Op. 2, and Op. 3. The house of Ricordi publish the
+Twelve Sonatas for violin and guitar, and Breitkopf and
+Härtel publish an edition for violin and pianoforte, edited
+by Ferdinand David. There is no clue as to the arranger
+of the pianoforte part, but it may be the work of
+Moscheles, who, it will be remembered, was induced "to
+make a pianoforte accompaniment for twelve small violin
+pieces," but who refused to have his name affixed to the
+title-page. Anyway, the pianoforte accompaniment is
+the work of a good musician. The title page of Op. 2
+runs thus: <i><span lang="it">Sei Sonate per Violino e chitarra, Composte e
+Dedicate Al Signor Dellepiane, Da Nicolo Paganini</span></i>. The
+pieces are sonatas in the primitive sense of the term.
+Each contains two movements only. No. 1, Minuetto,<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span>
+Adagio in A, three-four, the violin part in the nature of a
+florid <i>cadenza</i> but very clear in rhythm, the guitar accompaniment
+in semiquaver groups of broken chords. Second
+movement, Polonese, Quasi allegro, A major, three-four,
+tuneful, all derived from a short motive, not difficult.
+No. 2, Larghetto expressivo, C major, six-eight, lyrical,
+melody highly embellished after the first phrase, varied
+bowing. Allegro spiritoso, same key and measure, in the
+style of a <i><span lang="it">Canto popolare</span></i>. No. 3, Adagio maestoso, D
+minor, two-four, principal motive of a dramatic kind,
+with brilliant passages intervening. Andantino gallantement,
+a crisp, staccato melody, with middle section in D
+major. No. 4, Andante calcando, A major, four-two,
+theme, in sixths, thirds and octaves. The movement is
+entitled <i><span lang="it">La Sinagoga</span></i>, but I can trace no Jewish melody
+corresponding to its subject. The second movement,
+Andantino con brio, in two-four measure is as bright and
+sparkling as the corresponding movement in No. 3.
+No. 5, Andante moderato, D major, two-four, two strains
+of eight bars, with a lyrical theme. The second movement
+in six-eight rhythm, is another specimen of the
+Italian <i>Cantilena</i>. No. 6, Largo, A minor, six-eight, a
+combination of recitative and Cadenza passages. Tempo
+di Valse, in three-eight measure, a tripping, fluent theme,
+for light bowing. The music altogether is light and
+pleasing, abounding in showy passages, and with the real
+Italian gift of melody. The accompaniments are in no
+way difficult.</p>
+
+<p>The Six Sonatas, Op. 3, have rather a curious dedication:
+<i><span lang="it">Alla Ragazza Eleonora</span></i>. "Ragazza" is a familiar<span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span>
+term for a girl, and may be translated as "lass," or even
+"wench." The Eleonora it may be impossible now to
+identify, though the lady possibly was connected with
+the period of Paganini's disappearance when Napoleon
+invaded Italy. Sonata, No. 1, is in two movements, as
+are all the others. The first, Larghetto, A major, six-eight
+measure, has a theme resembling a popular melody,
+the close of each strain being highly embellished.
+Ricordi's edition gives an alternative reading of the
+penultimate bar, in the style of a cadenza. The second
+movement, Presto variato, in two-four rhythm, has a
+dance-like theme, with one variation. The two bars
+preceding the final cadence have semiquaver groups to
+be played pizzicato, each note with right and left hand
+alternately. No. 2, Adagio, con dolcezza, G major,
+three-eight, theme, pure Italian cantilena, in thirds or
+sixths throughout. Andantino scherzoso, two-four, crisp,
+tripping melody, chiefly for staccato bowing, ending with
+arpeggios extending to four octaves. No. 3, Andante
+sostenuto, D major, two-four, theme for six bars to be
+played on the second string. Rondo, Molto allegro, six-eight,
+bright and spirited; the opening might have been
+inspired by the Irish air "Garyone"&mdash;the lilt is so much
+the same. The movement ends with a rapid descending
+chromatic scale of three octaves. No. 4, Andante largo,
+A minor, two-two, the opening bars of the theme for the
+third string, declamatory, sad. Allegretto mottegiando,
+two-four, light, tripping melody, to be delivered in a
+spirit of banter. No. 5, Adagio amorosa, A major, two-four,
+theme, Italian melody embellished, in thirds<span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span>
+throughout, with some semi-staccato bowing. Allegretto
+energicamente, two-four, a merry, quick-step movement
+of two eight-bar periods. The second part, in the tonic
+minor, has the theme divided equally for guitar and
+violin, in each strain. A coda of four bars, major, is
+added by way of close. In the arrangement for pianoforte,
+the violin has the theme throughout. No. 6,
+Andante innocentemente, E minor, four-four, a pathetic
+melody, simple, but touching. Allegro vivo e spiritoso,
+six-eight. One could imagine an Italian peasant singing
+this melody; it has all the characteristics of a folk-song.
+It is written throughout in double-notes, mostly thirds.
+The second part, in the minor, is in a different manner to
+the first part, which is repeated after it. The guitar
+accompaniments, with the exception named, are all in
+chords or arpeggios. The pianoforte part has more
+variety. It may be observed that the movements in two-four
+measure have much of the spirit of Haydn's
+Allegros.</p>
+
+<p>Op. 4, Three Quartets for violin, viola, violoncello and
+guitar. These were once in the Circulating Music
+Libraries of the firms of Novello and Augener, but are
+no longer to be met with. I have failed to obtain copies
+elsewhere.</p>
+
+<p>Op. 5, <i><span lang="it">Tre Quartetti a Violino, Viola, Chitarra e Violoncello.
+Composti e Dedicati Alle Amatrici Da Nicolň
+Paganini. Milano. Presso Gio. Ricordi.</span></i> By the courtesy
+of the firm of Novello, I have been enabled to examine
+this set, the title page of which I quote. The copy I
+examined is evidently of the original edition. Each<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>
+quartet is in four movements. No. 1, Presto, D major,
+sixteen-eight, a peculiar signature, but apparently adopted
+by reason of the "figures" in quavers. This movement
+is very much in Rossini Overture form. Andante sotto
+voce e staccato, D minor, three-four, Canone a tre. The
+violin begins, the viola answers one bar later, an octave
+lower, and the violoncello follows in like manner. The
+guitar is silent. The Canon is kept up strictly to the
+end. The Trio&mdash;not in Canon&mdash;is in B flat major, and
+the guitar supports the strings with full chords. Tema
+con variazioni, Cantabile quasi Larghetto, D major, two-four,
+two strains of eight bars, the theme in each begun
+by the viola, and repeated by the violoncello. Three
+variations follow, the theme being allotted to each
+instrument in turn, the guitar included. Finale, Prestissimo,
+D major, three-eight, a brilliant, showy movement.</p>
+
+<p>No. 2, Allegro, C major, four-four measure, in binary
+form, the subjects given to the violin and violoncello.
+Minuetto, Allegretto, A minor, three-four, with Trio in
+two sections, F major and D minor. The violin has the
+theme, the others accompany with chords. Cantabile,
+Larghetto, A major, six-eight, the melody, floridly
+embellished, for violin, the other instruments accompanying.
+Polacca, Quasi presto, C major, six-four. The
+violin has the chief melody, subordinate parts being given
+to the viola and violoncello. The guitar has full chords
+throughout.</p>
+
+<p>No. 3, Allegro, D minor, four-four rhythm, Coda in
+D major, principal themes for the violin, the viola and
+violoncello taking up portions here and there with chords<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span>
+and arpeggios for the guitar. Allegro moderato, D
+minor, three-four, Canone a tre, theme for violin,
+answered by viola and violoncello at one bar interval, an
+octave below, as in No. 1. Guitar tacet. Tema Cantabile,
+Quasi adagio, B flat major, two-four. The movement
+consists of two periods, the theme for viola and violin
+alternately, in each. Variation I., florid, violoncello and
+violin in response; II., in G minor, more elaborate,
+theme for violoncello and violin, rapid arpeggios for
+guitar; III., in B flat major, theme for viola and violin,
+alternately, and finally for guitar. Polacchetta, Allegro
+con brio, D minor, three-four, a brilliant movement, with
+themes for the violin; the viola and violoncello share in
+the figurated passages, and the guitar has an accompaniment
+in chords and arpeggios.</p>
+
+<p>Paganini is said to have repudiated this work, although
+according to Fétis, the quartets were published at Genoa
+under his very eyes. I should rather say that the Milan
+edition was the first, and perhaps the only one. Paganini's
+assertion was that some one had taken a few of his
+themes, and badly arranged them. Fétis further states
+that various pieces published before, and up to, 1851,
+must be considered as "commercial frauds." Some of
+them are named, and will be referred to in due course.
+The music of Op. 5 cannot be regarded as in any way
+great, but there are graceful melodies, and the movements
+in Canon form are ingeniously worked out.</p>
+
+<p>Op. 6, <i><span lang="fr">Premier Concerto (Mi Bémol), pour le violin avec
+accomp. de l'orchestrč.</span></i> This was the first of the posthumous
+works, published by the firm of Schott and Co., Paris, in<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span>
+1851. It is scored for two flutes, oboes, clarinets,
+bassoon, double bassoon, two horns, trumpets, three
+trombones, kettle drums, bass drum, cymbals, and the
+usual quintet of strings. The solo violin is tuned a semitone
+higher, and the part is in D, while the orchestra
+plays in E flat. Breitkopf and Härtel publish the
+orchestral parts in the key of D. There is an arrangement
+of the first movement, by August Wilhelmj, but
+with that I have nothing to do here. First movement,
+Allegro maestoso, E flat, four-four. The orchestral
+exordium extends to ninety-four bars, six more than in
+the introduction of Beethoven's Concerto. The movement&mdash;so
+it may be termed&mdash;is symphonic in form, with
+second subject in the dominant, and it is richly scored.
+The exception I take to it is the persistent employment
+of the cymbals with the bass drum. There is a delightful
+little touch in the canonic imitation for first violins and
+violoncellos. The solo has a principal theme scarcely
+indicated in the introduction, and also several important
+episodes. The slow movement, Adagio, C minor, four-four,
+was inspired, as already mentioned, by the Italian
+tragedian, Demarini. Paganini witnessed his performance
+in a prison scene, where, after recapitulating his misfortunes,
+he supplicated Providence to relieve him of the
+burden of his life. Paganini retired to rest still under
+the influence of the emotions excited by the actor. He
+could not sleep: he rose and sought through his violin
+a means of expression by which he could pour out the
+feelings that consumed his soul. Thus, genius tortures
+and produces. It must have been this movement in<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span>
+which William Gardiner heard "tones more than human,
+which seemed to be wrung from the deepest anguish of
+a broken heart." Observe, especially, the recitative
+passages that close the movement. Finale, Rondo,
+Allegro spiritoso, E flat, two-four. This is the longest
+concerto movement known to me, running on to four
+hundred and eighty-three bars, but the "measure" is
+short. The concerto is not so long as that of Beethoven,
+the first and second movements containing fewer bars.
+It may be noted that in the first and last movements
+Paganini introduces harmonics, and passages in tenths,
+most probably for the first time in a concerto. In the
+slow movement there is no double stopping. The
+Cadenzas were improvised, and Paganini, like Beethoven,
+in his improvisations surpassed anything he ever committed
+to paper.</p>
+
+<p>Op. 7, Concerto No. 2, in B minor. Allegro maestoso,
+B minor, twelve-eight. Adagio, D major, two-two.
+Rondo, Andantino allegretto moderato, B minor, six-eight.
+This is not so long as the first concerto by some
+two hundred bars, and is not so fine a work, but it is a
+piece worthy of being occasionally heard. In the
+principal theme of the Rondo occur the passages where
+the silver bell three times echoes the violin note&mdash;the top
+F sharp of the pianoforte keyboard. Failing the bell,
+the violinist produces the sound by an artificial harmonic.
+It is this Rondo that Liszt has included in his <i><span lang="de">Grosse
+Etüden von Paganini</span></i>. His treatment of Paganini must be
+briefly described. There are six "studies," the first a
+transcription of Paganini's Caprice, No. 6, Adagio, G<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>
+minor. To this Liszt adds a prefix, the arpeggio prelude
+of No. 5. The Caprice itself is very literally copied, the
+whole being an octave lower, and at first assigned to the
+left hand alone. After the sixteenth bar the treatment
+becomes more free, while the figuration is much the
+same. The study ends with the arpeggio passage as at
+the beginning. The second takes for subject No. 17,
+Andante, E flat. Scarcely a note is omitted, but the
+passages are placed higher or lower, and the runs given
+to either hand. This is a marvel of ingenuity, forming a
+most brilliant pianoforte solo. It is followed, as by a
+second sonata movement, by the "Campanella" Rondo,
+the two being intended to be performed in succession.
+For this purpose the Rondo from the Concerto is transposed
+to G sharp minor, the closing E flat of the previous
+movement changing enharmonically to D sharp.</p>
+
+<p>The first exposition of the subject follows Paganini
+very closely, but in the development and further progress
+of the movement Liszt follows his own bent, repeating
+the principal theme again and again with ever varying
+treatment. This is a piece for the <i>virtuoso</i>, and one of the
+most showy in the pianist's repertory. The fourth study
+is an extremely clever transcription of the Caprice No. 1,
+Andante, E major. Not a note of Paganini's piece is
+left out, and the arpeggios are ingeniously set out for
+interwoven fingering, causing the performance to be
+something to look at as well as to hear. It is nearly all
+cross-handed work. The fifth study is an arrangement of
+the Caprice No. 9, Allegretto, E major. On paper it
+appears easier than the setting by Schumann, but it is<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span>
+more difficult to play. Here, again, the phrases are
+divided for both hands. The <i>glissando</i> passages in sixths
+are impossible on modern instruments. The sixth and
+last study, on the Caprice, No. 24, Tema, con variazioni,
+A minor, is the most ingenious of all. The theme is
+simply harmonised at first, then used as a counterpoint
+to the arpeggios in the first variation. The next is more
+simply treated, and in the third variation Paganini's
+theme forms the bass upon which the figuration of the
+initial motive is superposed. To the end Liszt shows
+what possibilities in keyboard execution were latent in
+Paganini's violin figures; and if the latter had written
+only these Capriccios he would survive as the cause of
+the most original inventions in pianoforte technique that
+have yet seen the light.</p>
+
+<p>Op. 8, <i><span lang="it">Le Streghe.</span></i> Variations on the "Witches'
+Dance," theme from the Ballet, "<span lang="it">Le Nozze di Benevento</span>,"
+by Vigano, music by Süssmayer. It has already been
+stated that Paganini witnessed a performance of this
+ballet, at La Scala, Milan, in 1813. He took the theme
+from a fantastic scene where the witches appear. In
+his London programmes Paganini thus described the
+piece; "Variations on the Country Dance <span lang="it">Della Streghe
+alla Noce di Benevento</span> (or the comic dances of the
+Witches under the walnut tree of Benevento), composed
+and performed by Signor Paganini." The piece is in the
+key of E flat, and the violin is to be tuned a semitone
+higher, the soloist playing in D. There is an orchestral
+prelude of eighteen bars, Maestoso, followed by a solo,
+Larghetto, a beautiful Italian melody, embellished, in<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span>
+two short strains. The theme is simply set forth, and
+the variations serve for the display of bravura playing
+with pizzicato and harmonics in the second movement,
+fourth string melody, and double harmonics in the third,
+and with the Finale resembling a Galopade. Orchestral
+parts are published, as well as the arrangement with
+pianoforte.</p>
+
+<p>Op. 9, Variations on "God save the King." Théme,
+Andante, G major, with Six Variations. One principal
+feature is the intermingling of left hand staccato with
+bowed notes. At the close there are sustained open
+notes on the G and D strings, bowed, with double
+pizzicato, in sixths, above.</p>
+
+<p>Op. 10, Variations on "The Carnival of Venice."
+For this the violin is tuned a semitone higher, the solo
+being played in A, and the accompaniment in B flat.
+The theme is a popular Venetian air, "O Mamma!"
+Paganini heard it when in Venice in 1816, but whether he
+then composed the variations is not certain. It was not
+long, however, before Paganini made the air a favourite
+everywhere he went, and it is to him the melody owes its
+world-wide popularity. The composer of the air remains
+unknown. Joseph Ghys published, at Paris and Berlin,
+what purported to be Paganini's variations; Ernst and
+Sivori played versions more or less exactly in accordance
+with the original; but the text was finally settled by the
+publication of the piece in 1851. There are twenty
+variations. The 9th and 14th are for the fourth string;
+the 11th has alternate bowed and pizzicato notes;
+the 15th and 18th are pizzicato throughout; the 19th is<span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span>
+in tenths and thirds; and the piece ends with a short
+brilliant coda.</p>
+
+<p>Op. 11, <i>Moto Perpetuo.</i> Allegro vivace, C major.
+Fétis terms this piece a movement from a Sonata for
+violin and orchestra. It is in the repertory for all
+violinists, and its running passages of staccato semiquavers
+need no description.</p>
+
+<p>Op. 12, Introduction and Variations on the air "<span lang="it">Non
+piů mesta accanto al fuoco.</span>" The theme is from
+Rossini's opera "<span lang="it">La Cenerentola</span>" (Cinderella), produced
+at Rome during the Carnival season of 1817, and forms
+the concluding number of the work. Paganini again
+directs the violin to be tuned a semitone higher, writing
+the solo part in D, and the accompaniment in E flat.
+The Introduction, Adagio Cantabile, is another example
+of Paganini's pure Italian style of melody. The theme
+seems to have appealed to him&mdash;doubtless he witnessed
+the <i>premičre</i> of the opera&mdash;for the variations have a
+spontaneity and brilliance of their own. There are four
+variations, and a Finale full of dashing <i>bravura</i>.</p>
+
+<p>Op. 13, Introduction and Variations on the air
+"<span lang="it">Di tanti palpiti</span>," from Rossini's first serious opera,
+"Tancredi," produced at Venice in 1813. Rossini is said
+to have taken the theme from a Greek Litany he heard
+sung in a church on one of the Islets of the Laguna, near
+Venice. A Signora Righetti, a singer, writing in 1823
+(?), stated that there was no truth in the assertion. Be
+that as it may, "<span lang="it">Di tanti palpiti</span>" made the opera, and
+Paganini's variations extended its popularity. The introduction
+is an elaborate movement, the violin tuned a<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span>
+semitone higher, and the part written in A, with accompaniment
+in B flat. There are three variations, the second
+being almost throughout in harmonics, single and double,
+and excessively difficult. This piece is very rarely played.</p>
+
+<p>Op. 14, Sixty Studies in Variation form, on the air
+known at Genoa as "Barucabŕ," for violin alone. This
+is one of the composer's latest works, and was written at
+Genoa in February 1835, and dedicated to Paganini's friend
+the Advocate, L. G. Germi. The theme is short, in simple
+ternary form, the opening sentence of four bars being
+repeated after the middle period of eight bars. The
+theme is in A major, Maestoso. The variations are
+studies upon various species of difficulties, and a special
+feature is the order of keys. Of the fifteen possible
+major keys, Paganini employs thirteen, and he is quite
+modern in the way in which he causes the one to succeed
+the other. Thus the second variation is in D, the third in
+B flat, the fourth in F sharp, and the fifth in D&mdash;in each
+case the drop of a major third or its enharmonic equivalent.
+Then he starts a new series, from D to B, thence
+to G, E, C, A flat, F, D flat, back to A. In 1835 such a
+sequence was very uncommon; even Beethoven, in his
+Variations, only has one such, in the Variations in F, Op.
+34. The Variation form is again in full vogue; at this
+distance we can afford to be just in our estimate of
+Paganini's achievements. He was not a Beethoven, but
+his Variations are not to be despised.</p>
+
+
+<div class="center"><span class="smcap">Works without Opus Number.</span></div>
+
+<p>Sonata in A major. As published in the collection of<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span>
+posthumous compositions, this Sonata is for violin, with
+pianoforte accompaniment. The piece consists of an
+Introduction, Theme, Three Variations and Coda, the
+term "Sonata" being employed quite in its primitive
+sense:&mdash;a piece to be played. The Introduction is only
+eight bars in length, ending with a short cadenza leading
+to the theme, Andantino, A major, two-four measure.
+The first part consists of two four-bar phrases, repeated;
+the second has a phrase extended, by a Codetta, to six
+bars, and ends with a repetition of the first phrase, with
+close in A. The first variation has a more florid version,
+in triplets, of the melody; the second begins with a
+simple form of the theme for the fourth string, and introduces
+harmonics; the third is a bravura movement, chiefly
+for staccato bowing in demisemiquaver passages. The
+coda, termed Finale, is made up of cadences, on a tonic
+pedal for eight bars. The accompaniment is easy.
+Messrs. Schott also publish the Sonata for violin, with
+accompaniment of violin and violoncello, very easy parts
+for these last.</p>
+
+<p><i><span lang="it">Variazioni di bravura sopra Temi del Mosč di G. Rossini,
+per Violino sulla quanta corda, di Nicolo Paganini.</span></i> This was
+originally for violin and orchestra. Berlioz has a reference
+to this piece, in which he states that Paganini
+employed the bass-drum with better effect than did
+Rossini himself in the accompaniment to the prayer,
+"<span lang="it">Del tuo stellato soglio.</span>" Paganini placed the stroke of
+the drum on the syncopated beat to which the verbal
+accent was assigned, whereas Rossini gave the drum
+stroke on the first beat of the bar. Some one, complimenting<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span>
+Paganini upon his composition, added; "It must
+be confessed that Rossini furnished you a very beautiful
+theme." "That's very true," replied Paganini, "but he
+didn't invent my bang of the big drum." It is said that
+in this piece Paganini produced a tone that dominated the
+whole orchestra even in fortissimo passages.</p>
+
+<p>The firm of Ricordi publish an arrangement, for string
+quintet, and for pianoforte accompaniment. The G string
+of the solo violin is raised to B flat, and the Adagio is
+played in C minor and major, while the accompaniment
+is in E flat minor and major. The strain in the minor
+key is played three times. The second time, the first
+eight bars are to be played an octave higher then the first
+time; the third in harmonics. The Introductory Adagio
+is the celebrated Prayer. Then follows a Tema, Tempo
+alla Marcia, E flat, four-four, the violin part in C. This
+is a different theme, and appears to be a paraphrase of
+part of the March and Chorus (in the Oratorio), "Hail,
+happy day!" There are three variations, and a short
+coda. Harmonics are sparingly introduced. Rossini's
+opera, "<span lang="it">Mosč in Egitto</span>," was produced at Naples in 1818,
+and was remodelled by the composer some years later,
+for performance at the Grand Opera, Paris (1827). It
+is not known when Paganini wrote his variations, but his
+themes were most probably taken from the first version
+of the opera.</p>
+
+<p><i><span lang="it">Variazioni di Bravura per Violino sopra un tema originale
+con accompagnamento di Piano o Chitarra.</span></i> The theme is
+that of the Twenty-fourth Caprice, from Op. 1, and the
+variations are the same, only the notation of the eighth is<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span>
+different. The accompaniment, for either guitar or
+pianoforte, is extremely simple. There is a short
+interlude (called <i>Tutti</i> in Ricordi's edition) of six bars to
+be played between the variations.</p>
+
+<p><i><span lang="it">Introduzione e Variazioni sul Tema nel cor piů mi sento per
+Violino solo di Nicolň Paganini.</span></i> So runs the title in the
+edition published by Ricordi and Co. The theme is the
+duet in Paisiello's opera, <i><span lang="it">La Molinara</span></i>, which Beethoven
+also took as a subject for variations (in 1795). Ricordi's
+publication agrees in every particular with the version
+to be found in Guhr's treatise on Paganini's "Art of
+Playing the Violin," published in 1831&mdash;preface dated
+Frankfurt, November, 1829. Guhr<a name="Anchor-53" id="Anchor-53"></a><a href="#Footnote-53" class="Anchor" title="Go to footnote 53.">[53]</a> heard Paganini
+many times, closely watched his playing, and frequently
+conversed with him on the subject. This piece was
+written from memory, and is certainly a great accomplishment;
+but it can scarcely be regarded as an authentic
+version. The introduction is brilliant, the theme, Andante,
+G major, six-eight measure, is profusely ornamented, and
+each of the seven variations&mdash;No. 6 is in G minor, the
+others in G major&mdash;has some special form of virtuosity.
+In the third there are double shakes in harmonics, which
+Guhr explains. The last is in widespread ascending and
+descending arpeggios throughout. The theme and third
+variation are written on two staves, one for bowed melody,
+the other for left hand pizzicato.</p>
+
+<p>That Paganini did not always play the piece in the<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span>
+form in which Guhr wrote it down, is proved by the
+existence of another manuscript, which is, perhaps, very
+little known. It was written by the late Mrs. Tom
+Taylor, who gave it to Mr. Alfred Burnett many years
+ago, and that gentleman has kindly permitted me to
+examine it. For this the violin is tuned a whole tone
+higher. The Introduction is altogether different, and the
+theme much less floridly embellished. The first variation
+corresponds to Guhr's No. 2, but the harmonics are not
+quite the same. In this the melody floats above
+tremolando chords. The second, in outline, resembles
+Guhr's No. 4, but whereas the latter has alternate
+natural notes and harmonics, Mrs. Taylor gives alternations
+of detached bowed notes and pizzicati. The
+third is like Guhr's No. 3, in that it has short figures in
+double notes, alternately for fundamental and harmonic
+sounds. Guhr's variation consists of twenty-five bars;
+Mrs. Taylor's of thirty-one, there being a short cadenza.
+The fourth resembles Guhr's No. 7 in the wide-spread
+arpeggios, but the harmonics are differently distributed,
+and the coda is not the same as in Guhr.<a name="Anchor-54" id="Anchor-54"></a><a href="#Footnote-54" class="Anchor" title="Go to footnote 54.">[54]</a></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Illustration_Plate_25" id="Illustration_Plate_25"></a><a href="images/plate_025.jpg">
+<img src="images/plate_025s.png" width="600" height="403"
+alt="PLATE 25. (See Appendix.) Musical manuscript by Paganini." title="" />
+</a>
+<span class="caption"><a href="#Plate_25">PLATE 25. (<i>See Appendix.</i>)</a></span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Illustration_Plate_26" id="Illustration_Plate_26"></a><a href="images/plate_026.jpg">
+<img src="images/plate_026s.jpg" width="600" height="450"
+alt="PLATE 26. (See Appendix.) Musical manuscript by Paganini." title="" />
+</a>
+<span class="caption"><a href="#Plate_26">PLATE 26. <i>See Appendix.</i>)</a></span>
+</div>
+
+<p>In the Imperial Library, Berlin, there is a manuscript
+by Paganini, inscribed "<span lang="it">Capriccio a Violino Solo di
+Nicolo Paganini In cor piů non mi sento</span>," in which the
+embellished theme differs from both those already described.<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>
+The first page is reproduced in facsimile in Paul
+Stoeving's "Story of the Violin," p. 213. Then there is
+an autograph copy in the British Museum with this
+inscription: "<span lang="it">In cuor piů non mi sento, Thema con
+variazioni per Violino, con Accompagnementi di Violino e
+Violoncello Composta da Niccolo Paganini.</span>" The piece
+consists of an Introduction, Theme and four Variations,
+and, so far, agrees with Mrs. Taylor's copy. Finally,
+Paganini played the piece with the orchestra, as will be
+seen from this extract from a programme: "Prelude and
+Variations on the Tema, '<span lang="it">Nel cor piů non missento</span>,' with
+orchestral accompaniment, by Signor Paganini." This
+was played at the concert of June 27th, 1831, at the
+King's Theatre, and the programme from which this
+extract is taken is in possession of Mr. Richard Harrison,
+of Brighton, who most obligingly copied it for me.</p>
+
+<p><span lang="fr">Duo pour le violon seul.</span> This begins with an Adagio,
+C major, three-four measure, with a melody for the bow,
+and left hand pizzicato accompaniment. A short Allegro
+molto follows, in square time, the pizzicato accompaniment
+being chiefly in double notes, with occasional
+chromatic harmonics. This little piece must have been
+on sale in London a year before Paganini arrived, for the
+following anecdote was in print in May, 1830. "A few
+days since, a footman went into Mori's music shop to buy
+a fiddle string. While he was making his choice a
+gentleman entered the shop, and began to examine
+various compositions for the violin. Among the rest he
+found Paganini's celebrated <i><span lang="fr">Merveille&mdash;duo pour un seul
+Violon</span></i> and, perceiving the difficulties in which it abounded,<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a><br /><a name="Page_177" id="Page_177">[177]</a><br /><a name="Page_178" id="Page_178">[178]</a></span>
+asked the shopman if he thought that Mori himself
+could play it. The young man, a little perplexed and
+unwilling to imply that his master's powers had any limits,
+at length replied, that he had no doubt he could perform
+it, provided he practised it for a week. Upon which the
+footman, who stood intent upon the conversation, broke
+in on the discourse and swore that Mori could do no
+such thing, for that he himself had been practising the
+piece for three weeks and could not play it yet."</p>
+
+<p><span lang="fr">Trois Airs Variés pour le Violon, pour étre éxécutes
+sur la Quatrieme Corda seulement, avec accompagnement
+de Piano par Gustavo Carulli.</span> Fétis says these are
+merely souvenirs arranged by the author of the accompaniments.<a name="Anchor-55" id="Anchor-55"></a><a href="#Footnote-55" class="Anchor" title="Go to footnote 55.">[55]</a>
+Antonio Minasi includes them in the
+lists of works performed by Paganini in England. The
+fourth string is to be raised to A, for all three. The first
+is in C, with two easy variations; the second, in G,
+resembles a folk song, and has three variations; the third,
+in C, also has three variations. The first two are
+marked Andante; the third, Andantino. The accompaniments
+are of the easiest song kind.</p>
+
+<p><span lang="fr">Le Charme de Padua, Divertimento pour Violon et
+Piano concertant, composé par Nicolo Paganini.</span> This
+piece was published in London before the date of
+Paganini's first concert, and possibly before the arrival of
+that artist in England. It was issued by a firm of repute,
+Wessel and Stodar, who were the first publishers in
+England of the works of Chopin. The music was<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span>
+reviewed in <i>The Harmonicon</i>, June 1831, the notice
+concluding thus: "It perhaps is a bagatelle on which he
+(Paganini) has bestowed little time and less thought. It
+certainly is a flimsy affair, and might have been produced
+by the dullest and most mechanical <i>repieno</i> in the band of
+a suburb (<i>sic</i>) theatre." The piece consists of a Larghetto
+and Presto, in C major, the slow introduction being in
+six-eight rhythm, the Presto in six-four. There is one
+principal theme in the first part, given out by the violin
+and repeated by the pianoforte, a simple melody, with
+embellishments. The Presto is in Rondo form, with
+leading theme for pianoforte, continued by violin, and
+relieved by an episode contrasted in character. The
+music is not great, but unprejudiced musicians will
+scarcely endorse the captious remarks of the reviewer.
+The firm of Edwin Ashdown (successor to Wessel)
+publish the composition, also a version by S. Godbé
+for viola and pianoforte. In this the themes are written
+an octave lower, and modifications occur in double-stops,
+and so forth, to suit the viola. There is likewise an
+arrangement for flute and pianoforte, by J. Sedlazek. It
+is not stated by whom the pianoforte part was written,
+but it is very well done, and is not a mere accompaniment.</p>
+
+
+<div class="center"><span class="smcap">Works Unpublished, or Lost.</span></div>
+
+<p>Concerto in D minor. Fétis terms this a magnificent
+concerto; it was performed by Paganini at the first
+concert he gave in Paris, March 25th, 1831, and that
+seems to be all that is known about the piece. Concerto
+in E minor. This was in three movements; Allegro<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span>
+maestoso; Adagio flebile, con sentimento; Rondo, Andantino
+Gŕjo, "with a triangle accompaniment." It was
+played by Paganini at the King's Theatre, June 13th,
+1831. Concerto in E major. The three movements of
+this piece were; Allegro Marziale; Cantabile Spianato;
+and Polacca brillante. Paganini played this concerto at
+his concert, July 4th, 1831. Concerto in two movements.
+This was a medley. The one movement, Cantabile
+a doppie corde, was by Paganini; the other, Ronda
+scherzoso, by Rodolphe Kreutzer. Played, August 17th,
+1831.</p>
+
+<p>Four Concertos, of which the instrumentation was not
+written. Of these nothing seems now to be known.
+Fétis says that the last of the four was composed at Nice
+a short time before the death of Paganini.</p>
+
+<p>Concerto for bassoon, with string trio accompaniment.
+This was discovered at Stockholm in 1890, and the
+manuscript was said to be in the composer's hand-writing.
+The announcement of the discovery will be found in
+<i>The Musical Times</i>, of November, 1890, page 681. I have
+found no further reference to the subject.</p>
+
+<p>Nine Quartets for Violin, Viola, Violoncello and Guitar.
+These are in the list drawn up by Constabile as being
+among the manuscripts preserved by the son of the
+composer. It is impossible now to say where these
+manuscripts are; the first three seem completely lost.
+A copy, probably unique, of the Quartets, Nos. 10 to 15,
+is among the treasures in the possession of Mr. Alfred
+Burnett, and by his kindness I am enabled to give a
+description of the music. Five of the Quartets, Nos. 10<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span>
+to 14, were composed and dedicated "<span lang="it">Al suo Amico Il
+Sig. Avvocato Luigi Gugličlmo Germi.</span>" No. 14 was
+composed "expressly" for that friend. The Quartets
+dedicated to Germi might be designated "house music,"
+for though they are difficult, they do not seem to have
+been written for the "great public." They contain the
+most lovely music Paganini ever penned. If only the
+guitar were once more in fashion, these pieces might be
+heard, and I feel certain they would charm lovers of
+pure melody.<a name="Anchor-56" id="Anchor-56"></a><a href="#Footnote-56" class="Anchor" title="Go to footnote 56.">[56]</a> But this is to anticipate.</p>
+
+<p>Quartet, No. 10, in A major, in four movements (as
+indeed are five out of the six). Allegro, A major, four-four
+rhythm, in free sonata form, with first and second
+subject&mdash;both lyrical&mdash;middle modulatory section, and
+recapitulation. The violin has the melody, the other instruments
+accompanying. Minuetto Scherzo, Allegretto,
+A major, three-four measure, with first short strain on a
+figure in triplets. Trio in D major, Cantabile theme for
+violin, doubled by the viola in the octave below. Adagio
+Cantabile, D major, two-four rhythm. A melody that
+might be signed Haydn or Mozart, but embellished with
+a grace peculiar to Italian art. Here the violin is the solo
+instrument, the others supporting with rich harmonies,
+the 'cello emphasising the rhythm with frequent pizzicato
+notes. Rondo Andantino con brio, A major, two-four
+measure, a bright, sparkling principal theme, staccato,
+with contrasting episodes, one in D, with fourth string<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span>
+phrases, also with brilliant passages in thirds for the
+violin, which again has all the thematic work. This is
+a well developed movement.</p>
+
+<p>Quartet, No. 11, in B major. For this the guitar is
+tuned a tone higher, the <i>capo tasto</i> raising the E strings
+to F sharp, and the guitar part is written in the open key
+of A. The first movement, Allegro moderato, B major,
+four-four rhythm is free in form, with repeat of the first
+part. The thematic material is assigned chiefly to the
+violin, but in the second part there is an episode, a sort
+of folk-tune, given to the violoncello. Minuetto, Allegretto,
+B major, three-four, with Trio in G major. The
+melodies are fresh, and move step-wise, very much like
+those in the Minuet of Beethoven's first Symphony.
+They are in scale formation, up and down, and there is
+only one skip of a third in the first sixteen bars. Again
+the violin takes all the themes. Larghetto con passione,
+F sharp minor, six-eight measure, a Lament, a fine
+expressive theme, opening nobly, but with the elevated
+style not maintained throughout. The viola and violoncello
+parts are in keeping with the pathetic feeling of the
+movement, but the rhythmic figure of the guitar part
+detracts from its dignity. Polacca, Andantino mosso,
+B major, three-four measure, a well-written movement,
+with three clearly defined subjects, two of which are
+taken up by the viola and violoncello. The violin part
+in this quartet is brilliant, but not particularly difficult;
+there is no double-stopping, excepting in chords of
+accompaniment.</p>
+
+<p>Quartet, No. 12, in A minor. This number is in three<span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span>
+movements only. The first, Allegro giusto, A minor,
+four-four rhythm, is quite orchestral in character, and
+opens with a theme of symphonic breadth. There is
+science displayed in the development of this movement.
+In the first part the second subject is in C major, and in
+the recapitulation in A major. The slow movement,
+Adagio tenuto, con precisione, C major, three-four
+measure, has at first a very broad and declamatory
+theme for the violin. The writing becomes very
+elaborate, and the rhythmic figuration complex, passages
+with four and five-stroke notes occurring. The Finale,
+Minuetto, Allegretto mosso, is a fully developed movement
+quite in sonata form, with first part repeated. The
+exposition has a first subject of two extended members,
+the second in the major mode. The second subject, in
+E, is well contrasted. There is a long working out
+section, with episodial matter, and the recapitulation is
+very happily led up to. The music has a lilt that is
+irresistible, and the writing is interesting for each
+instrument.</p>
+
+<p>Quartet, No. 13, in F. The first movement, Allegro
+con brio, F major, four-four time, opens with a theme of
+a declamatory type, and the expression is dramatic. The
+second subject in C, is in the style of the Italian <i>aria</i>,
+concluding with the lively <i>Cabaletta</i> strain. A short <i>Coda</i>
+ends the first part. In the working out section there is
+an important episodial theme for the violoncello, and in
+the recapitulation the second subject, now in F, is
+allotted to the viola, the violin taking up the <i>Cabaletta</i>.
+Both parts are marked for repetition. Minuetto, Allegretto,<span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span>
+F major, three-four measure. The violin has the
+theme of the first strain of eight bars repeated; the
+violoncello responds with the subject of the next strain
+of twenty-five bars, one phrase lengthened to five bars.
+The Trio in B flat has a tripping theme for the viola,
+legato and staccato bowing in the same "figure." Later
+the phrases are broken into dialogue for violin and viola.
+In the Minuet the guitar has a "second" to the violin
+melody. Larghetto tenuto, con anima, D flat major, six-eight
+rhythm, a broad, cantabile theme for the violin,
+with spare embellishment. The movement must be
+slow, for there are arpeggios of eight notes to the quaver
+beat in the guitar part. Finale, Prestissimo, F major,
+two-two measure. The theme for the violin resembles
+very much some of those merry "tributary" motives
+found in Mozart's symphonies towards the close of the
+first part of a movement&mdash;the "Jupiter," first movement
+for instance. The second subject affords contrast. The
+whole is most spirited and light-hearted. Paganini must
+have been in a happy mood when he wrote this quartet.</p>
+
+<p>Quartet, No. 14, in A major. The first movement,
+Allegro maestoso, A major, four-four measure, is very
+brilliant, opening with a theme in which arpeggio and
+scale figures abound. This closes in B, and the second
+subject begins in E. Here occurs some very free
+chromatic writing, suggestive of Richard Strauss, as,
+for instance, D sharp for violoncello against E flat for
+guitar and viola; and C natural opposed to B sharp.
+But it is a mere matter of spelling. The first part ends
+in E, and is marked for repetition. Then, with a single<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span>
+prefatory chord of E minor, the working out section
+begins in C, with a new motive, which passes through a
+number of keys, the primary returning with the second
+subject. Minuetto, Scherzo affettuoso, A major, three-four.
+The subject is based on a three-note figure, giving,
+by cross accents, to the four-bar phrase the effect of a
+six-bar phrase in duple measure&mdash;Tempo rubato. The
+Trio, in D, has a theme in triple measure, but the middle
+sentence has the displaced accents of the Minuet. Largo,
+con sentimento, G flat major, four-four measure. For
+this the pitch of the guitar is raised a tone, and the part
+written in E major. The movement is in song form, the
+melody opening in stately fashion, but the writing soon
+becomes florid. At the second entry the theme begins in
+A major, the return to G flat being ingeniously effected.
+There are some rapid pizzicato passages for the violoncello.
+Finale, Allegro vivace, A major, four-four rhythm.
+This is a moto perpetuo, sempre staccato, for the violin.
+The theme is quite unlike that of the movement known
+as Op. 11. After the exposition of the subject, the violin
+has figure-playing of an easy kind, while the violoncello
+has a Cantabile theme. This recurs, and snatches of it
+are heard in the brief coda. The other instruments
+merely accompany. This quartet has distinct character.</p>
+
+<p>Quartet, No. 15. The title simply runs: "<span lang="it">Composto
+da Nicola Paganini</span>," without any dedication. Note the
+copyist's spelling of the Christian name. In the first
+movement, Maestoso, A minor, four-four measure, the
+first subject is given out by the viola. It begins with a
+mournful, somewhat stern motive, bold, and with an<span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span>
+embellished subordinate theme. The second subject,
+also assigned to the viola, is an impassioned lyrical
+theme in C major. In the working out section, the
+violin takes the first subject, and joins the violoncello
+in an episodial theme, the viola contributing a florid
+counterpoint. There are modifications in the recapitulation,
+but the viola again has the second subject now in
+the tonic major. The guitar is busy throughout the
+movement, with full chords and extended arpeggios.
+Minuetto a Canone, Andantino, A major, three-four
+measure. The Canon is confined to the violin and viola,
+the latter starting with a theme in short, detached figures,
+the violin following, an octave higher, one beat later.
+Guitar and violoncello give supporting harmonies. In
+the Trio, in D major, the melody is given to the guitar,
+with a pizzicato accompaniment for the other instruments.
+At the seventeenth bar, there are again four
+bars of canon, this time in the unison, staccato bowing.
+The Minuet, abbreviated, is then repeated. The canon
+is not continuous, a cadence occurring at the end of
+each eight bars. Next comes an Interlude, Recitative,
+Andante sostenuto, con sentimento, D major. This is
+for the viola, and extends to twenty-one bars, the expression
+being dramatic. The other instruments have a
+rather elaborate accompaniment. The slow movement
+immediately ensues, Adagio Cantabile, D major, two-four
+rhythm. The viola has the melody, in the form of the
+Italian aria, embellished with prima donna fioriture.
+The movement is short, only running to forty-six bars.
+Rondo, Allegretto, A minor, two-four. The leading<span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span>
+theme, marked by syncopations, is given to the viola,
+the violin joining in the repetition. The tonality is
+constantly changing from the minor to the major and
+back again. There is a new theme in the middle section,
+and some elaboration before the first subject returns.
+The close is abrupt. The viola has the chief part in
+this quartet, which is quite different to the others.</p>
+
+<p>I have only a few notes concerning some of the works
+yet to be considered. Dramatic Sonata, "The Storm,"
+for violin and orchestra. This was evidently a piece of
+programme music, for it was thus described:&mdash;Part I.,
+the approach of the storm; II., the commencement of
+the tempest; III., the prayer; IV., the fury of the sea;
+V., the hurricane; VI., the tumult at its height; VII., the
+stilling of the tempest; VIII., an outburst of the most
+lively joy. It was played at Paganini's third and last
+concert at Prague, December 20th, 1828, and one
+account refers to it as a "dramatic sonata for a full
+orchestra, with analogous embellishments and solos and
+variations, by Paganini on the fourth string."<a name="Anchor-57" id="Anchor-57"></a><a href="#Footnote-57" class="Anchor" title="Go to footnote 57.">[57]</a></p>
+
+<p>"<span lang="fr">Sonata Militaire</span>," in G, for the fourth string, theme,
+the air "<span lang="it">Non piů andrai</span>," from Mozart's opera "<span lang="it">Le Nozze
+di Figaro</span>." This piece was composed expressly for the
+second of the two concerts Paganini gave in Genoa in
+1824, when the young singer, Antonia Bianchi, made her
+début. The Sonata was played by Paganini at his first
+concert in London. All traces of it appear to have
+been lost.</p>
+
+<p>"Napoleon Sonata," for the fourth string. Paganini<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span>
+gave an account of the origin of this piece to his friend,
+Julius Schottky, and to what has already been related in
+connection therewith may now be added the further
+statement he made. Paganini sang to his friend the
+first movement of this Sonata "in an animated though
+feeble tone," and said that Rossini transferred the theme
+into one of his earlier operas. It would be interesting to
+know the opera in question, but the early works of Rossini
+would be searched in vain without the clue afforded by
+the Sonata, which appears to have vanished completely.</p>
+
+<p>"<span lang="it">Sonata Maestosa Sentimentale</span>," with variations on
+a theme by Haydn, for the fourth string. It is probable
+that the theme for these variations was the well-known
+Emperor's Hymn, and that this Sonata was performed
+by Paganini before the Austrian Court in 1828.</p>
+
+<p>Sonata with variations on a theme from the opera
+"<span lang="it">L'Amor Marinaro.</span>" Nothing is now known of this
+Sonata, nor of the particular theme chosen from the
+opera. "<span lang="it">L'Amor Marinaro</span>" (the Corsair in Love) was
+one of the early productions of Joseph Weigl, being
+written in 1798. An opera buffa, it was distinguished by
+natural charm, freshness of colouring and beauty of
+melody, and to the latter quality Paganini's choice of it
+must doubtless be attributed.</p>
+
+<p>"Chant of the Monks of the Monastery of St. Bernard."
+This was the title given to a piece in the programme of
+a concert at Covent Garden Theatre. It was performed
+on a darkened stage and the solemn character of its
+music was emphasized by a beautiful scene representing
+a monastery with stained glass windows. The introduction,<span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span>
+a movement of some length of the basses in unison,
+was followed by a chant "of lovely harmonies, performed
+in harmonics (I believe, on the fourth strings) in combination
+with the wood instruments." Minasi, who gives
+this account of the piece, states that he believes it to be
+merely the second movement of the Concerto in B minor,
+Op. 7.</p>
+
+<p>Cantabile for two strings. This piece was performed
+at the King's Theatre, on June 13th, 1831. Possibly it
+was the same as the musical fantasia already referred
+to as played at Lucca under the title of "A
+Love Scene." Of the remaining pieces, except the one
+mentioned below, nothing seems now to be known save
+the names.</p>
+
+<p>The one exception is the piece entitled "The Vagaries
+of a Farmyard," which contained a wonderful series of
+imitations of farmyard sounds. In this connection the
+following anecdote, illustrating Paganini's extraordinary
+power of portraying curious sounds on his violin, may be
+worth repeating. One fine night, when staying at a little
+inn just outside Frankfort, he was sitting at his window
+lost in the contemplation of the glorious heavens. The
+striking of a clock broke through his reverie and called
+back to his mind an occurrence of which he had but
+recently been an ear-witness. He seized his violin, and
+there arose on the stillness of the night the moans and
+cries of a mother and her new-born babe. The landlord
+of the inn, awakened by the unusual sounds and wondering
+how such visitors had found their way into his house
+without his knowledge, called his son and hastened to the<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span>
+room whence the plaintive cries proceeded; and he found
+Paganini, too deep in thought to perceive his entrance,
+making his violin bring forth these human sounds. It
+is stated of Paganini that he was wont to produce his
+animal cries under the stress of special excitement or
+during an access of fever, and that with his farmyard
+piece he electrified the audience at one of the last of his
+concerts in London.</p>
+<hr class="chap" /><p><span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span></p>
+
+
+
+
+
+<h2><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII.</h2>
+
+
+<div class="figright" style="width: 268px;">
+<a name="Illustration_Plate_27" id="Illustration_Plate_27"></a><a href="images/plate_027.jpg">
+<img src="images/plate_027s.jpg" width="268" height="600" alt="" title="" />
+</a>
+<span class="caption"><i><a href="#Plate_27">Plate 27.&mdash;See Appendix.</a></i><br /><span class="smcap">Medal struck in Paganini's honour in 1831.</span></span>
+</div>
+
+<p>This may have been the concert at which, according
+to a lithograph,<a name="Anchor-58" id="Anchor-58"></a><a href="#Footnote-58" class="Anchor" title="Go to footnote 58.">[58]</a> Paganini received "the homage
+of five thousand persons after having pocketed Ł2,000 for
+two hours' performance." While the great world showed
+their appreciation of his playing in this way, and Royal
+patrons delighted to invest him with noble orders, the more
+humble admirers of Paganini caused medals to be struck
+in his honour. One of these, a tribute from the city of
+Vienna, has already been referred to; another very fine
+medal, struck in Paris during Paganini's first visit there
+in 1831 is reproduced here. The inscription round Paganini's
+head fills one with a strangely ironical feeling, when
+one remembers that the fame of Paganini did but survive
+to lead to the homage of exhumation.</p>
+
+<p>True, the world has remembered him sufficiently to
+place memorial tablets on the houses where he was born
+and died. Fifty years after his death a tablet was affixed
+to the house wherein he breathed his last, and at the
+centenary celebration of his birth the following inscription
+was placed on the house wherein he first saw the
+light: "A great honour fell to the lot of this modest
+house, in which, on the 27th October, 1782, Nicolo
+Paganini, unsurpassed in the divine art of tone, was
+born, to the glory of Genoa and to the delight of the<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span>
+world." At present one may enquire in vain of most
+Genoese people as to the position of Paganini's birthplace,
+and chance alone will direct one, who trusts to
+them for the information, to the slum quarter and the
+narrow street where the building stands. Difficult though
+it may be, however, to find this spot, it is an easy task to
+find the Palazzo Municipale where reposes the famous
+Guarnerius violin of Paganini.</p>
+
+<p>This superb instrument, bequeathed to the city of
+Genoa by Paganini himself, has been most carefully
+preserved by the civic authorities. It has only twice
+been heard in public&mdash;once at the 1882 celebrations&mdash;since
+Paganini's death, and on both occasions it was
+played by his favourite pupil Sivori. It was carefully
+examined and photographed by Mr. Edward Heron-Allen
+in 1885, and a very interesting account was given
+by him<a name="Anchor-59" id="Anchor-59"></a><a href="#Footnote-59" class="Anchor" title="Go to footnote 59.">[59]</a> of the manner in which the violin was worn
+away by Paganini's peculiar method of playing. After
+describing its general condition he says, "The patch by
+the side of the tailpiece and the large wear on the back
+tell of the force with which he held the instrument in
+those high and pizzicato passages, which account for the
+long groove down the side of the fingerboard and the
+broad patch at the side of the neck, on the table of
+the instrument. The wearing away of the edges in
+the curves of the instrument bear a striking testimony
+to the force with which he sawed the gut in his bravura
+passages on the first and fourth strings." In the same
+glass case as the violin is placed the medal presented to<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span>
+Paganini by the Decurional Council of Genoa in 1834.
+On the reverse it bears this inscription:&mdash;</p>
+
+<blockquote><p lang="la">Nic. Paganino, Fidicini, cui nemo par
+fuit civique bene mecrenti <span class="smcap">A.D. MDCCCXXXIIII</span>.</p></blockquote>
+
+<p>Such outward honours as the world gives to its dead
+have indeed been offered to the memory of Paganini;
+but it is doubtful whether the higher honour of a frank
+recognition by the musical world of the work that he did
+for it, has ever been his. Unlike the great composer the
+instrumentalist leaves behind him no visible proof of the
+part he has played in the development of his art. And
+the world has easily forgotten that from the day of
+Paganini not only was the violin transformed into a new
+instrument, not only were its capabilities, previously
+undreamt of, newly revealed, but also in other branches
+of musical art, in orchestral music especially, a fresh
+field was opened up before the composer. It is scarcely
+too much to say that the scores of Tchaikovsky and
+Richard Strauss could not have been written, had Paganini
+never lived. We do not desire to see another
+Paganini, so complete a slave to his instrument, albeit
+its master; we do not desire to see another such life,
+with bodily health and moral vigour sacrificed to so
+absorbing a devotion to one single end. We would fain
+believe that Nicolo Paganini did not live in vain, that
+like a real artist he had and fulfilled his mission, that
+the evil he did died with him and that the good lives on
+to benefit the world.</p>
+
+<p class="p2 center">
+<span class="smcap">The End.</span><br />
+</p>
+<hr class="chap" />
+<p><span class="pagenum"><a name="Page_194" id="Page_194">[194]</a><br /><a name="Page_195" id="Page_195">[195]</a></span></p>
+
+
+
+
+<h2><a name="APPENDIX" id="APPENDIX"></a>APPENDIX.</h2>
+
+<p class="center">NOTES ON THE ILLUSTRATIONS IN THIS
+VOLUME.</p>
+
+
+<p><a name="Plate_1" id="Plate_1"></a><a href="#Illustration_Plate_I_See_Appendix"><i>Plate 1</i>&mdash;Frontispiece.</a></p>
+
+<p>Portrait of <span class="smcap">Nicolň Paganini</span>, by Maurin, a French
+Artist. Free from caricature, it is probably the most
+authentic picture of the great virtuoso. It appeared in
+the seventh volume of the "<span lang="fr">Revue Musicale.</span>"</p>
+
+<p><a name="Plate_2" id="Plate_2"></a><a href="#Illustration_Plate_2"><i>Plate 2</i>&mdash;Facing page 4.</a></p>
+
+<p><span class="smcap">The Birthplace of the Celebrated Paganini</span> in
+the Passo di Gatto Moro, Genoa, Italy. The house is in a
+squalid neighbourhood&mdash;a dirty, narrow alley now occupied
+by the poorest of the city. Probably no worse than at
+the time of Paganini's birth. There is a tablet which
+reads as follows:&mdash;</p>
+
+<blockquote><p lang="it">
+<span style="margin-left: 2em;">Alta ventura sortita ad umile luogo</span><br />
+<span style="margin-left: 6em;">in questa casa</span><br />
+<span style="margin-left: 1.5em;">il giorno XXVII di Ottobre dell' anno</span><br />
+<span style="margin-left: 7em;">MDCCLXXXII</span><br />
+<span style="margin-left: 8em;">Nacque</span><br />
+<span style="margin-left: 1em;">a decoro di Genova a delizia del mondo</span><br />
+<span style="margin-left: 5.5em;">Nicolň Paganini</span><br />
+nella divina arte dei suoni insuperato maestro.<br /></p>
+</blockquote>
+
+<p>The date 1782 given here confirms the latest research
+that Paganini was born in that year and not in 1784 so
+usually quoted.</p><p><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span></p>
+
+<p><a name="Plate_3" id="Plate_3"></a><a href="#Illustration_Plate_III"><i>Plate 3</i>&mdash;Facing page 14.</a></p>
+
+<p><span class="smcap">Paganini's Violin, Bow, Case, etc.</span>, in the Municipal
+Museum at Genoa. This is the celebrated Joseph
+Guarnerius on which the great virtuoso invariably performed.
+The instrument is under a glass shade, and with
+other relics of Paganini, preserved in a strong safe. It
+is stated that Ł5,000 has, in vain, been offered for the
+violin.</p>
+
+<p><a name="Plate_4" id="Plate_4"></a><a href="#Illustration_Plate_4"><i>Plate 4</i>&mdash;Facing page 20.</a></p>
+
+<p><span class="smcap">This is another Caricature</span>&mdash;Paganini performing
+on a tight rope&mdash;under which is printed "<span lang="fr">Exercices sur
+une seule corde</span>,"&mdash;in reference to his one string solos.
+This was published by Mori and Lavenu, London,
+circa 1831.</p>
+
+<p><a name="Plate_5" id="Plate_5"></a><a href="#Illustration_Plate_5"><i>Plate 5</i>&mdash;Facing page 40.</a></p>
+
+<p>This is, we believe, from a contemporary German
+picture.</p>
+
+<p><a name="Plate_6" id="Plate_6"></a><a href="#Illustration_Plate_6"><i>Plate 6</i>&mdash;Facing page 50.</a></p>
+
+<p>This humorous picture is on the title-page of a comic
+song, "The wonderful Paganini, or London fiddling
+mad." The poetry by W. T. Moncrieff, Esq., and the
+melody by one of the first composers of the day!
+London, published by Leoni Lee, circa 1831. The
+"poetry" is not of a classical standard.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"What a hubbub! what a fuss! all London sure are frantic Sirs,<br /></span>
+<span class="i4">The Prince of Fiddlers has arriv'd, great Paganini has come.<br /></span>
+<span class="i0">So wonderful, exorbitant, so frightful, so romantic, Sirs, the world of Music at his mighty presence are struck dumb.<br /></span>
+<span class="i0">So firm his touch, so fine his stop, everyone must own his sway,<br /></span>
+<span class="i0">Great King King of Catgut! Agitato! presto! Who but he Sirs,<br /></span>
+<span class="i4">Mori, Spagnoletti, now must second fiddle play, Sirs&mdash;<br /></span>
+<span class="i0">Glory be to Tweedle dum! Success to Tweedle dee! Sirs<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span>&mdash;<br /></span>
+<span class="i0">Such golden sounds, he from one string can draw, no sum can pay him, Sirs,<br /></span>
+<span class="i0">Germany, France, Italy, combined his fame to puff<br /></span>
+<span class="i0">The prices must be doubled, all the world crowd to survey him, Sirs,<br /></span>
+<span class="i0">Four thousand pounds a night to pay him is not half enough,<br /></span>
+<span class="i0">Sixpences, none, after this, must dare call fiddlers' money Sirs.<br /></span>
+<span class="i0">Thousands, tens of thousands, must the wondrous man reward,"<br /></span>
+<span class="i8">etc., etc.,<br /></span>
+<span class="i6">and so on for five verses!<br /></span>
+</div></div>
+
+<p><a name="Plate_7" id="Plate_7"></a><a href="#Illustration_Plate_7"><i>Plate 7</i>&mdash;Facing page 54.</a></p>
+
+<p><span class="smcap">Sigr. Paganini.</span> During one of his performances at
+the King's Theatre, June, 1831. From a contemporary
+lithograph of the celebrated sketch by D. Maclise, R.A.,
+now in the Foster Collection, South Kensington Museum.
+In the background are J. B. Cramer, Lindley, Dragonetti,
+Mori, etc. This is, perhaps, the most interesting print of
+the great violinist. It was published on July 12th, 1831,
+by W. Spooner, 259, Regent Street, London.</p>
+
+<p><a name="Plate_8" id="Plate_8"></a><a href="#Illustration_Plate_8"><i>Plate 8</i>&mdash;Facing page 60.</a></p>
+
+<p>Reproduction of the celebrated Statuette (caricature),
+by Dainton.</p>
+
+<p><a name="Plate_9" id="Plate_9"></a><a href="#Illustration_Plate_9"><i>Plate 9</i>&mdash;Facing page 66.</a></p>
+
+<p><span class="smcap">Paganini with the Violin</span>, Rossini at the pianoforte
+and the celebrated prima-donna Pasta. (Jos. McGuire,
+delt., printed by Englemann &amp; Co.), circa 1832.</p>
+
+<p><a name="Plate_10" id="Plate_10"></a><a href="#Illustration_Plate_10"><i>Plate 10</i>&mdash;Facing page 76.</a></p>
+
+<p><span class="smcap">A Copy of the Original Oil Painting of
+Paganini</span> in the Municipal Museum at Genoa. The face
+full of intellect, shows the ravages of the disease which
+was so soon to terminate his existence.</p><p><span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span></p>
+
+<p><a name="Plate_11" id="Plate_11"></a><a href="#Illustration_Plate_11"><i>Plate 11</i>&mdash;Facing page 80.</a></p>
+
+<p><span class="smcap">The House at Nice in which Paganini died</span> on
+the 27th May, 1840. It was formerly the residence of
+the Count de Sessol. The lower part has been converted
+into shops.</p>
+
+<p><a name="Plate_12" id="Plate_12"></a><a href="#Illustration_Plate_12"><i>Plate 12</i>&mdash;Facing page 80.</a></p>
+
+<p><span class="smcap">The Tablet</span>, with inscription, fixed on the front of
+the house, Rue de la Prefecture, Nice, France.</p>
+
+<p><a name="Plate_13" id="Plate_13"></a><a href="#Illustration_Plate_13"><i>Plate 13</i>&mdash;Facing page 84.</a></p>
+
+<p><span class="smcap">The Tomb of Paganini at Parma.</span> Neither
+religious nor political martyr ever had so many objections
+made to his obsequies. To the cemetery, near Parma, in
+November, 1876, the embalmed remains of Paganini
+were transposed from the family villa at Gaione, by order
+of his son, the Baron Achille (who died in December,
+1895). The funeral was held at night by torchlight. A
+nephew, the Baron Attila Paganini, followed, and crowds
+of curious sightseers joined the procession. In 1893
+there was erected the beautiful mausoleum which is now
+depicted from the only known photograph, taken expressly
+for <span class="smcap">The Strad</span>. It bears this inscription:&mdash;</p>
+
+<blockquote><p lang="it">
+<span style="margin-left: 2em;">Qui riposano le ceneri</span><br />
+<span style="margin-left: 3em;">di Nicolň Paganini</span><br />
+Che traendo dal violino armonie divine<br />
+Scosse genio insuperabile tutta Europa<br />
+<span style="margin-left: 3em;">e cinse all'Italia,</span><br />
+<span style="margin-left: 2em;">Nuova sfolgorante corona.</span></p>
+
+<p lang="it">
+<span style="margin-left: 3em;">Mente elettissima</span><br />
+Compose stupendamente in musica<br />
+Ammirato dai piu illustri maestri.<br /></p>
+
+<p lang="it"><span style="margin-left: 2em;">Cuore oltremodo generoso</span><br />
+<span style="margin-left: 3em;">donň largamente</span><br />
+ai parenti, agli artisti ai poveri.</p>
+</blockquote><p><span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span></p>
+
+<p>Beneath this cupola of white marble, with its granite
+columns, may the ashes of Paganini rest in peace. His
+true remains&mdash;his reputation, his influence, his music, are
+with us for ever.</p>
+
+<p><a name="Plate_14" id="Plate_14"></a><a href="#Illustration_Plate_14"><i>Plate 14</i>&mdash;Facing page 90.</a></p>
+
+<p><span class="smcap">Paganini in Prison.</span> One of the many scandals
+which is contradicted in the text. (See page <a href="#Page_90">90</a>.)
+There is another prison story that during Paganini's
+incarceration, he was reduced to the G, in consequence
+of the other strings having broken&mdash;hence his wonderful
+development of the fourth. This is again apocryphal.
+Paganini has greater claim to a scientific knowledge of
+the acoustical property of strings.</p>
+
+<p><i>Plates <a name="Plate_15" id="Plate_15"></a><a href="#Illustration_Plate_15">15</a>, <a name="Plate_16" id="Plate_16"></a><a href="#Illustration_Plate_16">16</a>,
+and <a name="Plate_17" id="Plate_17"></a><a href="#Illustration_Plate_17">17</a></i>, see pages 101, 102, and 103,</p>
+
+<p>are reproductions of Paganini's MSS. in the British
+Museum. No. 15, a letter (dated April 16th, 1832, and
+in French) thanking the person addressed, for kindness
+shown to his "cher fils Achille," Nos. 16 (dated February
+19th, 1835) and 17 (dated May 5th, 1838); short notes
+(in Italian) are interesting autographs. Paganini was
+proverbially a "silent man"&mdash;his epistles are very rare.</p>
+
+<p><i>Plates <a name="Plate_18" id="Plate_18"></a><a href="#Illustration_Plate_18">18</a>, <a name="Plate_19" id="Plate_19"></a><a href="#Illustration_Plate_19">19</a>,
+<a name="Plate_20" id="Plate_20"></a><a href="#Illustration_Plate_20">20</a>, <a name="Plate_21" id="Plate_21"></a><a href="#Illustration_Plate_21">21</a>,
+and <a name="Plate_22" id="Plate_22"></a><a href="#Illustration_Plate_22">22</a></i>&mdash;Pages 129-133.</p>
+
+<p>These reproductions of rare programmes tell their
+own tales&mdash;they are interesting, because there are seen
+the items and the arrangement of concerts, also the prices,
+for admission, etc.&mdash;in those years.</p><p><span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span></p>
+
+<p><a name="Plate_23" id="Plate_23"></a><a href="#Illustration_Plate_23"><i>Plate 23</i>&mdash;Facing page 136.</a></p>
+
+<p><span class="smcap">Facsimile of a Letter by Paganini</span>, dated 1829.
+It was formerly in the possession of the late Mr. Carrodus,
+the great English violinist.</p>
+
+<p><a name="Plate_24" id="Plate_24"></a><a href="#Illustration_Plate_24"><i>Plate 24</i>&mdash;Facing page 144.</a></p>
+
+<p><span class="smcap">A Semi-Caricature of Paganini</span> with the inscription.</p>
+
+<p>
+<span style="margin-left: 6em;">The Modern Apollo (not Belvedere)</span><br />
+Receiving the homage of 5,000 persons, after having pocketed<br />
+<span style="margin-left: 2em;">Ł2,000 for two hours' performance.</span><br />
+</p>
+
+<p>Sketched at his last Concert at the King's Theatre.
+Published by G. Madeley, Wellington Street, Strand, 1831.</p>
+
+<p><i>Plates <a name="Plate_25" id="Plate_25"></a><a href="#Illustration_Plate_25">25</a> and <a name="Plate_26" id="Plate_26"></a>
+<a href="#Illustration_Plate_26">26</a></i>, see pages 176 and 177.</p>
+
+<p>Reproductions of music MS. in British Museum.
+A Theme, with variations for violin, with accompaniment,
+is a curious example of the great master's
+compositions.</p>
+
+<p><a name="Plate_27" id="Plate_27"></a><a href="#Illustration_Plate_27"><i>Plate 27</i>&mdash;Facing page 190.</a></p>
+
+<p><span class="smcap">Copy of a rare Copper Medal</span> struck in Paganini's
+honor in 1831.</p><hr class="chap" /><p><span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span></p>
+
+
+
+
+<h2><a name="BIBLIOGRAPHY" id="BIBLIOGRAPHY"></a>BIBLIOGRAPHY.</h2>
+
+
+<p>The extraordinary career of Paganini has received
+more attention than the life of any other instrumentalist.
+Of these biographies, it is impossible to give a complete
+list.</p>
+
+<p>The following may, however, be commended.</p>
+
+<blockquote><p>"<span lang="de">Paganini in seinem Reisewagen und Zimmer, in seinen
+redseligen Stunden, in gesellsschaftlichen Kirkeln,
+und seinen Concerten.</span>" Brunswick, Vieweg, 1830.
+Mr. George Harris, the writer of this pamphlet, was
+an Englishman, who in order to study Paganini,
+became the Violinist's secretary and interpreter.</p>
+
+<p>"<span lang="de">Leben, Charakter und Kunst N. Paganini's&mdash;Eine
+Skizze</span>,"&mdash;by M. F. Shütz, a Professor at Halle.
+Leipzig, 1830.</p>
+
+<p>"<span lang="de">Paganini's Leben und Treiben als Künstler und als
+Mensch.</span>" Prague, 1830. Written by Professor
+Schottky.</p>
+
+<p>"<span lang="de">Paganini's Leben und Charakter</span>," by M. L. Vinela.
+Hamburg, 1830.</p>
+
+<p>"<span lang="fr">Notice sur le célčbre violoniste Nicolň Paganini</span>," by
+M. J. Imbert de Laphaléque. Paris.</p><p><span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span></p>
+
+<p>"<span lang="fr">Paganini et de Bériot, ou Avis aux artistes qui se
+destinent ŕ l'enseignement du Violon</span>," by F. Fayolle.
+Paris, 1831.</p>
+
+<p>"Paganini, his life, his person, and a few words upon his
+secret," by J. L. Anders. Paris, 1831.</p>
+
+<p>"<span lang="it">Vita di Nicolň Paganini di Genova, scritta ed illustrata
+da Giancarlo Conestabile, socio di varie Academie.</span>"
+Perugia, 1831.</p>
+
+<p>"Nicolo Paganini," by F. J. Fétis. Published by
+Schott and Co.</p>
+
+<p>"<span lang="fr">L'Album.</span>" "Paganini." Rome, 1840.</p>
+
+<p>"Good Words." Three articles by Rev. H. R. Haweis,
+M.A.</p>
+
+<p>"Musical Gem." "Paganini." Portrait by R. J.
+Hamerton. London, 1832.</p>
+
+<p>"The Violin," with some account of that leading instrument
+and its most eminent professors, by George
+Dubourg, 1836 and 1878. This interesting book
+contains a long account of Paganini (illustrated.)</p>
+
+<p>"Life of Moscheles." Two vols. 1873. In Vol. I.,
+chapters 13 and 14, "Paganini."</p>
+
+<p>"Louis Spohr's Autobiography," <i>vide</i> "Paganini,"
+Vol. I., page 279, and Vol. II., page 168. Spohr
+says: "His (Paganini's) left hand and his constantly
+pure intonation were to me astonishing."</p>
+
+<p>"Dictionary of Music and Musicians," by Sir George
+Grove, D.C.L., <i>vide</i> article Paganini.</p><p><span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span></p>
+
+<p>"<span lang="de">Encyclopädie der gesammten musicalischen Wissenschaften</span>,"
+by Dr. Gustav Schilling. Article Paganini.</p>
+
+<p>Dr. Riemann's "Dictionary of Music," article Paganini.</p>
+
+<p>"The Strad," various articles and paragraphs in the
+series of this journal.</p>
+
+<p>"The Violin," by George Hart. Engravings of Paganini's
+Violin.</p>
+
+<p>"Old Violins and their Makers," by James M. Fleming.</p>
+
+<p>"Ole Bull," by Sara C. Bull. Various notices of
+Paganini.</p>
+
+<p>"Musical Opinion," July, August, and September, 1888.
+A renowned fiddler (Paganini.) Three articles by
+Richard Harrison.</p>
+
+<p>"Musical News," 1903.</p>
+
+<p>"A Wooden Shoe" (Story of Paganini) by M. P.
+Audebrand.</p>
+
+<p>"Paganiniana," (circa 1865.)</p>
+
+<p>"Troubadour," August, 1899. Paganini, by Richard
+Harrison.</p>
+
+<p>"The Athenćum," 1831. Critiques on Paganini.</p>
+
+<p>"The Tatler," 1831.</p>
+
+<p>"An account of Paganini's début in London," June
+3rd, 1831, by Mr. Gardner of Leicester, appears in
+Dubourg's "Violin."</p>
+
+<p>"Paganini's Concerts in Paris." A clever description
+was published in "Le Globe."</p>
+
+<p>"Foreign Quarterly Review" (circa 1832).</p><p><span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span></p>
+
+<p>"Catalogue of Paganini's compositions," by M.
+Conestabile.</p>
+
+<p>Paganini's works are published by Ricordi and Co., of
+Milan, and Schott and Co., of Mayence and London.</p>
+
+<p>"<span lang="fr">Revue et Gazette Musicale de Paris</span>," December 23rd,
+1840. Article Paganini.</p>
+
+<p>"Story of the Violin," by Paul Stoeving.</p>
+
+<p>"The Quarterly Musical Magazine and Review," Vol. X.</p>
+
+<p>"<span lang="de">Ueber Paganini's Kunst, die Violine zu spielen</span>,"
+by Carl F. W. Guhr, original edition 1831.
+Modern. Schott and Co.</p>
+
+<p>"Biographical Sketches of Celebrated Violinists."
+London: Bentley, publisher.</p>
+
+<p>"Celebrated Violinists, Past and Present." Translated
+from the German of A. Ehrlich, and edited with
+notes and additions by Robin H. Legge (eighteen
+pages devoted to Paganini). Portraits. <span class="smcap">Strad</span>
+Office, London.</p>
+
+<p>"Notice of Antony Stradivari," by F. J. Fétis. Translated
+by John Bishop. London, 1864.</p>
+
+<p>"The Harmonicon." An excellent musical journal.
+Published in London (contemporary with Paganini).</p>
+
+<p>"The Life of Rossini," by Sutherland Edwards.</p>
+
+<p>"History of Music," by Emil Naumann. 2 vols.
+Cassell and Co., London, 1886.</p>
+
+<p>"Life and Letters of Sir Charles Hallé." Paganini
+is mentioned by a musical amateur (Count de
+Stendhal), 1814 and 1817.</p><p><span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span></p>
+
+<p>"Diary of an Invalid," by Mathews, 1818.</p>
+
+<p>"History of the Violin," by William Sandys and S. A.
+Forster, 1864.</p>
+
+<p>"Old Violins," by Rev. H. R. Haweis, M.A. 1898.</p>
+
+<p>"Researches into the History of the Violin Family," by
+Carl Engel. 1883.</p>
+
+<p>"Musical World." 1836.</p>
+
+<p>"Musical and Personal Recollections," by Henry
+Phillips, 1864.</p>
+
+<p>"Music and Manners in France and Germany," by
+Henry F. Chorley. 1841.</p>
+
+<p>"The Student's History of Music," by F. L. Ritter.
+1880.</p></blockquote>
+
+
+<p>Collectors will be interested in the Medals and
+Busts of Paganini.</p>
+
+<p>The English and Continental contemporary Press
+notices, etc., would alone make a Paganini volume.</p>
+
+<p>Of Paganini, there are many portraits, though too
+generally caricatures. M. Fétis, in his Life of Paganini,
+gives a short but incomplete catalogue. Those included
+in this volume have been carefully selected from contemporary
+prints, etc.</p>
+
+<hr class="full" />
+
+<h2>Advertisements</h2>
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_I" id="THE_STRAD_LIBRARY_No_I"></a>"THE STRAD" LIBRARY No. I.</p>
+
+<p class="center"><i>Crown 8vo., Cloth, 2/6, Post Free, 2/9.</i></p>
+
+<p class="center"><i>"THE STRAD" LIBRARY EDITION is the only Authorised Edition of</i></p>
+
+
+<h3><big>Technics of Violin Playing</big></h3>
+<p class="p2 center"><small>ON</small><br />
+JOACHIM'S METHOD</p>
+
+<p class="p2 center">
+<small>BY</small><br />
+CARL COURVOISIER,</p>
+
+<p class="p2 center">With Folding Plates, containing Fifteen Illustrations.</p>
+
+<p class="p2 center"><big>LETTER FROM DR. JOACHIM.</big><br /><small>[COPY.]</small></p>
+
+<p><span class="smcap">My Dear Mr. Courvoisier</span>: I have read the book on Violin
+Playing you have sent me, and have to congratulate you sincerely
+on the manner in which you have performed a most difficult task,
+<i>i.e.</i>, to describe the best way of arriving at a correct manner of
+playing the violin.</p>
+
+<p>It cannot but be welcome to thoughtful teachers, who reflect on
+the method of our art, and I hope that your work will prove useful
+to many students.</p>
+
+<p>Believe me, my dear Mr. Courvoisier, to be most faithfully yours,</p>
+
+<p class="sig">
+JOSEPH JOACHIM.<br />
+</p>
+
+<p>Berlin, November 3rd, 1894.</p>
+
+
+<p>The New and Revised Edition of "Technics of Violin Playing,"
+issued by <span class="smcap">The Strad</span>, is the only authorised edition of my work.
+The several English Editions which have all appeared without my
+knowledge are <i>incomplete</i> and <i>faulty</i>.</p>
+
+<p class="sig">
+CARL COURVOISIER.<br />
+</p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_II" id="THE_STRAD_LIBRARY_No_II"></a>"THE STRAD" LIBRARY, No. II.</p>
+
+
+<p class="center"><i>Crown 8vo., Cloth, 2/6, Post Free, 2/9.</i></p>
+<h3><big>
+HOW TO STUDY THE VIOLIN</big></h3>
+<p class="p2 center">By J. T. CARRODUS.</p>
+<p class="p2 center">CONTENTS.</p>
+
+<p>Strings and Tuning. The Bow and Bowing. Faults and their
+Correction. Scales and their Importance. Course of Study.
+Advice on Elementary Matters. Concerning Harmonics, Octaves,
+etc. Orchestral Playing. Some Experiences as a Soloist. With
+full page portraits of Carrodus, Molique, Paganini, Spohr, Sivori,
+De Beriot, Blagrove and Sainton, and a photo-reproduction of Dr.
+Spohr's testimonial to Carrodus.<br /></p>
+
+
+<p class="p2">"An interesting series of articles 'How to Study the Violin,' which
+Carrodus contributed to <span class="smcap">The Strad</span>, and completed only a week or
+two before his death, have now been collected in cheap book form.
+The technical hints to violin students, which are practical, plainly
+worded, and from such a pen most valuable."&mdash;<i>Daily News.</i></p>
+
+<p>"But a few weeks before his sudden death the most distinguished
+of native violinists completed in <span class="smcap">The Strad</span> a series of chats to
+students of the instrument associated with his name. These
+chats are now re-issued, with a sympathetic preface and instructive
+annotations. All who care to listen to what were
+virtually the last words of such a conscientious teacher will
+recognise the pains taken by Carrodus to render every detail as clear
+to the novice as to the advanced pupil. Pleasant gossip concerning
+provincial festivals at which Carrodus was for many years 'leader'
+of the orchestra, ends a little volume worthy a place in musical
+libraries both for its practical value and as a memento of the life-work
+of an artist universally esteemed."&mdash;<i>Daily Chronicle.</i></p>
+
+<p>"It is surely, hardly necessary to direct the attention of students
+to the unique value of the hints and advice given by so experienced
+and accomplished a virtuoso as the late Mr. Carrodus, so that it only
+remains to state that the 'Recollections' make delightful reading,
+and that the book, as a whole, is as entertaining as it is instructive.
+The value of the <i>brochure</i> is enhanced by an excellent portrait of Mr.
+Carrodus, as well as of a number of other violin worthies, and the
+printing, paper, and get up generally are good as could possibly
+be."&mdash;<i>Musical Answers.</i></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_III" id="THE_STRAD_LIBRARY_No_III"></a>"THE STRAD" LIBRARY, No. III.</p>
+
+<p class="center"><i>Crown 8vo, Cloth, 2/6, Post Free, 2/9.</i></p>
+<h3>
+<big>THE BOW</big><br />
+Its History, Manufacture and Use</h3>
+<p class="p2 center"><small>BY</small><br />
+HENRY SAINT-GEORGE.</p>
+
+<p class="p2 center">With Full Page Illustrations (exact size) by Photo Process.</p>
+
+
+<p class="p2">MONS. EMILE SAURET writes&mdash;"I have read it with great
+interest, and think that it supplies a real want in giving musicians
+such an excellent description of all matters referring to this
+important instrument."</p>
+
+<p>SIGNOR GUIDO PAPINI writes&mdash;"Thanks so much for your
+splendid and interesting book. You are quite successful and all the
+artists and amateurs are indebted to you for so exact and correct a
+'<i>Texte</i>' on the subject."</p>
+
+<p>ADOLF BRODSKY writes&mdash;"I am delighted with the book and
+find it very instructive, even for those who think to know everything
+about the bow. It is very original and at times very amusing. No
+violinist should miss the opportunity to buy it."</p>
+
+<p>THE TIMES&mdash;"A useful treatise on the Bow, in which the
+history, manufacture and use of the bow are discussed with considerable
+technical knowledge."</p>
+
+<p>DAILY TELEGRAPH&mdash;"To the student there is much of
+interest in the work, which has the advantage of being copiously
+illustrated."</p>
+
+<p>DAILY NEWS&mdash;"This book seems practically to exhaust its
+subject."</p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_IV" id="THE_STRAD_LIBRARY_No_IV"></a><i>"THE STRAD" LIBRARY, No. IV.</i></p>
+
+<p class="center"><i>Crown 8vo., Cloth, 5/-, Post Free, 5/4.</i></p>
+<h3>
+CELEBRATED VIOLINISTS:<br />
+PAST AND PRESENT,</h3>
+<p class="p2 center"><small><i>Translated from the German of</i></small><br />
+<big>A. EHRLICH,</big><br />
+<br />
+<small><i>And Edited with Notes and Additions by</i></small><br />
+ROBIN H. LEGGE.</p>
+<p class="p2 center"><i>WITH EIGHTY-NINE PORTRAITS.</i></p>
+<p class="p2 center">PRESS NOTICES.</p>
+
+<p>"Those who love their fiddles better than their fellows, and who
+treasure up every detail that can be found and recorded about their
+favourite and cherished players, will not fail to provide themselves
+with a copy of this book."&mdash;<i>Musical Opinion.</i></p>
+
+<p>"This book of 280 pages is a most interesting and valuable
+addition to the violinist's library. It contains 89 biographical
+sketches of well-known artists, ancient and modern, of all nations.
+This is not intended to be a perfect dictionary of violinists; the aim
+of the Editor of the present volume being merely to give a few more
+up-to-date details concerning some of the greatest of stringed instrument
+players, and we must concede that no name of the first
+importance has been omitted. Germany is represented by 21 names,
+Italy by 13, France by 10, England by 4, Bohemia by 8, Belgium
+by 7, and the fair sex by seven well-known ladies, such as Teresina
+Tua, Therése and Marie Milanollo, Lady Hallé, Marie Soldat,
+Gabrielle Wietrowetz, and Arma Senkrah. Altogether this is most
+agreeable reading to the numerous army of violinists, both professionals
+and amateurs, and after careful examination we can find
+nothing but praise for this translation into English of a book well
+known on the Continent."&mdash;<i>The Piano, Organ and Music Trades
+Journal.</i></p>
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_V" id="THE_STRAD_LIBRARY_No_V"></a>"THE STRAD" LIBRARY, No. V.</p>
+
+<p class="center"><i>Crown 8vo., Cloth, 2/6, Post Free, 2/9.</i></p>
+
+<h3><big>TECHNICS OF<br />
+VIOLONCELLO PLAYING</big></h3>
+
+<p class="p2 center">BY<br />
+<big>E. VAN DER STRAETEN.</big></p>
+
+<p class="p2 center">COPIOUSLY ILLUSTRATED.</p>
+
+
+<p class="p2 center"><i>Copy of Letter received by the Author from the great 'cellist,
+SIGNOR ALFRED PIATTI.</i></p>
+
+
+<p class="letterdate">Cadenabbia, Lake of Como, March 9th, 1898.</p>
+
+<p><span class="smcap">Dear Sir</span>,&mdash;I received the book you kindly sent me on "The
+Technics of Violoncello Playing," which I found excellent, particularly
+for beginners, which naturally was your scope. With many
+thanks for kindly remembering an old ex-violoncello player.</p>
+
+<p class="quotsig">
+Believe me, yours sincerely,</p>
+<p class="sig">ALFRED PIATTI.<br />
+</p>
+
+<p class="p2 center"><i>Copy of Letter received by the Author from the eminent 'cellist,
+HERR DAVID POPPER.</i></p>
+
+<p class="letterdate">
+Budapest, February 22nd, 1898.</p>
+
+<p><span class="smcap">Dear Sir</span>,&mdash;In sending me your book on "The Technics of
+Violoncello Playing" you have given me a real and true pleasure.
+I know of no work, tutors and studies not excepted, which presents
+so much valuable material, so much that is absolutely to the point,
+avoiding&mdash;I might say, on principle&mdash;all that is superfluous and
+dispensable. Every earnest thinking violoncello student will in
+future make your book his own and thereby receive hints which
+will further and complete the instructions of his master.</p>
+
+<p>I congratulate you and ourselves most heartily on the new violoncello
+book. With kind regards, Yours most sincerely,</p>
+
+<p class="sig">
+DAVID POPPER.
+</p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_VI" id="THE_STRAD_LIBRARY_No_VI"></a>"THE STRAD" LIBRARY, No. VI.</p>
+
+<p class="center"><i>Crown 8vo., Cloth, 2/6, Post Free, 2/9.</i></p>
+
+<h3><big>
+VIOLIN PLAYING</big></h3>
+
+<p class="p2 center"><small>BY</small><br />
+JOHN DUNN.</p>
+
+
+<p class="p2 center">CONTENTS</p>
+
+<p class="p2"><span class="smcap">Introductory</span>&mdash;Qualities indispensable to the ideal Violinist&mdash;Hints
+on the Choice of a Teacher&mdash;Some Tricks of pretending
+professors exposed.</p>
+
+<p><span class="smcap">On the Choice of a Violin and Bow</span>&mdash;Advice regarding general
+adjustment and repairs.</p>
+
+<p><span class="smcap">On the Choice of Strings</span>&mdash;Stringing the Instrument and
+keeping the Pegs in Order.</p>
+
+<p><span class="smcap">On the General Posture</span>&mdash;The manner of holding the Violin
+and Bow as accepted by the leading artists of the day.</p>
+
+<p><span class="smcap">On Fingering Generally</span>&mdash;The various positions&mdash;Scales
+recommended&mdash;The Modern Orchestral "Principal" or (so-called)
+Leader.</p>
+
+<p><span class="smcap">On Gliding</span>&mdash;Special Characteristics of some of the most
+Eminent Players.</p>
+
+<p><span class="smcap">Double Stopping</span>&mdash;The main difficulty in Double Stopping&mdash;How
+to gain Independence of Finger.</p>
+
+<p><span class="smcap">Bowings</span>&mdash;Smooth Bowings&mdash;Solid Staccato&mdash;Spiccato&mdash;Spring
+Bow&mdash;Mixed Bowings.</p>
+
+<p><span class="smcap">Tone Production</span>&mdash;Character of Tone&mdash;Rules and Conditions
+necessary to produce a good tone&mdash;Style and Expression.</p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_VII" id="THE_STRAD_LIBRARY_No_VII"></a>"THE STRAD" LIBRARY, No. VII.</p>
+
+<p class="center"><i>Crown 8vo., Cloth, 2/6, Post Free, 2/9.</i></p>
+
+<h3><big>Chats to 'Cello Students</big></h3>
+
+<p class="p2 center"><small>BY</small><br />
+ARTHUR BROADLEY.</p>
+
+
+<p class="p2">"Musicians, devotees of the 'cello in particular, will welcome the
+latest volume of <span class="smcap">The 'Strad</span> Library,' 'Chats to 'Cello Students,' by
+Arthur Broadley.... Mr. Broadley not only knows what he
+is talking about, but has practised what he says. From the choice
+of an instrument to finished delivery and orchestral playing, 'Chats
+to 'Cello Students' leaves nothing undiscussed. The treatment is
+simple and practical. The exhaustive chapter on 'bowing' should
+be an invaluable aid to students. In the last chapter of his book,
+'On Delivery and Style' Mr. Broadley has given a lucid expression
+to a subject which has sadly needed voicing."&mdash;<i>The Tribune,
+Nuneaton.</i></p>
+
+<p>"Is a brightly written little volume filled with practical information
+for those who seek to bring out the wealth of expression of
+which the violoncello is capable. The instruction is presented in
+homely, common-sense fashion, and there are upwards of fifty
+examples in music type to illustrate the author's meaning."&mdash;<i>Lloyd's
+Weekly.</i></p>
+
+<p>"Every kind of bowing and fingering, the portamento, harmonic
+effects, arpeggios and their evolution from various chords, are all
+ably treated, and the work concludes with a few remarks on
+orchestral playing which are of especial interest."&mdash;<i>Musical News.</i></p>
+
+<p>"As a writer on the technique of his instrument Mr. Broadley is
+known all over the world, perhaps his most successful work being
+a little book published by <span class="smcap">The Strad</span>, 'Chats to 'Cello Students.'"&mdash;<i>The
+Violinist.</i></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_VIII" id="THE_STRAD_LIBRARY_No_VIII"></a>"THE STRAD" LIBRARY, No. VIII.</p>
+
+<p class="center"><i>Crown 8vo., Cloth, 2/6, Post Free, 2/9.</i></p>
+
+<h3><big>ANTONIO STRADIVARI</big></h3>
+<p class="p2 center"><small>BY</small><br />
+HORACE PETHERICK.</p>
+
+<p class="center"><i>Of the Music Jury, International Inventions Exhibition, South
+Kensington, 1885; International Exhibition, Edinburgh,
+1890; Expert in Law Courts, 1891;
+President of the Cremona Society.</i></p>
+
+<p class="p2 center">ILLUSTRATED BY THE AUTHOR.</p>
+
+
+<p class="p2">"This is the history of the life-work of the great Italian stringed
+musical instrument maker.... There is a most interesting
+analysis of Stradivari's method of mechanical construction which
+again is illustrated by original drawings from the many Strads
+which it has been Mr. Petherick's privilege to examine. All lovers
+of the king of instruments will read this delightful little volume."&mdash;<i>Reynolds.</i></p>
+
+<p>"Among makers of violins Stradivari perhaps occupies the
+premier position, and this account of his work, designs, and
+variations in finish of details will afford pleasure to many readers."&mdash;<i>Morning
+Post.</i></p>
+
+<p>"This is a monograph which all students of the violin will be
+happy to possess. The author is a connoisseur and expert, and
+his account of the great Cremonese master and his life-work, is
+singularly well and clearly told, whilst the technical descriptions
+and diagrams cannot fail to interest everyone who has fallen under
+the spell of the violin.... Mr. Petherick traces the career of
+Stradivari from his earliest insight into the mysteries of the craft
+to his highest achievements. Numerous illustrations lend attraction
+to the volume, not the least being a view of Stradivari's
+atelier, from a painting by Rinaldi, the sketch of which was made
+on the premises."&mdash;<i>Music.</i></p>
+
+<p>"Mr. Petherick is well known in the musical world as a violin
+expert with a special knowledge of the instruments made by the
+Cremonese master, whose biography he has here given us. He
+tells us how the master worked, what his pupils did, and where
+their work differs from that of their preceptor. In fact, the
+volume is as much a dissertation on the violins of Stradivari as a
+biography of the master, and is full of deeply interesting matter."&mdash;<i>Lloyds.</i></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_IX" id="THE_STRAD_LIBRARY_No_IX"></a>"THE STRAD" LIBRARY, No. IX.</p>
+
+<p class="center"><i>Crown 8vo., Cloth, 5/-, Post Free, 5/4.</i></p>
+
+<h3><big>VIOLIN MAKING</big></h3>
+
+<p class="p2 center"><small>BY</small><br />
+WALTER H. MAYSON,</p>
+
+<p class="center">With Thirty-one Full-page PHOTO ETCHINGS,<br />
+Illustrating the process of Violin-making in every stage&mdash;from the
+rough slab of wood to the finished Instrument.</p>
+
+<p class="p2 center">The text is written by an <b>Actual Violin Maker</b>, in a very clear
+and lucid style.</p>
+
+
+<p class="p2">"'Popular lecture' style, with photographic illustrations."&mdash;<i>The
+Times.</i></p>
+
+<p>"A feature of the book is the clearness of the illustrations."&mdash;<i>Morning
+Post.</i></p>
+
+<p>"Describes a very fascinating art from start to finish."&mdash;<i>Morning
+Leader.</i></p>
+
+<p>"This new booklet, on how to make a violin, is an admirable
+exposition of methods. Mr. Mayson avoids learned terminology.
+He uses the simplest English, and goes straight to the point. He
+begins by showing the young learner how to choose the best wood
+for the violin that is to be. Throughout a whole chatty, perfectly
+simple chapter, he discourses on the back. A separate chapter is
+devoted to the modelling of the back, and a third to its 'working
+out.' The art of sound-holes, ribs, neck, fingerboard, the scroll,
+the belly. Among the illustrations is one showing the tools which
+the author himself uses in the making of his instruments. To
+learners of the well-known Manchester maker's delicate art we
+commend this little volume."&mdash;<i>Daily News.</i></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_X" id="THE_STRAD_LIBRARY_No_X"></a>"THE STRAD" LIBRARY, No. X.</p>
+
+<p class="center"><i>Crown 8vo., Cloth, 2/6, Post Free, 2/9.</i></p>
+<p class="center">(<span class="smcap">Dedicated, by permission, to Dr. JOSEPH JOACHIM</span>)</p>
+<h3><big>THE VIOLIN MUSIC OF<br />
+BEETHOVEN,</big></h3>
+
+<p class="center">Critically discussed, and Illustrated with over<br />
+FIFTY MUSICAL EXAMPLES,</p>
+
+<p class="p2 center">
+<small>BY</small><br />
+<big>J. MATTHEWS.</big></p>
+
+<p class="p2">&#8258; The book contains analytical and historical notes upon the
+Chamber Music of Beethoven, in which the violin takes part as a
+solo instrument, with some account of the various editions of the
+principal works; Beethoven's method of working, as shown by
+his Sketch Books, etc. It is dedicated to Dr. <span class="smcap">Joachim</span>, who has
+furnished some notes respecting the stringed instruments possessed
+by Beethoven.</p>
+
+
+<p class="p2 center"><i>Extract from Author's Preface</i>:&mdash;</p>
+
+<p>"Young students often suppose that they ought to admire every
+work which proceeds from a great genius; an attempt therefore has
+been made to convey some idea of the relative art-value and
+importance of the various compositions discussed in these pages.
+For between the best work of any man and his least inspired, there
+is a wide difference. Certainly nothing annoyed the great master
+more than to hear his least mature works praised, especially at a
+time when many of his greatest creations were too little studied
+to be understood save by a few."</p>
+
+
+<p class="p2">"Mr. John Matthews&mdash;dealing with Beethoven's music in
+pleasant fashion, and at not too great length&mdash;gives an historical
+account, and in many instances short analyses, with illustrations
+in music type of Beethoven's works for this instrument, and
+particularly the sonatas (to which considerable space is devoted),
+the trios, the quartets, and other compositions in which the master
+employed the violin. The book will be found by amateurs both
+interesting and instructive."&mdash;<i>Daily News.</i></p>
+
+<p class="p2 center"><span class="smcap">London</span>:<br />
+"STRAD" OFFICE, 3, <span class="smcap">Green Terrace, Rosebery Avenue, E.C.</span></p>
+
+<hr class="chapter" />
+
+<p><span class="pagenum"><a name="Page_1b" id="Page_1b">[1]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_Ib" id="THE_STRAD_LIBRARY_No_Ib"></a>"THE STRAD" LIBRARY, No. I.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+
+<p class="center"><i>"THE STRAD" LIBRARY EDITION is the only Authorised Edition of</i></p>
+
+
+<h3><big>Technics of Violin Playing</big></h3>
+<p class="p2 center"><small>ON</small><br />
+JOACHIM'S METHOD</p>
+
+<p class="p2 center">
+<small>BY</small><br />
+CARL COURVOISIER,</p>
+
+<p class="p2 center">With Folding Plates, containing Fifteen Illustrations.</p>
+
+<p class="p2 center"><big>LETTER FROM DR. JOACHIM.</big><br /><small>[COPY.]</small></p>
+
+<p><span class="smcap">My Dear Mr. Courvoisier</span>: I have read the book on Violin
+Playing you have sent me, and have to congratulate you sincerely
+on the manner in which you have performed a most difficult task,
+<i>i.e.</i>, to describe the best way of arriving at a correct manner of
+playing the violin.</p>
+
+<p>It cannot but be welcome to thoughtful teachers, who reflect on
+the method of our art, and I hope that your work will prove useful
+to many students.</p>
+
+<p>Believe me, my dear Mr. Courvoisier, to be most faithfully yours,</p>
+
+<p class="sig">
+JOSEPH JOACHIM.<br />
+</p>
+
+<p>Berlin, November 3rd, 1894.</p>
+
+
+<p>The New and Revised Edition of "Technics of Violin Playing,"
+issued by <span class="smcap">The Strad</span>, is the only authorised edition of my work.
+The several English Editions which have all appeared without my
+knowledge are <i>incomplete</i> and <i>faulty</i>.</p>
+
+<p class="sig">
+CARL COURVOISIER.<br />
+</p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_IIb" id="THE_STRAD_LIBRARY_No_IIb"></a>"THE STRAD" LIBRARY, No. II.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+<h3><big>
+HOW TO STUDY THE VIOLIN</big></h3>
+<p class="p2 center">By J. T. CARRODUS.</p>
+<p class="p2 center">CONTENTS.</p>
+
+<p>Strings and Tuning. The Bow and Bowing. Faults and their
+Correction. Scales and their Importance. Course of Study.
+Advice on Elementary Matters. Concerning Harmonics, Octaves,
+etc. Orchestral Playing. Some Experiences as a Soloist. With
+full page portraits of Carrodus, Molique, Paganini, Spohr, Sivori,
+De Beriot, Blagrove and Sainton, and a photo-reproduction of Dr.
+Spohr's testimonial to Carrodus.<br /></p>
+
+<p class="p2">"An interesting series of articles 'How to Study the Violin,' which
+Carrodus contributed to <span class="smcap">The Strad</span>, and completed only a week or
+two before his death, have now been collected in cheap book form.
+The technical hints to violin students, which are practical, plainly
+worded, and from such a pen most valuable."&mdash;<i>Daily News.</i></p>
+
+<p>"But a few weeks before his sudden death the most distinguished
+of native violinists completed in <span class="smcap">The Strad</span> a series of chats to
+students of the instrument associated with his name. These
+chats are now re-issued, with a sympathetic preface and instructive
+annotations. All who care to listen to what were
+virtually the last words of such a conscientious teacher will
+recognise the pains taken by Carrodus to render every detail as clear
+to the novice as to the advanced pupil. Pleasant gossip concerning
+provincial festivals at which Carrodus was for many years 'leader'
+of the orchestra, ends a little volume worthy a place in musical
+libraries both for its practical value and as a memento of the life-work
+of an artist universally esteemed."&mdash;<i>Daily Chronicle.</i></p>
+
+<p>"It is surely, hardly necessary to direct the attention of students
+to the unique value of the hints and advice given by so experienced
+and accomplished a virtuoso as the late Mr. Carrodus, so that it only
+remains to state that the 'Recollections' make delightful reading,
+and that the book, as a whole, is as entertaining as it is instructive.
+The value of the <i>brochure</i> is enhanced by an excellent portrait of Mr.
+Carrodus, as well as of a number of other violin worthies, and the
+printing, paper, and get up generally are good as could possibly
+be."&mdash;<i>Musical Answers.</i></p>
+
+<p><span class="pagenum"><a name="Page_3b" id="Page_3b">[3]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_IIIb" id="THE_STRAD_LIBRARY_No_IIIb"></a>"THE STRAD" LIBRARY, No. III.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+<h3>
+<big>THE BOW</big><br />
+Its History, Manufacture and Use</h3>
+<p class="p2 center"><small>BY</small><br />
+HENRY SAINT-GEORGE.</p>
+
+<p class="p2 center">With Full Page Illustrations (exact size) by Photo Process.</p>
+
+
+<p class="p2">MONS. EMILE SAURET writes&mdash;"I have read it with great
+interest, and think that it supplies a real want in giving musicians
+such an excellent description of all matters referring to this
+important instrument."</p>
+
+<p>SIGNOR GUIDO PAPINI writes&mdash;"Thanks so much for your
+splendid and interesting book. You are quite successful and all the
+artists and amateurs are indebted to you for so exact and correct a
+'<i>Texte</i>' on the subject."</p>
+
+<p>ADOLF BRODSKY writes&mdash;"I am delighted with the book and
+find it very instructive, even for those who think to know everything
+about the bow. It is very original and at times very amusing. No
+violinist should miss the opportunity to buy it."</p>
+
+<p>THE TIMES&mdash;"A useful treatise on the Bow, in which the
+history, manufacture and use of the bow are discussed with considerable
+technical knowledge."</p>
+
+<p>DAILY TELEGRAPH&mdash;"To the student there is much of
+interest in the work, which has the advantage of being copiously
+illustrated."</p>
+
+<p>DAILY NEWS&mdash;"This book seems practically to exhaust its
+subject."</p>
+<p><span class="pagenum"><a name="Page_4b" id="Page_4b">[4]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_IVb" id="THE_STRAD_LIBRARY_No_IVb"></a>"THE STRAD" LIBRARY, No. IV.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 2.00.</p>
+<h3>
+CELEBRATED VIOLINISTS:<br />
+PAST AND PRESENT,</h3>
+<p class="p2 center"><small><i>Translated from the German of</i></small><br />
+<big>A. EHRLICH,</big><br />
+<br />
+<small><i>And Edited with Notes and Additions by</i></small><br />
+ROBIN H. LEGGE.</p>
+<p class="p2 center"><i>WITH EIGHTY-NINE PORTRAITS.</i></p>
+<p class="p2 center">PRESS NOTICES.</p>
+
+<p>"Those who love their fiddles better than their fellows, and who
+treasure up every detail that can be found and recorded about their
+favourite and cherished players, will not fail to provide themselves
+with a copy of this book."&mdash;<i>Musical Opinion.</i></p>
+
+<p>"This book of 280 pages is a most interesting and valuable
+addition to the violinist's library. It contains 89 biographical
+sketches of well-known artists, ancient and modern, of all nations.
+This is not intended to be a perfect dictionary of violinists; the aim
+of the Editor of the present volume being merely to give a few more
+up-to-date details concerning some of the greatest of stringed instrument
+players, and we must concede that no name of the first
+importance has been omitted. Germany is represented by 21 names,
+Italy by 13, France by 10, England by 4, Bohemia by 8, Belgium
+by 7, and the fair sex by seven well-known ladies, such as Teresina
+Tua, Therése and Marie Milanollo, Lady Hallé, Marie Soldat,
+Gabrielle Wietrowetz, and Arma Senkrah. Altogether this is most
+agreeable reading to the numerous army of violinists, both professionals
+and amateurs, and after careful examination we can find
+nothing but praise for this translation into English of a book well
+known on the Continent."&mdash;<i>The Piano, Organ and Music Trades
+Journal.</i></p>
+<p><span class="pagenum"><a name="Page_5b" id="Page_5b">[5]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_Vb" id="THE_STRAD_LIBRARY_No_Vb"></a>"THE STRAD" LIBRARY, No. V.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+
+<h3><big>TECHNICS OF<br />
+VIOLONCELLO PLAYING</big></h3>
+
+<p class="p2 center">BY<br />
+<big>E. VAN DER STRAETEN.</big></p>
+
+<p class="p2 center">COPIOUSLY ILLUSTRATED.</p>
+
+
+<p class="p2 center"><i>Copy of Letter received by the Author from the great 'cellist,
+SIGNOR ALFRED PIATTI.</i></p>
+
+
+<p class="letterdate">Cadenabbia, Lake of Como, March 9th, 1898.</p>
+
+<p><span class="smcap">Dear Sir</span>,&mdash;I received the book you kindly sent me on "The
+Technics of Violoncello Playing," which I found excellent, particularly
+for beginners, which naturally was your scope. With many
+thanks for kindly remembering an old ex-violoncello player.</p>
+
+<p class="quotsig">
+Believe me, yours sincerely,</p>
+<p class="sig">ALFRED PIATTI.<br />
+</p>
+
+<p class="p2 center"><i>Copy of Letter received by the Author from the eminent 'cellist,
+HERR DAVID POPPER.</i></p>
+
+<p class="letterdate">
+Budapest, February 22nd, 1898.</p>
+
+<p><span class="smcap">Dear Sir</span>,&mdash;In sending me your book on "The Technics of
+Violoncello Playing" you have given me a real and true pleasure.
+I know of no work, tutors and studies not excepted, which presents
+so much valuable material, so much that is absolutely to the point,
+avoiding&mdash;I might say, on principle&mdash;all that is superfluous and
+dispensable. Every earnest thinking violoncello student will in
+future make your book his own and thereby receive hints which
+will further and complete the instructions of his master.</p>
+
+<p>I congratulate you and ourselves most heartily on the new violoncello
+book. With kind regards, Yours most sincerely,</p>
+
+<p class="sig">
+DAVID POPPER.
+</p>
+
+<p><span class="pagenum"><a name="Page_6b" id="Page_6b">[6]</a></span><br />
+</p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_VIb" id="THE_STRAD_LIBRARY_No_VIb"></a>"THE STRAD" LIBRARY, No. VI.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+
+<h3><big>
+VIOLIN PLAYING</big></h3>
+
+<p class="p2 center"><small>BY</small><br />
+JOHN DUNN.</p>
+
+
+<p class="p2 center">CONTENTS</p>
+
+<p class="p2"><span class="smcap">Introductory</span>&mdash;Qualities indispensable to the ideal Violinist&mdash;Hints
+on the Choice of a Teacher&mdash;Some Tricks of pretending
+professors exposed.</p>
+
+<p><span class="smcap">On the Choice of a Violin and Bow</span>&mdash;Advice regarding general
+adjustment and repairs.</p>
+
+<p><span class="smcap">On the Choice of Strings</span>&mdash;Stringing the Instrument and
+keeping the Pegs in Order.</p>
+
+<p><span class="smcap">On the General Posture</span>&mdash;The manner of holding the Violin
+and Bow as accepted by the leading artists of the day.</p>
+
+<p><span class="smcap">On Fingering Generally</span>&mdash;The various positions&mdash;Scales
+recommended&mdash;The Modern Orchestral "Principal" or (so-called)
+Leader.</p>
+
+<p><span class="smcap">On Gliding</span>&mdash;Special Characteristics of some of the most
+Eminent Players.</p>
+
+<p><span class="smcap">Double Stopping</span>&mdash;The main difficulty in Double Stopping&mdash;How
+to gain Independence of Finger.</p>
+
+<p><span class="smcap">Bowings</span>&mdash;Smooth Bowings&mdash;Solid Staccato&mdash;Spiccato&mdash;Spring
+Bow&mdash;Mixed Bowings.</p>
+
+<p><span class="smcap">Tone Production</span>&mdash;Character of Tone&mdash;Rules and Conditions
+necessary to produce a good tone&mdash;Style and Expression.</p><p><span class="pagenum"><a name="Page_7b" id="Page_7b">[7]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_VIIb" id="THE_STRAD_LIBRARY_No_VIIb"></a>"THE STRAD" LIBRARY, <span class="smcap">No. VII.</span></p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+
+<h3><big>Chats to 'Cello Students</big></h3>
+
+<p class="p2 center"><small>BY</small><br />
+ARTHUR BROADLEY.</p>
+
+
+<p class="p2">"Musicians, devotees of the 'cello in particular, will welcome the
+latest volume of <span class="smcap">The 'Strad</span> Library,' 'Chats to 'Cello Students,' by
+Arthur Broadley.... Mr. Broadley not only knows what he
+is talking about, but has practised what he says. From the choice
+of an instrument to finished delivery and orchestral playing, 'Chats
+to 'Cello Students' leaves nothing undiscussed. The treatment is
+simple and practical. The exhaustive chapter on 'bowing' should
+be an invaluable aid to students. In the last chapter of his book,
+'On Delivery and Style' Mr. Broadley has given a lucid expression
+to a subject which has sadly needed voicing."&mdash;<i>The Tribune,
+Nuneaton.</i></p>
+
+<p>"Is a brightly written little volume filled with practical information
+for those who seek to bring out the wealth of expression of
+which the violoncello is capable. The instruction is presented in
+homely, common-sense fashion, and there are upwards of fifty
+examples in music type to illustrate the author's meaning."&mdash;<i>Lloyd's
+Weekly.</i></p>
+
+<p>"Every kind of bowing and fingering, the portamento, harmonic
+effects, arpeggios and their evolution from various chords, are all
+ably treated, and the work concludes with a few remarks on
+orchestral playing which are of especial interest."&mdash;<i>Musical News.</i></p>
+
+<p>"As a writer on the technique of his instrument Mr. Broadley is
+known all over the world, perhaps his most successful work being
+a little book published by <span class="smcap">The Strad</span>, 'Chats to 'Cello Students.'"&mdash;<i>The
+Violinist.</i></p>
+
+<p><span class="pagenum"><a name="Page_8b" id="Page_8b">[8]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_VIIIb" id="THE_STRAD_LIBRARY_No_VIIIb"></a>"THE STRAD" LIBRARY, No. VIII.</p>
+
+<p class="center"><span class="smcap">12mo., cloth</span>, 1.00.</p>
+
+<h3><big>ANTONIO STRADIVARI</big></h3>
+<p class="p2 center"><small>BY</small><br />
+HORACE PETHERICK.</p>
+
+<p class="center"><i>Of the Music Jury, International Inventions Exhibition, South
+Kensington, 1885; International Exhibition, Edinburgh,
+1890; Expert in Law Courts, 1891;
+President of the Cremona Society.</i></p>
+
+<p class="p2 center">ILLUSTRATED BY THE AUTHOR.</p>
+
+
+<p class="p2">"This is the history of the life-work of the great Italian stringed
+musical instrument maker.... There is a most interesting
+analysis of Stradivari's method of mechanical construction which
+again is illustrated by original drawings from the many Strads
+which it has been Mr. Petherick's privilege to examine. All lovers
+of the king of instruments will read this delightful little volume."&mdash;<i>Reynolds.</i></p>
+
+<p>"Among makers of violins Stradivari perhaps occupies the
+premier position, and this account of his work, designs, and
+variations in finish of details will afford pleasure to many readers."&mdash;<i>Morning
+Post.</i></p>
+
+<p>"This is a monograph which all students of the violin will be
+happy to possess. The author is a connoisseur and expert, and
+his account of the great Cremonese master and his life-work, is
+singularly well and clearly told, whilst the technical descriptions
+and diagrams cannot fail to interest everyone who has fallen under
+the spell of the violin.... Mr. Petherick traces the career of
+Stradivari from his earliest insight into the mysteries of the craft
+to his highest achievements. Numerous illustrations lend attraction
+to the volume, not the least being a view of Stradivari's
+atelier, from a painting by Rinaldi, the sketch of which was made
+on the premises."&mdash;<i>Music.</i></p>
+
+<p>"Mr. Petherick is well known in the musical world as a violin
+expert with a special knowledge of the instruments made by the
+Cremonese master, whose biography he has here given us. He
+tells us how the master worked, what his pupils did, and where
+their work differs from that of their preceptor. In fact, the
+volume is as much a dissertation on the violins of Stradivari as a
+biography of the master, and is full of deeply interesting matter."&mdash;<i>Lloyds.</i></p>
+
+<p><span class="pagenum"><a name="Page_9b" id="Page_9b">[9]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_IXb" id="THE_STRAD_LIBRARY_No_IXb"></a>"THE STRAD" LIBRARY, No. IX.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 2.00.</p>
+
+<h3><big>VIOLIN MAKING</big></h3>
+
+<p class="p2 center"><small>BY</small><br />
+WALTER H. MAYSON,</p>
+
+<p class="center">With Thirty-one Full-page PHOTO ETCHINGS,<br />
+Illustrating the process of Violin-making in every stage&mdash;from the
+rough slab of wood to the finished Instrument.</p>
+
+<p class="p2 center">The text is written by an <b>Actual Violin Maker</b>, in a very clear
+and lucid style.</p>
+
+
+<p class="p2">"'Popular lecture' style, with photographic illustrations."&mdash;<i>The
+Times.</i></p>
+
+<p>"A feature of the book is the clearness of the illustrations."&mdash;<i>Morning
+Post.</i></p>
+
+<p>"Describes a very fascinating art from start to finish."&mdash;<i>Morning
+Leader.</i></p>
+
+<p>"This new booklet, on how to make a violin, is an admirable
+exposition of methods. Mr. Mayson avoids learned terminology.
+He uses the simplest English, and goes straight to the point. He
+begins by showing the young learner how to choose the best wood
+for the violin that is to be. Throughout a whole chatty, perfectly
+simple chapter, he discourses on the back. A separate chapter is
+devoted to the modelling of the back, and a third to its 'working
+out.' The art of sound-holes, ribs, neck, fingerboard, the scroll,
+the belly. Among the illustrations is one showing the tools which
+the author himself uses in the making of his instruments. To
+learners of the well-known Manchester maker's delicate art we
+commend this little volume."&mdash;<i>Daily News.</i></p>
+<p><span class="pagenum"><a name="Page_10b" id="Page_10b">[10]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_Xb" id="THE_STRAD_LIBRARY_No_Xb"></a>"THE STRAD" LIBRARY, No. X.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+<p class="center">(<span class="smcap">Dedicated, by permission, to Dr. JOSEPH JOACHIM</span>)</p>
+<h3><big>THE VIOLIN MUSIC OF<br />
+BEETHOVEN,</big></h3>
+
+<p class="center">Critically discussed, and Illustrated with over<br />
+FIFTY MUSICAL EXAMPLES,</p>
+
+<p class="p2 center">
+<small>BY</small><br />
+<big>J. MATTHEWS.</big></p>
+
+<p class="p2">&#8258; The book contains analytical and historical notes upon the
+Chamber Music of Beethoven, in which the violin takes part as a
+solo instrument, with some account of the various editions of the
+principal works; Beethoven's method of working, as shown by
+his Sketch Books, etc. It is dedicated to Dr. <span class="smcap">Joachim</span>, who has
+furnished some notes respecting the stringed instruments possessed
+by Beethoven.</p>
+
+
+<p class="p2 center"><i>Extract from Author's Preface</i>:&mdash;</p>
+
+<p>"Young students often suppose that they ought to admire every
+work which proceeds from a great genius; an attempt therefore has
+been made to convey some idea of the relative art-value and
+importance of the various compositions discussed in these pages.
+For between the best work of any man and his least inspired, there
+is a wide difference. Certainly nothing annoyed the great master
+more than to hear his least mature works praised, especially at a
+time when many of his greatest creations were too little studied
+to be understood save by a few."</p>
+
+
+<p class="p2">"Mr. John Matthews&mdash;dealing with Beethoven's music in
+pleasant fashion, and at not too great length&mdash;gives an historical
+account, and in many instances short analyses, with illustrations
+in music type of Beethoven's works for this instrument, and
+particularly the sonatas (to which considerable space is devoted),
+the trios, the quartets, and other compositions in which the master
+employed the violin. The book will be found by amateurs both
+interesting and instructive."&mdash;<i>Daily News.</i></p><p><span class="pagenum"><a name="Page_11b" id="Page_11b">[11]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_NO_XI" id="THE_STRAD_LIBRARY_NO_XI"></a>"THE STRAD" LIBRARY, NO. XI.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+
+<h3>Advice to Pupils &amp; Teachers<br />
+of the Violin,</h3>
+
+<p class="p2 center"><small>BY</small><br />
+BASIL ALTHAUS.</p>
+<p class="p2 center"><i>Strongly recommended by</i> <b>AUGUST WILHELMJ</b> &amp; <b>GUIDO PAPINI</b>.</p>
+
+
+<p class="p2 letterdate">
+<i>London, March 18th, 1903.</i></p>
+
+<p><span class="smcap">Dear Mr. Althaus</span>,</p>
+
+
+<p>I read your book, "Advice to Pupils and Teachers of the
+Violin," with great interest, and find it very useful. Hoping your
+book will meet with the success it deserves.</p>
+
+<p class="quotsig">
+I am, yours sincerely,</p>
+<p class="sig">AUGUST WILHELMJ.
+</p>
+
+
+<p class="p2 letterdate">
+<i>London, Feb. 19th, 1903.</i></p>
+
+<p><span class="smcap">Dear Mr. Althaus</span>,</p>
+
+<p>I have read with interest your admirable book, "Advice to
+Pupils and Teachers of the Violin." I have no hesitation in recommending
+it as an indispensable work to all aspiring violinists and
+teachers. Your remarks on the acquirement of the various bowings,
+with the many musical examples, are excellent. I know of no work
+on this important subject so explicit and exhaustive. Wishing your
+book the great success it deserves,</p>
+
+<p class="quotsig">
+Believe me, yours sincerely,</p>
+
+<p class="sig">GUIDO PAPINI.
+</p>
+
+
+<p class="p2">"I have read the 157 pages that go to form the book in question,
+and can say, without any misgiving, that Mr. Althaus has successfully
+achieved what he set out to do."&mdash;<i>Musical Standard.</i></p><p><span class="pagenum"><a name="Page_12b" id="Page_12b">[12]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_XII" id="THE_STRAD_LIBRARY_No_XII"></a>"THE STRAD" LIBRARY, No. XII.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+
+<h3><small>THE</small><br />
+Repairing and Restoration<br />
+of Violins,</h3>
+
+<p class="p2 center"><small>BY</small><br />
+HORACE PETHERICK.</p>
+
+<p class="center"><i>Of the Music Jury, International Inventions Exhibition, South
+Kensington, 1885; International Exhibition, Edinburgh,
+1890; Expert in Law Courts, 1891;
+President of the Cremona Society.</i></p>
+
+<p class="p2 center">WITH FIFTY ILLUSTRATIONS BY THE AUTHOR.</p>
+<p class="p2 center">CONTENTS.</p>
+
+<p>The proper sort of glue&mdash;Its preparation and use&mdash;Loose fingerboards&mdash;Injuries
+to the scroll&mdash;Insertion of fresh wood&mdash;Fracture
+of peg-box and shell&mdash;Worn peg-holes&mdash;Refilling or boring same&mdash;Grafting&mdash;Lengthening
+the neck&mdash;Treatment of worm-holes&mdash;Fixing
+on graft on neck&mdash;Ways of removing the upper table and the neck&mdash;Cleansing
+the interior&mdash;Closing of cracks in upper table&mdash;Getting
+parts together that apparently do not fit&mdash;Treatment of warped
+lower table&mdash;Repairing old end blocks by new ones&mdash;Matching wood
+for large cracks&mdash;Replacing lost portions&mdash;Repairs to purfling&mdash;Removal
+of a fixed sound-post&mdash;Fitting a fresh part of worm-eaten
+rib&mdash;Lining a thin back&mdash;Fixing the bar&mdash;Varnishing, etc., etc.</p>
+
+
+<p class="p2">"The author is a man of wide experience, and with him it is
+a labour of love, so that few more suitable hands could be found
+for the task. To him fiddles are quite human in their characteristics,
+needing a 'physician within beck and call,' and developing
+symptoms capable of temporary alleviation or permanent cure, as
+the case may be, and no remedial measures are left undescribed."&mdash;<i>Musical
+News.</i></p>
+
+<p>"Mr. Petherick is a man of wide experience in violins, so his
+hints about the treatment and care of the instrument are invaluable.
+His imaginary interviews are both clever and amusing, and,
+moreover, contain useful information of what to do, and avoid,
+in the treatment of violins."&mdash;<i>Hereford Times.</i></p><p><span class="pagenum"><a name="Page_13b" id="Page_13b">[13]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_XIII" id="THE_STRAD_LIBRARY_No_XIII"></a>"THE STRAD" LIBRARY, No. XIII.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+<h3>
+<big>THE VIOLIN:</big><br />
+Solo Playing, Soloists and Solos,</h3>
+
+<p class="p2 center">
+<small>BY</small><br />
+WILLIAM HENLEY.</p>
+
+
+<p>"Mr. William Henley is an excellent performer, and his book,
+'The Violin: Solo Playing, Soloists and Solos,' is the result of
+considerable practice in the art he discusses.... The
+opening advice to violin students, the insistence on tune first and
+then on tone, the latter depending greatly for its excellence upon
+the correctness of the former, is not only worth saying, but is
+said well, and with conviction. Mr. Henley discriminates well
+between violinists: Joachim, the classic; Carrodus, the plain;
+Sarasate, the neat and elegant; and Wilhelmj, the fiery and
+bold.... The list of violin concertos, given in the last
+chapter but one of the book, seems a very complete one, and
+should be useful for purposes of reference."&mdash;<i>The London and
+Provincial Music Trades Review.</i></p>
+
+<p>"For the student whose intention it is to make the violin a
+means of livelihood&mdash;the professional soloist or orchestral player
+in embryo&mdash;this little work, written in a spirit of obvious sincerity,
+is well-nigh invaluable.... The chapters on 'Teaching
+and Studies,' 'The Artist,' 'Phrasing,' 'Conception,' and 'True
+Feeling,' are very well written, and the whole work is worth careful
+and diligent perusal."&mdash;<i>The Musical World.</i></p>
+
+<p>"The author of this book has thought much and deeply on the
+fascinating subject of which he treats, and is entitled to a hearing.... The
+author's remarks on 'Tone' are excellently conceived,
+and of no small interest, the subject being less hackneyed
+than that of ordinary technique. In his chapter on 'Style' he
+reminds the readers of the many factors which go to the making
+of a fine violinist, among which Style&mdash;which is the outcome of
+the imagination and the sensibility of the player&mdash;is one of the
+most important. The fine executant is common enough now-a-days,
+but the fine stylist as rare as ever."&mdash;<i>Musical News.</i></p><p><span class="pagenum"><a name="Page_14b" id="Page_14b">[14]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_XIV" id="THE_STRAD_LIBRARY_No_XIV"></a>"THE STRAD" LIBRARY, No. XIV.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+
+<h3><big>SELECTED VIOLIN SOLOS,</big><br />
+<br />
+AND<br />
+<big>HOW TO PLAY THEM,</big></h3>
+
+<p class="p2 center"><small>BY</small><br />
+<big>BASIL ALTHAUS</big><br />
+(<i>Author of "Advice to Pupils and Teachers of the Violin."</i>)</p>
+
+
+<p class="p2 center">With 283 Musical Examples.</p>
+
+<p class="p2 center">CONTENTS.</p>
+
+<p><span class="smcap">Introduction.</span></p>
+
+<p>SECTION I.</p>
+
+<p>
+<span class="smcap">Grade</span> A.&mdash;Elementary Pieces.<br />
+<br />
+<span class="smcap">Grade</span> B.&mdash;Easy, not exceeding First Position.<br />
+<br />
+<span class="smcap">Grade</span> C.&mdash;Easy, using First and Third Position.<br />
+</p>
+
+<p>SECTION II.</p>
+
+<p>
+<span class="smcap">Grade</span> D.&mdash;Moderately Difficult, not exceeding the Third Position.<br />
+<br />
+<span class="smcap">Grade</span> E.&mdash;Moderately Difficult, as far as the Fifth Position.<br />
+<br />
+<span class="smcap">Grade</span> F.&mdash;Difficult, especially as regards Sentiment and<br />
+Expression.<br />
+</p>
+
+<p>SECTION III.</p>
+
+<p>
+<span class="smcap">Grade</span> G.&mdash;Difficult, using all Positions.<br />
+<br />
+<span class="smcap">Grade</span> H.&mdash;Very Difficult, including Standard Concertos and<br />
+Concert Pieces.<br />
+<br />
+<span class="smcap">Grade</span> I.&mdash;For Virtuosi.<br />
+</p><p><span class="pagenum"><a name="Page_15b" id="Page_15b">[15]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_XV" id="THE_STRAD_LIBRARY_No_XV"></a>"THE STRAD" LIBRARY, No. XV.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 1.00.</p>
+
+
+<h3>THE<br />
+<big>VIOLIN AND ITS STORY:</big><br />
+<small>OR THE</small><br />
+HISTORY AND CONSTRUCTION<br />
+OF THE VIOLIN.</h3>
+
+<p class="p2 center"><i>Translated and Adapted from the German of</i><br />
+<big>HYACINTH ABELE</big><br />
+<br />
+<small>BY</small><br />
+<big>GEOFFREY ALWYN.</big></p>
+
+<p class="p2 center"><i>WITH TWENTY-EIGHT ILLUSTRATIONS.</i></p>
+
+
+<p class="p2">"The school of Cremona is dealt with at great length, but in the
+most interesting way. Short biographical sketches are given of
+the great exponents of this school, which was founded by Andreas
+Amati. To it belonged Antonio Stradivari, who is said to be the
+greatest of all violin makers, and Joseph Guarnerius. The pupils
+of the Amati and the others mentioned are duly tabulated before
+the schools of Milan and Venice are discussed. Following these
+we have the German school, etc., etc. Part III. of the book under
+notice deals with the constituent parts of the violin, and there is
+nothing that the seeker after knowledge cannot find here, even to
+the number of hairs which should go to the making of a bow.
+Strings, bridges, sound-posts, bass-bars, nuts, pegs&mdash;indeed, everything
+about a violin is treated in an authoritative way. Not for a
+very long time have we been so interested in a book, and for that
+reason we wish our violin players to share that pleasure by getting
+a copy."&mdash;<i>The Cumnock Chronicle.</i></p><p><span class="pagenum"><a name="Page_16b" id="Page_16b">[16]</a></span></p>
+
+
+
+
+<p class="adhead"><a name="THE_STRAD_LIBRARY_No_XVI" id="THE_STRAD_LIBRARY_No_XVI"></a>"THE STRAD" LIBRARY, No. XVI.</p>
+
+<p class="center"><span class="smcap">12mo., Cloth</span>, 2.00.</p>
+
+
+<h3><big>JOSEPH GUARNERIUS,</big><br />
+HIS WORK &amp; HIS MASTER,</h3>
+
+<p class="p2 center"><small>BY</small><br />
+HORACE PETHERICK<br />
+(<i>Of the Music Jury, International Inventions Exhibition, South Kensington,
+1885; International Exhibition, Edinburgh, 1890; Expert in Law
+Courts, 1891; President of the Cremona Society</i>).</p>
+
+<p class="p2 center">With numerous Illustrations by the Author,<br />
+41 full-page Reproductions of Photographs,<br />
+<small>AND</small><br />
+220 pages of Letterpress.</p>
+
+
+<p class="p2">"Mr. Petherick is well known in the musical world as a violin
+expert with a special knowledge of the instruments made by the
+Cremonese master."&mdash;<i>Lloyds.</i></p>
+
+
+<p class="p2">This is the only exhaustive work published on
+JOSEPH GUARNERIUS, and the Author claims to
+have discovered his Teacher in Andreas Gisalberti,
+whose name is here mentioned for the first time
+as a maker of renown.</p>
+
+<p class="p2 center">NEW YORK:<br />CHARLES SCRIBNER'S SONS, 153-157, FIFTH AVENUE.<br /></p>
+
+
+<div class="footnotes"><h2>FOOTNOTES:</h2>
+
+<ol>
+<li class="footnote"><p><a name="Footnote-1" id="Footnote-1"></a> All biographical notices of Paganini, with the exception of that
+in Riemann's "Dictionary of Music," give February 18th, 1784, as
+the date of birth. The correct date seems to have been established
+when the centenary celebration took place, in 1882.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-1">1</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-2" id="Footnote-2"></a> Anders, and others after him, give the name of the second
+singer as Albertinotti. No such name can be traced, and it is
+probable that it was the young Bertinotti, who was a juvenile
+prodigy, appearing in opera at the age of twelve. She sang in
+London about the year 1812.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-2">2</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-3" id="Footnote-3"></a> William Gardiner many years later spoke of the transparent
+delicacy of Paganini's complexion, and said of his little son Achille
+that he was the handsomest boy he had ever seen.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-3">3</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-4" id="Footnote-4"></a> Fétis calls it "Foudroyante exécution."</p>
+<span class="label">[<a title="Return to text." href="#Anchor-4">4</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-5" id="Footnote-5"></a> Naumann, "History of Music," p. 1140 (English Edition.)</p>
+<span class="label">[<a title="Return to text." href="#Anchor-5">5</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-6" id="Footnote-6"></a> Professor Julius Schottky.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-6">6</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-7" id="Footnote-7"></a> Cimarosa, who died in 1801, espoused the revolutionary cause
+when the French army entered Italy, and was imprisoned and
+condemned to death when the reaction came, but was restored to
+liberty on condition of leaving Naples. He would, naturally, have
+been popular with the Bonapartists, and it was rather ungenerous
+vanity on the part of Paganini to have exulted over this particular
+success.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-7">7</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-8" id="Footnote-8"></a> Laphaléque.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-8">8</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-9" id="Footnote-9"></a> Son of Giuseppe Dana, of Naples?</p>
+<span class="label">[<a title="Return to text." href="#Anchor-9">9</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-10" id="Footnote-10"></a> The Life of Rossini, p. 226.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-10">10</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-11" id="Footnote-11"></a> With the exception of a Literary Supplement to the "New
+Musical and Universal Magazine," 1774, there was no publication
+devoted to Music until the year 1818, when "The Quarterly Musical
+Magazine and Review" appeared, edited by Robert Mackenzie
+Bacon. This was followed in 1823 by "The Harmonicon," edited
+by William Ayrton.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-11">11</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-12" id="Footnote-12"></a> Harmonicon, Vol. III., p. 37.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-12">12</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-13" id="Footnote-13"></a> Where Beethoven gave his concerts in 1814.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-13">13</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-14" id="Footnote-14"></a> The writer's memory played him false. The meeting with
+Lafont took place in 1816; or, according to some, in 1812!</p>
+<span class="label">[<a title="Return to text." href="#Anchor-14">14</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-15" id="Footnote-15"></a> This letter was reproduced in the "Harmonicon."</p>
+<span class="label">[<a title="Return to text." href="#Anchor-15">15</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-16" id="Footnote-16"></a> Lady Morgan, in her book, "France in 1829-30," gives an
+account of the Giraffe just then arrived in Paris. The animal was
+added to the collection in the London Zoological Gardens in 1836.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-16">16</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-17" id="Footnote-17"></a> Litterateur, of Vienna: writer of comedies, etc.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-17">17</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-18" id="Footnote-18"></a> This letter was published in <i>The Quarterly Musical Magazine and
+Review</i>.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-18">18</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-19" id="Footnote-19"></a> Addressed to <i>Le Corsaire</i>, and reproduced (in English) in <i>The
+Globe</i>.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-19">19</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-20" id="Footnote-20"></a> An allusion to Michael Boai, whose performances in London,
+in 1830, were of a curious description,&mdash;producing tones by merely
+striking his chin!</p>
+<span class="label">[<a title="Return to text." href="#Anchor-20">20</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-21" id="Footnote-21"></a> The Dilettante, in <i>The Harmonicon</i>, VIII, 479.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-21">21</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-22" id="Footnote-22"></a> Now played in D.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-22">22</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-23" id="Footnote-23"></a> Harmonicon, IX. p. 190.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-23">23</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-24" id="Footnote-24"></a> At that time concert givers always engaged an orchestra, but
+the gigantic combinations of the present day were, of course,
+unknown, and unnecessary.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-24">24</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-25" id="Footnote-25"></a> Chorley, then living in Liverpool, had previously sent some
+short pieces in verse to that paper, but did not become a member of
+its staff until 1833.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-25">25</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-26" id="Footnote-26"></a> "Reminiscences," by Thomas Carlyle, I., 311.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-26">26</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-27" id="Footnote-27"></a> Which resulted in the Symphony, "Harold in Italy," with a
+solo part for the viola.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-27">27</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-28" id="Footnote-28"></a> The spelling betrays an ignorance of the instrument, though
+the writer must have been Chorley himself. Interest in those
+antique instruments had not then been revived, nor were there
+artists to play upon them.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-28">28</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-29" id="Footnote-29"></a> Pergolesi.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-29">29</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-30" id="Footnote-30"></a> The <i>Athenćum</i> puts the amount at 52,000 francs.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-30">30</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-31" id="Footnote-31"></a> In the <i>Musical World</i> of February 16th, 1843, there is a
+paragraph stating that Paganini's remains were still unsepulchred,
+the corpse lying in an uninhabited house.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-31">31</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-32" id="Footnote-32"></a> Life of Moscheles (English Edition), I., p. 252-7.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-32">32</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-33" id="Footnote-33"></a> Duranowski, a talented Polish violinist. He entered the
+French army and was <i>aide-de-camp</i> to a General. He lost his rank
+when released; returned to his violin, and was living at Strassburg
+up to 1834.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-33">33</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-34" id="Footnote-34"></a> An engraving of it is in Naumann's "History of Music"
+(English Edition), p. 255.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-34">34</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-35" id="Footnote-35"></a> Norwich.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-35">35</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-36" id="Footnote-36"></a> In the "Bow Bell's Annual" for 1878 (?)</p>
+<span class="label">[<a title="Return to text." href="#Anchor-36">36</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-37" id="Footnote-37"></a> Little is now known of this artist. He married Veronica, sister
+of the pianist and composer J. L. Dussek, and was the father of
+Pio Cianchettini, composer, who died at Cheltenham in 1851.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-37">37</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-38" id="Footnote-38"></a> Berlioz was then thirty-five, Paganini, fifty-six years of age.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-38">38</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-39" id="Footnote-39"></a> <span lang="de">Aus dem Tonleben unserer Zeit</span>, Vol. II., p. 55.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-39">39</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-40" id="Footnote-40"></a> Künstlerleben, p. 88.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-40">40</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-41" id="Footnote-41"></a> Life and Letters of Sir Charles Hallé, p. 69.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-41">41</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-42" id="Footnote-42"></a> The last words of Liszt's article "<span lang="fr">Sur Paganini, A Propos de
+Sa Mort," published in the "<span lang="fr">Revue et Gazette Musicale de Paris</span>,"
+Decembe</span>r 23, 1840.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-42">42</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-43" id="Footnote-43"></a> Franz Liszt, Artist and Man, Vol. I., pp. 258-65.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-43">43</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-44" id="Footnote-44"></a> Karl Michael Esser, born about 1736, date of death unknown.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-44">44</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-45" id="Footnote-45"></a> In the Tonic Sol-fa method great stress is laid upon the mental
+effect of each note of the scale, altogether apart from pitch.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-45">45</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-46" id="Footnote-46"></a> Life of Mozart, Otto Jhan, English Edition, I., 319.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-46">46</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-47" id="Footnote-47"></a> In 1883, several musical papers stated that a certain amateur
+collector of violins, during a tour in Italy, visited the little Sardinian
+village, Ameglia, and purchased a collection of instruments used by
+Paganini, which were at that time in the possession of the widow of
+L. M. Germi, the intimate friend of Paganini. The said amateur
+also became possessed of "the secret," but what he did with it has
+never transpired.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-47">47</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-48" id="Footnote-48"></a> Born at Mantua, 1798; died at Paris, 1834.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-48">48</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-49" id="Footnote-49"></a> "The Violin," by George Hart. Popular Edition, 1880, p. 202.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-49">49</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-50" id="Footnote-50"></a> It is strange that the Biographical Dictionaries are silent concerning
+Oury, who must have been a man of some note. He is
+merely named as the husband of Anna Caroline de Belleville, the
+once famous pianist (1806-1880), who made her début in London at
+a Paganini concert in 1831.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-50">50</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-51" id="Footnote-51"></a> The Story of the Violin by Paul Stoeving, p. 208.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-51">51</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-52" id="Footnote-52"></a> Lapheléque, p. 45.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-52">52</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-53" id="Footnote-53"></a> Carl F. W. Guhr, born at Militsch, Silesia, October 30th, 1787,
+violinist, pianist and composer, became Director of the Museum
+Concerts and Conductor of the Opera at Frankfort-on-the-Main, in
+which city he died July 22nd, 1848.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-53">53</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-54" id="Footnote-54"></a> Mrs. Tom Taylor (<i>née</i> Laura Wilson Barker) was a fine
+musician, a composer, and almost phenomenal performer on the
+pianoforte and the violin. She played with both Spohr and
+Paganini, and took down this set of variations after hearing
+Paganini play them twice. She died at Coleshill, Bucks, May 22nd,
+1905, at the advanced age of eighty-six.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-54">54</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-55" id="Footnote-55"></a> Gustavo Carulli was the son of the celebrated guitarrist,
+Ferdinando Carulli, and was born at Leghorn in 1801.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-55">55</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-56" id="Footnote-56"></a> They were performed at the private quartet concerts given by
+Mr. Burnett in the Art Club, Blackheath, from about the year
+1893 onward.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-56">56</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-57" id="Footnote-57"></a> <i>The Quarterly Musical Magazine and Review</i>, Vol. X., p. 205.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-57">57</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-58" id="Footnote-58"></a> Reproduced on <a href="#Illustration_Plate_24">page 144</a>.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-58">58</a>]</span> </li>
+
+<li class="footnote"><p><a name="Footnote-59" id="Footnote-59"></a> <i>The Musical Times</i>, May 1st, 1886.</p>
+<span class="label">[<a title="Return to text." href="#Anchor-59">59</a>]</span> </li>
+</ol>
+</div>
+<div class="transnote">
+<h2>Transcriber's Notes</h2>
+<p>"Nicolň" and "Nicolo" were both used in the text. Many other
+variant and alternative spellings have been preserved, except where
+obviously misspelled in the original. Obvious punctuation errors have also been corrected.</p>
+
+<p>The illustrations have been moved so that they do not break up
+paragraphs and so that they are next the text they illustrate. Thus the
+location of an illustration may not match the references to it in the text.</p>
+
+<p>The printed text was followed by two series of advertisements. The first
+series was reproduced in the second, except with American rather than
+British pricing. The first series bore a header "Advertisements." on each
+page; this has been replaced by a heading preceding the advertisements.
+Only the second series had page numbers.</p>
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Nicolo Paganini: His Life and Work, by 
+Stephen Samuel Stratton
+
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@@ -0,0 +1,6844 @@
+The Project Gutenberg EBook of Nicolo Paganini: His Life and Work, by
+Stephen Samuel Stratton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Nicolo Paganini: His Life and Work
+
+Author: Stephen Samuel Stratton
+
+Release Date: April 29, 2012 [EBook #39571]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NICOLO PAGANINI: HIS LIFE AND WORK ***
+
+
+
+
+Produced by Bryan Ness, Henry Flower and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+book was produced from scanned images of public domain
+material from the Google Print project.)
+
+
+
+
+
+Transcriber's Note: Italic text is denoted by _underscores_ and bold
+text by =equal signs=.
+
+
+
+
+     NICOLO PAGANINI:
+     HIS LIFE AND WORK.
+
+
+
+
+     PRINTED BY E. SHORE AND CO.,
+     3, GREEN TERRACE, ROSEBERY AVENUE, LONDON, E.C.
+
+
+
+
+[Illustration: _Plate I.--See Appendix._
+
+PORTRAIT OF NICOLO PAGANINI BY MAURIN.]
+
+
+
+
+     _"THE STRAD" LIBRARY, No. XVII._
+
+     NICOLO PAGANINI:
+     HIS LIFE AND WORK,
+
+     BY
+     STEPHEN S. STRATTON.
+
+
+     "_Natura il fece, e poi ruppe la stampa._"
+
+                             ARIOSTO.
+
+     _WITH TWENTY-SEVEN ILLUSTRATIONS._
+
+     London:
+     "THE STRAD" OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C.
+     J. LENG & CO., 186, FLEET STREET, E.C.
+
+     New York:
+     CHARLES SCRIBNER'S SONS, 153-157, FIFTH AVENUE.
+
+     1907.
+
+
+
+
+PREFACE.
+
+
+The author of this work did not live to see the final sheets in print.
+Although it has not received his revision, yet the book has had careful
+editing. Mr. Stratton did not undertake the Life of Paganini without
+adequate preparation. He had during many years thoughtfully studied the
+artist and his attributes, and became an acknowledged authority on the
+subject. He gathered from all available sources the most reliable
+information. Almost his last journey was a pilgrimage to Paganini's
+birthplace. This volume will exhibit his versatility, particularly the
+chapter giving the analyses of Paganini's compositions. It is therefore
+the most complete account of the greatest virtuoso recorded in the
+annals of music. Those who peruse this most interesting biography of
+Paganini, will naturally desire to learn something of the writer.
+
+Stephen Samuel Stratton was born in London on December 19th, 1840. He
+began his career as a chorister of St. Mary's Church, Ealing. He studied
+harmony and composition under Charles Lucas. As an organist, he held
+these appointments--St. Mary the Virgin, Soho; and St. James's Church,
+Friern Barnet. On his removal to Birmingham in 1866, he was organist at
+St. Barnabas Church; Edgbaston Old Parish Church; St. John's, Harborne;
+and the Church of the Saviour (1878-1882). In 1879 he commenced a series
+of chamber concerts in Birmingham.
+
+From 1877 until the day of his death, Mr. Stratton was the musical
+critic of the "Birmingham Daily Post." In that position his influence
+was decidedly beneficial. He was also a contributor to the London
+Musical Press. He will be remembered as the joint author (with Mr. James
+D. Brown) of "British Musical Biography." His "Life of Mendelssohn" was
+written for Messrs. Dent's "Master Musicians." Among other items may be
+mentioned "Musical Curiosities," and valuable papers read before the
+"Incorporated Society of Musicians."
+
+In private life he was highly esteemed--an honorable citizen--a genial,
+kind hearted man, with a genuine love of his profession. He died, after
+a short illness, in Birmingham, on June 25th, 1906.
+
+                        R. H.
+
+
+
+
+CONTENTS.
+
+
+     CHAPTER I.
+                                              PAGE
+
+     BOYHOOD                                     1
+
+     CHAPTER II.
+     EARLY TRIUMPHS                              9
+
+     CHAPTER III.
+     ITALIAN TOURS                              22
+
+     CHAPTER IV.
+     TOURS ON THE CONTINENT                     35
+
+     CHAPTER V.
+     FIRST VISIT TO ENGLAND                     50
+
+     CHAPTER VI.
+     FINAL TOUR                                 61
+
+     CHAPTER VII.
+     DEATH                                      73
+
+     CHAPTER VIII.
+     PAGANINI, THE MAN                          85
+
+     CHAPTER IX.
+     THE ARTIST AND HIS CONTEMPORARIES         107
+
+     CHAPTER X.
+     HIS METHODS IN PLAYING                    128
+
+     CHAPTER XI.
+     HIS COMPOSITIONS                          148
+
+     CHAPTER XII.
+     MEMORIALS                                 191
+
+
+     APPENDIX.--NOTES ON THE ILLUSTRATIONS     195
+
+     BIBLIOGRAPHY                              201
+
+
+
+
+NICOLO PAGANINI:
+
+HIS LIFE AND WORK.
+
+
+
+
+CHAPTER I.
+
+
+There are some names, the mere mention or thought of which conjure up
+distinct personalities; such are Handel, Bach, Beethoven, Wagner; but
+not one has the extraordinary individuality of that of Paganini. Though
+few can be living who ever saw the man, though his portraits are not now
+commonly to be met with, the name of Paganini at once calls up a
+picture--weird, uncanny, demoniacal; brings back the faint echo of
+performances long lost in the corridors of time; and excites the
+imagination in a manner altogether unique. The last few years have
+witnessed the appearance of an unprecedented number of wonderful young
+violinists, whose achievements culminate in the marvellous playing of
+the boy Franz von Vecsey. These manifestations are almost enough to
+induce belief in the theory or doctrine of reincarnation, and to make
+one fancy that the great Genoese is once again in the flesh. These
+violinists, too, are all playing Paganini's music; they seem to glory in
+it, and so do the audiences, although to many serious and worthy folk
+it is mere clap-trap stuff. This revived interest in Paganini and his
+music seems to render the present an appropriate time to restate the
+case of the man and the artist, notwithstanding the extensive literature
+already associated with his name.
+
+It is a curious fact that nearly every distinguished musician, composer
+or executant, has his namesakes. There was a constant succession of
+Bachs in Thuringia for nearly two centuries; Beethoven's father and
+grand-father were musicians; there were four Mozarts, musicians; and
+more than twenty Wagners of some standing in the musical world. No one
+seems to have traced the pedigree of Paganini, but he was preceded and
+followed by others bearing the same name, and such particulars as can be
+gleaned concerning these Paganinis may not be without interest, and at
+least may serve by way of introduction to the greatest of them all.
+
+Dr. Burney, in his account of Italian Opera in London during the last
+half of the eighteenth century, names a Signor and Signora Paganini as
+engaged for the season of 1760-61. They came from Berlin, and the Doctor
+is ungallant enough to say that the lady, known as "The Paganini," was
+not young. She made her _debut_ on November 22, 1760, in Galuppi's "Il
+Mondo della Luna," in a _buffa_ part, and was very captivating. At her
+benefit, when another opera by Galuppi was given--"Il Filosofo di
+Campagna,"--such a crowd assembled as had never been seen on any other
+occasion. Not one third of those who presented themselves at the
+Opera-house were able to obtain admission. "Caps were lost, and gowns
+torn to pieces, without number or mercy, in the struggle to get in.
+Ladies in full dress, who had sent away their carriages, were obliged to
+appear in the streets and walk home without caps or attendants."
+"Luckily the weather was fine," adds the Doctor, who witnessed this
+uncommon spectacle. "The Paganini" thus anticipated the extraordinary
+triumphs of the more famous artist of half a century later. Signor
+Paganini, the husband, was only "a coarse first man," and sang almost
+without a voice. Next comes Ercole Paganini, born at Ferrara, about
+1770, the composer of several operas, produced at La Scala, Milan, and
+at Florence, from 1804 to 1810. A tenor singer named Paganini appeared
+in opera at Florence in 1830, was decidedly successful and became highly
+popular in Genoa in 1836. After Francesco Lamperti was appointed (in
+1850) professor of singing at the Conservatorio, Milan, among the good
+pupils he turned out was one named Paganini, of whom, however, no
+particulars are forthcoming. In 1865, Cesare Paganini, a theoretical
+writer, published a treatise at Florence; and in November, 1898,
+Signora Franceschati-Paganini was the Bruennhilde in a performance of
+"Goetterdaemmerung," at Bologna. Then there was Dr. Paganini, who was
+perhaps the brother in whose charge young Nicolo was allowed to go to
+Lucca in 1798. Whomsoever he may have been, this Dr. Paganini died in
+1835, which event gave rise to a rumour that the great violinist
+was dead--a rumour happily untrue. This Dr. Paganini was not a
+fiddle-player, but a fiddle-fancier. He possessed a violin ornamented
+with mother-o'-pearl and ebony, which had belonged to a Shah of Persia,
+the favourite violin of Lord Byron (so it was said), one that had
+belonged to Stanislaus of Poland, father-in-law of Louis XV., one that
+had been played upon by Charles IV. of Spain (the enthusiast who had
+quartet performances at six in the morning, and who scorned to "keep
+time,") and another, once the property of that monarch's favourite, Don
+Manuel de Godoy, Duke of Alcudia.
+
+All the Paganinis mentioned above were eclipsed by _the_ Paganini
+(_pace_ Dr. Burney), the artist who stood alone, whose life was full of
+strange vicissitudes, who was worshipped and calumniated, who was
+applauded as perhaps never artist was before nor since, yet who was
+laughed at, hissed--only once--brought before the law-courts--threatened
+with imprisonment and mobbed within an ace of being lynched. As a child
+of four, Paganini narrowly escaped being buried alive; from youth up he
+was a constant sufferer from physical disorders; he had no real home
+till he was fifty-two; after death his remains were refused burial for
+five years; and when his body had rested in the grave for half a century
+it was exhumed, apparently in order that his features might once more be
+gazed upon. Truly, Paganini's story is a romance, a drama, a tragedy. We
+may not look upon his like again, nor is it desirable that we should;
+for his life conveys a moral that few can fail to discern.
+
+The artist is the child of his age. What kind of age was it that
+produced Paganini? A few years before he was born there came into the
+world one who was to set Europe aflame. The age was the age of
+revolution. Thrones tottered; armies devastated the Continent, and Italy
+became a mere appanage of the French Empire. The political upheaval was
+accompanied by a revolution in art. The romantic school in music arose,
+and Beethoven, Schubert, Berlioz, Chopin, Schumann, Liszt, and Wagner,
+were the psychic results of the turmoil into which the world was thrown.
+Into such a world, already feeling the premonitory tremors of the great
+Revolution, was Nicolo Paganini born, at Genoa, on October 27th,
+1782.[1]
+
+[Illustration: _Plate II.--See Appendix._
+
+THE BIRTHPLACE OF PAGANINI.]
+
+The Genoese--thrifty and industrious--bore no very good moral character
+at that time; but they were then perhaps not alone in that respect.
+Little information is available concerning the family of Paganini. The
+father, Antonio Paganini, kept a small shop in the vicinity of the port;
+he is described as a man of extraordinarily avaricious character, hard
+and brutal, but possessing the redeeming quality of a love for music,
+and showing some skill in the art; his instrument was the mandoline,
+though Laphaleque says he was a violinist. The mother must have been of
+a lovable disposition, from what little has been recorded of her. The
+family consisted of two sons and two daughters. Of the elder son,
+mention is made but once; of the daughters, nothing seems to be known.
+Little Nicolo must have given evidence of musical talent very early,
+but ere he was put to his studies he was attacked by the measles, and
+that so severely that he remained for a whole day in a state of
+catalepsy. He was given up for dead and was wrapped in a shroud, and
+only a slight movement at the last, showing symptoms of life, saved him
+from the horror of premature burial. Scarcely had he recovered, when his
+father began his lessons in violin playing. The child's evident
+disposition for the art excited the father's avarice, which found little
+scope for gratification in his small business undertakings. He indulged
+in golden dreams of the future, and to hasten their realisation was
+unremitting in his work of instruction. His method was cruel in the
+extreme. The poor child was kept to his task from morn till night;
+slight faults were punished with rigour, even blows and starvation being
+resorted to in order to force the talent which nature had bestowed. This
+unnatural treatment must have wrung the heart of the gentle mother, and
+doubtless by way of encouragement she told the poor little fellow of her
+wonderful dream. An Angel had appeared to her, and promised her the
+fulfilment of any desire. She asked that her son might become the
+greatest of violinists, and her prayer was to be granted. This
+disclosure may have fired the ambition of the child, for he was the
+hardest of workers, and needed no spur. Already, at six years of age, he
+was a tolerable player, and was even beginning to find out new paths.
+His performances excited the admiration and amazement of the neighbours,
+and even the Maestro Francesco Gnecco visited the little house by the
+harbour to listen to the wonder-child. He introduced the boy to the
+circle of his own friends, and made the father understand that he had
+long outgrown his training. In short, the germ of the _virtuoso_ of
+later days was already manifesting itself. Nicolo was now placed under
+Giovanni Servetto, leader of the theatre band--a man of slight
+attainments, with whom the boy did not stay long. His next master was
+Giacomo Costa, the foremost violinist in Genoa and maestro di capella of
+the Cathedral, a genial man, who took a lively interest in the boy.
+Under Costa, Nicolo made rapid progress, and was introduced to a new
+world, though the pedantry of the master frequently came into collision
+with the peculiarities of the pupil. Young Paganini now had to play a
+new concerto each week at one of the churches: that was one of the
+conditions Costa imposed when taking him as a pupil. Paganini's
+extraordinary powers as a player at sight were in great measure due to
+this early experience. The father still exercised stern oversight, and
+there was little relaxation or youthful pleasure for Nicolo. His health
+was already undermined, and, as Dubourg touchingly puts it:--"the sickly
+child, incapable of attaining a healthy maturity, was merged into the
+suffering man."
+
+In his eighth year Nicolo composed a sonata for the violin--since, with
+other works, lost. About that time a very vivid, almost shamefaced,
+impression was made upon him by hearing that Mozart, at the age of six,
+had composed a pianoforte concerto, with parts for orchestra, and so
+difficult that only a _virtuoso_ could execute it. For long Nicolo
+tormented himself with the thought of this musical superiority, and
+strove day and night to remedy his own imperfection in the art.
+
+FOOTNOTE:
+
+[1] All biographical notices of Paganini, with the exception of that in
+Riemann's "Dictionary of Music," give February 18th, 1784, as the date
+of birth. The correct date seems to have been established when the
+centenary celebration took place, in 1882.
+
+
+
+
+CHAPTER II.
+
+
+In 1793 Paganini made his _debut_ in the great Theatre of Genoa (the
+Carlo Felice?). He was in his eleventh year, and his reputation must
+have been considerable, for the occasion was of some importance, being
+the benefit concert of two singers of repute, Luigi Marchesi and Teresa
+Bertinotti.[2] Marchesi was second only to Pacchierotti among the male
+_soprani_ of the time, and sang at the King's Theatre, London, during
+the season of 1788; in the "Musical Reminiscences" of the Earl of Mount
+Edgcumbe he is highly praised as the most brilliant singer of his day.
+It was a great compliment to the talent of the young Nicolo that these
+singers should apply for his assistance. Moreover, they promised to sing
+for him when he should give a concert. Both functions duly took place,
+and the boy-artist at each played a set of variations of his own
+composition on "La Carmagnole"; an air then greatly in vogue. That old
+melody "Malbrough s'en-va-t-en guerre," pressed into the service of the
+French Revolution, was appropriately associated with the young artist,
+himself a revolutionist. His success was phenomenal, performers and
+audience being thrown into transports of admiration.
+
+It would appear that young Paganini studied with Giacomo Costa for a
+period of six months only. He must then have continued to work by
+himself, for it was not until about 1795 that his father took him to
+Parma, to place him under the "Pride of Italy," Alessandro Rolla, to
+whom the boy had been recommended by Costa. There was an affecting
+farewell between Nicolo and his mother, for they were tenderly attached
+to each other. Paganini has himself related the story of his interview
+with Rolla, which, for the sake of completeness, must be summarised
+here.
+
+When Nicolo with his father arrived at Rolla's house, the famous
+violinist was ill in bed. His wife showed the visitors into an apartment
+adjoining, and went to inform her husband of their arrival, but he was
+disinclined to receive the strangers. On a table in the room where they
+were waiting lay a violin, and a composition in manuscript--Rolla's
+latest concerto. Paganini, prompted by his father, took up the violin,
+and played the concerto through. Astonished at the performance, Rolla
+asked what _virtuoso_ was in the next room, and on being told it was
+only a boy he had heard, would not credit the statement without the
+evidence of his own eyes. To the father's entreaty Rolla replied that he
+could teach the boy nothing; it would waste his time to remain with
+him. He must go to Ferdinando Paer, who would teach him composition.
+
+There are several versions of this story, and much uncertainty
+respecting some points. Rolla was chamber _virtuoso_, and director of
+the concerts at the Court of Parma. Paer, whose first opera was produced
+in 1789, was at this time in great request at Venice, where he brought
+out a succession of operas. In 1796 he may have been in Parma, for his
+"Griselda" was produced there that year. Paganini, at some time or
+other, doubtless did profit by Paer's friendly assistance; but his real
+teacher was Gasparo Ghiretti, chamber musician to Prince Ferdinand of
+Parma, and the master of Paer. Ghiretti was a violinist, as were nearly
+all the Italian composers of that period. Under Ghiretti, Paganini went
+through a systematic course of study in counterpoint and composition,
+devoting himself to the instrumental style. He must, about the same
+time, have received violin lessons from Rolla, though he afterwards
+refused to acknowledge that he had been his pupil. Fetis tells of
+discussions between Rolla and Paganini concerning the innovations the
+latter was attempting, for he was always striving after new effects. As
+he could but imperfectly execute what he aimed at, these eccentric
+flights did not commend themselves to Rolla, whose taste and style were
+of a more severe order. Of Paganini's work in composition little appears
+to be known. Anders states that Paer when in Parma devoted several hours
+daily to Paganini; and at the end of the fourth month entrusted him with
+a composition of a _duo_, in which Nicolo succeeded to the complete
+satisfaction of his master. Paganini may also at that time have
+sketched, if he did not complete, the Studies, or Caprices, Op. 1.
+
+In 1797 the father took the boy from Parma, and set out with him on a
+tour through Lombardy. Concerts were given in Milan, Bologna, Florence,
+Pisa, and Leghorn.
+
+The young artist achieved an extraordinary reputation; the father took
+possession of the more material rewards of art. The "golden dreams" were
+in process of realisation! Returning to Genoa, young Paganini finished
+the composition of his Twenty-four Studies, which were of such excessive
+difficulty that he could not play them. He would try a single passage
+over in a hundred ways, working for ten or eleven hours at a stretch,
+and then would come the inevitable collapse. He was still under the
+stern domination of his father, and his spirit must have chafed under
+the bondage. His own ardour was sufficient to carry his labours to the
+verge of exhaustion, and he needed no spur as an incentive to exertion.
+In all directions save that of music his education was utterly
+neglected. The moral side of his nature was allowed to grow wild.
+There was the restraining influence of a mother's love, but there was
+little else. It might indeed be said that, musically, Paganini was
+self-educated; but that one of the world's great geniuses should lack
+the intellectual and moral training that go to make the complete man was
+sad in the extreme. Paganini's was a nature warped; on the one side
+phenomenal power, on the other bodily suffering, intellectual and
+spiritual atrophy. But more of this when we turn from his career to the
+man himself.
+
+As the youth grew older the spirit of revolt arose. He must and would
+escape from the tyranny of his avaricious father. But how? A way soon
+offered itself. At Lucca, the festival of St. Martin, held each
+November, was an event of such importance, musically, that it drew
+visitors from all parts of Italy. As the November of 1798 drew near,
+young Paganini besought his father's permission to attend the festival,
+but his request was met by a point-blank refusal. The importunities of
+the youth, aided by the prayers of the mother, at length prevailed, and
+in care of the elder brother afterwards Dr. Paganini (?)--Nicolo was
+allowed to leave home.
+
+Free at last, the youth, now in his seventeenth year, went on his way,
+his whole being thrilled with dreams of success and happiness. At Lucca
+he was most enthusiastically received, and, elated by his good fortune,
+Paganini extended his tour, playing in Pisa and other towns. Enabled now
+to earn his own living, Paganini determined never to return to the home
+where he had suffered so much. His father must have obtained information
+as to the youth's whereabouts, for it has been stated that he managed to
+obtain a large part of the young artist's earnings. The money was freely
+yielded to a certain extent, and the residue was obtained by threats.
+But no threat or entreaty could induce Nicolo to return to his paternal
+home. The bird had escaped, and liberty was sweet. But young Paganini
+was scarcely fitted for an independent, uncontrolled career. He had no
+moral ballast, and much would depend upon what kind of company he kept.
+
+One has to bear in mind that at the period now under
+notice--1798--Europe was in a very unsettled state. The very pillars of
+society were shaken, and there were many dangers in the path of the
+young and inexperienced. But that is a very trite observation, for it
+applies to all times and places. However, Paganini seems to have become
+acquainted with what Fetis terms "artists of another kind," who
+encouraged "play" of a more exciting, if less exalted order, than the
+young musician had hitherto devoted himself to. With his ardent southern
+temperament Paganini threw himself with the greatest zest into the
+vortex of gambling, and frequently lost at a sitting the earnings of
+several concerts and was reduced to the greatest embarrassment. Soon his
+talent provided fresh resources, and his days ran on in alternations of
+good and evil fortune. Tall, slight, delicate and handsome,[3] Paganini,
+despite his frail constitution, was an object of attraction to the fair
+sex. Incidents in his early manhood probably formed the foundation for
+some of the stories told of him later. As Fetis puts it; the enthusiasm
+for art, love and "play," reigned by turns in his soul. He ought to have
+been careful of himself, but he went to excess in everything. Then came
+a period of enforced repose, of absolute exhaustion, lasting sometimes
+for weeks. This would be followed by a display of extraordinary
+energy, when his marvellous talent took its highest flights, and he
+plunged once more into the wildest bohemianism. Such a course of life
+was enough to wreck the artist, and no friend seemed to be at hand to
+save him from himself. Frequently he had to part with his violin in
+order to raise money to pay his debts of honour, and it was upon one
+such occasion that he met with the greatest good fortune he had yet
+experienced, and acquired a violin which became the instrument of his
+conversion from the fatal passion for gambling.
+
+[Illustration: _Plate III.--See Appendix._
+
+PAGANINI'S VIOLIN IN THE MUNICIPAL MUSEUM AT GENOA.]
+
+Arriving at Leghorn, where he was to give a concert, Paganini yielded to
+his weakness for the other kind of play and lost his money and his
+violin. He was in a dilemma indeed, but was fortunate in meeting with an
+enthusiastic musical amateur, M. Livron, a French merchant, the owner of
+a superb Guarnerius violin. This instrument M. Livron lent to the young
+artist, and attended the concert. When Paganini went to return the
+violin to its owner, M. Livron at once exclaimed, "I shall take care
+never to profane the strings your fingers have touched. It is to you now
+that my violin belongs." A noble benefactor, that M. Livron. The
+Guarnerius became Paganini's inseparable companion; he played upon it
+throughout all his tours, and its subsequent history will be duly
+related.
+
+Paganini acquired another instrument on the same easy terms, but
+attended by different circumstances. Signor Pasini, of Parma, a painter
+of some distinction, and an amateur violinist, had heard of Paganini's
+wonderful powers as a reader of music at sight, but refused to credit
+the statements. Pasini one day placed before Paganini a manuscript
+concerto, in which difficulties of all kinds were brought together, and
+putting into the artist's hands a splendid Stradivari violin, said:
+"This instrument is yours if you can play that at sight, like a master,
+without studying its difficulties in advance." "If that is so," replied
+Paganini, "You may bid farewell to it at once." His terrific[4]
+execution made the music seem as if it played itself as his eye fell
+upon it. Pasini was petrified with astonishment.
+
+The abandonment of the vice of gambling came about in this way, his own
+words being quoted. "I shall never forget," said he, "one day placing
+myself in a position which was to decide my whole career. The Prince De
+* * * * * had long desired to possess my excellent violin (the
+Guarnerius), the only one I then had, and which I still possess. One day
+he desired me to fix a price; but, unwilling to part from my instrument,
+I declared I would not sell it for less than 250 gold Napoleons. A short
+time after, the Prince remarked that I was probably indulging in banter
+in asking so high a price, and added that he was disposed to give 2,000
+francs for it. Precisely that very day I found myself in great want of
+money, in consequence of a heavy loss at play, and I almost resolved to
+yield my violin for the sum he had offered, when a friend came in to
+invite me to a party that evening. My capital then consisted of thirty
+francs, and I had already deprived myself of my jewels, watch, rings,
+pins, etc. I instantly formed the resolve to risk this last resource,
+and if fortune went against me, to sell the violin and to set out for
+St. Petersburg, without instrument and without funds, with the object of
+retrieving my position. Soon my thirty francs were reduced to three, and
+I saw myself on the road to the great city, when fortune, changing in
+the twinkling of an eye, gained me one hundred francs with the little
+that yet remained. That moment saved my violin and set me up again. From
+that day I withdrew from play, to which I had sacrificed a portion of my
+youth: and convinced that a gambler is universally despised, I renounced
+for ever that fatal passion."
+
+It would be interesting to know when these things occurred, but dates
+are wanting; it is sufficient to find the artist triumphant in one great
+crisis in his life. Gambling, to which, however, he was not a party, was
+destined to trouble the last years of his life, as will be seen further
+on.
+
+Paganini's career, gambling apart, was by no means of a conventional
+character. His irregular habits, fits of extraordinary energy followed
+by langour and depression, led to frequent disappearances from public
+view. One such disappearance lasted for about four years, and only the
+romantic aspect of it has been described; the prime cause may have been
+overlooked. Here is one view of the matter. Enter Napoleon; exit
+Paganini. In 1800 Napoleon crossed the Alps; in 1804, he proclaimed
+himself Emperor. He parcelled out Europe, providing for his brothers and
+sisters, creating sovereigns at his own sweet will. Italy, invaded by a
+foreign foe, shaken with wars, "alarums and excursions," was not a happy
+hunting ground for a travelling virtuoso. Paganini vanished from view.
+In absolute retirement he lived for over three years at the chateau of a
+Tuscan lady of rank, who was a performer upon the guitar. Paganini threw
+himself with ardour into the study of that instrument, and became as
+great a virtuoso upon it as upon the violin. He composed a number of
+pieces for guitar and violin. According to Fetis, Paganini also devoted
+himself to the study of agriculture.
+
+But eventually he tired of a life of indolence and dalliance, and in
+1804--the country settled now under French government--Paganini returned
+to Genoa, but whether to the paternal roof is not clear. He was
+doubtless invigorated by his long rest, and now resumed his arduous
+course of study. It has been remarked that it was only after Paganini
+had attained an almost perfect mastery over his instrument that he began
+to investigate the methods of other virtuosi[5]; even so, he had formed
+his own style of composition before studying the works of others. Now,
+he busied himself with the studies of Locatelli, whose extravagances
+almost equalled his own. It is said that he even gave lessons while in
+Genoa, and mention is made of one pupil, Catarina Calcagno, who had a
+brilliant, but brief career.
+
+In 1805, Paganini resumed his artistic tours, and arriving at Lucca,
+played a concerto at an evening festival in a convent church. So great
+was the enthusiasm of the audience (or congregation), that the monks
+had to leave their stalls to put a stop to the applause. At that time,
+Maria Anna (Elise), sister of Napoleon, was Princess of Lucca, and the
+Tuscan court was held in that Capital. The fame of Paganini could not
+fail to have reached the ears of the Princess, and it was but natural
+that the first _virtuoso_ of Italy should receive an official
+appointment. So it happened that in the year 1805 he was offered, and
+accepted, the post of leader of the Court orchestra, and solo violinist.
+He also gave violin lessons to Prince Bacciochi, the husband of Maria
+Anna. It was during this period that Paganini began his experiments of
+employing less than the four strings of his violin. He gave an account
+of the origin of the practice to a friend at Prague many years later.[6]
+"It fell to my lot," he said, "to direct the opera whenever the reigning
+family visited it, as well as to perform at Court three times a week,
+and to get up a public concert for the higher circles every fortnight.
+Whenever these were visited by the Princess, she never remained to the
+close, because the flageolet tones of my violin were too much for her
+nerves. On the other hand there was another fascinating creature ...
+who, I flattered myself, felt a penchant for me, and was never absent
+from my performances; on my own side, I had long been her admirer
+(Paganini was now twenty-three years of age, susceptible, and possibly
+himself fascinating.) Our mutual fondness became gradually stronger and
+stronger; but we were forced to conceal it, and by this means its
+strength and fervour were sensibly enhanced. One day I promised to
+surprise her at the next concert, with a musical joke, which should
+convey an allusion to our attachment; and I accordingly gave notice at
+Court that I should bring forward a musical novelty, under the title of
+'A Love Scene.' The whole world was on tiptoe at the tidings; and on the
+evening appointed, I made my appearance, violin in hand; I had
+previously robbed it of the two middle strings, so that none but E and G
+remained. The first string being designed to play the maiden's part, and
+the second (fourth) the youth's, I began with a species of dialogue, in
+which I attempted to introduce movements analogous to transient
+bickerings and reconciliations between the lovers. Now my strings
+growled, and then sighed; and anon they lisped, hesitated, joked and
+joyed, till at last they sported with merry jubilee. In the course of
+time, both souls joined once more in harmony, and the appeased lovers'
+quarrel led to a _pas de deux_, which terminated in a brilliant _coda_.
+This musical fantasia of mine was greeted with loud applause. The lady,
+to whom every scene referred, rewarded me by looks full of delight and
+sweetness, and the Princess was charmed into such amiable condescension,
+that she loaded me with encomiums--asking me, whether, since I could
+produce so much with _two_ strings, it would not be possible for me to
+gratify them by playing on _one_. I yielded instant assent--the idea
+tickled my fancy--and, as the Emperor's birthday occurred some weeks
+afterwards (August 15th,) I composed a sonata for the G string, which I
+entitled 'Napoleon,' and played before the Court to so much effect, that
+a cantata, by Cimarosa, given the same evening, fell through without
+producing any impression on its hearers.[7] This is the genuine and
+original cause of my prejudice in favour for the G string. People were
+afterwards importunate to hear more of this performance, and in this way
+I became day by day a greater adept at it, and acquired constantly
+increasing confidence in this peculiar mystery of handling the bow."
+More of the "Napoleon Sonata" later.
+
+[Illustration: _Plate IV.--See Appendix._
+
+CARICATURE PUBLISHED 1831.]
+
+When the Princess became Grand Duchess of Tuscany, the Court removed to
+Florence, and Paganini, as a matter of course, was in the retinue. His
+official career, however, came to an abrupt termination in the early
+part of 1813. When appointed Court Musical Director, Paganini was
+accorded the rank of Captain in the Royal Guard, and, as such, was
+permitted to wear a brilliant uniform. Appearing in this garb at a State
+function at Florence, in 1813, the artist was "commanded" to change it
+for the ordinary dress suit. This request Paganini construed as an
+insult, and refused compliance; whereupon there was a sudden rupture,
+and instant resignation of office. Paganini, at different times,
+obtained leave of absence, and undertook various professional tours; and
+as he met with some strange experiences, we will follow him in his
+wanderings.
+
+FOOTNOTES:
+
+[2] Anders, and others after him, give the name of the second singer as
+Albertinotti. No such name can be traced, and it is probable that it was
+the young Bertinotti, who was a juvenile prodigy, appearing in opera at
+the age of twelve. She sang in London about the year 1812.
+
+[3] William Gardiner many years later spoke of the transparent delicacy
+of Paganini's complexion, and said of his little son Achille that he was
+the handsomest boy he had ever seen.
+
+[4] Fetis calls it "Foudroyante execution."
+
+[5] Naumann, "History of Music," p. 1140 (English Edition.)
+
+[6] Professor Julius Schottky.
+
+[7] Cimarosa, who died in 1801, espoused the revolutionary cause when
+the French army entered Italy, and was imprisoned and condemned to death
+when the reaction came, but was restored to liberty on condition of
+leaving Naples. He would, naturally, have been popular with the
+Bonapartists, and it was rather ungenerous vanity on the part of
+Paganini to have exulted over this particular success.
+
+
+
+
+CHAPTER III.
+
+
+In 1808 occurred the first of these excursions. Paganini went to
+Leghorn, the scene of his early triumphs. He had not been there for
+seven years, but his first concert, this visit, was attended with some
+unpleasant mishaps. He had run a nail into his heel, and came limping on
+the stage, whereupon the audience set up a titter--an incident quite
+enough to upset a sensitive artist. Then, just as he was commencing his
+concerto, the candles fell from his music-stand, and the laughter was
+unrestrained; after a few bars of his solo, the first string of his
+violin snapped, and the merriment became uproarious; but he finished the
+performance upon the three strings, and the artist soon converted the
+audience to a demonstration of a more grateful character. Thus his "one
+string" experience served him in good stead.
+
+At Ferrara something worse befell. For his concert there, Paganini had
+engaged a vocalist, Signora Marietta Marcolini; but at the last moment,
+the lady, either from indisposition or caprice, refused to sing.
+Paganini went to his hostel boiling with rage, but was somewhat
+mollified on being told there was a lady occupying an apartment in the
+same house, who might perhaps take the place of the recalcitrant
+singer. This was Signora Pallerini, the principal dancer at the theatre,
+who had a very agreeable voice, but who made no pretension to being a
+singer, although she was not without training and talent. Paganini lost
+no time in seeking the young dancer, and by dint of perseverance
+obtained her consent to his wish.
+
+But when the Signora came on to sing she was seized with stage-fright.
+Her voice failed her, and her song produced no effect. Paganini offered
+his arm to conduct her behind the scenes, but just before they reached
+the wing, a shrill whistle was heard--equivalent to a hiss in England.
+This was too much; the poor _debutante_ lost consciousness, and fell
+into the arms of her friend. Pale with rage, Paganini promised himself a
+signal vengeance. The concert was drawing to a close when the angry
+artist whispered to Signora Pallerini, "Come! Listen!" He rushed on the
+stage, and announcing to the audience that he would conclude the concert
+with a musical jest, proceeded to imitate the cries of various animals,
+the chirping of birds, the howling of dogs, and the crowing of cocks;
+then, with a stolen glance towards the wing, as if to make known the
+carrying out of his revenge, he advanced to the footlights, rested his
+bow on the "chanterelle," close to the bridge, and with a single stroke
+brought it violently on the "G," producing distinctly the sound of the
+donkey's hee-haw! "This is for the man who whistled," he exclaimed, with
+an air of triumph, and for the second time gave his imitation--with
+added energy. Then he awaited the shouts of laughter that should assail
+the poor whistler, but something quite different happened. The pit rose
+to a man, and howling, whistling, and stamping, the audience proceeded
+to storm the stage; and only precipitate flight by means of a private
+door, saved the unlucky artist's life.
+
+The explanation came to Paganini later. The inhabitants of the villages
+around Ferrara had from time immemorial a strong prejudice against their
+Capital. The citizens they alleged were stupid in their nature, and
+deserved the sobriquet "hee-haw." If a countryman, returning from
+Ferrara, were asked where he came from, he replied by throwing back his
+head and braying like an ass! Paganini had no knowledge of local
+history; he was not a reader, he never even glanced at the papers,
+except when they contained something concerning himself. His revenge
+caused quite a tumult, in what way can be well perceived: and the
+magistrate, to restore quiet, advised Paganini not to give his second
+concert in the town, so that the offenders were really punished all
+round.
+
+It is not necessary to enter into details concerning all Paganini's
+tours. It appears to have been in 1810 that he wrote the "Napoleon
+Sonata," and he performed it in public at a concert given by him at
+Parma, August 18th, 1811. His fame was spreading beyond his own country,
+and Schilling states that from 1812 the German musical journals bestowed
+much attention upon him. He was at Milan in 1813, and his success there
+was greater than ever. For that city he appeared to have a predilection,
+for he was there, with the exception of a short stay at Genoa, until the
+autumn of 1814. At that time he was by no means a recluse. He visited
+the theatre, La Scala, and witnessed a performance of Vigano's ballet,
+"Il Noce di Benevento," to which Suessmayer wrote the music; and from a
+certain scene he took the theme of his variations known as "Le Streghe."
+At a theatre he was inspired to write one of his finest movements. He
+went to hear Demarini, Italy's greatest tragedian, and was so affected
+by one scene that he could not sleep, and his emotion ultimately found
+expression in music. This will be dealt with when noticing his
+compositions.
+
+In October, 1814, Paganini went to Bologna, and there met Rossini for
+the first time. Rossini, nine years the junior of Paganini, had already
+produced a dozen operas--two in Milan that year. By Court favour Rossini
+had just escaped the conscription, and had hastened away to Bologna. The
+meeting of these artists was of importance to both. Meyerbeer went to
+Italy in 1815, and was there for some years, producing several operas.
+Laphaleque tells a story to this effect: Meyerbeer was on the eve of
+leaving Florence to proceed to Naples to bring out one of his works. He
+did not yet know that place, and it offered a double attraction; he
+wanted to enjoy the beautiful blue sky as well as his artistic triumph.
+But he went to hear Paganini, and dreamt no more of Naples, nor of his
+opera. Paganini travelled all through Tuscany, and Meyerbeer followed;
+and not until he had heard Paganini eighteen times could he tear himself
+away from him.
+
+Within the period of five years, Paganini returned to Milan five times,
+making a long stay on each occasion, and giving a great number of
+concerts. He played at Verona, Padua--where the "prison" stories seem to
+have originated--returned to Milan early in 1816, when he met the
+French violinist, Charles Lafont, with whom he played and of whom more
+will be said. Then to Venice, Trieste, and back to Venice in time to
+hear Spohr (October 18th), on whom he called both before and after the
+concert. Spohr greatly desired to hear Paganini play, but the latter
+excused himself.
+
+Paganini must ere this have received invitations to visit other
+countries, for Spohr in his diary remarks, when referring to Paganini's
+first visit, that he had apparently abandoned his project of going to
+Vienna. In 1817, Paganini visited Piacenza, where he met the Polish
+violinist, Karl Joseph von Lipinski, who had gone to Italy expressly to
+hear Paganini. The Italian treated his Polish brother artist generously,
+and played with him at two concerts. Paganini was also again at Milan
+that year and paid a visit to his mother at Genoa. According to Anders,
+his father died in 1817. At the close of the same year Paganini was in
+Rome, where Rossini's opera "La Cenerentola" was produced at the opening
+of the Carnival season, December 26th. It is related that Meyerbeer was
+also in Rome at this time, and that Rossini's "Carnovale" was sung in
+the streets by the composer, Meyerbeer, and Paganini, who disguised
+themselves for the frolic. Paganini in the Palace of Prince von Kaunitz,
+the Austrian Ambassador, was introduced to Prince Metternich, who,
+charmed with his talent, pressed him to visit Vienna. But the
+violinist's health was in a precarious state. He suffered from an
+intestinal disorder, aggravated by his addiction to some quack remedy.
+He gave concerts in Rome, of which Schilling, who gives the date,
+however, as 1827, gives a very curious account. The first concert,
+though held in a Palace--such buildings being met with at every
+step--was in a room like a hay-loft. The orchestra consisted of some
+half-dozen shabbily dressed players, the singers were mechanics, members
+of the chorus of the Teatro Argentina, and the audience scarcely
+numbered fifty. Rome, professedly the first musical city of Italy, and
+of Europe, was ignorant of Paganini, the greatest violin virtuoso of
+Italy and the world. But his extraordinary genius kindled coldness into
+enthusiasm. At his second concert the attendance increased tenfold; at
+the third the success was even greater.
+
+In 1818, and the following year, he gave concerts at Verona, Turin,
+Florence, and other towns. At Verona, the conductor of the theatre
+orchestra, one Valdabrini, persuaded himself that Paganini was little
+else than a charlatan, one who might play the pieces of his own
+repertory very well, but who could not execute a work such as a concerto
+of his, Valdabrini's, composition. Paganini was informed of this
+estimate of his abilities, and hastened to assure Valdabrini that he
+would be happy to reproduce the inspirations of the _chef d'orchestre_
+of Verona; and as this trial would be a powerful attraction, he would
+reserve it for his last concert. The day of rehearsal arrived, and
+Paganini was in his place. Instead of the music of the concerto,
+however, the artist improvised all kinds of fanciful passages, insomuch
+that the astonished orchestral players, lost in admiration, forgot to go
+on with their own work. The disappointed Valdabrini exclaimed: "My
+friend, this is not my concerto you are playing, I can recognise
+nothing of what I have written." "Don't distress yourself," replied
+Paganini, "at the concert you will recognise your work well enough, only
+now I claim a little indulgence."
+
+The concert night arrived, and Paganini commenced with pieces of his own
+choice, reserving the concerto for the end. All were attention for the
+great event. Paganini came on at last, holding in his hand a Malacca
+walking cane. Everyone asked himself: What will he do with that?
+Suddenly he seized his violin, and, employing the cane as a bow, played
+the concerto (thought by the composer to be practicable only after long
+study) from beginning to end, not only rendering the most difficult
+passages, but introducing charming variations, never failing for an
+instant to display the purity, grace and verve that characterised his
+art.[8] This pleasantry was not to the taste of Valdabrini, we may be
+sure; but it was a rebuke to his presumption. Such amenities are
+scarcely possible now-a-days.
+
+Paganini visited Naples in 1819 for the first time. When he arrived he
+found the local musicians badly disposed towards him, and he had
+something like a repetition of his experience at Verona, only he used
+the cane no more! These musicians affected to doubt the reality of the
+marvels fame attributed to Paganini, and proposed to amuse themselves at
+his expense. They engaged a young composer, Danna (Dana?)[9] fresh from
+the Conservatorio, to write a string quartet, filled with difficulties
+of every kind--for the first violin--persuading themselves that the
+great violinist could not overcome them. When all was ready--no doubt
+the other parts had been well practised--Paganini was invited to a
+musical reunion, where he found the violinists Onorio de Vito, Giuseppe
+Mario Festa, the violoncellist Ciandelli, and the composer Danna. Hardly
+had he arrived, when they placed the music before him, and invited him
+to play it at sight. Perceiving that they had set a trap for him,
+Paganini cast a hurried glance at the music, and played it off as though
+it had long been familiar to him. Confounded by what they heard, his
+assistants were prodigal in their admiration, and declared him
+incomparable.
+
+Paganini's health now gave way to an alarming degree, and his landlord,
+fearing the malady was consumption--infectious, according to current
+opinion--proceeded to turn the violinist and his belongings into the
+street. Medical science has confirmed the views of the Neapolitans in
+respect to the contagious character of consumption, and the open-air
+treatment is now considered the proper method to adopt; but the
+landlord's rough and ready application of the remedy was highly
+objectionable, and so thought Ciandelli, who chanced to be passing at
+the time. He gave the landlord a severe thrashing, and conveyed Paganini
+to more comfortable lodgings, where he was carefully tended. Paganini
+repaid this act of kindness, as will be seen. These little scenes throw
+curious side-lights on life in Naples at that period.
+
+In 1820, Paganini returned to Milan, where he founded an Amateur
+Society, _Gli Orfei_, and conducted its concerts for a time; but the
+roving habits he had acquired rendered a settled life irksome, and he
+was soon again on the move. The winter found him once more in Rome,
+where he must have stayed on and off for another year; for he was
+there in December, 1821, when Rossini was about to produce his opera,
+"Matilda di Sabran," at the opening of the Carnival season. On the day
+of the last rehearsal the conductor fell ill, and Rossini was in
+despair to replace him. Paganini, hearing of his friend's dilemma,
+offered to conduct the rehearsal and the first performance--his
+operatic experience at Lucca must not be forgotten--an offer Rossini
+gratefully accepted. Without a moment's preparation, Paganini set to
+work to communicate to an unskilled orchestra--it was at the _Teatro
+d'Apollone_--the composer's intentions and the manner in which they
+should be interpreted. Having no time for verbal explanation, he did
+everything by example, playing the first violin part an octave higher
+than it was written, and making himself heard above the strongest
+_fortissimo_. At a glance he penetrated the meaning of every movement,
+and he so worked upon the executants that they obeyed him as if
+by enchantment. This single rehearsal sufficed to bring about an
+irreproachable performance, the orchestra undergoing a veritable
+metamorphosis, to the astonishment of everyone, Rossini included. So
+far Laphaleque. Sutherland Edwards[10] says Paganini conducted the
+first three performances, adding, "Never, it is said, did the band of
+the 'Apollo' play with so much spirit before."
+
+For the next two years Paganini was constantly travelling, and in the
+year 1823 we have the first glimpse of him through the medium of an
+English musical journal.[11] This first reference is quite incidental.
+Giuseppe Rastrelli was playing in Naples in 1822 (or 1823), and was well
+received, "although his predecessor, the celebrated Paganini," was still
+fresh in the public remembrance. This assumes that Paganini was well
+known to English readers. He had indeed been mentioned in books
+published before this date. On his way to Pavia in 1823, Paganini was
+attacked with illness, and his life was despaired of. At that time he
+had again intended going to Austria, but a long rest was needed to
+restore his health. This repose he enjoyed at Genoa, and recovered
+sufficiently to give two concerts in the _Teatro da Sant'Agostino_, in
+1824. The second concert introduced two youthful claimants to public
+favour. The first was a Signora Bianchi, under twenty years of age, who
+was characterised in the bills as the little _virtuosa forestiera_, and
+who sang three airs; the other was a Signora Barette, who played a
+_Pezzo Cantabile_ and a _Sonatina_ upon the violoncello. They both
+experienced a flattering reception.[12] The young violoncellist was not
+more than fourteen years old, and there is no reason to suppose that she
+was the first of her sex to appear in public as a violoncellist. The
+other "little guest" or stranger was to play an important part in
+Paganini's history.
+
+
+This concert afforded another proof of Paganini's power of attraction. A
+certain M. Bergman, a (Swedish?) traveller and passionate lover of
+music, reading accidentally the evening before in the journal at
+Leghorn, an announcement of Paganini's concert, lost no time, but
+instantly set out for Genoa, a distance of a hundred miles, and luckily
+reached the spot just half an hour before the concert began. He went
+with his expectations raised to the utmost, but, to use his own
+expression, the reality was as far above his anticipations as the
+heavens are above the earth. Nor could this enthusiastic amateur rest
+content with once hearing Paganini, but actually followed him to Milan,
+in order to hear him exercise his talents a second time. Now-a-days the
+enthusiasts are young ladies, who mob their favourites in the artists'
+room!
+
+In 1824 Paganini gave two concerts in _La Scala_, Milan, which was
+crowded to excess. At the first he played a concerto, and three airs
+with variations--all on the fourth string, so said the report. A
+surfeit, this, even for his fervent admirers. In the same year at Pavia,
+he gave two concerts, the bills being headed:
+
+     PAGANINI
+
+     _Fara sentire il suo Violino._
+
+(Paganini will cause his violin to be heard.) He was received with no
+less enthusiasm than at Milan. Paganini then returned to Genoa, but soon
+left for Venice. There he formed an union with Antonia Bianchi, the
+young singer he introduced at Genoa, who became his companion, sang at
+his concerts, and shared his triumphs.
+
+In 1825, Paganini was again at Naples, where he gave a concert, causing
+his name to be announced in the bills as--
+
+     _Filarmonico_,
+
+a term which gave rise to much discussion, some considering it as
+indicating modesty, others just the reverse; but at all events it
+savoured of affectation. In the summer of 1825, Paganini went to
+Palermo, where he also gave a concert. The delicious climate of Sicily
+had a great charm for him, and he remained there for nearly a year,
+giving concerts at different places, but enjoying prolonged intervals of
+repose. His health strengthened, Paganini again entertained the idea of
+leaving Italy, but determined upon one more tour before carrying out his
+intention. In 1826, he visited Trieste, Venice, and finally Rome, where
+he gave five concerts. In April, 1827, Pope Leo XII. invested Paganini
+with the order of the Golden Spur, a distinction so rare that it
+afforded a topic for conversation for some time. From Rome Paganini went
+to Florence, and as "Il Cavaliere Paganini" gave a concert at the
+_Teatro Pergola_, which was attended by all the rank and fashion of the
+place. He was detained for some time at Florence owing to a disease
+breaking out in one of his legs. As soon as he was able to travel he set
+out for Milan, where he was received with every demonstration of
+affection. He gave four musical soirees at the close of 1827, and in
+the early part of 1828, two concerts in _La Scala_, when he appears to
+have played for the first time the concerto with the "Rondo ad un
+Campanello;" the piece created a great effect. Paganini had now
+traversed the whole of Italy at least three times, giving hundreds of
+concerts, building up an ever growing reputation and exciting universal
+admiration, despite those detractors whose machinations have been
+exposed. At last, on the 2nd of March, 1828, Paganini started on his
+long projected visit to Vienna.
+
+FOOTNOTES:
+
+[8] Laphaleque.
+
+[9] Son of Giuseppe Dana, of Naples?
+
+[10] The Life of Rossini, p. 226.
+
+[11] With the exception of a Literary Supplement to the "New Musical and
+Universal Magazine," 1774, there was no publication devoted to Music
+until the year 1818, when "The Quarterly Musical Magazine and Review"
+appeared, edited by Robert Mackenzie Bacon. This was followed in 1823 by
+"The Harmonicon," edited by William Ayrton.
+
+[12] Harmonicon, Vol. III., p. 37.
+
+
+
+
+CHAPTER IV.
+
+
+Paganini arrived at Vienna, March 16th, 1828, and gave his first concert
+in the Redouten-Saal[13] on the 29th of the same month, creating a
+_furore_ the like of which had never been witnessed. It must be borne in
+mind that Paganini was now no romantic-looking youth to move the
+feelings of sentimental or hysterical young ladies. He was in his
+forty-sixth year, and his face bore the marks of suffering; he wore his
+long hair in ringlets falling over his shoulders, but physically he was
+a wreck. Yet no youthful artist of to-day has made a more sensational
+_debut_ than that of Paganini in the Austrian Capital in 1828. To repeat
+the oft-quoted account given by Schilling: "At the first stroke of the
+bow on his Guarnerius, one might almost say at the first step he took
+into the hall, his reputation was decided in Germany. Kindled as by an
+electric flash, he suddenly shone and sparkled like a miraculous
+apparition in the domain of art."
+
+Another account, if less familiar, is equally interesting. In a letter
+from Vienna, addressed to the _Literary Gazette_, the writer says:--"The
+great novelty and prodigy of the day is one M. Paganini, an Italian
+performer on the violin.
+
+"This is the first time he has left Italy; but I heard him previously,
+about five years ago, at Milan, in competition with M. Lafont, whom he
+beat fairly.[14] He is, without contradiction, not only the finest
+player on the violin, but no other performer, upon what instrument
+soever, can be styled his equal: Kalkbrenner, Rode, Romberg, Moscheles,
+Jew and Gentile, are his inferiors by at least some thousand degrees;
+they are not fit, as we say in Germany, to _reach him water_. He is
+Mathews of the violin, performs a whole concert on a single string,
+where you are sure to hear, besides his own instrument, a harp, a
+guitar, and a flute. In one word, he is a necromancer, and bids fair
+to beat _la Giraffe_. We have here hats, shawls, gloves and nonsense
+of every description, _a la Giraffe_; but yesterday I actually
+ate _Auflaufy_--a very innocent, rather insipid sweetmeat--_a la
+Paganini_.... He has already performed twice to crowded houses in our
+great masquerade-hall. The beginning of the concert was, as usual,
+advertised for half-past eleven [in the morning]: at eleven o'clock not
+a pin dropping from the roof would have reached the ground; people were
+already there at nine o'clock. He came hither with six florins in his
+pocket; now you may style him a warm man. From Vienna he intends to
+proceed to Paris, and thence to London."[15]
+
+Here a brief digression is pardonable. The Pasha of Egypt, a short time
+before Paganini's visit, had presented to the Emperor of Austria a
+Giraffe, an animal then new to Europe. That interesting quadruped, a
+superb specimen of its kind, created such a sensation, and so completely
+absorbed public attention, that as seen in the letter just quoted,
+everything was _a la Giraffe_.[16] Paganini's phenomenal success gained
+him a popularity that quite eclipsed the poor Giraffe, and now the mode
+was _a la Paganini_. All kinds of articles were named after him; a good
+stroke at billiards was a _coup a la Paganini_; his bust in butter and
+crystallised sugar figured on every banquet table; and portraits, more
+or less faithful, adorned snuff-boxes, cigar-boxes, or were carved on
+the canes carried by the fops. Paganini himself went into a shop one day
+to buy gloves. "_A la Giraffe?_" asked the salesman. "No, no, some other
+animal," said the _maestro_, whereupon he was handed a pair _a la
+Paganini_! It is said that a certain driver, whom Paganini had once
+engaged, obtained permission to paint on his vehicle the words
+_Cabriolet de Paganini_, by which means he gained notoriety and enough
+money to set up as a hotel-keeper. Paganini was much sought after by the
+leaders of society and fashion; but Prince Metternich alone received the
+favour of a visit.
+
+It may be remembered that Franz Schubert gave his first, and as it
+turned out, his only concert, in the hall of the Musik-Verein, Vienna,
+on the 26th of March, three days before that of Paganini. Schubert
+cleared over L30--the first piece of luck that came to the poor
+composer. The money flowed freely; he paid his five Gulden (something
+over six shillings) to hear Paganini, and went a second time, not so
+much for his own sake, as to take his friend Bauernfeld,[17] who had not
+five farthings, while with him (Schubert) "money was as plentiful as
+black-berries." Generous, simple Schubert! Did he and Paganini ever
+meet? What a pair they would have made!
+
+Paganini's Vienna concerts were so successful that he increased the
+number from six to twelve. It is said that poor musicians actually sold
+their clothes to raise the needful in order to hear him; and that no
+halls were large enough to contain all who wished to attend his
+concerts. Paganini's last concert was given by express command of the
+Emperor of Austria, who honoured the occasion by his presence. Among
+other things, Paganini introduced the National hymn "God preserve the
+Emperor," which he performed with a truth and fervour of expression that
+seemed to impart a novelty even to so familiar a theme. He did some
+wonderful things on the G string, astonishing and delighting all
+present, especially rivetting the attention of the Emperor, who led the
+applause.
+
+The Court Gazette announced that His Majesty, as a testimony of his
+admiration, had sent Paganini a diploma, appointing him one of the
+Emperor's chamber musicians, and exempting him from the usual fees of
+office; this was accompanied by a splendid gold snuff-box set with
+brilliants. The chief magistrate of Vienna presented Paganini with the
+gold medal of San Salvador; and, to crown all, a medal was struck in
+Paganini's honour. This, the work of J. Lang, has on the face a portrait
+in relief of the violinist, with the inscription:--
+
+     NICOLAO PAGANINI VINDOBONA
+
+     MDCCCXXVIII.
+
+and on the back the words:--
+
+     PERITURIS SONIS NON PERITURA GLORIA.
+
+surrounding an open music book with the theme of the "Bell Rondo," upon
+which lies the famous Guarnerius wreathed with laurel. This was the
+city's parting gift to the great artist.
+
+These doings were too good to escape the notice of the caricaturist, and
+a two-act piece was produced at the _Theater an der Wien_, entitled "The
+Counterfeit Virtuoso; or, the Concerto on the G string," the music by
+Kapellmeister Franz Glaeser. The overture was ingeniously made up of the
+principal subjects of Paganini's concertos, ludicrously contrasted with
+counter subjects of a popular kind. Several of the _quodlibets_ were
+full of humour, and, with the _bon mots_ and anecdotes, tended to make
+it a very amusing production for the moment.
+
+It was at Vienna that the rumour spread abroad of Paganini being in
+league with the Devil, which accounted for his marvellous performances.
+The great violinist was much disturbed and annoyed by these calumnies,
+and had to appeal to the press for aid in refuting them. It may be that
+his estrangement from the world, his love of solitude, morose temper,
+and the avarice which displayed itself, all had their origin in the
+hostile attitude assumed by a section of the public during his foreign
+tours, for when in Italy Paganini seems to have lived much as others
+did. Paganini was accompanied by his companion Signora Bianchi, and the
+son born to them, when he visited Vienna.
+
+It was in May the little party left Vienna. The concerts had quite
+prostrated Paganini, and the family went to Carlsbad. After resting
+there some time Paganini departed for Prague, but an abscess in the face
+kept him a prisoner for three weeks. Here is a contemporary account
+which is interesting. Paganini was obliged to place himself under the
+care of two celebrated medical men, Krumblholz and Nusshardt, and they
+were the only visitors he received during his lonely residence up three
+pair of stairs. After a successful operation on the jaw-bone, one of his
+physicians expressed a desire which was cherished in vain by the whole
+city--that of hearing some notes from the hitherto silent instrument of
+the great master; and he entreated him to try if he could rest his
+violin on his hardly healed chin. Paganini confirmed what has long been
+said, that even before friends he was very niggardly in the display of
+his talents. He took his instrument, played one stroke with his bow, and
+said, "_Es geht schon_" (that will do). "For eight days before the first
+concert," continues the writer, "every place was engaged. When I reached
+the theatre at four o'clock in the afternoon, it appeared as if the
+house was about to be stormed, so great was the throng on the outside.
+Many magistrates and people of the first rank were amongst the crowd,
+and shared my anxious expectation. At last I found myself, I scarcely
+know how, in the pit, and there awaited for two hours and a half the
+opening of the concert." The writer then goes on to describe the
+violinist, his appearance, his smile that made everyone shudder, and the
+extraordinary performance which roused the audience to the wildest
+enthusiasm. He then quotes the saying of a Vienna critic: "Paganini has
+nothing in common with other players but the violin and the bow," and
+regrets that his friend will not for some time have the opportunity of
+hearing the superb performer, for he learns that Paganini does not yet
+intend to visit Paris or London.[18]
+
+[Illustration: _Plate V.--See Appendix._
+
+FROM A CONTEMPORARY GERMAN PICTURE.]
+
+Paganini's first concert only was well attended. There was then a
+reaction. Some attributed the falling off to the high prices charged for
+admission, but there was, in fact, a traditional hostility in art
+matters between Prague and Vienna; that which was praised in Vienna must
+be condemned in Prague, and what was approved in Prague must not be
+tolerated in Vienna. It was at Prague that Paganini actually published
+this letter from his mother as proof that he was not the son of the
+devil!
+
+     DEAREST SON,--At last, after seven months have elapsed since I
+     wrote to you at Milan, I had the happiness of receiving your letter
+     of the 9th current, through the intermediary of Signor Agnino, and
+     was much rejoiced to find that you were in the enjoyment of good
+     health. I am also delighted to find that, after your travels to
+     Paris and London, you purpose visiting Genoa expressly to embrace
+     me. I assure you, my prayers are daily offered up to the Most High,
+     that my health may be sustained, also yours, so that my desire may
+     be realised.
+
+     My dream has been fulfilled, and that which God promised me has
+     been accomplished. Your name is great, and art, with the help of
+     God, has placed you in a position of independence. Beloved,
+     esteemed by your fellow citizens, you will find in my bosom and
+     those of your friends, that repose which your health demands.
+
+     The portraits which accompanied your letter have given me great
+     pleasure. I had seen in the papers all the accounts you give me of
+     yourself. You may imagine, as your mother, what an infinite source
+     of joy it was to me. Dear son, I entreat you to continue to inform
+     me of all that concerns you, for with this assurance I shall feel
+     that it will prolong my days, and be convinced that I shall still
+     have the happiness of embracing you.
+
+     We are all well. In the name of your relations, I thank you for the
+     sums of money you have sent. Omit nothing that will render your
+     name immortal. Eschew the vices of great cities, remembering that
+     you have a mother who loves you affectionately, and whose fondest
+     aspirations are your health and happiness. She will never cease her
+     supplications to the All-powerful for your preservation.
+
+     Embrace your amiable companion for me, and kiss little Achille.
+     Love me as I love you.
+
+     Your ever affectionate mother,
+     _21st July, 1828_.      TERESA PAGANINI.
+
+From Prague, Paganini went to Berlin, where he remained four months. He
+was received with the utmost enthusiasm, and on the evening of his first
+concert he exclaimed: "I have found my Vienna public again." Wherever
+Paganini stayed for any length of time it suddenly became the fashion to
+learn to play the violin; and the fair members of the aristocratic
+families were among the most eager to become pupils of the famous man.
+Paganini made a great deal of money in Berlin. The critics were divided
+in opinion as to his merits; but Rellstab, whom Schumann once called
+"Wretched Berlinese reviewer," was favourably impressed. Paganini is
+said to have received a challenge from Baron Sigismond von Praun, to a
+public contest for supremacy in performance, but as the would-be
+opponent was a youth of seventeen, Paganini disdained him. Perhaps he
+thought of his own presumption in his young days!
+
+Paganini's tour was one continual triumphal progress. At Koenigsberg his
+first concert realised about L330, an unprecedented sum in that place;
+at Frankfort his four concerts produced something like L1,000. A critic
+wrote of him: "One striking peculiarity of his playing is the
+extraordinary effect it produces on persons wholly devoid of musical
+cultivation. Most _virtuosi_ play only for the learned; not so
+Paganini. His performance is alike appreciated by men of business and
+connoisseurs, by children and grown persons--it is felt and understood
+by all. This is the distinctive characteristic of all that is great in
+art."
+
+He was at Leipzig in 1829, and was among the visitors at the house of
+Abraham Mendelssohn--the pleasant garden-house in the Leipziger
+Strasse--and his portrait figures in Hensel's collection. In June, 1830,
+Paganini was in Cassel, when Spohr heard him for the first time--of
+which more later. In Hamburg the same year Heine heard him, and his
+vivid and extraordinary notice of the artist must be briefly quoted. "I
+believe," said Heine, "that only one man has succeeded in putting
+Paganini's true physiognomy upon paper--a deaf painter, Lyser by name,
+who in a frenzy full of genius has with a few strokes of chalk so well
+hit the great violinist's head that one is at the same time amused and
+terrified at the truth of the drawing. 'The devil guided my hand,' the
+deaf painter said to me, chuckling mysteriously, and nodding his head
+with a good-natured irony in the way he generally accompanied his genial
+witticisms.... The Hamburg Opera House was the scene of this concert,
+and the art-loving public had flocked there so early, and in such
+numbers, that I only just succeeded in obtaining a little place in the
+orchestra." Then he goes on to describe the audience and the entrance of
+Paganini. "Is that a man brought into the arena at the moment of death,
+like a dying gladiator, to delight the public with his convulsions? Or
+is it one risen from the dead, a vampire with a violin, who, if not the
+blood out of our hearts, at any rate sucks the gold out of our pockets?
+Such questions crossed our minds while Paganini was performing his
+strange bows, but all those thoughts were at once still when the
+wonderful master placed his violin under his chin and began to play. As
+for me, you already know my musical second-sight, my gift of seeing at
+each tone a figure equivalent to the sound, and so Paganini with each
+stroke of his bow brought visible forms and situations before my eyes;
+he told me in melodious hieroglyphics all kinds of brilliant tales; he,
+as it were, made a magic lantern play its coloured antics before me, he
+himself being chief actor.... A holy, ineffable ardour dwelt in the
+sounds, which often trembled, scarce audibly, in mysterious whisper on
+the water, then swelled out again with a shuddering sweetness, like a
+bugle's notes heard by moonlight, and then finally poured forth in
+unrestrained jubilee, as if a thousand bards had struck their harps and
+raised their voices in a song of victory." Thus, a poet on a poet in
+tones.
+
+In 1829 Paganini was in Warsaw, and Chopin was among those who heard
+him. As he was leaving, in July, he was stopped some distance from the
+city by a numerous company who had met together in a garden. They drank
+the health of the artist, and Joseph Xaver Elsner, Director of the
+Conservatoire, handed him a costly snuff box, bearing this inscription:
+"Al Cavaliere Nicolo Paganini, gli ammiratori del suo talento, Varsovia
+19 Luglio 1829." Paganini pressed it to his lips, speechless with
+surprise, and affected almost to tears. At Munich he gave three concerts
+in November of the same year; and at the close of the last _soiree_ the
+artist was crowned by Stunz, the Kapellmeister, while thousands of
+laudatory poems were showered from different parts of the hall. At
+Stuttgart, the King of Wuertemberg presented him with 100 _louis d'or_,
+and it is said that before leaving Germany Paganini sent over L6,000 to
+the Bank of England for safe custody, a proceeding which showed his good
+sense, and perhaps revealed a mistrust of his continental friends.
+
+Paganini's tours, extending over three years, embraced Bohemia, Poland,
+Saxony, Bavaria, Prussia, and the Rhine provinces. Many more details
+might be given, but they are really needless: it was always the same
+story of the artist's success, excepting, indeed, at Augsburg, where the
+criticisms were adverse, as at Prague. An anecdote may fitly close the
+narration of Paganini's long stay in Germany, as it reveals an
+interesting trait in the character of the peasantry. Paganini, in the
+autumn of 1829, was summoned to appear before the Queen Dowager of
+Bavaria, at the Castle of Tegernsee, a magnificent residence of the
+Kings of Bavaria, situated on the banks of a lake of the same name. At
+the moment the concert was about to begin, a great bustle was heard
+outside. The Queen, having enquired the cause, was informed that about
+sixty of the neighbouring peasantry, having been told of the arrival of
+the famous Italian violinist, were come with the hope of hearing some of
+his notes, and requested that the windows should be opened, in order
+that they also might enjoy his talent. The Queen went beyond their
+wishes, and with truly Royal good-nature, gave orders that they should
+all be admitted into the saloon, where she had the pleasure of remarking
+their discernment, and the judicious manner in which they applauded the
+most striking parts of the distinguished artist's performance.
+
+Frankfort seems to have been a favourite stopping place with Paganini,
+and from there, at last, he quitted the fatherland, and arrived at
+Strasburg, where he gave two concerts, and thence proceeded direct to
+Paris.
+
+It has to be observed that France had just been through another
+Revolution, and the turmoil, social and political, had not subsided. To
+a populace seething in this fevered atmosphere anything by way of
+diversion would be welcome. The man of the hour was Paganini, for in a
+sense he combined within himself the surrounding elements and
+influences. At the moment the public was just in the mood for Paganini,
+and the artist met the craving for excitement. He gave his first concert
+in the Opera House on March 9th, 1831, and notwithstanding that the
+prices of admission were tripled, the house was crammed. It would be
+impossible, says Fetis, to describe the enthusiasm with which the
+audience were seized when listening to the extraordinary artist, an
+enthusiasm approaching delirium, frenzy. Paganini's Studies had long
+been known to Parisian violinists, but they remained enigmas impossible
+of solution. At his third concert, March 25th, Paganini introduced a new
+concerto, in D minor, which, like so much of his music, is lost. In
+Paris the infamous persecution of the artist seems to have reached its
+climax. Fetis states that Paris was above all places hostile to
+Paganini, although that city had contributed more than any other place
+to the _eclat_ of his success. His portrait was on every wall, and
+exhibited in the windows of print shops. Paganini himself stopped to
+look at one representing him in prison; and while scanning it with
+some amusement, found he was being surrounded by a crowd who were
+scrutinising him with close interest, evidently comparing his features
+with those of the lithograph. This was too much, and Paganini sought his
+friend Fetis, and confided to him his troubles, seeking his aid for
+their amelioration. Fetis requested Paganini to supply him with
+particulars, and then indited a long epistle, which, signed by Paganini,
+appeared in the _Revue Musicale_. Quotation may be deferred until the
+narration of Paganini's public career is completed, and a more detailed
+consideration of the character of the man and the artist is entered
+upon.
+
+One incident that occurred during Paganini's visit to Paris may be
+related. The officers of the different legions of the National Guard
+combined to organise a grand ball to be held in the Opera House for the
+benefit of the poor. They thought it would add greatly to the
+attractions of the function if they could prevail upon Paganini to
+attend and play a few pieces. To ask for violin solos in a place
+prepared for a ball, and among an assemblage met for dancing, argued a
+very curious taste, or want of it. Paganini owed it to his dignity as an
+artist to refuse the invitation, which he did. For this he was bitterly
+assailed by a section of the press, and was compelled to publish a
+letter justifying himself.[19] He explained that he had already given up
+the Opera House, which was at his disposal, for the preparations for the
+ball, and that involved the loss of receipts for one concert--from
+15,000 to 20,000 francs. He added that in Berlin, Vienna, and all the
+towns where he had continued any time, he made it a duty to perform for
+the benefit of the unfortunate; and he certainly should not leave Paris
+without devoting the proceeds of one of his _soirees_ to the relief of
+the poor of that capital. He kept his word; gave the promised concert,
+and the poor profited by a refusal that was attributed to him as a
+crime.
+
+Berlioz, then in Italy--he had just won the Grand Prix de Rome--passing
+through a crisis in his life, stayed a few days in Genoa. In his
+autobiography he wrote: "All Paris was raving about Paganini, while I,
+with my usual luck, was kicking my heels in his native town instead of
+listening to him. I tried to gather some information about their
+distinguished townsman from the Genoese, but found that, like other
+people engaged in commerce, they cared little for the fine arts, and
+spoke quite indifferently of the genius whom Germany, France and England
+had received with open arms. They could not even show me his father's
+house." So quickly and easily can one be forgotten! England had not yet
+received Paganini, but it was many years after this time that Berlioz
+penned his autobiography.
+
+Liszt, in Paris, his first dream of love cruelly dispelled, shunned the
+world and buried himself in seclusion. For the time the artist within
+him was dead, and his thoughts turned to the priesthood. The revolution
+of 1830 awoke him. The Magyar blood was aroused, and sympathising with
+the people's struggles Liszt planned a _Symphonie revolutionnaire_. But
+it was Paganini who, the next year, touched Liszt as it were with a
+magic wand, and gave the direction to the genius and energy of the young
+artist. Of this more in its proper place. Early in May, 1831, Paganini
+left Paris for London.
+
+FOOTNOTES:
+
+[13] Where Beethoven gave his concerts in 1814.
+
+[14] The writer's memory played him false. The meeting with Lafont took
+place in 1816; or, according to some, in 1812!
+
+[15] This letter was reproduced in the "Harmonicon."
+
+[16] Lady Morgan, in her book, "France in 1829-30," gives an account of
+the Giraffe just then arrived in Paris. The animal was added to the
+collection in the London Zoological Gardens in 1836.
+
+[17] Litterateur, of Vienna: writer of comedies, etc.
+
+[18] This letter was published in _The Quarterly Musical Magazine and
+Review_.
+
+[19] Addressed to _Le Corsaire_, and reproduced (in English) in _The
+Globe_.
+
+
+
+
+CHAPTER V.
+
+
+Fetis stated that Paganini's visit to London excited the most lively
+curiosity, but did not awake that intelligent interest which welcomed
+him in the Capital of France. This does not sound complimentary to
+London, but perhaps Fetis read some of the introductory comments of the
+press when Paganini was about to reach our shores. This is a specimen:
+"We shall talk of Paganini very much till he comes. When he arrives
+nobody will speak or think of anything else for nine, perhaps eighteen,
+days: he will be everywhere: all other violinists will be utterly
+forgotten: it will be agreed that the instrument was never before heard;
+that his predecessors were all tyros; all other fiddles mere kits. There
+will be Paganini rondos and waltzes; variations, long, short, hard,
+easy, all _a la Paganini_. We shall have Paganini hats, caps, etc., and
+the hair of all the beaux patronised by beauty, will be after his
+curious pattern. His influence will extend to our tables, and there will
+be Paganini puffs served up daily. Then, all at once, his very name will
+cease to be pronounced by persons of _ton_; and, as a matter of course,
+people not of _ton_--not of the Devonshire circle, not of Almack's--will
+imitate those who are: and the Italian player, like the penultimate
+fashion, will be utterly forgotten!--_in good society_. I will
+even allow him to flourish here two whole months, provided no new
+chin-chopper[20] arrive in the interim, no _danseuse_ with a miraculous
+toe, to contest the supremacy of his wonderful bow: should any such
+rival enter the lists with him, his glory will set in less than a moon,
+and never blaze again above our fashionable horizon."[21]
+
+[Illustration: _Plate VI.--See Appendix._--TITLE-PAGE OF COMIC SONG,
+1831.]
+
+Here is another from _The Examiner_:--"There cannot be a more
+inoffensive creature. His sole propensity is to gain money by his art,
+and his passion to lose it at the gambling table. Paganini's bow
+(_Scottice_, boo) is almost as wonderful as his bow (_Anglice_,
+fiddle-stick)--the craw-fish would attempt something like it were he on
+the stage, but not so well."
+
+Well, we've improved in manners somewhat since 1831. No respectable
+paper would publish now such notices in advance of any distinguished
+artist, however eccentric he might be. Paganini duly arrived in London
+in May, 1831. His first concert was announced for the 21st in this
+manner:
+
+     THE KING'S THEATRE.
+
+     SIGNOR PAGANINI respectfully informs the Nobility, Subscribers, and
+     Frequenters of the Opera, and the public, that he will give a
+     GRAND MISCELLANEOUS CONCERT of VOCAL and INSTRUMEMTAL MUSIC, at
+     this theatre, TO-MORROW EVENING.
+
+     _Prices of Boxes_:--Pit Tier, 8 Guineas; Grand Tier, 10 Guineas;
+     One Pair, 9 Guineas; Two Pair, 6 Guineas; Three Pair, 4 Guineas;
+     Stalls, 2 Guineas; Orchestra, 1-1/2 Guineas; Admission to the Pit,
+     1 Guinea; Ditto to the Gallery, Half a Guinea.
+
+This announcement produced a storm of indignation. Articles appeared in
+_The Times_, _The Courier_, _The Observer_, _The Chronicle_, and
+correspondence of a heated character was carried on. The editor of _The
+Harmonicon_, calculated that a full house at the prices would realise
+more than 3,000 guineas, and M. Laporte, the manager of the King's
+Theatre, was virtually accused of conspiring to rob the public. It must
+be explained that Laporte "farmed" Paganini; and as the latter
+invariably doubled the ordinary prices of admission, his impressario
+naturally desired to share in the golden harvest. Laporte wrote to _The
+Times_ a hurried note on May 19th, at eleven p.m., stating that at some
+future time he would refute the charges brought against him; and the
+next day a letter from Paganini to Laporte, and advertised in the
+newspaper, gave pause to the wordy warfare. It was as follows:--
+
+
+     Sir,                 _Friday_, 29th May.
+
+     Finding myself too unwell, I request you will respectfully inform
+     the public that the Concert announced for to-morrow will not take
+     place.
+
+         Your obedient Servant,
+     To M. Laporte.        NICOLO PAGANINI.
+
+Paganini was in a wretched state of health when he reached London, and
+his condition was not improved by the turmoil his announcement had
+created. The terms of his contract with Laporte were published in _The
+Observer_, and it was shown that Paganini had practically surrendered
+his freedom of action. This may be illustrated by a story that I have
+not met with in any English publication, though it may be true all the
+same. It is from the notice of Paganini in Mendel's "Musikalisches
+Conversations-Lexikon." His Majesty William IV. sent to enquire what
+honorarium Paganini required to play at the Court. Paganini answered:
+L100, a mere bagatelle. As the messenger tendered him one half that sum,
+Paganini haughtily replied, "His Majesty can hear me at a much cheaper
+rate if he will attend my concert. But my terms are not left for me to
+settle."
+
+The concert postponed from May 21st was then announced for June 3rd, but
+the question of the high prices had yet to be disposed of. Conflicting
+statements were made--one to the effect that Paganini expressed his
+regret that they had not been fixed still higher! Be that as it may,
+that was not the time to trifle with an angry public. There was not a
+moment to be lost, and some one must give way. The matter was soon
+decided. On June 2nd, appeared in _The Courier_ and _The Globe_ the
+translation of a letter from Paganini, which may be reproduced for the
+sake of its contents:
+
+     "The time appointed for my first Concert at the King's Theatre so
+     nearly approaches, that I feel it my duty to announce it myself,
+     and to claim the favour of the English nation, which honours the
+     arts as much as I respect her. Having been accustomed in all the
+     towns of the Continent to double the usual prices at the theatres
+     where I have given my Concerts, and, but little acquainted with the
+     customs of this Capital, where I present myself for the first time,
+     I thought I might do the same here. But having been informed by
+     several papers that the existing prices here are higher than those
+     on the Continent, and having myself ascertained that the statement
+     was correct, I willingly second the wish of a public whose esteem
+     and protection I desire as my greatest recompense.
+
+    (Signed)       NICOLO PAGANINI.
+    London, June 1st, 1831."
+
+At last the concert took place in the King's Theatre, June 3rd, 1831.
+There was an orchestra erected on the stage. Many musicians have left a
+record of the extraordinary impression made by Paganini on that
+occasion, and have attempted to describe the man. In the present place
+quotation may be limited to the remarks of the editor of _The
+Harmonicon_, William Ayrton, a cultivated musician, and a sober-minded
+critic. He wrote thus: "The long, laboured, reiterated articles relative
+to Paganini, in all the foreign journals for years past, have spoken of
+his powers as so astonishing, that we were quite prepared to find them
+fall far short of report; but his performances at his first concert, on
+the 3rd of last month, convinced us that it is possible to exceed the
+most sanguine expectation, and to surpass what the most eulogistic
+writers have asserted. We speak, however, let it be understood, in
+reference to his powers of execution solely. These are little less
+than marvellous, and such as we could only have believed on the evidence
+of our own senses; they imply a strong natural propensity to music, with
+an industry, a perseverance, a devotedness, and also a skill in
+inventing means, without any parallel in the history of his instrument."
+
+[Illustration: _Plate VII.--See Appendix._
+
+SKETCH BY D. MACLISE, R.A.]
+
+So far, the musician. The critics on the press may also have been
+musicians, though at that time it was not usual to have a musical
+department, if such a term may pass, in the daily or weekly papers. _The
+Athenaeum_, in its notice, does not reveal the polished style of a
+high-class literary journal. This is how it deals with the concert:--"At
+length all differences have been arranged, and the _mighty wonder_ has
+come forth--a very Zamiel in appearance, and certainly a very devil in
+performance! He is, beyond rivalry, the _bow_ ideal of fiddling faculty!
+He possesses a demon-like influence over his instrument, and makes it
+utter sounds almost superhuman.... The arrival of this magician is quite
+enough to make the greater part of the fiddling tribe commit suicide."
+
+And now let us turn to the concert itself. The fashionable world did not
+rush to the theatre, and only two boxes were let. The stalls and
+orchestra were full, and also the pit, but not crowded. The audience
+consisted in great part of musicians; and even those engaged in the
+orchestra were listeners for the first time, as Paganini at rehearsal
+only played such passages as served for "cues," and in nowise revealed
+his powers.
+
+The object of a great _virtuoso_ would naturally be an exhibition of his
+own talent, but Paganini was not prodigal of his playing at the first
+concert. He had engaged the orchestra of the Philharmonic Society, then
+probably the finest in Europe, and his programme opened with Beethoven's
+Symphony, No. 2, in D. It will be shown later that Paganini had a great
+veneration for Beethoven. Then Signor Lablache was the solo vocalist, so
+Paganini was in the best of company. His first piece was the Concerto in
+E flat[22], and his second solo the Military Sonata for the G string,
+the theme being Mozart's "Non piu andrai." The receipts were L700.
+Paganini had a most flattering reception, and his performances were
+greeted with acclamations, and waving of hats and handkerchiefs. The
+members of the orchestra were astounded. Mori avowed that if he could
+not sell, he would at least burn, his fiddle; Lindley, who stammered
+terribly, said that "it was the d-d-devil"; and Dragonetti (whose "he's
+were she's") growled out, "She's mighty esprit!" Cramer thanked heaven
+that he was not a violinist. A striking feature of Paganini's
+performance was his playing from memory. The _Athenaeum_ remarked, "He
+plays without a reading desk or book stand; this gives an air of
+_improvising_ to his performance, which we hope to see imitated, if any
+one be found hardy enough to undertake a violin solo for the next seven
+years." No violinist would venture to play a concerto now with the music
+before him, but he may not be aware that it was Paganini who set the
+fashion of playing without book.
+
+The public now forgot all about the trouble of the high prices, and the
+second concert, given in the same place on the 10th, was so well
+attended that the receipts were about L1,200. On this occasion Paganini
+played his Concerto in B minor, and Lablache struck the little silver
+bell in the Rondo. He also gave his variations on "The Carnival of
+Venice," and a Sonata on the fourth string, in which the Prayer from
+_Mose in Egitto_ was introduced. The third concert took place on the
+13th, when Paganini brought out another new Concerto. Something like
+L900 was realised. At the fourth concert, on the 16th, Paganini played a
+_Cantabile_ on two strings, a _Rondo Scherzoso_, by Rodolphe Kreutzer--a
+detail to be noticed,--a _Larghetto gajo_, the Military Sonata, and the
+variations on "Non piu mesta," from Rossini's _La Cenerentola_. The
+fifth and last Concert was on the 22nd, when the house was crowded to
+excess, and the enthusiasm greater than ever.
+
+But Paganini, or his astute manager, began to presume a little too much
+on the good nature of the public. Parting was "such sweet sorrow," that,
+like another Juliet, Paganini was inclined to prolong that process as
+long as possible. Final concerts succeeded each other--much like the
+"Farewells" of popular singers--until the audiences began to dwindle. At
+one, at the King's Theatre on July 4th, Paganini played a new Concerto
+in E major, "all expression and grace," and by far the best proof given
+of his talent since his arrival in London. Paganini gave two concerts at
+the London Tavern in July. The first was well attended, but at the
+second there was no orchestra. The concert was a failure--"and no
+wonder, for the Signor tried an experiment on the forbearance of the
+citizens, and actually took only a pianist and one or two second-rate
+singers with him to make up a half-guinea concert! This was too much
+even for John Bull to submit to."[23]
+
+What a curious side-light this shows upon concert matters in the first
+half of the nineteenth century! Now-a-days the "experiment" is for the
+_virtuoso_ to engage an orchestra.[24]
+
+Paganini played at some of the benefit concerts during the season,
+taking one-third of the gross receipts. There was evidently ill-feeling
+on this point, for Lablache and Rubini now refused to sing where
+Paganini played. It was said, even, that the leader of his orchestra had
+to sue Paganini for recovery of his fees, but the artist in question,
+Spagnoletti, put the matter right by publicly stating that his action
+was against M. Laporte, and that against Signor Paganini he had never
+had the slightest cause of complaint. Time was found for a few
+provincial visits. In July Paganini gave two concerts at Cheltenham, and
+there he got into trouble. It was announced that his engagements would
+not permit his remaining beyond the second day. His concerts were well
+supported, and one of the Subscription Balls, at the Rotunda, was
+relinquished in order that no hindrance should stand in the way of
+those desirous of hearing the violinist. But when it was given out that
+Paganini would give a third performance, there was a disturbance. Some
+leading residents had a handbill printed calling upon the "nobility and
+gentry" to support the established amusements of the town, by
+patronizing the Ball, if only as an act of justice to the proprietor.
+The effect was to secure a thronged attendance at the Rotunda, and so
+poor an assemblage at the theatre, that Paganini refused to perform. Of
+course the manager had to communicate this unpleasant piece of
+information to the audience, at the same time offering to return the
+admission money; but the people were in no pacific frame of mind, and
+they marched straightway to the hotel where Paganini was staying, and
+demanded the fulfilment of his engagement. A mob soon collected, and
+their demeanour became so threatening that there was nothing left but
+compliance with their demand. Paganini went to the theatre, played two
+of his most favourite pieces with great success, and at midnight posted
+off for London. It appeared that he had agreed to perform for two-thirds
+of the receipts, but finding the house not half full, demanded two
+hundred guineas in advance. This the local manager refused, and informed
+the audience of the fact; and the outbreak was the natural result. The
+local paper remarked: "We believe this is the only instance as yet upon
+record of Paganini's playing to empty benches, and himself unpaid."
+Paganini addressed a letter to the _Times_, giving another version of
+the incident, but he did not appear to have come out of the affair very
+well. His manager's share in the business may be left to conjecture.
+
+One other little circumstance seems to have caused a certain amount of
+irritation. Paganini was engaged for the Lord Mayor's banquet at the
+Mansion House on July 9th. When the Lord Mayor proposed the toast of the
+Lord Chancellor, before Lord Brougham's rising to return thanks,
+Paganini played a solo. He evidently displaced the usual glee party, but
+in any case it was not the most artistic function to assist at, and
+money must have been the chief consideration.
+
+Paganini carried his London concerts into August, and visited Norwich,
+where again a third performance took place when only two were announced.
+The local manager was a heavy loser, as Paganini (or his agent) had
+arranged for a specific sum, and there was very little in excess for the
+payment of vocalists, and general expenses. There was also a clashing
+with an important fixture at the theatre, and feeling ran high, though
+there was no violent demonstration as at Cheltenham. Towards the end of
+August, Paganini set out for Dublin, being engaged for the first Musical
+Festival held in that city.
+
+[Illustration: _Plate VIII.--See Appendix._
+
+THE CELEBRATED STATUETTE (CARICATURE), BY DAINTON.]
+
+FOOTNOTES:
+
+[20] An allusion to Michael Boai, whose performances in London, in 1830,
+were of a curious description,--producing tones by merely striking his
+chin!
+
+[21] The Dilettante, in _The Harmonicon_, VIII, 479.
+
+[22] Now played in D.
+
+[23] Harmonicon, IX. p. 190.
+
+[24] At that time concert givers always engaged an orchestra, but the
+gigantic combinations of the present day were, of course, unknown, and
+unnecessary.
+
+
+
+
+CHAPTER VI.
+
+
+Dublin held her first Musical Festival from August 30th to September
+3rd, 1831, and in connection with this event, it is interesting to note,
+Henry Fothergill Chorley contributed his first musical criticism to the
+_Athenaeum_.[25] There was very little about Paganini, but much about the
+oratorio, "The Triumph of Faith," of Ferdinand Ries. It may be observed,
+in passing, that in the first half of the nineteenth century musical
+festivals were more numerous than they are now--there were five in 1831.
+With the exception of those given in York Minster (1823-1835), they were
+not on the large scale of the principal present day celebrations; but
+they were relatively of more importance, inasmuch as there were then
+fewer musical centres beyond the metropolis, and small towns would have
+had little music but for those periodic gatherings.
+
+Dublin's scheme was ambitious; for Paganini's fees for the three evening
+concerts was 500 guineas. Braham and Henry Phillips were among the
+vocalists engaged, and the latter, in his "Musical Recollections," gives
+a very interesting and amusing account of Paganini at the festival. No
+one seemed to know how Paganini arrived in Dublin, which gave rise to a
+vague idea that he was wafted across by the _Flying Dutchman_. Where he
+lodged was equally a mystery. He arrived at the stage door of the
+Theatre Royal on the evening of the first concert, and immediately
+ordered an apartment to be got ready, and the room to be perfectly
+darkened. There he paced up and down, playing snatches of his music
+until the time for his _debut_ before a Dublin audience.
+
+The Theatre was crammed to suffocation. The Lord Lieutenant and his
+Suite attended in State, and all the _elite_ of Dublin were in the dress
+tier. When the Conductor, Sir George Smart, led Paganini to the centre
+of the stage there was a terrific outburst of applause, followed by
+breathless silence, as the great artist went through his deliberate
+process of adjusting his violin, raising his bow, and letting it rest
+upon the strings before commencing. This was too trying to the mercurial
+temperament of the occupants of the gallery, and before many seconds
+there was a stentorian shout, "Well! we're all ready!" The house was
+convulsed with laughter, peal after peal rang through the theatre.
+Paganini, stamping with rage, turned to Sir George Smart, and cried,
+"_Qu'est ce que c'est?_" The explanation seemed to make matters worse,
+and Paganini left the orchestra. Some time elapsed before he could be
+induced to return; but when he did so, and began to play, he created the
+same effect as elsewhere. The next day everybody was exclaiming: "Ah!
+sure, have you heard the Paganini; och murther! and his fiddle?" Such
+is the account Henry Phillips gives, but it is not easy to attach
+credence to all he has put in his book.
+
+At one of the concerts Paganini played the concerto in B minor, with the
+Rondo _a la clochette_, when an excited Hibernian shouted above the
+storm of applause, "Arrah now, Signor Paganini, have a drop of whiskey,
+darling, and ring the bell again!" Paganini's departure from Dublin was
+as mysterious as his arrival. On his return to London he failed to
+attract much attention, and seems to have been mostly on tour in the
+provinces and in Scotland. One incident in London was so singular that
+it deserves mention. Carlyle was supposed to have taken a walk with
+Paganini. Fancy "the Sage of Chelsea" in company with "the magician of
+the bow"! Thomas Carlyle was in London in 1831 vainly negotiating for
+the publication of "Sartor Resartus." One day his friend, Edward Irving,
+took him to Belgrave Square to dine with Henry Drummond. They walked
+along Piccadilly, thronged with fashionable promenaders; and as both men
+were of pecular personal appearance, they doubtless attracted some
+attention. This is what Carlyle subsequently wrote:--"Irving, I heard
+afterward, was judged, from the broad hat, brown skin, and flowing black
+hair, to be in all probability the one-string fiddler, Paganini--a tall,
+lean, taciturn abstruse-looking figure--who was then, after his sort,
+astonishing the idle of mankind."[26] Carlyle has said many true, and
+many beautiful things about music, but one may search his writings in
+vain for a good word about musicians!
+
+In December of this year (1831) Paganini was announced to play in
+Bristol. The following "squib" or lampoon was issued:--
+
+     PAGANINI.
+
+     TO THE CITIZENS OF BRISTOL.
+
+     FELLOW CITIZENS,--It is with feelings of unqualified disgust that I
+     witness the announcement of SIGNOR PAGANINI'S Performance to take
+     place in this City: Why at this period of Distress? With the
+     recollection of so many scenes of misery still fresh in our minds,
+     and whilst SUBSCRIPTIONS are required to the extent of our means in
+     order to FEED and CLOTHE the POOR: why is this FOREIGN FIDDLER now
+     to appear? for the purpose of draining those resources which would
+     be infinitely better applied in the exercise of the best feeling of
+     man--CHARITY. Do not suffer yourselves to be imposed upon by the
+     Payment of Charges which are well worthy the name of extortion;
+     rather suffer under the imputation of a want of TASTE than support
+     any of the tribe of Foreign MUSIC-MONSTERS, who collect the Cash of
+     this Country and waft it to their own shores, laughing at the
+     infatuation of John Bull.
+
+     _December 10th, 1831._      PHILADELPHUS.
+
+     A. SAINT. TYP. CASTLE PRINTING OFFICE, 54, Castle Street, Bristol.
+
+Paganini's concerts at Leeds, early in 1832, were so well managed that,
+out of the profits, a liberal donation was presented to the fund for the
+relief of the poor. At Birmingham, in February of that year, his visit
+caused such an influx of strangers to the town, that neither lodgings
+nor stabling could meet the demand made upon them. A popular song was
+written for the occasion, and the streets rang with it long after the
+violinist had left the place. Two lines ran thus:--
+
+     "It's well worth a guinea to see Paganini,
+     To see how he curls his hair."
+
+At Brighton some time earlier, the high prices were nearly causing a
+riot, through the issue of an inflammatory placard against them. Mr.
+William Gutteridge, a well-known musician of that place, who had
+arranged for the concerts, had to ask the protection of the magistrates,
+but fortunately no outbreak occurred. The squabbles about prices, the
+charges of avarice brought against Paganini, and the acrimonious tone of
+part of the press, afford melancholy reading. His gains were said to
+reach L20,000. In March, 1832, he left London for Paris. There, he gave
+a concert for the poor on March 18th. He did not stay very long in
+France, and on his way again to this country, occurred the incident
+referred to as one of the indignities to which he was subjected. This is
+the story.
+
+Paganini having to pass through Boulogne on his way to England, decided
+to give a concert in that town, which boasted of a Philharmonic Society.
+Paganini deputed a friend to arrange for that Society to assist at the
+concert.
+
+All seemed going well until Paganini arrived on the scene, when the
+amateurs stipulated for a certain number of free admissions for their
+friends and families, as a recognition for their assistance. Paganini
+represented to them that in a small concert room so many free admissions
+would leave little room for the paying public, and he could not accede
+to their demand. However, they would not give way, so Paganini declared
+his intention to engage a professional band. This did not suit the views
+of the amateurs, and they threatened the professional players with the
+loss of patronage and pupils if they dared assist Paganini; and the
+unfortunate artists, dependent as they were upon that support, had to
+refuse the offer made them. But Paganini was not to be baffled; he
+determined to give the concert, and to perform without any accompaniment
+at all. This he did; and now came the ludicrous sequel. A number of
+those amateurs actually paid for admission to the concert, on purpose to
+hiss the independent artist. This they did as soon as he entered the
+concert-room. Despising such petty spite, Paganini entrusted his revenge
+to his art, and the rapturous plaudits of the audience proper soon
+reduced to a pitiable silence those who had offered so gross an insult.
+As a writer said at the time: "The amateurs of Boulogne have earned for
+themselves a niche in the history of the art--they have _hissed_
+Paganini."
+
+To digress, for a moment. Paganini's performance, solus, was a recital
+pure and simple; perhaps the first ever given in a concert room. In
+Grove's "Dictionary of Music and Musicians" there is this definition:
+"Recital, a term which has come into use in England to signify a
+performance of solo music by one instrument and one performer." It was
+probably first used by Liszt, in 1840, when he advertised his
+performances as "Recitals." The first was given at the Hanover
+Square Rooms, on June 9th, and was called by the _Musical World_ a
+curious exhibition. The "one man show," as the recital has been
+irreverently termed, may not conduce to the highest interest of art,
+but Paganini--not Liszt--was its inventor.
+
+[Illustration: PLATE 9. (_See Appendix._)]
+
+Paganini made his _rentree_ at Covent Garden Theatre on July 6th, but he
+did not appear to have played anything new. Neither did he attract much
+attention, and little need be said respecting his visit. He was back
+again in London in 1833, but was out of favour, and was advised to
+postpone his concerts until the public anger, caused by his refusal to
+play for the distressed English actors in Paris, had subsided. His first
+concert was given in the King's Theatre, on June 21st, when apparently
+he played nothing new, and had but a small audience. The press in
+general appeared to be hostile--the _Athenaeum_ did not notice him at
+all--and it is probable that his stay was not prolonged. He was in Paris
+later in the year, and was present at the concert given by Berlioz on
+the 22nd of December, when he heard the _Symphonie Fantastique_, and was
+so impressed that he wished Berlioz to write a solo for the wonderful
+Stradivari viola he possessed.[27]
+
+Between Paganini and Berlioz there was a mutual attraction. Both had
+something of the volcanic in their nature; both did much battling
+with the hostile outer world. But more of their friendship later.
+
+Paganini was in London once more in 1834, and gave a concert at the
+Adelphi Theatre on April 7th. Again nothing new, according to report.
+The next morning he gave a second concert at the Hanover Square Rooms,
+at which it was said not more than one hundred persons were present, and
+half of those went in with free tickets. The erstwhile popular idol was
+now dethroned. Paganini fell ill after this, and postponed his third
+concert.
+
+The _Athenaeum_ referred to Paganini's playing to crowded houses at the
+Adelphi, and empty benches at the Hanover Square Rooms, and then went on
+to say: "His performance on the _Viol di Gamba_,[28] or some such
+instrument, is yet to come as is also a duet with Dragonetti, which, we
+are told, is to be the _ne plus ultra_ of what is beautiful and amazing.
+He has, hitherto, only repeated his best compositions, and, as before,
+left every other violinist, ancient and modern, at an inconceivable
+distance behind him." This concert was to be the last, which induced the
+writer of the _Athenaeum_ notice to attend it. He found the "new
+instrument" nothing but a full-sized viola, tuned in the ordinary way.
+"Considering the difference of stop between this and the violin, his
+precision and brilliancy upon the former, as displayed in double stop
+passages, harmonics, and _arpeggi_, of extraordinary difficulty, were
+most amazing.... In his grand concerto in E flat, his cadenza was one of
+the most wonderful combinations of novel harmony, and passages of
+execution, we ever heard." Apparently the duet with Dragonetti was not
+played, as nothing was said of it.
+
+The directors of the music at the Oxford Commemoration week, May, 1834,
+were anxious to add Paganini's name to the attractions offered. He was
+approached, accordingly, and, through his manager, announced his
+terms--one thousand pounds. Astounded by the answer, the Oxford Delegate
+desired that it might be committed to writing. This was done, but when
+shown to Paganini, he directed that guineas should be substituted for
+pounds. He knew that art was not commerce! There is no record of his
+playing at Oxford.
+
+This last visit of Paganini to England had a romantic termination. He
+had separated from Signora Bianca on account of her jealous temper, and
+had fallen in love with a young English girl--that is if current report
+may be trusted. He proposed, for the purpose of securing her a proper
+legal settlement, that the marriage should take place in Paris, and he
+left London on June 26th, arranging for her to follow him to Boulogne.
+The young lady secretly left her home, but her father had his
+suspicions, and apparently arrived at Boulogne first, for the daughter,
+instead of meeting Paganini, was confronted, on landing, by her father,
+with whom she returned home. There is no doubt as to the occurrence, for
+it was "in the papers," and names were given. Schilling, whose
+_Encyclopaedia_ was published in 1837, gives a long account of the
+affair, which he would not have done had there been no truth in it, even
+though the law of libel was not then very stringent. Here it will
+suffice to say that the young lady was the daughter of a man with whom
+Paganini lodged, and who was associated with the concert work of the
+artist. Moreover, the girl herself had, it would seem, sung at some of
+the concerts, and had become fascinated with the great violinist.
+
+The incident might be passed over, only for the fact that to it was
+owing the impression that Paganini visited America before returning to
+Italy. Dubourg, in the later editions of his work "The Violin," states
+that Paganini spent part of his time in America, previous to his return
+to Italy in 1834. Now George Dubourg was a contemporary of Paganini, and
+his statement is not to be dismissed lightly, though he offers no
+evidence in support of it. At the present time it is difficult to find
+proof, one way or the other. The American papers in 1835 were
+speculating as to the birthplace of Paganini, and some of the
+explanations were meant to be funny, but are too vapid for repetition
+now. The _Musical World_ for August 4th, 1837, in quoting an anecdote
+concerning Paganini's kindness to a poor musician, ends by saying
+Paganini took the poor man with him to America. The question was raised
+in the _Musical World_ for January the 9th, 1886, and decided in the
+negative. The legend had this slender foundation. In the early part of
+1835, the young lady whom Paganini wished to marry, went to the United
+States--she was an actress and vocalist of moderate ability--but her
+stay was brief. Still, everybody wished to see her, for wherever she
+went she was looked upon as the heroine of a romantic episode, and her
+name was always coupled with Paganini's. The story of the elopement had
+been carried across the Atlantic by scandal's winged feet; and it was
+said that Paganini sent a special messenger to America to reopen
+negotiations on the delicate subject--arrangements that came to
+nothing. The agent might have been taken, by Dubourg, for the
+principal--hence the mistake. Paganini never went to America, neither
+did he again return to the shores of Albion.
+
+FOOTNOTES:
+
+[25] Chorley, then living in Liverpool, had previously sent some short
+pieces in verse to that paper, but did not become a member of its staff
+until 1833.
+
+[26] "Reminiscences," by Thomas Carlyle, I., 311.
+
+[27] Which resulted in the Symphony, "Harold in Italy," with a solo part
+for the viola.
+
+[28] The spelling betrays an ignorance of the instrument, though the
+writer must have been Chorley himself. Interest in those antique
+instruments had not then been revived, nor were there artists to play
+upon them.
+
+
+
+
+CHAPTER VII.
+
+
+In the summer of 1834, Paganini, after an absence of six years, returned
+to his native land. He was now a rich man, and he invested part of his
+fortune in landed property, purchasing, among others, the Villa Gajona,
+near Parma, which he made his home--the first he could really call his
+own, and he was in his fifty-second year! His health was irretrievably
+broken down; he suffered from consumption of the larynx, and was losing
+the power of speech. He now sought peace and quiet, and thought of
+preparing for publication a complete edition of his compositions, which,
+if he had accomplished it, might have led to the explanation of his
+alleged secret. In November, or December, Paganini gave a concert at
+Piacenza--on the very same boards where he almost began his brilliant
+career--for the benefit of the poor; this was the first time he had been
+heard in Italy since 1828. The year 1835, Paganini passed alternately at
+Genoa, Milan, and his villa near Parma. The cholera then raging at Genoa
+was the cause of the rumour of Paganini's death. The dread scourge had
+claimed him for a victim, it was said, and the Continental journals
+devoted columns to him in the form of obituary notices.
+
+The only English contribution to the necrology of Paganini known to me
+was written by Chorley in the _Athenaeum_. It is both interesting and
+curious: for Chorley manages to squeeze in his account of Paganini at
+the Dublin festival, which the editor evidently cut out in 1831. That
+scarcely concerns us now, though it relates that the _furore_ caused by
+Paganini's performance could not be appeased until he had mounted the
+grand pianoforte, in order that the audience might obtain a better view
+of his lank proportions! An extract from his notice must be given. It
+begins thus:--"_E Morto!_--the words which the silent and absorbed man
+murmured to himself, in a tone of deep feeling, after listening to one
+of Beethoven's magnificent symphonies, are now--alas!--to be uttered
+sadly for their speaker--Paganini is dead!
+
+"We would fain believe that the newspaper reports are in error....
+Let us hope that the intelligence from Genoa, received this week
+[September], that the artist had been carried off by the sudden and
+fearful death of cholera, may, by some happy chance, prove one of those
+'mistakes which it gives them pleasure to contradict.' But, should it
+not then, indeed, may Music put on sackcloth and sit in ashes for her
+High Priest!" Then follows an "appreciation," to use a modern
+expression, to which reference may be made later.
+
+Chorley was an impressionable young man, in his twenty-third year, when
+he attended the Dublin festival, and so excited did he become over
+Paganini's performances, that he gave vent to his feelings in verse.
+That poem he now inserted in the _Athenaeum_, "as a farewell to one
+whose like we shall never hear again!" There are really fine thoughts in
+the poem, and, though too long to quote in its entirety, a few stanzas
+may well be rescued from the periodical in which they are buried.
+
+    O Paganini!--most undoubted king
+      Of St. Cecilia's flock, alive or dead,
+    Whether their pasture be of pipe, or string,
+      Or mighty organ, which doth overspread
+    Ancient Cathedral aisles with flood of sound,--
+      In all the wizard craft, matured by labour,
+    That doth the spirit move, delight, astound,
+      Thou hast no peer--thou hast not even a neighbour,
+      In the long lapse of years from Tubal Cain to Weber.
+
+    Sages have said, who read the book of night,
+      That once each hundred years some meteor flares
+    Across the startled heavens with brilliant flight,
+      Making strange tumults in the land of stars;
+    And, 'mid the realm of constellations vast,
+      In steady splendour ever rolling on,
+    Sweeps far and wide with fierce and furious haste,
+      Rushing from pole to distant pole anon;
+      And, like the monarch's ghost--"'Tis here--'tis there--'tis gone!"
+
+    Thou dost to these, the meteor-born, belong,
+      O mighty monarch of the strings and bow!
+    And though it were to do sweet Cupid wrong
+      To call thee else like him--yet on thy brow,
+    And in thy curved lips and flashing eyes,
+      His clearest seal hath god-like Genius set,
+    Who bade thee from the common herd arise
+      And win thyself a crown--nor ever yet
+      Hath Art her votary graced with brighter coronet.
+
+    O that a stately temple might be reared
+      On some wide plain--and open to the sky--
+    Where all the great, the gifted, the revered
+      Side close to side, ensepulchred might lie!
+    And there, where many a breeze at evening's close
+      In solemn dirge around their tomb should sweep,
+    Should all the sons of melody repose,
+      That pilgrims from afar might come and weep,
+      And by their sainted dust a silent vigil keep!
+
+    And there together in renown should rest,
+      The Italian minstrel of the broken heart![29]
+    And he whose Requiem for a spirit blest
+      Was his own dirge--too early lost Mozart!
+    And he of the Messiah--and the flight
+      Of Israel's children from their bonds abhorred,
+    When God was cloud by day, and fire by night!
+      And he, who sung of darkness, at one word
+      Bursting to light--and Earth created by its Lord!
+
+    And many more--with whom ungentle Time
+      Forbids my weak and wandering verse to say;
+    Save one great master-spirit, whom my rhyme
+      _Must_ pause to honour--for the meteor ray
+    Burnt with intensest radiance o'er his head;
+      Albeit too soon within his eager ear
+    The realm of sound deep silence overspread,
+      Whom yet the world is learning to revere--
+      Beethoven! he should sleep with thee--the Wizard--near!
+
+    There's left a space, beside his hallowed dust,
+      For thee with whom began my feeble song;
+    But be it long before the encroaching rust
+      Of Time wear out thy energies--and long
+    Ere the grim Tyrant with resistless call
+      Beckon thee hence--before thy bow be hung
+    In some gray chapel--and thy brethren all
+      Strive for thy magic instruments unstrung;
+      If Heaven were kind to man, thou shouldst be ever young!
+
+A fortnight later, Chorley was able to reassure his readers by
+contradicting the report. It seems that the rumour was started through
+the death of Dr. Paganini (referred to at the beginning of this essay),
+and there seems little doubt but that he was the brother of the
+violinist.
+
+[Illustration: _Plate X.--See Appendix._
+
+COPY OF OIL PAINTING OF PAGANINI IN THE MUNICIPAL MUSEUM AT GENOA.]
+
+In 1836, some speculators applied to Paganini to give the support of his
+name and his talent to the founding of a Casino in Paris, of which the
+ostensible object was music, the real end, gambling. It has been
+suggested that the project appealed to Paganini's avarice, which caused
+him to lend himself to the accomplishment of the undertaking. On the
+other hand, it is fair to assume that the artist was in ignorance of the
+true motive of the promoters of the scheme; and the fact that certain
+instructions to the trustees of the fortune settled on his son had been
+made public some four years earlier lends countenance to the impression
+that he was disgusted with gambling, and had long ceased to indulge in
+the vicious pastime.
+
+In the early summer of 1837, Paganini's health having improved, he gave
+several concerts in Turin, both for the benefit of the poor, and on his
+own behalf. Later in the year, however, he was in Paris, living in the
+greatest seclusion. The CASINO PAGANINI was opened, apparently in
+October, 1837. The building was situated in the Rue Mont Blanc, and was
+supposed to be a kind of Club of Art and Literature. An orchestra of
+some fifty performers was engaged for concerts, which were open to
+subscribers only. In the grounds a brass band played to those
+assembled, and admission there apparently was free to the public. The
+object of the undertaking was not made known. A French paper stated by
+way of a joke that Paganini's part in the proceedings was to walk round
+the garden when the weather was fine. The Government refused to license
+the place as a gambling-house, and the management had to rely upon the
+concerts alone. It would appear that Paganini had signed a contract to
+play at the concerts, but the wretched state of his health was the
+excuse for his not doing so. He had been in Paris off and on from 1837
+to some time in 1839. In 1838, certainly before April, he was there, and
+went to hear a newly invented instrument termed the Harmoniphone. This
+was the work of an ingenious musician, Jacques Reine Paris. It was a
+small key-board instrument designed to imitate the oboe, and intended as
+a substitute for it, in places where oboe players were not available. A
+distinguished company was invited to meet Paganini, who was greatly
+interested and pleased with the invention. Then, in December, Paganini
+witnessed what Berlioz described as the massacre of his "Benvenuto
+Cellini" at the opera. In the same month was inaugurated a society for
+the production of classical compositions, and for the encouragement of
+musical artists, and at this brilliant function, held in the Salle
+Erard, Paganini was present, with Meyerbeer, Auber, De Beriot,
+Donizetti, and a host of other celebrities. On the 16th of the month
+Paganini attended the concert given by Berlioz at the Conservatoire,
+when the symphony, "Harold," was performed. Paganini heard it for the
+first time, and at the close of the concert occurred the affecting
+incident of Paganini kneeling on the stage and kissing the hand of
+Berlioz, the demonstration being followed by a magnificent donation of
+20,000 francs. Paganini seems to have had a transient recovery, for the
+papers spoke of his becoming corpulent.
+
+Still, he did not play at the Casino Concerts, and a crisis soon arose.
+Early in 1839, the directors of the Casino brought an action against
+Paganini for breach of contract, and he was decreed to pay damages to
+the amount of 20,000 francs. This decision so much displeased both
+plaintiffs and defendant that they appealed against it. The case did not
+come on again for some time, and Paganini sought rest and change in the
+south of France. He stayed for some time at Marseilles, where, at the
+house of a friend, he once more abandoned himself to his art, devoting
+his time alternately to his violin and his guitar. Fetis states that
+notwithstanding his feeble health, Paganini attended a performance of
+Cherubini's _Requiem_ for men's voices; and on June 21st went to one of
+the churches to take part in the performance of Beethoven's Mass in C.
+
+But his malady could only be alleviated by frequent change of clime.
+Accordingly, in October we find him at Genoa, in the vain hope that his
+native air would prove beneficial; but he was prostrated by a violent
+nervous attack almost immediately following his arrival. He must, soon
+after, have left for Nice, which he never quitted alive. Nice, though a
+pleasant place, was not regarded as at all a favourable retreat for
+persons suffering from pulmonary or bronchial affections, and it proved
+fatal to the great artist. But we must, for the moment, return to Paris.
+
+The rehearing of the Casino case came before the _Cour Royale_, Paris,
+on January 3rd, 1840. Paganini could not, of course, attend in person,
+but he was represented by Counsel, and it may be of interest to name the
+man who was entrusted with his defence. It was a certain Mons.
+Chaix-d'Est-Ange. From accounts of the proceedings, this legal luminary
+addressed the Court at great length. He described the prayers and
+entreaties of the proprietors of what he termed "this catchpenny
+establishment" to induce the grand _Maestro_ to lend his mighty arm and
+name to their speculation. He had promised, in writing, to play nowhere
+but at their concerts; but as he had played nowhere else, the
+proprietors could have no legal right to such excessive damages. The
+counsel for the plaintiff, Mons. Barillon, declared that as Paganini's
+defection had ruined the speculation, the damages ought to be
+proportionate to his transcendent talent. Going into details, he stated
+that Paganini was installed in a splendid suite of apartments at the
+Casino, one boudoir being lined with flannel expressly for him; and that
+when he was complaining of his wretched health, he accepted a dinner
+offered him by the musicians of the orchestra, and gave toasts in both
+French and Italian. After that, he allowed bills to be printed,
+announcing that he would play at the Casino concert. Hundreds of tickets
+were eagerly bought at twenty francs each, when suddenly Paganini
+refused to play. Entreaties were in vain; Paganini, in his own room,
+with closed doors, would practise, but would not play at the concert.
+Recourse was had to the musicians of the Grand Opera, so as not to
+disappoint the audience, but the prefect of police would not allow the
+_employes_ of the opera to be taken from their theatre, and ordered the
+Casino to be closed. Ruin stared the proprietors in the face, and 20,000
+francs was no adequate compensation. The former decision was reversed,
+and Paganini was condemned by the Court in 50,000 francs[30] damages,
+and ten years imprisonment in default of payment.
+
+[Illustration: _Plate XI.--See Appendix._
+
+THE HOUSE IN WHICH PAGANINI DIED.]
+
+Whether the fine was actually paid, I have found no evidence to prove,
+but the imprisonment was certainly not enforced. In a few months' time,
+the gaoler whom none can deny, touched Paganini with his icy hand, and
+the troubled spirit left its frail earthly tenement on May 27th, 1840.
+
+[Illustration: _Plate XII.--See Appendix._ TABLET ON HOUSE IN WHICH
+PAGANINI DIED.]
+
+But not to rest were the mortal remains consigned. No peaceful grave for
+the wandering, restless being whose fitful fever of life was over at
+last. Paganini died without receiving the last Sacrament of the Church.
+He had indeed been visited by a priest, sent by the Bishop of Nice; but
+not deeming his end so near, made no confession, nor prepared himself
+for death according to the rite of the Church of Rome. The doubt as to
+his faith caused the Bishop of Nice to refuse burial in consecrated
+ground. The son, the friends of Paganini, and the principal artists of
+the place solicited the authorisation of a solemn service for his
+eternal repose, but in vain; all that was conceded was the offer of an
+authentic record of death, with leave to transport the corpse whither
+they might wish. This compromise was not accepted, and the matter came
+before the Court of Justice, when the decision was in favour of the
+Bishop. There was no alternative but to appeal to Rome, when the
+Bishop's decree was annulled, and the Archbishop of Turin was charged,
+conjointly with the Canons of the Cathedral of Genoa, to institute an
+inquiry into the Catholicism of Paganini. Meanwhile the remains--stated
+by the _Athenaeum_ to have been embalmed for interment at Genoa--were
+subjected to shocking indignities. The landlord wanted to let the house
+where the artist had died, and the corpse was laid in the cellar until a
+more fitting resting-place was found. Then it is said to have been moved
+to the hospital of Nice, thence by sea to the _Lazzaretto_ of Villa
+Franca, and finally to a country house Polcevera, near Genoa, part of
+the property of the heir of the illustrious artist. There the body
+remained four years. Rumours spread abroad of piteous moans and other
+lamentable noises being heard at night. To put a stop to these
+unpleasant reports, the young Baron Achille made an application for
+permission for a solemn service to be celebrated at Parma, in virtue of
+Paganini having been a knight of St. George. This was not fruitless. The
+service was celebrated in the church of _La Steccata_, appropriated to
+that order of chivalry. After the solemnity the friends of the deceased
+obtained the permission of the Bishop of Parma to bring the body within
+the boundary of the Duchy, when it was transferred to the _Villa
+Gajona_, for interment in the Communal cemetery. So, at last, in May,
+1845, the mortal remains of the illustrious violinist were laid in the
+grave; by order of the government, there was no display of any kind, no
+outward symbol of homage. The mourners might, however, hope at least for
+the repose of the casket that once enclosed the fiery, turbulent,
+soaring spirit of one who knew no rest in life. But, alas! even that was
+not the end. In the letter addressed by Paganini to the Editor of the
+Paris _Revue Musicale_, the closing sentence breathed a prayer that,
+however calumniated he might be in life, the world would at least allow
+his ashes to repose in peace. That appeal was not granted. It has been
+shown that five years elapsed between his death and his burial; fifty
+years more, and the repose of the grave was broken. The _Athenaeum_ of
+September 7th, 1895, contained this paragraph:--
+
+     "In the Communal Cemetery of Parma the mortal remains of the great
+     violin player, Paganini, have just been exhumed. The violinist was
+     buried there fifty-five years ago, nevertheless his face has been
+     found to be well preserved and easily recognizable. It is proposed
+     to show the body to the public before it is re-interred."
+
+Horrible! But first note the mistake. The body was buried fifty, not
+fifty-five, years before. Those terrible five years seem to have been
+unnoticed in this country, and I have been unable to find any reference
+to the mournful function of May, 1845.[31]
+
+Now, what was the reason for exhuming the remains? For the purpose of
+removal to a more prominent site! Thus is homage paid to genius! Such,
+too, was the fate of Beethoven. His remains were removed in 1888 to the
+Central Cemetery at Vienna, and lamentable incidents attended the
+exhumation. Schubert, who, by his own desire, was buried by the side of
+the great master, did not escape the doom; but Mozart was mercifully
+spared; he was buried in a pauper's grave, and his body has remained
+undiscovered. The story of the preservation of his skull may be
+dismissed as apocryphal. But what are gorgeous monuments? Does the true
+artist value the case more than the instrument? Why seek ye the living
+among the dead? The artist does not die--he puts off the "muddy vesture
+of decay"; he lives in his art-work.
+
+[Illustration: _Plate XIII.--See Appendix._
+
+THE TOMB OF PAGANINI AT PARMA.]
+
+FOOTNOTES:
+
+[29] Pergolesi.
+
+[30] The _Athenaeum_ puts the amount at 52,000 francs.
+
+[31] In the _Musical World_ of February 16th, 1843, there is a paragraph
+stating that Paganini's remains were still unsepulchred, the corpse
+lying in an uninhabited house.
+
+
+
+
+CHAPTER VIII.
+
+
+Having traced the career of Paganini "from the cradle to the grave," let
+us now look a little more closely at the man, the artist. Glimpses of
+his character have already been revealed, but so curiously interesting a
+personality will repay further study. Totally uneducated, he yet made
+himself so much a man of the world, as to enjoy the personal friendship
+of such notabilities as Lord Byron, Sir Thomas Clifford Constable, Lord
+Holland, Prince Metternich and others. In his official positions at
+Court he comported himself with dignity. He had the pride of the artist,
+and would not play if the conditions were not suitable. One instance has
+already been given. Here is another, which also occurred in Paris.
+Paganini was asked to play at a Court concert at the Tuilleries. He went
+the day before to inspect the _salon_ where the function was to take
+place, and found the heavy draperies so numerous that the tones of his
+violin would be deadened, and the effect of his playing would be lost
+unless the curtains were removed or rearranged; he acquainted an
+official with his wish to alter them. To that august personage a
+"fiddler" was a mere nobody, and Paganini was given to understand his
+proper place. Highly offended with the manner of the official, Paganini
+resolved not to play. The Court was assembled for the concert, but the
+great violinist was absent. A messenger was sent to his hotel, and was
+informed that the Signor had retired to rest very early.
+
+Mobbed by ill-mannered crowds whenever he appeared in the streets, (and
+this especially in London, when strangers not only spoke to him, but
+even felt him, to ascertain if he was really flesh and blood), Paganini,
+with his sensitive nature, shrank more and more from contact with the
+outer world. He was not a Milton, "whose soul was like a star, and dwelt
+apart," but he was essentially a solitary, a recluse. His character was
+the result of his environment. Accustomed to brutal treatment in his
+childhood, he became hardened; set free from restraint, he tasted the
+wild joys of youth, only to find them turn to Dead Sea apples. Schumann,
+in his "Advice to young musicians," wrote: "The laws of morality are
+also the laws of art." But Paganini had no mentor, and learnt by bitter
+experience the lesson of life. He was accused of avarice, and many
+ridiculous stories were told of him. When at Prague, it is said that
+even the members of the theatre were struck off the free list, and he
+was annoyed that the police who watched the upper galleries could not be
+made to pay for their places! He beat down a London laundress a
+halfpenny in her charge for washing his shirts, and Moscheles gives
+currency to the story, though he cannot vouch for its truth, that
+Paganini gave his servant a gallery ticket for one of his concerts on
+condition that the man served him gratuitously for one day! All these
+wretched things may have been true, more's the pity. But there is one
+little story that appears to have been overlooked. The father of Nicolo
+Paganini was avaricious, and compelled his son to minister to his
+avarice, even robbing him of the first-fruits of his own earnings;
+Nicolo in turn became avaricious, but it was for the sake of his little
+son, whose life he desired might be better than his own. "He saves for
+his yet uneducated child," wrote Guhr, in 1829. Yes, this man, proud,
+scornful, despising the crowds whose money made him rich, in the
+recesses of his heart nourished a love, pure and unselfish. That was the
+fine gold; his wealth was dross. His affection for the child was
+boundless, and he allowed the little fellow to tyrannise over him
+completely. There are pretty stories of his playing with the boy, but
+there is nothing about teaching the boy to play--the violin. The memory
+of his own childhood was quite sufficient to deter him from any attempt
+to force instruction on his boy, and cloud the sunshine of his young
+life.
+
+The world gave Paganini its plaudits and its money; but there never
+seemed to be any bond of sympathy between the artist and the public. Yet
+Paganini could appreciate kindness. Moscheles relates that the father of
+his wife rendered Paganini some important service before the visit to
+England. When Paganini first called upon Moscheles he was profuse in
+expressions of gratitude, and taking down a miniature portrait of his
+benefactor he covered it with kisses. "Meantime," Moscheles writes, "we
+had leisure to study those olive-tinted, sharply defined features, the
+glowing eyes, the scanty, but long black hair, and the thin, gaunt
+figure, upon which the clothes hung loosely, the deep sunken cheeks, and
+those long, bony fingers." Moscheles was of service to Paganini during
+his first days in London, and, to use his own words, he was paid with
+quite as many honied epithets as his father-in-law received. But he
+suspected the Italian to be rather too sweet to be genuine. Indeed, the
+friendship was too fervent to last long, and money was the cause of the
+rupture. Mori commissioned Moscheles to write a piece "Gems a la
+Paganini," taking the precaution of obtaining the violinist's consent.
+His style is imitated, and he expresses his admiration of the piece. A
+second and third book of "Gems" are published, and down comes Paganini
+with the charge of musical piracy. His permission extended only to the
+first book. A lawsuit was commenced, but Paganini effected a compromise
+with Moscheles, conceding the free sale of the three books of "Gems" in
+return for pianoforte accompaniments to twelve small violin pieces.
+Moscheles reluctantly consented to write the accompaniments, but refused
+to allow his name (which Paganini wanted) to appear on the title-page.
+Mori had to pay something by way of damages, and Moscheles at last
+rejoiced at being quit of an episode so little worthy of an artist, and
+at having done with those dreadful lawyers.[32]
+
+But quite enough has been said in reference to Paganini's avarice: it
+has been shown that he had a motive for saving money. Is it as easy to
+account for other traits of his character? That aloofness, that scorn
+of the world, that hard bargaining: "Take me or leave me," revealing
+callous indifference, was there no cause for all that? There is a very
+graphic, and at the same time, appalling, account of the impression
+produced by Paganini among the Parisians, which is translated at length
+in Dubourg's "The Violin." Berlioz wrote of the weird genius making his
+appearance in France during the uproar of the collapse of a dynasty, and
+arriving in Paris--with the cholera. The terrors of the scourge were
+powerless to check the tide of curiosity: the people were mad for the
+time being. This is the conclusion of the notice just mentioned: "Of
+such a public, and such an artist, how saddening is the sight!... The
+public, made up of idlers--of beings isolated, cold, corrupt--must be
+_amused_, forsooth! and the artist exhausts his taste and his sentiment,
+and well nigh perspires blood and water, to comply with their
+exactions--to _amuse_ them! and if he attain this end, the public clap
+their hands, the manager of the theatre counts out to him a heap of
+gold, and he goes away, with his ears deafened at the noise which has
+surrounded him, and which, for a moment, it may be, has made his heart
+beat high;--he goes away, with a loving grasp tightened over the coin he
+has so hardly won; and now inwardly exclaims, with a smile of pity, 'The
+blockheads--the barbarians! who is there among them that can comprehend
+me--that can _feel_ my intentions!' and then the home-returning public,
+selfish to the very soul, indemnify themselves for their finger's-end
+applause by sottish contempt, by remarks that are empty, or worse--that
+are scornful, bitter, shocking, disgusting even--such as those which may
+have been buzzed into one's ears in Italy or in Paris, but varied in a
+hundred ways, and aggravated at will, just as _he_ varies and enlarges,
+twists and turns, beneath his magic bow, a subject of apparently
+the most simple and insignificant kind. And now the voices most
+distinguishable among the ebbing crowd murmur out the words, 'Gambler,
+Libertine'! or worse.... And the privileged public resort again to the
+theatre, to admire the talent of him who they comprehend not; and the
+artist returns, in like manner, to _amuse_ those who provoke his pity,
+and whom he beholds so far below him! Thus we have contempt on one side,
+compassion on the other; applause from hands chilled with the touch of
+gold, on the one part,--on the other, sounds that borrow their animation
+from no social sympathy! Such are the relations between the public and
+the professor--such the bonds that connect them!" Unhappy artist;
+miserable public! How shall we account for this pitiful state of things,
+this gulf between the performer and the auditor? We must seek the
+explanation in the letter to the _Revue_, referred to more than once,
+but now claiming our attention more directly.
+
+[Illustration: _Plate XIV.--See Appendix._
+
+PAGANINI IN PRISON.]
+
+The pictures of "Paganini in Prison," exhibited so lavishly while the
+artist was in Paris in 1831, provoked him to remark that there were some
+"honest fellows" making money of a calumny that had pursued his steps
+for the last fifteen years. He then referred to the different versions
+of the crime imputed to him: that he killed a rival whom he found in
+company with his mistress; or that it was his mistress who had been the
+victim of his jealous fury; the only point of agreement was the
+imprisonment. "Let me tell you," the letter continued, "what happened to
+myself in Padua about fifteen years ago (1816), on this very subject. I
+had given a concert with some success: the next day I went to a
+table-d'hote; I entered the room late; was, perhaps, the sixtieth guest,
+and took my seat unnoticed. One of the company expressed himself in
+flattering terms of the effect produced by my performance the evening
+before. His next neighbour agreed in the praises bestowed on me, but
+added, 'Nobody ought to be surprised at Paganini's ability: he owes it
+all to an eight years' solitary imprisonment in a dungeon, with nothing
+but his violin to occupy his time, or soften the rigours of his
+confinement. He was condemned to this long incarceration for having
+assassinated a friend of _mine_, who was unfortunate enough to be his
+rival.' As you may easily believe, every one was loud in denouncing the
+enormity of my crime; when I addressed myself to the speaker, begging
+him to inform me where and when this tragical adventure had occurred.
+All eyes were in an instant turned upon me, and you may judge the
+astonishment of the company at finding the hero of this tale of murder
+and imprisonment one amongst them. The relater of the story was not a
+little embarrassed. 'It was not a friend of his own that had fallen--he
+had heard--he had been told--he believed--but after all it was very
+possible he might have been deceived,' etc. Now see, Sir, how easy it
+is to play with the reputation of an artist merely because men, inclined
+to indulge in idleness themselves, cannot conceive it possible that he
+may have studied as closely in his own chamber and in full possession of
+his liberty, as he would if he had been chained up in a dungeon."
+
+There was an occurrence that gave rise to these reports, and which
+Paganini related in the same letter. "A violin player, named D----i,[33]
+who was at Milan in 1798, associated himself with two other men of bad
+character, and engaged with them in a plot to assassinate, by night, the
+curate of a neighbouring village, supposed to be in possession of much
+wealth. Luckily for the curate the heart of one of the conspirators
+failed him, and he denounced his companions. The gendarmes watched the
+spot, and took D----i and his accomplice into custody at the moment they
+arrived at the curate's dwelling. They were condemned to twenty years'
+confinement in irons, but General Menou, after he had been appointed
+governor of Milan, at the end of two years restored the violinist to
+liberty. Would you believe it, Sir? this is the sole foundation upon
+which the whole history of my incarceration has been erected. A violin
+player, whose name ended in _i_, had been engaged in a murder and
+imprisoned--it could only be _Paganini_--the assassinated party
+was converted into either my rival or my mistress, and it was I,
+_Paganini_, who had been so many years loaded with chains, and immured
+in a dungeon. Solely with the view of wringing from me the secret of my
+new system, have they complimented me with fetters, whose only effect
+would have been to paralyze my arms."
+
+Paganini further stated that he called on the Italian ambassador
+resident in Vienna, to testify that he had known the artist for nearly
+twenty years, during all which time his conduct has been that of an
+honest man. He also pointed out that having been constantly before the
+public from the age of fourteen, he must have had a mistress and a rival
+when he was seven! for there was no room for an interval of eight years
+afterwards. It was at Vienna that one of the audience, while Paganini
+was playing "The Witches' Dance," distinctly saw the devil close to the
+violinist, guiding his fingers and directing his bow; the said devil was
+dressed in red and had horns and a tail, and the striking likeness of
+the countenances of the two, plainly proved the relationship between
+them. That pretty story followed Paganini everywhere: and, as has been
+seen, in Prague he had to publish a letter from his mother disproving
+the rumour of his Satanic parentage. There is something intensely
+pathetic in Paganini's conclusion: "I see nothing else for it but to
+leave malignity at liberty to disport itself at my expense."
+
+In this prosaic, materialistic twentieth century, which believes in
+little besides money, there is no fear of any of our violin wonders
+being associated with the arch-fiend. They may be regarded as physic
+problems, but the supernatural is eliminated from the study. But
+Paganini did not live in the twentieth century, and in his day the devil
+was a very real personage, notwithstanding the temporary overthrow of
+much belief through the French Revolution, and the enthronement of the
+"Goddess of Reason" in the Church of Notre Dame, Paris. It may seem
+absurd, now, even to recall these calumnies; but we have to deal with
+the environment of a great genius, to study the cause of his failing to
+become great as a man; for surely he had the making of a fine character.
+That he should traverse the greater part of Europe, pursued by tales of
+devilry and murder, is one of the saddest comments on that period; that
+the "iron entered into his soul," and the man capable of affection
+became a miser and a misanthrope, is more mournful still. He was the
+"Flying Dutchman" of the violin.
+
+How was it that the devil and the violin came into relationship? We have
+it on the authority of Martin Luther that the devil hates music. Luther
+not only believed in the devil, but he fancied he saw him: and in the
+room of the Castle of Wartburg may still be seen the mark on the wall,
+where he threw his inkpot at the fiend, who tried to thwart his work of
+translating the Bible. It is curious that the only instrument which, to
+the present writer's knowledge, Satan has been represented as playing
+upon, is one of the precursors of the violin. There is a piece of
+sculpture in the Cathedral of Amiens, depicting Satan playing on an oval
+three-stringed Vielle, of the thirteenth century.[34] The story of
+Tartini and his dream, when the devil played so marvellously on the
+violin, is known to everyone, and is, moreover, perpetuated in the
+sonata _Il Trillo del Diavolo_. It is related of Thomas Baltzar, the
+first great violinist ever heard in England, that when he played at
+Oxford he astonished everyone by "running up his fingers to the end of
+the finger-board." John Wilson, the Oxford Professor of Music, "the
+greatest judge of musick that ever was," according to Anthony a Wood,
+"did, after his humoursome way, stoop down to Baltzar's feet, to see
+whether he had a huff on, that is to say, whether he was a devil or not,
+because he acted beyond the parts of man." As this took place in 1658
+there was some excuse for the grim pleasantry; moreover music had
+suffered an eclipse, and performers in this country were comparatively
+few. Even the gentle and polite Corelli forgot himself so far as to
+apply the term, devil, to another violinist. As the story may not be so
+well known as the foregoing, I shall briefly repeat it. Nicolaus Adam
+Strungk (or Strunck), violinist to Ernest Augustus, Elector of Hanover,
+when in Rome (_circa_ 1684) made it his business to see Corelli.
+Introducing himself to the Italian master as a musician, Corelli asked
+what was his instrument. Strungk replied that he could play upon the
+harpsichord, and a little upon the violin; but he particularly wished to
+hear Corelli on the latter instrument, his fame being widely known.
+Corelli obligingly consented, and played a piece to the harpsichord
+accompaniment of Strungk. Strungk afterwards played a toccata, with
+which Corelli was so much taken that he laid aside his instrument in his
+transport of admiration. When Strungk had finished at the harpsichord,
+he took up the violin, and began handling it in a careless manner,
+whereupon Corelli remarked that he had a good bow-hand, and wanted
+nothing but practice to become a master of his instrument. At that
+moment Strungk put the violin out of tune, and played on with such
+dexterity, attempering the dissonances occasioned by the mistuning with
+such amazing skill, that Corelli cried out in broken German: "I am
+called Arcangelo, a name that in the language of my country signifies an
+Archangel; but let me tell you, that you, Sir, are an Arch-devil!"
+
+There is nothing malicious in these stories of the devil and the
+fiddler; and if Paganini had experienced nothing worse than what has
+just been related, he might have treated the matter as a joke. But that
+which malice or envy originated, a "reptile press" promulgated. Innocent
+of crime, Paganini was branded as a felon; gifted with genius of the
+rarest order, cultivated to a perfection absolutely unique, his skill
+was attributed to the aid received from the devil. Add to this his
+wretched health, and there is both mental and bodily suffering. In his
+later years he was cut off from intercourse with others, like
+Beethoven--but with this difference: Beethoven employed a tablet or
+note-book for his friends to convey their words to him; Paganini
+transmitted, through a similar medium, his thoughts to others. He was
+dumb! Is there no brighter side to this picture? If there be, let us
+turn to it.
+
+It is, perhaps, fortunate that no man can be consistent throughout his
+life; the morose must smile at times, and the misanthrope mitigate his
+hatred of mankind. Paganini was but human, and his life was not all
+shadow. Though his intimate friends were few, there were some who were
+able to place on record details of the private life of the great
+violinist. Of such, the most useful to biographers was George Harris. He
+was an Englishman, attached to the Court at Hanover then connected with
+Britain; a dramatist of a certain order, he accompanied Paganini on his
+tours in Germany, acting for a time as his secretary, and apparently
+he was with him when in England. From him we learn a good deal.
+
+Paganini was always on the move, and travelling in his day was not
+the rapid, comfortable, even luxurious process it is now. In the
+post-chaise Paganini stowed his luggage, which was of the simplest--and
+shabbiest--description. A dilapidated box held his beloved violin, his
+linen, cash and jewellery; a carpet-bag and a hat-box completed his
+outfit. He was philosophically indifferent to comfort, but in his later
+years he always had the windows of his carriage closed. When he arrived
+at his quarters, the windows of his room were thrown open, and he
+indulged in a sun-bath--again anticipating modern medical advice.
+Paganini, when travelling, was fond of taking a stroll when the horses
+were changed. It was a relief to stretch his legs after the close
+confinement of the post-chaise, but sometimes his rambles were so
+prolonged that there was weary waiting for him when all was ready to
+resume the journey, and drivers became exasperated. Paganini was made to
+suffer on one occasion. That was when travelling from London to
+Birmingham. He had already tried the patience of his coachman by causing
+loss of time, and the man declared he would drive on without him, rather
+than wait again. At the next stopping place Paganini walked off as
+usual, leaving Harris asleep in the vehicle. The horses being changed,
+the driver started, leaving Paganini behind. This caused some trouble,
+for a post-chaise had to be sent from the next station in search of the
+derelict, and Paganini in his rage refused to pay the extra expense. He
+was summoned before the Birmingham magistrates, and the case going
+against him he was compelled to discharge the debt. Poor Paganini, he
+always suffered when he came into contact with the law.
+
+[Illustration: PLATE 15. (_See Appendix._)]
+
+[Illustration: PLATE 16. (_See Appendix._)]
+
+[Illustration: PLATE 17. (_See Appendix._)]
+
+In his personal habits Paganini was simplicity itself. Frugal to a
+degree in his repasts, a cup of chocolate sufficed for a meal when
+starting early on a journey, and often he would fast until evening. When
+in a happy mood after a concert, he would join the table d'hote and do
+as others did, but the slightest indulgence was punished the next day.
+He preferred solitude, but when he mixed with others he would join
+freely in the conversation; if music were touched upon he became silent,
+or left the room. So long as he could find accommodation that was quiet,
+he cared little for its quality. Scenery had no charms for him, and all
+climates but his own were equally indifferent to him. His accounts were
+kept in a little red pocket-book (found under his pillow after his
+death), in a kind of arithmetical shorthand only decipherable by
+himself. He never had been taught the science of numbers, or he might
+have been made a first-rate mathematician.
+
+Harris stated that all the time he was with Paganini he never heard him
+play a single note except before an audience. That may have been correct
+so far as Germany was concerned, but the Rev. John Edmund Cox, in his
+"Musical Recollections," has something very different to say about
+Paganini. "During his career he visited my native town,[35] and as I
+had the good fortune then to be able to converse in French, the friends
+who had engaged him for a round of concerts in that place and its
+vicinity placed me in direct communication with him somewhat in the
+capacity of a secretary; so that I not only travelled in his company and
+heard him at every concert at which he appeared, but I lived in the same
+hotels and lodgings which had been secured for him. This kind of
+semi-official position necessitated my seeing much of him during his
+leisure hours, when he threw off the suspicious restraint which was
+always apparent in his manner when he was among strangers, whom he
+imagined were bent upon getting as much as possible out of him for their
+own advantage. Then, indeed, he would evince anything but a hard and
+ungenerous nature, his manner being not only kind but courteous; whilst
+any attention that was afforded to his wants or to his comforts was
+sure to elicit not only looks but words of gratitude. In public he
+confined himself almost exclusively to the performance of his own
+music,--... but in private--for he had his violin constantly in his
+hand--he would sit and dash off by the hour together snatches from the
+compositions of the best masters, and give readings of such originality
+to passages that had been heard again and again, as apparently have
+never been supposed to be possible by any other player. As an instance
+in point, he one morning, whilst I was writing several notes for him,
+commenced the first _motivo_ of Beethoven's magnificent violin concerto.
+To write was then impossible; and he, perceiving how entranced I seemed,
+asked whether I knew what it was. On my replying in the negative, he
+promised, if it could be managed, that I should hear the whole of that
+movement before we separated." The promise was redeemed. The above is
+valuable as showing that Paganini was not quite so wanting in knowledge
+as was generally supposed. He could converse in French, though at that
+time--1831--he had only spent a few weeks in France. Education, proper,
+he had none; but the statement that he could speak no language but his
+own, is evidently incorrect. The allusion to strangers bent upon getting
+as much as possible out of him for their own advantage, finds an
+illustration in the story of the Englishman who is said to have followed
+Paganini for some six months, watching his every movement, lodging at
+the same hotels, and employing every means to get at the great secret of
+the violinist's art. At last his perseverance seemed about to be
+rewarded. Looking through the keyhole of Paganini's door, the
+Englishman saw the violinist take his instrument from its case--raise it
+to his shoulder, even shift the left hand up and down the neck; but not
+the ghost of a sound. It was just a study of positions, and the violin
+was then restored to its place. In despair, the inquisitive amateur gave
+up the quest.
+
+The concerts Paganini gave for the poor were evidence of his natural
+goodness of heart. It is true, such efforts cost him little; he gave a
+few hours' time: the public found the money. One day, when walking in
+Vienna, he saw a poor little Italian boy playing the violin in front of
+a large house. He drew from him a touching story of poverty, and a sick
+mother; and emptying his pockets into the boy's hands, he took from him
+his violin and began to play. He was soon recognised, and a crowd
+assembled; the people were immensely diverted, and gave a generous
+response when the hat was handed round. With "Take that to your mother,"
+Paganini sent the boy off rejoicing, and turning to the companion of his
+walk, he remarked, "I hope I've done a good turn to that little animal."
+He was fond of applying the word "animal" to those sometimes spoken of
+as "the lower classes," but was not altogether singular in that respect.
+
+At the anniversary dinner of the Royal Society of Musicians, in 1832,
+among the donations announced was one of ten guineas from Paganini. This
+was thought so excessively mean an acknowledgment of the generosity of
+the English nation, that the announcement was received with groans and
+hisses. That was distinctly rude on the part of those who, having dined
+well, ought to have been in a genial state of mind.
+
+At least one generous action must be placed on record. It was told by
+George Augustus Sala many years ago.[36] The mother of that voluminous
+writer was a vocalist, and made her _debut_ at Covent Garden Theatre in
+1827, as the Countess in Bishop's version (or perversion) of Mozart's
+"Marriage of Figaro." In 1828 she became a widow, and supported her
+family by teaching singing and giving annual concerts, chiefly at
+Brighton, where she lived. For one of her benefit concerts she engaged
+Paganini. The most distinguished artists of her day had gladly given
+their gratuitous assistance at similar functions, and Paganini accepted
+the small fee of twenty-five guineas. Sala was a very small boy at that
+time (born in 1828), and possibly drew upon his imagination when
+recounting the event so many years later. This is what he wrote:--"'Take
+your little boy with you, Madame Sala,' was the shrewd counsel of ----,
+a valued friend of my mother; 'take the boy with you when you pay Pag.;
+perhaps _that_ will soften him a little.' I was the smallest and
+chubbiest of the tribe; then, duly washed, combed and made spruce, my
+parent took me in her hand, and led me to the Old Ship, where Paganini
+was staying. We were ushered, not without fear and trembling on my part,
+into the presence of the mighty musician, who was at breakfast. Then my
+mother, alluding as far as she in delicacy could to her large family
+and small means, proceeded to count out--sovereign by sovereign,
+shilling by shilling--Paganini's fee of five and twenty guineas. I can
+see with the eye of memory the whole man before me now, his gaunt
+angular form, his black elf-like locks falling in weird confusion over
+his neck and shoulders, his cadaverous face and shaggy brows, his long
+bony hands with the veins standing out like cordage, his amazingly large
+feet, and especially his neck, disproportionately long, scraggy, and
+corrugated. I can see the glare--so it seemed to me--which, when he
+raised his bent brows, darted upon the pile of money, and the spasmodic
+avidity with which he extended his hand and swept the pile towards
+him.... 'A very nice little boy,' he was good enough to say, alluding to
+myself; 'but time is bad, and there is no monish in de vorld: no, never
+no monish at all.' My mother rose with a heavy heart to depart. 'Stop,
+little boy,' said the great violinist, and he beckoned to me with a
+skinny finger, which any of the witches in Macbeth would have been proud
+to own; 'stop, take this, it will buy you a cake.' He thrust a crumpled
+piece of paper into my hand, rose from his chair, and, without more ado
+'bolted'--that is the only word suited to the action--into his bedroom.
+He had given me a bank note for fifty pounds! Superstitious people used
+to whisper that Paganini had sold himself to the enemy of mankind;
+spiteful people used to draw him as a greedy, flint-hearted miser.... I
+only know how he acted towards my mother."
+
+FOOTNOTES:
+
+[32] Life of Moscheles (English Edition), I., p. 252-7.
+
+[33] Duranowski, a talented Polish violinist. He entered the French army
+and was _aide-de-camp_ to a General. He lost his rank when released;
+returned to his violin, and was living at Strassburg up to 1834.
+
+[34] An engraving of it is in Naumann's "History of Music" (English
+Edition), p. 255.
+
+[35] Norwich.
+
+[36] In the "Bow Bell's Annual" for 1878 (?)
+
+
+
+
+CHAPTER IX.
+
+
+From the man we now turn to the artist. Schiller wrote: "The artist is
+the son of his age, but pity for him if he is its pupil or even its
+favourite." It has been shown how truly Paganini was the child of his
+age; the pity was that he became its pupil and its favourite; in
+consequence he failed to attain the supreme height where dwell the
+spirits of the greatest. But he was a great artist, in spite of his
+concessions to the public taste; and he held in reverence that which he
+found great in others. When in Vienna in 1828, exactly a year after the
+death of Beethoven, Paganini attended a concert, and heard a performance
+of the great master's Symphony, No. 7, in A. Profoundly moved by that
+sublime composition, he remained mute, his gaze fixed and mournful;
+suddenly the tears rolled from his eyes; his grief and emotion wrung
+from him the words: _E morto!_ Anders, who relates the incident, adds:
+"Never was the immortal author of _Fidelio_ more worthily extolled than
+by those tears, by that simple word. The day may come when some
+disciple, some friend of the Genoese artist, will say in his turn,
+seized with bitter sadness, _E morto!_" Strange, that Chorley should
+have employed the very words, in the premature obituary notice which
+has been already referred to.
+
+When in Paris, Paganini once visited the Institution for the Blind. He
+was so much struck with the beauty and purity of intonation that
+characterised the singing of the pupils, that he declared that never
+before had he an adequate notion of what harmony was.
+
+The artist, as well as the art, claimed his respect. There seems to have
+been no artistic jealousy about him, and to the young performer he was
+invariably kind, whilst to the established professor he was just. It is
+said that when Paganini's concerts took place at the King's Theatre, it
+was proposed to dispense with the services of the "leader" at the Opera.
+When Paganini heard of this, he paid a well-merited compliment to the
+abilities of Signor Spagnoletti, and insisted upon his engagement at all
+the concerts, he, Paganini, might give at the Theatre. It is true, at
+rehearsal, Paganini never gratified the members of the orchestra as to
+what the concert performances were likely to be; but he was careful to
+have the accompaniments well prepared. Quick-tempered, he was irritated
+at any faulty work, but when all went well he expressed his approbation
+by exclaiming, "_Bravissimi! Siete tutti virtuosi!_" ("You are all
+artists!") Paganini brought the orchestral parts with him to rehearsal,
+and took them away afterwards; as to the solo part, no one had a chance
+of looking at that, for Paganini played everything from memory. His
+kindness to brother-artists has been placed on record. The young
+violoncellist Ciandelli, who rendered such service to Paganini when he
+was turned into the street by the brutal landlord, was afterwards well
+repaid by the instruction Paganini gave him. The great violinist told
+Schottky, his biographer, that he took a lively interest in young
+Ciandelli, and that he imparted to him his secret. He gave him lessons,
+and at the end of three days so transformed his playing, that from being
+a mediocre performer, he became the first violoncellist at the Theatre
+Royal, Naples, with a possibility of becoming the first in the world.
+However, as history is silent respecting the subsequent achievements of
+Gaetano Ciandelli, he need not claim further attention.
+
+The Bohemian violinist, Joseph Slavik, appeared at Vienna in 1826, when
+he was twenty years of age. Moscheles heard him play, and said he was
+considered in Vienna as the second Paganini. Of course that was hearsay;
+_the_ Paganini had not then been heard outside Italy. When Paganini was
+in Vienna, in 1828, he become acquainted with young Slavik, and held him
+in affectionate regard. At all hours the young student had access to the
+idol of his worship, and received many valuable hints and ideas upon
+fingering, etc., and friendly encouragement to pursue his daring course
+with unwearying application. He spent two years in retirement, zealously
+studying the Paganini method, and when he reappeared in Vienna, he was
+spoken of as no petty imitator, but a second original. A contemporary
+notice, comparing Slavik with Paganini, states:--"The only difference
+between the two at present is, that the pupil, carried away by the
+ardour of youth, often suffers himself to be seduced into the most
+gigantic attempts, the success of which on every occasion no mortal can
+with certainty rely upon; while the other, possessing the plaintive and
+deeply pathetic tones of a singer, at the same time resembles a
+consummate piece of musical mechanism, which accomplishes the most
+extraordinary feats quietly and without effort." Slavik died at Pesth,
+in 1833, at the early age of twenty-seven; what he might have become his
+actual achievements plainly indicated.
+
+In his later years, Paganini appears to have had great delight in
+listening to young artists. In 1836, Antonio Bazzini, then a youth of
+eighteen, played to Paganini, who was enraptured with his performance. A
+year later, in Paris, Paganini heard a much younger violinist, the boy
+Apollinaire de Kontski, and actually went so far as to give him a
+testimonial. Articles in the musical dictionaries all state that
+Paganini gave some lessons to the child; some say that the friendship
+between the two resulted in Paganini bequeathing to De Kontski his
+violins and compositions. Grove, in quoting Mendel, says this statement
+requires confirmation. When Apollinaire de Kontski died, in 1879,
+nothing, so far as I have been able to ascertain, transpired concerning
+the alleged bequest. But the testimonial seems to have escaped the
+notice of dictionary compilers, so, as a curiosity, I reproduce it from
+the _Musical World_, of June 21st, 1838:--
+
+     "Having heard M. de Kontski, aged eleven years, perform several
+     pieces of music on the violin, and having found him worthy of being
+     ranked among the most celebrated artists of the present day,
+     permit me to say, that if he continues his studies in this fine
+     art, he will, in course of time, surpass the most distinguished
+     performers of the age.
+
+          (Signed) PAGANINI."
+
+But if Paganini was fond of hearing and encouraging other artists, he
+was averse to anything like competitive display. When he met Lafont at
+Milan in 1816, as already related, he played at the concert given by
+that artist. The function came to be regarded as a contest, and an
+account of it appears in Laphaleque's pamphlet. Some paper, early in
+1830, having quoted this notice, Lafont wrote a letter of protest, which
+is interesting enough to reproduce in part. He wrote:--
+
+"Sir, I have just read, in your journal of the 2nd of Feb., an extract
+from the Notice published on the celebrated violinist, Paganini. As this
+notice contains statements utterly erroneous, as regards me, I owe it to
+truth, to the advice of my friends, and to the favour with which the
+public has been pleased to honour me during twenty-five years, to give
+an exact statement of the facts of the case. The following is a
+narration of what occurred. In the month of March, 1816, I gave in
+conjunction with M. Paganini, a concert in the great theatre, La Scala,
+at Milan, and, far from making a cruel trial of the powers of my
+adversary, or of being beaten by him, as is pretended by the author of
+the Notice, I obtained a success the more flattering, as I was a
+stranger in the country and had no other support than my talent.
+
+"I played, with M. Paganini, the concerted symphony of Kreutzer, in
+_fa_ major. For several days previously to the concert we rehearsed this
+symphony together, and with the greatest care. On the day of the concert
+it was performed by us as it had been rehearsed, with no change
+whatever; and we both obtained an equal success in the passages executed
+together or separately. On coming to the _phrase de chant_ in _fa_
+minor, in the second solo of the first part, there was a decided
+advantage for one of us. This passage is of a deep and melancholy
+expression. M. Paganini performed it first. Whether the strong and
+pathetic character of the piece was ill-suited to the ornaments and
+brilliant notes which he gave in it, or whatever else was the cause, his
+_solo_ produced but little effect. Immediately after him, I repeated the
+same passage, and treated it differently. It seems that the emotion by
+which I was then agitated, caused me to give an expression more
+effective, though more simple, and it was so felt by the audience, that
+I was overwhelmed with plaudits from all parts of the house. During
+fourteen years I have been silent on this trifling advantage obtained
+over M. Paganini in this instance, only in the symphony, and probably
+rather by the superiority of the school than by that of talent. It is
+painful to me to speak of myself; nothing short of the misrepresentation
+of the article in question could have provoked me to reply. I was not
+beaten by M. Paganini, nor was he by me. On all occasions, I have taken
+pleasure in rendering homage to his great talent; but I have never said
+that he was the first violinist in the world; I have not done such
+injustice to the celebrated men--Kreutzer, Rode, Baillot, and Habeneck,
+and I declare now, as I have always done, that the French school is the
+first in the world for the violin."
+
+After this modest assertion Lafont concludes with an expression of
+rejoicing in the opportunity of praising a talent of which he felt it an
+honour to be the rival, but of which no one could make him the
+adversary.
+
+This epistle provoked a rejoinder from Francesco Cianchettini[37] who
+wrote:--"As I was present at that contest, I do assert that the account
+given by Mr. Imbert is not erroneous, but correct. The public decision
+was in favour of Paganini; Mr. Lafont having acquiesced in silence to
+such a decision, does not diminish one iota of his acquired fame: as not
+only himself, but every living violinist who dares to enter into rivalry
+with Paganini, will be prostrated, although the Signor has not had the
+advantage of being a pupil of the _super-excellent Parisian Violin
+School_. In Paris, I have heard how the talented violinists, mentioned
+in Mr. Lafont's letter, speak of Paganini. The _Coriosi_ gladiators of
+the Neronian age spoke with the same freedom of Hercules. Had this
+demigod suddenly appeared on the arena with his club, all of them would
+instantly have shrunk into pigmies."
+
+In a footnote Cianchettini added that whatever excellence the Parisian
+Violin School might lay claim to, was derived from Italians; from
+Viotti, through Pugnani and Tartini, to Corelli, "the father of the
+violin."
+
+But the genius of Paganini was fully understood and appreciated by a far
+greater Frenchman than Charles Lafont:--Hector Berlioz.
+
+The friendship between Paganini and Berlioz has been briefly referred
+to, but it is a subject for further consideration, as it reveals the
+influence that the one artist wielded over the other. The first meeting
+of the two men must be told in the words of Berlioz himself. A few
+remarks are needed by way of preface. In the summer of 1833, Berlioz
+married the English actress Miss Smithson, who, still weak from her
+carriage accident, had, on her wedding day, "nothing in the world but
+debts, and the fear of never again being able to appear to advantage on
+the stage." To pay off these debts Berlioz organized a benefit
+entertainment, beginning with drama and ending with a concert. But his
+programme was too long, and he had forgotten something--_the claque_.
+His poor wife could not conceal her lameness, and though talented as
+ever, she failed to obtain a recall. Another actress, having taken
+precautions, had an ovation. Then at midnight the band of the _Theatre
+Italien_, not being obliged to play after that hour, left the place, and
+the _Symphonie Fantastique_ could not be played. Liszt assisted, and the
+affair was not quite a failure, financially, though the promoter came in
+for bitter attacks. Poor Berlioz was in despair, but he took his courage
+in both hands, and announced a concert at the _Conservatoire_. He took
+care to engage artists he could trust, and with his friend Girard as
+conductor everything went well, the _Symphonie Fantastique_ taking the
+room by storm. Now let Berlioz speak: "My success was complete, and the
+former judgment on me was reversed. My musicians looked radiant with
+delight as they left the orchestra. Lastly, my happiness was completed
+when the public had all gone, and a man stopped me in the passage--a man
+with long hair, piercing eyes, a strange and haggard face--a genius, a
+Titan among the giants, whom I had never seen before, and at first sight
+of whom I was deeply moved; this man pressed my hand, and overwhelmed me
+with burning eulogies, which literally set both my heart and brain on
+fire. It _was Paganini_ (22nd December, 1833). From that date my
+relations with that great artist, who exercised such a happy influence
+upon my destiny, and whose noble generosity has given birth to such
+absurd and malicious comments."
+
+It was some time in January, 1834, that Paganini called upon Berlioz and
+said he had a wonderful viola, a Stradivari, upon which he should much
+like to play in public, but he had no music for it. Would Berlioz write
+a solo for him? Berlioz was flattered by the proposal, but replied that
+in order to produce a composition sufficiently brilliant to suit such a
+virtuoso, he--Berlioz--ought to be able to play the viola, and that he
+could not do. So he thought Paganini alone could meet his own wishes.
+Paganini, however, pressed his own point, adding that he himself was too
+unwell to compose anything. Berlioz then set to work. To quote his own
+words: "In order to please the illustrious virtuoso, I then endeavoured
+to write a solo for the viola, but so combined with the orchestra as not
+to diminish the importance of the latter, feeling sure that Paganini's
+incomparable execution would enable him to give the solo instrument all
+its due prominence. The proposition was a new one. A happy idea soon
+occurred to me, and I became intensely eager to carry it out."
+
+Paganini was impatient to see the music, and as soon as the first
+movement was finished, it was shown to him. He did not like the long
+silences. "That is not at all what I want," he said; "I must be playing
+the whole time." "You really want a _concerto_ for the tenor," Berlioz
+replied, "and you are the only man who can write it." Paganini said no
+more, and soon afterwards left for Nice. Berlioz then gave free play to
+his fancy, and wrote the series of scenes for the orchestra, the
+background formed from the recollections of his wanderings in the
+Abruzzi, the viola introduced as a sort of melancholy dreamer, in the
+style of Byron's "Childe Harold." Hence the title "Harold in Italy."
+Now, this is the point: "Harold" was inspired by Paganini, who
+indirectly gave a new art-form to the world. The piece was produced on
+November 23rd, 1834, but Paganini was then in Italy, and he did not hear
+it until four years later.
+
+But Paganini was destined to inspire something greater still. He was
+again in Paris in 1838, and, as before related, was present at the
+"horrible performance" of Berlioz' "Benvenuto Cellini." Sad at heart
+Paganini said: "If I were manager of the _Opera_, I would at once engage
+that young man[38] to write me three such operas: I would pay him in
+advance, and should make a capital bargain by it." The failure of the
+opera threw Berlioz on a bed of sickness. But he had to live, and was
+soon arranging to give concerts at the _Conservatoire_. The first barely
+paid expenses, but the second, at which both the _Symphonie Fantastique_
+and _Harold en Italie_ were performed, was more successful, and at this
+Paganini was present. This has also been incidentally mentioned, but
+further notice is required on account of the sequel. Again we must allow
+Berlioz to speak for himself. "The concert was just over; I was in a
+profuse perspiration, and trembling with exhaustion, when Paganini,
+followed by his son Achilles, came up to me at the orchestra door,
+gesticulating violently. Owing to the throat affection of which he
+ultimately died, he had already completely lost his voice, and unless
+everything was perfectly quiet, no one but his son could hear or even
+guess what he was saying. He made a sign to the child, who got up on a
+chair, put his ear close to his father's mouth and listened attentively.
+Achilles then got down, and turning to me, said, 'My father desires me
+to assure you, sir, that he has never in his life been so powerfully
+impressed at a concert; that your music has quite upset him, and that if
+he did not restrain himself he should go down on his knees to thank you
+for it.' I made a movement of incredulous embarrassment at these strange
+words, but Paganini seizing my arm, and rattling out 'Yes, yes!' with
+the little voice he had left, dragged me up on the stage, where there
+were still a good many of the performers, knelt down, and kissed my
+hand. I need not describe my stupefaction; I relate the facts, that is
+all."
+
+In his frenzied state Berlioz went out into the bitter cold, met Armand
+Bertin on the boulevard, told him what had occurred, caught a chill, and
+again had to keep his bed. Two days later, the little Achilles called,
+the bearer of a letter, and of a message to the effect that his father
+would himself have paid the visit, but was too ill to do so. The letter
+ran as follows:--
+
+     "MY DEAR FRIEND,
+
+     Beethoven dead, only Berlioz now can revive him; and I, who have
+     enjoyed your divine compositions, worthy of the genius which you
+     are, entreat you to accept, in token of my homage, twenty thousand
+     francs, which will be remitted you by the Baron de Rothschild on
+     presentation of the enclosed. Believe me always your most
+     affectionate friend,
+
+          NICOLO PAGANINI.
+     Paris, December 18th, 1838."
+
+Picture the scene! Berlioz, pale with excitement; his wife, entering the
+room, imagines some new misfortune has befallen them. Told of what has
+happened, she calls her son Louis. Berlioz' words again: "And my wife
+and child ran back together, and fell on their knees beside my bed, the
+mother praying, the child in astonishment joining his little hands
+beside her. O Paganini! what a sight! Would that he could have seen it!"
+
+The news soon spread abroad, and there were mixed feelings with regard
+to Berlioz; delight on the one hand, detractions on the other, and
+"scandalous insinuations" against Paganini. It was some six days before
+Berlioz recovered sufficiently to visit and thank Paganini. The latter
+would not hear a word; it was the greatest pleasure he had ever felt in
+his life, he said; adding, "Ah! now none of the people who cabal against
+you will dare to say another word, for they know that I am a good judge,
+and that I am not easy" the last clause bearing two meanings: "I am not
+in easy circumstances," or, "I do not part with money easily." I know
+that this gift of Paganini to Berlioz is now regarded as a myth. One
+version of the story is that Paganini was merely the agent, the real
+donor being Armand Bertin, the great friend of Berlioz, who wished to
+remain in the background. Another version is to the effect that Jules
+Janin, editor of the _Journal des Debats_, compelled Paganini to make
+the gift to Berlioz, who was the musical critic on that paper; and that
+Paganini, fearing to lose his prestige with the public if Berlioz turned
+against him, yielded to the pressure put upon him. I am going to give
+chapter and verse for all this, for it is a matter that should be put at
+rest. But first, what a condition is revealed of the press in relation
+to art. Berlioz in money matters was incorruptable, though he was often
+poor enough; therefore I leave him out of the discussion. But think of
+the possibility of the transaction! Janin, years before, had written
+bitter things of Paganini--things I have declined to quote in this
+memoir; but Janin must have been quite as bad as he asserted Paganini to
+have been, if he was capable of this monstrous proposition. There are
+two details to be considered, and the first is the date. In 1838, the
+public career of Paganini was at an end. There was the wretched Casino
+business, it is true, but there was no performance by Paganini. In the
+second place, supposing for a moment that Berlioz could or would employ
+his pen in disparagement of the great violinist, could he have written
+anything more violent, more depreciatory, than critics had been writing
+for the previous twenty years, criticisms which Paganini had survived,
+and grown rich upon? Besides, if the Janin story be true, the Bertin
+must be false. Where then is the authority for the former? In 1840,
+Liszt wrote a memorial notice of Paganini. In it passing reference is
+made to some deeds of benevolence. Lina Ramann, in her "Life of Liszt,"
+of which the first part was published in 1880, prints this essay, and at
+the point above mentioned adds a long foot note[39] giving the Janin
+story, which she averred Liszt knew through Janin himself. That was a
+safe story to reproduce, though it might have been contradicted by Liszt
+if he ever saw the book. Now for the Bertin version. The authority
+quoted for that is always Ferdinand Hiller. In 1868, Hiller published
+his work "On the Musical Life of our Time," in which he relates some
+gossiping with Rossini, in 1856. The conversation turned upon Paganini
+on one occasion, and Hiller asked about the kingly gift to Berlioz.
+Rossini replied that all Paris knew it, and he must needs believe it,
+but at bottom he held the thing impossible. Nothing more definite is
+there recorded. In 1871, Hiller published a new series of similar papers
+or essays, but of this work I know nothing. Rossini was a raconteur, and
+fond of saying good things. There is no reason to doubt the good faith
+of Ferdinand Hiller; he set down what Rossini said, which, after all,
+was only the expression of a doubt. This reticence was perhaps owing to
+the fact that Berlioz was still living. But how was Rossini likely to
+know the facts of the case? He went to Italy in 1836, and returned to
+Paris about the end of May, 1855; consequently he knew nothing of the
+alleged gift at the time, and as Armand Bertin died in 1854, Rossini
+could not have heard the story from him. So far, one would be justified
+in attaching little credence to Hiller's gossip with Rossini.
+
+But there was a sequel. Rossini died in November, 1868, and Berlioz
+passed away in March, 1869. His Autobiography was published in 1870,
+with the Paganini incident as it has already been related. To the last,
+Berlioz believed that the money came from Paganini. In 1880, Hiller
+published a work entitled "Kuenstlerleben," in which a chapter was
+devoted to Berlioz. Again reference is made to the princely gift,
+incredible from so mean a man as Paganini. "Rossini gave me the key to
+this enigma," writes Hiller, "and I do not hesitate to communicate the
+same, as it can no longer be unpleasant to anyone concerned in the
+matter." He then goes on to say that Paganini consented to be the agent
+of Armand Bertin, who really found the money. "Are you sure that this
+was true?" asked Hiller; "I _know_ it," replied Rossini, seriously.
+Hiller then states his conviction that Rossini's account must be
+correct.[40] Now was this the outcome of a subsequent conversation with
+Rossini, or an amplification of the "gossip" at Trouville? Hiller is
+candid enough to say that some may doubt, and I should confess to being
+among the doubters if his evidence was the sole support of the story.
+
+But in 1896, appeared the evidence of one whose testimony was
+unimpeachable. The late Sir Charles Halle went to Paris in 1836, when a
+youth of seventeen. In 1838, he was introduced to Paganini, was invited
+to visit him, and often played to him; and, once, nearly heard Paganini
+play! An extract from Halle's "Autobiography" will show what he thought
+of the great violinist: "From my earliest childhood I had heard of
+Paganini and his art as of something supernatural, and there I actually
+sat opposite to the man himself, but only looking at the hands that had
+created such wonders. On one never-to-be-forgotten occasion, after I had
+played and we had enjoyed a long silence, Paganini rose and approached
+his violin case. What then passed in me can hardly be imagined; I was
+all in a tremble, and my heart thumped as if it would burst my chest; in
+fact, no young swain going to the first rendezvous with his beloved
+could possible feel more violent emotions. Paganini opened the case,
+took the violin out, and began to tune it carefully with his fingers
+without using the bow; my agitation became almost intolerable. When he
+was satisfied, and I said to myself, with a lump in my throat, 'Now,
+now, he'll take the bow!' he carefully put the violin back and shut the
+case. And this is how I heard Paganini." Halle also became acquainted
+with Berlioz and acquaintance ripened into a close friendship. He saw
+the change worked in Berlioz through the Paganini incident; how his
+courage was strengthened, and from a morose, he became a cheerful
+companion. Then he divulges what had been a life-secret: "Armand Bertin,
+the wealthy and distinguished proprietor of the _Journal des Debats_,
+had a high regard for Berlioz and knew of all his struggles, which he,
+Bertin, was anxious to lighten. He resolved therefore to make him a
+present of 20,000 fr., and in order to enhance the moral effect of this
+gift he persuaded Paganini to appear as the donor of the money. How well
+Bertin had judged was proved immediately; what would have been a simple
+_gracieusete_ from a rich and powerful editor towards one of his staff
+became a significant tribute from one genius to another, and had a
+colossal _retentissement_. The secret was well kept and never divulged
+to Berlioz. It was known, I believe, to but two of Bertin's friends
+besides myself, one of whom is (Victor) Mottez, the celebrated painter;
+I learned it about seven years later when I had become an intimate
+friend of the house, and Madame Armand Bertin had been for years one of
+my best pupils."[41] This must be accepted as a true statement of the
+case, but it proves no more than that Paganini became a party to a
+benevolent conspiracy; he never boasted of the gift, nor claimed any
+credit for it. Even when Berlioz, relieved of his financial troubles,
+set to work with a light heart at the composition which was to be worthy
+of dedication to the illustrious artist to whom he owed so much (his own
+words), even when he wrote to Paganini about a subject, all the answer
+he could get was: "I can give you no advice." He chose Shakespeare's
+"Romeo and Juliet" as a theme, worked at it for seven months, and
+produced a masterpiece. Paganini inspired him, but never heard the work
+"undertaken chiefly to please him."
+
+To Paganini the world owes still more. It has been already stated that
+Paganini's playing when in Paris in 1831 exerted an extraordinary
+influence over Franz Liszt, and gave the direction to his genius. I use
+the word "genius" advisedly, believing that Liszt is one of that sacred
+band to whom the term belongs of right. This is not the place to discuss
+the position Liszt occupies among composers; nor is this country yet
+qualified properly to judge him. Wagner, Schumann and Chopin have passed
+the ordeal; from persecution they have arrived at deification, so to
+speak, and even their faults are regarded as merits. But prejudice dies
+hard, and Liszt has yet to suffer. His earnest disciple Walter Bache
+sacrificed time and means in his Liszt propaganda, but with scant
+success. My point here is to try and show that Paganini, despite all
+shortcomings as a man and as an artist, had a mission--whether he knew
+it or not--and fulfilled it through others.
+
+Beethoven's pianoforte playing, and pianoforte compositions, led makers
+of that instrument to extend its compass; Liszt led the way to a new
+system for the pianoforte, with effects hitherto undreamt of, and the
+impulse came from Paganini. No other instance is on record of an
+instrument like the violin absolutely revolutionising the treatment of
+the pianoforte. I have already referred to Liszt in Paris, how,
+depressed and suffering, he withdrew from art and buried himself in
+solitude. The revolution of 1830 aroused him, but it was Paganini who
+rekindled the flame of art. Here I must have recourse to Lina Ramann's
+"Franz Liszt."
+
+Liszt went to hear Paganini: "Charmed, stunned, yet seeing clearly at
+the same time, he could have cried out for sorrow and exultation. This
+playing! it was the vision of his soul, after which he had sought and
+grasped and yet could never find or seize. Now here he felt it realised
+before him. With kindling power it seized his artistic will. Until then
+Liszt had groped and sought without any conscious aim; following the
+hidden impulse of his spirit, he had given place to all kinds of
+whims.... Now, all at once, he was led by Paganini into fixed paths and
+the lost thread of his development was found again. By Paganini's
+playing the veil had been torn away which lay between him and his
+artistic will.... Paganini's playing had fanned the Promethean spark of
+his genius to a brilliant flame. That for which the poets of the time
+strove in their literary productions--freedom of form and of subject--he
+saw here in the domain of reproducing music. With all this the serious
+defects and onesidedness of the great violinist's capabilities and
+genius did not escape the youthful pianist. He measured him by the
+ideals of artistic culture which shone before his own eyes....
+He recognised plainly the limits of the influence which Paganini
+exercised over him, and saw how human was the mission of the artist--a
+consciousness was awakened that _artistic culture is inseparable from
+human sympathies, that only a great man can become a great artist_. This
+conviction drew from his lips the proud but noble words 'Genie
+oblige.'[42] With indescribable eagerness, and at the same time with
+exulting triumph, Liszt, after having heard Paganini, turned again to
+his instrument. He was seldom seen; in public, as a pianist, never. His
+mother alone was the silent witness of his perseverance and restless
+working. As Wieland, he hammered at his piano. He, who, already as a
+boy, had climbed the Parnassus of study, now sat at the instrument often
+six hours a day and practised; yes, he exercised the language of his
+spirit, and created for it an organ of expression." The author then
+goes on to describe the new ideas that came to Liszt when studying
+the Twenty-four Capricii of Paganini, and how he discovered new
+combinations, and also that the hand of the pianist had yet much to
+learn. "With this perception a bridge was built to new technical
+triumphs in the art of pianoforte playing.... On the one hand he
+increased the beauty and breadth of sound of this instrument in a
+marvellous degree, while on the other, he gave at the same time a fatal
+blow to the modern pianoforte music of his day. This was the new
+discovery which Liszt made through Paganini, and on the foundation of
+which he has created an extension of the arena of sound.... Thus
+Paganini's capriccios gave Liszt the first impulse towards the modern
+system for the pianoforte, and at the same time prompted him to enter on
+the territory till then unknown of transferring effects."[43]
+
+What the influence of Liszt has been, is beyond the present purpose to
+inquire. But, blot out Paganini and every note he has written, and he
+reappears in the art work of at least one great French composer, and in
+that of the greatest pianist the world has yet seen--one to whom the
+high compliment has been paid in the epithet--"The Paganini of the
+Pianoforte."
+
+FOOTNOTES:
+
+[37] Little is now known of this artist. He married Veronica, sister of
+the pianist and composer J. L. Dussek, and was the father of Pio
+Cianchettini, composer, who died at Cheltenham in 1851.
+
+[38] Berlioz was then thirty-five, Paganini, fifty-six years of age.
+
+[39] Aus dem Tonleben unserer Zeit, Vol. II., p. 55.
+
+[40] Kuenstlerleben, p. 88.
+
+[41] Life and Letters of Sir Charles Halle, p. 69.
+
+[42] The last words of Liszt's article "Sur Paganini, A Propos de Sa
+Mort," published in the "Revue et Gazette Musicale de Paris," December
+23, 1840.
+
+[43] Franz Liszt, Artist and Man, Vol. I., pp. 258-65.
+
+
+
+
+CHAPTER X.
+
+
+Is it worth while at this distance of time to refer to the actual
+playing of Paganini? Can one recall "the touch of a vanished hand?" This
+memoir would not be complete without some account of Paganini's art
+beyond that given in the story of his life. Here I do not venture to
+write as a violin expert, and I shall only quote from Guhr's "On
+Paganini's Art of Playing the Violin"--which is presumably still
+accessible to students--in so far as it may be serviceable to the
+general reader. Leaving aesthetic, and higher considerations generally,
+out of count for the moment and limiting our attention to matters
+technical, we find much that was absolutely new. As regards mere
+extravagance and eccentricity of execution, Paganini was surpassed by
+Locatelli. We have to take into consideration the concert-pitch in use
+at the time of Paganini's public career. That, I take it, corresponded
+very closely with the Diapason normal now coming into general use.
+Paganini employed thin strings, and, for purposes to be named presently,
+often tuned his violin a semitone higher than the pitch of the band
+which accompanied him--equivalent to the English pitch, or high pitch
+still in use in some places. These thin strings served another
+purpose--the easy production of harmonics. If there was one thing more
+novel than any other in Paganini's playing it was the introduction of
+harmonics, melodies, double notes, and double shakes in harmonics. The
+natural harmonics were of course known to all violinists, but the
+artificial harmonics, if not the invention of Paganini, were first
+employed by him as integral features of his compositions as well as of
+his performances. Then there was his particular kind of _staccato_,
+produced by throwing his bow forcibly on the string, "letting it spring
+while he runs through the scales with incredible rapidity, the tones
+rolling like pearls" (Guhr). The Rev. Dr. Fox said the bow seemed to act
+with the elasticity of a spring fixed at one end, and made to vibrate.
+The combination of bowing, with _pizzicato_ by the left hand, if not
+new, was employed by Paganini to a degree never attempted before.
+Lastly, there was his wonderful performance on the fourth string, which
+he tuned up to B flat, and sometimes even a semitone higher. Much of his
+use of these devices is put down as clap-trap, yet since his day many
+violinists have employed the same means, if they have not achieved the
+same result.
+
+[Illustration: PLATE 18. (_See Appendix._)]
+
+[Illustration: PLATE 19. (_See Appendix._)]
+
+[Illustration: PLATE 20. (_See Appendix._)]
+
+[Illustration: PLATE 21. (_See Appendix._)]
+
+[Illustration: PLATE 22. (_See Appendix._)]
+
+Let us consider, for a moment, the performances on the G string. It is
+certain that Paganini was not the originator of that manner of playing,
+for Leopold Mozart wrote of Esser[44] as playing on the G string alone
+with the greatest ease. Compositions for a single string were also
+written before Paganini's day, for Friedrich Wilhelm Rust (1739-1796)
+composed a violin sonata for the E string. But Paganini made such a
+feature of this species of performance because it pleased the public,
+and, in giving the audiences that which they preferred rather than that
+which his artistic conscience should have prompted, he became the pupil
+of his age, and fell from his high estate. On the other hand, he may be
+said to have discovered the powers of the fourth string, to which, by
+the employment of harmonics, he gave a compass of three octaves. He was
+censured for his partiality in this direction, but in these days every
+violinist plays a solo on the G string. Is not Bach's "Aria" played
+everywhere as a fourth string solo? Yet, as musicians know, it was not
+written for that string, nor as a solo, forming, as it does, the theme
+of the slow movement of the "Overture in D," for strings, two oboes,
+three trumpets, and drums. Moreover, in Mozart's Violin Concerto in E
+flat, No. 6, composed in 1766, there is in the slow movement, an
+eight-bar period for the G string, and also one of the same length in
+the Finale. In Beethoven's Violin Concerto the principal theme of the
+Rondo is assigned to the G string, and also when it recurs after the
+second subject. This work was composed in 1806, a short time after
+Paganini wrote his "Napoleon Sonata," but was heard in public years
+before Paganini's was so performed. These two compositions are mentioned
+merely to show that the charm of the fourth string was not unknown in
+early days; to refer to later works would be superfluous.
+
+Now, as to Paganini's tuning his instrument a semitone higher than the
+ordinary pitch. It will be conceded that the different keys have
+distinctive qualities, to which some musicians are more sensitive than
+others. Some term it key-colour: I prefer the expression key-character.
+On the violin some keys are more sonorous than others. The effect may be
+partly mental, and I believe--though I may be wrong--that a violinist
+plays with a different feeling in the key of E, to that which would be
+excited by the key of E flat, and this apart from the aesthetic import of
+the composition itself.[45] In many concertos the chorus violins--if I
+may so call them--sometimes play the same notes with the soloist, and so
+absorb the tone of the latter that the listener can only hear the mass
+of violin tone. It is on record that Paganini was never overpowered by
+the _tutti_ in any of the pieces he played, though some writers say his
+tone was not remarkable for volume. The explanation may be found in what
+follows. Paganini had an almost morbidly keen musical organisation, an
+acute sense of hearing, in which he resembled Mozart and Berlioz.
+Paganini wrote the solo part of his first concerto in D (tuning his
+violin a semitone higher), and the orchestral parts in E flat. Why? Not
+because D was an easier key to play in, nor because some passages if
+viewed as in E flat were marvels of execution; but because he felt the
+difference in the "power" of the two keys. Mozart's Concertante for
+violin and viola, with orchestra, is in E flat, but the viola part is in
+D, and the instrument was to be tuned a semitone higher. This was done
+"both to give it a clear sound and to make the execution easier."[46]
+Mozart's piece was probably written in 1780, so here is one of the
+expedients ascribed to Paganini as a trick made use of by a great master
+before the famous violinist was born. Berlioz never heard Paganini play,
+but he was the first among his contemporaries to understand and
+appreciate Paganini's intention in this respect. In his _Soirees de
+l'Orchestre_ he wrote: "He (Paganini) has known how to render distinct
+and dominating the tones of a solo violin by tuning its four strings a
+semitone above those of the orchestra; which enabled him to play in the
+brilliant keys of D and A, while the orchestra accompanied him in the
+less sonorous keys of E flat and B flat." Berlioz knew, if any one did,
+what was the distinctive character of a key. It is highly improbable
+that either he or Paganini ever heard, or even knew anything of Mozart's
+"Concertante" just mentioned. So much by way of clearing Paganini from
+the charge of charlatanry. Artistic faults and failings he had, and
+these no attempt has been made to conceal; but every succeeding
+generation of violinists has been deeply indebted to the great Genoese
+for opening up new possibilities, by the way in which he advanced the
+character and power of the violin. Leaving now the technical side of his
+art, let us hear what his great contemporaries have to say of his
+playing from the aesthetic standpoint. We need not refer again to Lafont
+and Lipinski, but will begin with Spohr. It has been mentioned that
+Spohr met Paganini at Venice, in 1816. Spohr wished to hear the great
+Italian play something, but the latter declined. He afterwards
+explained to Spohr that his style of playing was calculated for the
+great public only; and that if he were to play to Spohr he must play in
+a different manner, for which he was not then inclined. So it was not
+until 1830 that Spohr heard Paganini at Cassel. This is what he wrote:
+"In June, 1830, Paganini came to Cassel and gave two concerts in the
+theatre, which I heard with great interest. His left hand, and his
+constantly pure intonation were to me astonishing. But in his
+compositions and his execution, I found a strange mixture of the highly
+genial and childishly tasteless, by which one felt alternately charmed
+and disappointed, so that the impression left as a whole was, after
+frequent hearing, by no means satisfactory to me." Paganini was playing
+to his "great public," and in that respect lost Spohr's esteem; but can
+a great violinist, of strong personality, be perfectly just to a
+contemporary of a different temperament? Schumann, as a composer, could
+look upon Paganini from a different point of view. This is what he says:
+"When I heard him for the first time, I expected him to begin with a
+tone such as had never been heard before. But with how small, how thin a
+tone he commenced! Then he began to weave his spells; invisibly he threw
+out his magnetic chains among the public; they oscillated above and
+around. And then the rings became more and more intricate; even
+the audience seemed to contract, while he interlaced his tones
+until they seemed melted into one--one with the master himself, all
+counterbalancing each other with sympathetic influence." This is not
+criticism; it is scarcely description: it is as fanciful as Heinrich
+Heine's description, but it is a proof of the great violinist's power to
+touch the imagination. Ignaz Moscheles, a virtuoso pianist, complains
+of his utter inability to find language capable of conveying a
+description of Paganini's wonderful performance. "Had that long-drawn,
+soul-searching tone lost for a single second its balance, it would have
+lapsed into a discordant cat's-mew; but it never did so, and Paganini's
+tone was always his own, and unique of its kind. The thin strings of his
+instrument--on which alone it was possible to conjure forth those
+myriads of notes and thrills and cadenzas would have been fatal in the
+hands of any other violin player, but with him they were indispensable
+adjuncts." Again: "Nothing could exceed my surprise and admiration; his
+constant and venturesome flights, his newly discovered source of
+flageolet tones, his gift of fusing and beautifying subjects of the most
+heterogeneous kind; all these phases of genius so completely bewildered
+my musical perceptions, that for several days afterwards my head seemed
+on fire and my brain reeled. I never wearied of the intense expression,
+soft and melting like that of an Italian singer, which he could draw
+from his violin." Yet, later, Moscheles had to say: "I find both his
+style and manner of playing monotonous." Liszt, many years later said:
+"No one who has not heard him can form the least idea of his playing."
+Paganini indeed could soar to the Empyrean, but he had not the Peri's
+pure gift which would open the gate of Paradise!
+
+[Illustration: PLATE 23. (_See Appendix._)]
+
+Francois Joseph Fetis, who befriended Paganini when first he visited
+Paris, certainly held no brief for the celebrated artist, but rather
+presided over him as judge. He stated that the art of Paganini was an
+art apart, which was born with him, and of which he carried the secret
+to the grave. He further stated that Paganini often assured him that his
+talent was the result of a secret discovered by himself, a secret he
+intended to reveal, before his death, in a method for the violin, which
+should have but few pages, but which should throw all violinists into
+confusion. Fetis questions the existence of the secret, and thinks the
+great artist was labouring under a delusion. Yet he has to acknowledge
+that there was something extraordinary and mysterious in the power that
+Paganini possessed in the execution of unheard of difficulties in an
+infallible manner. His intonation was always perfect.[47]
+
+William Gardiner, the Leicester amateur, who became acquainted with
+Paganini, wrote: "There was no trick in his playing; it was all fair,
+scientific execution, opening to us a new order of sounds, the highest
+of which ascended two octaves above C in alt."
+
+An Italian physician, Francesco Bennati,[48] made a physiological study
+of Paganini, accounting for his wonderful executive powers as due not so
+much to his musical genius as to his peculiar physical formation. In
+particular, the flexibility of his wrist, and the great lateral
+extension of his finger joints, enabled him to execute passages
+impossible to others. But there must have been something beyond
+technique. I have heard many persons, professional and amateur, speak of
+his playing as something beyond conception, not only in regard to
+execution, but in the power of swaying an audience, playing upon their
+emotions; the whole man was an instrument. No other artist was so widely
+quoted by his contemporaries. Mendelssohn, Chopin, and others make
+reference to Paganini whenever anything wonderful is spoken of. Chopin
+was a great admirer of Slavik, and considered him only second to
+Paganini. Every volume of reminiscences down to the present day includes
+the name of Paganini, if only to relate that somebody once heard him
+play. But not only musicians, poets also sang his praises. Is there
+anything more beautiful than the tribute paid him by Leigh Hunt? A few
+lines may be quoted:
+
+    So played of late to every passing thought
+    With finest change (might I but half as well
+    So write!) the pale magician of the bow,
+    Who brought from Italy the tales made true,
+    Of Grecian lyres, and on his sphery hand,
+    Loading the air with dumb expectancy,
+    Suspended, ere it fell, a nation's breath.
+
+    He smote--and clinging to the serious chords
+    With godlike ravishment, drew forth a breath,
+    So deep, so strong, so fervid thick with love,
+    Blissful, yet laden as with twenty prayers,
+    That Juno yearn'd with no diviner soul
+    To the first burthen of the lips of Jove.
+    The exceeding mystery of the loveliness
+    Sadden'd delight; and with his mournful look,
+    Dreary and gaunt, hanging his pallid face
+    'Twixt his dark and flowing locks, he almost seem'd,
+    To feeble or to melancholy eyes,
+    One that had parted with his soul for pride,
+    And in the sable secret liv'd forlorn.
+
+    But true and earnest, all too happily
+    That skill dwelt in him, serious with its joy;
+    For noble now he smote the exulting strings,
+    And bade them march before his stately will;
+    And now he lov'd them like a cheek, and laid
+    Endearment on them, and took pity sweet;
+    And now he was all mirth, or all for sense
+    And reason, carving out his thoughts like prose
+    After his poetry; or else he laid
+    His own soul prostrate at the feet of love,
+    And with a full and trembling fervour deep,
+    In kneeling and close-creeping urgency,
+    Implored some mistress with hot tears; which past,
+    And after patience had brought right of peace,
+    He drew as if from thoughts finer than hope
+    Comfort around him in ear-soothing strains
+    And elegant composure; or he turn'd
+    To heaven instead of earth, and raise a prayer
+    So earnest-vehement, yet so lowly sad,
+    Mighty with want and all poor human tears,
+    That never saint, wrestling with earthly love,
+    And in mid-age unable to get free,
+    Tore down from heaven such pity.
+
+It was urged against Paganini as a fault, that he rarely played any
+other music than his own. Paganini was one of the latter-day examples of
+the virtuoso and the composer represented by one and the same person.
+From the days of Handel to the time of Beethoven, the composer was his
+own interpreter, and never gave concerts with compositions by others.
+But Paganini did at times play concertos by Rode and Kreutzer, though
+it was said that in these he was less successful than in his own. The
+Rev. Dr. Cox heard Paganini play the first movement of Beethoven's
+Concerto--in fact it was performed for his special edification. This is
+what he said of it: "Never shall I forget the smile on that sad, pale,
+wan, and haggard face, upon every lineament of which intense pain was
+written in the deepest lines, when I caught his eye, or the playing,
+into which a spirit and sympathy were thrown that carried one wholly
+away. As soon as he had concluded, and before I could rush up to him to
+express my thanks, he glided away. I never saw him afterwards." It was
+also stated that Paganini failed as a quartet player. His strong
+individuality might have been an obstacle in the way of securing the
+perfect unanimity of feeling and expression that characterise fine
+quartet playing; but to imply that he could not perform the music was
+absurd. As an executant, pure and simple, Paganini never had, and
+possibly never may have, a compeer.
+
+But the question remains: did Paganini's playing result in any permanent
+benefit to the art? Had he a permanent influence, and if so, was it for
+good? To take a material aspect, it was owing to Paganini that the fame
+of Joseph Guarnerius was published beyond Italy. "The names of Amati and
+Stradivarius became familiar to the musical world gradually, but
+Guarnerius, in the hands of a Paganini, came forth at a bound. This
+illustrious violin was often credited with the charm which belonged to
+the performer; the magical effects and sublime strains that he drew
+forth from it, must, it was thought, rest in the violin. Every would-be
+violinist, whose means permitted him to indulge in the luxury,
+endeavoured to secure an instrument by the great Guarnerius. The demand
+thus raised brought forth those gems of the violin maker's art now in
+the possession of wealthy amateurs and a few professors. When the
+various works of the gifted Guarnerius were brought to light, much
+surprise was felt that such treasures should have been known only to a
+handful of obscure players, chiefly in the churches of Italy."[49]
+
+[Illustration: _Plate XXIV.--See Appendix._
+
+A SEMI-CARICATURE OF PAGANINI, 1831.]
+
+It has been shown that Paganini's performances caused a revolution in
+the style of composition and execution in pianoforte music, as
+exemplified in the works of Liszt. But did violin playing benefit? As
+Paganini belonged to no school, so he founded no school. He had his
+imitators, but he had few pupils, and no absolute successor. Camillo
+Sivori is generally put forth as his only pupil. I have heard that great
+artist, but--I say it with diffidence--I could never consider him the
+equal of what I imagined Paganini to have been. According to William
+Gardiner, Paganini was accompanied by Antonio Oury when he first went to
+London. It was Oury who introduced Gardiner to Paganini, and the former
+stated that Oury was Paganini's favourite pupil.[50] Then the Chevalier
+Robbio, who appeared at Jullien's concerts at Drury Lane Theatre in
+1854, claimed to have been a pupil of Paganini. Acknowledged pupils were
+Teresa Ottavio, who was playing in Vienna, in 1835, and Mlle. Neumann,
+who gave concerts in Venice and elsewhere, in 1838. But all these were
+of small account. The question remains. Did Paganini influence the art
+of violin playing, and in what direction? Let a very recent writer
+contribute an answer. "We would not miss this greatest of fiddlers in
+the annals of violin playing--no, not for a Spohr or any other great
+modern violin master; but his influence can hardly be called beneficial.
+It forced violin playing into a Procrustean bed unsuited to its true
+nature and mission. Paganini had temporarily transformed the angel into
+a devil, and the angel did not escape unscathed--Lucifer burned his
+wings. Violin-playing will never be quite what it was before Paganini.
+He helped to hurry the growing old process--brought out the lines, the
+spots, and the wrinkles on the once fair face. He, before all others,
+established the iron rule of technique, with its train of other evils,
+in the place of the gentler reign of charming naivete of the elder
+master."[51] There is truth here, and cause for sadness; but can the
+hand of time be turned back, and music regain the artless joy of the
+seventeenth century, when technique was unknown? Paganini, after all,
+was only one of the forces that effected the revolution that produced
+the music of the last half of the nineteenth century. It is not too much
+to say that the technique of the modern orchestra, in regard to the
+string section, is due to Paganini. Compare the scores of the classical
+composers with those of the most modern writers, and see what an
+enormous difference there is in the work for the strings--from the
+violins to the double-basses. The orchestral player of to-day is a
+virtuoso. For good or evil, music has entered upon a phase that has
+raised executive skill to a pinnacle never attained before: and this it
+owes to Paganini: may it be the prelude to higher achievements in the
+spiritual domain of art!
+
+FOOTNOTES:
+
+[44] Karl Michael Esser, born about 1736, date of death unknown.
+
+[45] In the Tonic Sol-fa method great stress is laid upon the mental
+effect of each note of the scale, altogether apart from pitch.
+
+[46] Life of Mozart, Otto Jhan, English Edition, I., 319.
+
+[47] In 1883, several musical papers stated that a certain amateur
+collector of violins, during a tour in Italy, visited the little
+Sardinian village, Ameglia, and purchased a collection of instruments
+used by Paganini, which were at that time in the possession of the widow
+of L. M. Germi, the intimate friend of Paganini. The said amateur also
+became possessed of "the secret," but what he did with it has never
+transpired.
+
+[48] Born at Mantua, 1798; died at Paris, 1834.
+
+[49] "The Violin," by George Hart. Popular Edition, 1880, p. 202.
+
+[50] It is strange that the Biographical Dictionaries are silent
+concerning Oury, who must have been a man of some note. He is merely
+named as the husband of Anna Caroline de Belleville, the once famous
+pianist (1806-1880), who made her debut in London at a Paganini concert
+in 1831.
+
+[51] The Story of the Violin by Paul Stoeving, p. 208.
+
+
+
+
+CHAPTER XI.
+
+
+There remains the consideration of Paganini as a composer. It is a
+truism to say that a composition has primarily to be judged from the
+standpoint of the age in which it was written. A Genius, we are told, is
+not only before his own age, but before all ages. All the same, the
+great Geniuses come into the world precisely at the right moment. To
+some music one may fitly apply the epithet "Immortal"; for it seems to
+be written, "not for an age, but for all time." That title is not
+claimed for the music of Paganini, but, in view of what has been written
+for the violin, it is necessary to take into consideration the date of
+Paganini's compositions. Take the two greatest surviving forms--the
+symphony and the concerto--and compare works in those forms, belonging
+to different periods. Mendelssohn and Schumann were innovators, so it
+was said, in regard to symphonic form. Both wrote symphonies of which
+the movements were connected, and Schumann by the recurrence of themes
+anticipated the "organic whole" of the symphonic poem. But in 1776, Carl
+Philipp Emanuel Bach composed symphonies in the modern one-movement
+style. This is not the time to discuss them, but just taking the first,
+in D, I may point to the coda of the opening movement, which effects a
+modulation to E flat, the key of the slow movement. In this the subject
+enters, for the second time, in B flat; and a deceptive cadence is
+followed by a passage ending on the dominant of D, and so returning to
+the primary key for the last movement. The score is for flutes, oboes,
+one bassoon, horns, first and second violins, viola, violoncello,
+violone, and cembalo. Now, here is a work quite modern in its disregard
+of key relationship, and in the linking together of the different
+movements. Yet it would not be right to judge it by comparison with the
+symphonies of the last half century.
+
+With regard to the concerto, take that form for the violin only. To go
+no further back than the works of the great Leipzig Cantor, Johann
+Sebastian Bach, we find his two concertos, in A minor, and E major, are
+scored only for strings, though the "continuo" implies the harpsichord.
+The concerto in D minor for two violins is scored in the same manner;
+and in all there is evidence that the soloist took part in the _tutti_
+sections. Then there is the Symphony movement, from an unknown church
+cantata, for violin concertante, with accompaniment of two oboes, three
+trumpets, drums, two violins, viola and continuo. In all these the basic
+principle is the contrasting of the _tutti_ and _solo_ sections, which
+sustain a kind of dialogue. Much the same form is observed in Mozart's
+violin concertos, which, with one exception, are scored for oboes, horns
+and strings. The exception is the sixth, in E flat, which is scored for
+one flute, two oboes, bassoons, and horns. In this the form approaches
+that of the sonata, though the _tutti_ and _solo_ contrasts still
+remain, and evidently the soloist played in the _tutti_ sections. To
+Viotti, born in 1753, three years before Mozart, must be assigned the
+honour of giving the violin concerto its fullest classical form. His
+orchestral background was rich in colour, he having adopted the complete
+Haydn Combination; and his solo parts were of prime importance.
+Beethoven's concerto (1806), and Mendelssohn's (finished in 1844),
+employ the same orchestra. Beethoven links the slow movement to the
+Finale, and Mendelssohn connects the whole. The latest concerto form is
+in part a reversion to the earliest type. The solo part is but a more
+elaborate line in the orchestral column, and the soloist is scarcely
+distinguishable from his orchestral colleagues.
+
+In view of the question I wish to raise, I hope the reader will pardon
+this digression. Paganini sometimes played pieces by Kreutzer and Rode,
+but I have not been able to find evidence of his acquaintance with the
+concertos of Viotti. The reason may not be far to seek. Paganini
+remained in Italy until 1828; Viotti, born in Italy, left his country,
+and only once returned to it--in 1783, and that for a very short time.
+His long residence in Paris led to his being identified with the French
+School of violinists. His works were played by other performers during
+his life-time, but it is questionable whether they were known to
+Paganini. What I want to ask is simply this:--upon what work, or whose
+work, was Paganini's first concerto modelled? It was written in 1811,
+according to the _Musical World_ (Vol. for 1851, p. 822), or in 1820
+according to the "Oxford History of Music" (Vol. VI., p. 225). The form
+of the work will be dealt with later; here the question is one of
+instrumentation. Berlioz wrote: "It was said of Weber, 'He is a meteor!'
+With equal justice it may be said of Paganini, 'He is a comet!'" I would
+paraphrase Berlioz and say Paganini's First Concerto came upon the world
+as a comet--a comet with a most portentous tail! Paganini was the
+Richard Strauss of his day. Fancy, in the scoring of a concerto,
+trombones, double-bassoon, cymbals, and bass-drum! and that in the year
+1811, possibly. Why, it only requires a few more horns and trumpets,
+some tubas, a rattle and other percussion instruments, to come up to the
+latest twentieth century scoring. But a truce to badinage. A big score,
+of itself, is not necessarily a thing to be praised; however, Paganini's
+full scoring never obscured the solo part, and that is more than can be
+said of some violin concertos of later date. I do not pretend to a
+knowledge of the whole of the literature for the violin, but I have
+heard much of it; yet I can recall no violin concerto going beyond the
+orchestral resources adopted by Beethoven in his work, of earlier date
+than Paganini's first concerto. I have further to confess that I have
+never seen an original score of any of Paganini's works, but I have
+written out a score from what I believe to be authentic band parts. I
+have heard the First Concerto, "reduced to one act," with the exordium
+cut out; and however much such a rendering may be in accordance with
+modern taste, I can only regard it as unjust to the composer. In the
+present day Paganini's music is looked upon with pity not far removed
+from scorn; how did his contemporaries esteem it?
+
+Rossini is reported to have said: "Truly, it is fortunate that Paganini
+did not devote himself exclusively to lyric composition; he would have
+become a very dangerous rival."[52] Moscheles wrote: "His concertos are
+beautiful, and have even their grand moments; but they remind me of a
+brilliant firework on a summer's eve, one flash succeeding the
+other--effective, admirable--but always the same. His 'Sonate
+Militaire,' and other pieces, have a southern glow about them, but this
+hero of the violin cannot dispense with the roll of the drum; and
+completely as he may annihilate his less showy colleagues, I long for a
+little of Spohr's earnestness, Baillot's power, and even Mayseder's
+piquancy."
+
+Very little was said of Paganini's compositions--I mean by way of
+description, orchestration, or even criticism--when the composer was in
+England. The writers seemed always engrossed and absorbed by the
+performance and personality of the man.
+
+Schumann repeats what was said of Paganini; that he, himself, rated his
+merit as a composer more highly than his talent as a _virtuoso_. We know
+that Rubinstein desired to have his name handed down to posterity as a
+composer rather than as a pianist. The fates have been unkind to both.
+To return to Schumann. He remarks that "if general opinion has not,
+until now, agreed with him (Paganini), it must at least be allowed
+that his compositions contain many pure and precious qualities,
+worthy of being firmly fixed in the richer setting required by the
+pianoforte." This of course referred to the caprices, Op. 1, but the
+observation is a curious illustration of the way in which individual
+minds regard things from their own standpoint.
+
+Paganini's music appealed to Liszt as a means of creating a new school
+of pianoforte technique, as well as composition; very little can be
+gleaned from Liszt as to his aesthetic views regarding it. Fetis says
+great worth is revealed in the compositions of Paganini, as much by the
+novelty of the ideas as by the elegance of the form, the richness of the
+harmony, and the effects of the instrumentation. These qualities shine
+above all in the concertos; but, he adds, these works require the magic
+of his talent to produce the effect he intended. Berlioz was, perhaps,
+the most appreciative of Paganini's contemporaries. In his _Soirees de
+l'Orchestre_ he says: "A volume might be written in telling all
+that Paganini has created in his works of novel effect, ingenious
+contrivances, noble and grandiose forms, and orchestral combinations
+unknown before his time. His melodies are broad Italian melodies, but
+full of a passionate ardour seldom found in the best pages of dramatic
+composers of his country. His harmonics are always clear, simple, and of
+extraordinary sonorousness. His orchestration is brilliant and
+energetic, without being noisy. He often introduces the bass drum into
+his _tutti_ with unusual intelligence."
+
+During Paganini's lifetime no one else seems to have played his music,
+although one of his imitators is said to have reproduced some pieces
+from memory. After Paganini's death, the propagandist of his works was
+his nephew and pupil, Ernesto Camillo Sivori. He made his debut at the
+Leipzig Gewandhaus Concerts, October 3, 1841, and a week later
+introduced there Paganini's Variations on the Prayer from _Mose in
+Egitto_. In all, some dozen pieces by Paganini were given at those
+famous concerts from 1841 to 1876. Sivori also introduced Paganini to
+the then very conservative concerts of the Philharmonic Society, London,
+in 1844. But they did strange things in those days. The first movement
+of the Concerto in B minor was included in the first part of the concert
+on April 29, 1844; the Adagio and Rondo coming in the middle of the
+second part! Poor Sivori had to submit to similar treatment of his own
+concerto at the Society's concerts in 1845. It would be interesting
+to know how Paganini's music fared at the concerts of the Paris
+Conservatoire, but I have not been able to procure any reliable data
+relating to the subject.
+
+Rumour was long busy with the project entertained by Paganini's son, the
+Baron Achilles, of publishing a complete edition of the compositions of
+the great violinist; and in 1887 a paragraph in the _Athenaeum_ announced
+on apparently good authority that the Baron was preparing for immediate
+publication the whole of the works of his father which still remained in
+manuscript. Several of those were named, but nothing more has been heard
+of the undertaking. I have scrutinised the musical press from that date
+to the present time, and have failed to gather any further information
+on the subject.
+
+From every available source I have compiled the following list of
+Paganini's compositions:--
+
+     Op. 1. Twenty-four Capriccios, for violin alone.
+
+     Op. 2. Six Sonatas, for violin and guitar.
+
+     Op. 3. Six Sonatas, for violin and guitar.
+
+     Op. 4. Three Grand Quartets, for violin, viola, violoncello and
+     guitar.
+
+     Op. 5. Three Grand Quartets, for the same.
+
+     Op. 6. Concerto, No. 1, in E flat (D), for violin and orchestra.
+
+     Op. 7. Concerto, No. 2, in B minor, for the same.
+
+     Op. 8. "Le Streghe." Introduction and Variations.
+
+     Op. 9. "God Save the King." Variations.
+
+     Op. 10. "Carnaval de Venise." Variations.
+
+     Op. 11. "Allegro de Concert." "Moto Perpetuo."
+
+     Op. 12. "Non piu mesta." Introduction and Variations.
+
+     Op. 13. "Di tanti palpiti." Introduction and Variations.
+
+     _All for violin and orchestra._
+
+     Op. 14. Sixty Studies in Variation form, on the Air "Barucaba," for
+     violin alone.
+
+
+_Works without Opus number._
+
+     Sonata in A, for violin, with accompaniment of violin and
+     violoncello.
+
+     Bravura Variations on a theme from Rossini's "Moses in Egypt," for
+     violin and string quartet, or pianoforte.
+
+     Bravura Variations on an Original Theme, for violin and guitar, or
+     pianoforte.
+
+     Introduction and Variations on the Theme, "Nel cor piu non mi
+     sento," for violin alone.
+
+     Duo in C major, for one violin. Solo.
+
+     Recitative and Variations, on Three Airs, for the fourth string.
+
+     "Le Charme de Padua," Divertissement, for violin and pianoforte.
+
+
+_Works that are unpublished, or that have been lost._
+
+     Concertos in D minor, E minor, E major.
+
+     Concerto in two movements. Violin and orchestra.
+
+     Four Concertos, the scoring unfinished.
+
+     Concerto, for bassoon, with string trio accompaniment.
+
+     Nine Quartets, for violin, viola, violoncello and guitar.
+
+     Fantasia. Violin and orchestra.
+
+     Dramatic Sonata, "The Storm," for the same.
+
+     Military Sonata on Mozart's "Non piu andrai."
+
+     Napoleon Sonata for the fourth string.
+
+     Sonata on a Theme by Haydn. Ditto.
+
+     Sonata di un Canto Appassionata, e variazioni sopra un Tema
+     Marziale. Ditto.
+
+     Sonata with variations on a Theme from Jos. Weigl's "L'Amor
+     Marinaro."
+
+     Sonata Amorosa Galante, e Tema con variazioni.
+
+     Sonata for viola and orchestra.
+
+     Sonata Sentimentale.
+
+     Sonata, "Varsovie."
+
+     Sonata for violin alone.
+
+     Preludio e Rondo brilliant, violin and orchestra.
+
+     Chant of the Monks of the Monastery of St. Bernard.
+
+     "La Primavera," Sonata for violin alone.
+
+     Preludio e Fandango, con Variazioni.
+
+     "La ci darem la Mano," Variations.
+
+     Cantabile, violin and pianoforte.
+
+     Polonaise avec variations.
+
+     Cantabile e Valse.
+
+     Cantabile, for two strings.
+
+     Three duos, violin and violoncello.
+
+     Duets and small pieces for guitar.
+
+     Variations sur un theme comique.
+
+     "The Vagaries of a Farm Yard."
+
+
+     Romance pour le Chant. Fantasie Vocale.
+
+
+WORKS WITH OPUS NUMBER.
+
+Op. 1. The full title reads:--_Ventiquattro Caprici per Violino solo,
+dedicati agli artisti; Opera prima._ It is not necessary to refer to
+these pieces in detail; they are in the repertory of the leading
+violinists, and have been played by Joachim and many others. They
+embrace almost every kind of violin technique, and have merits apart
+from that standpoint. Schumann in his _Etudes d'apres les Caprices de
+Paganini_, Op. 3, has transcribed for the pianoforte six numbers. They
+are, No. 5, Agitato, in A minor, without the alteration of a single
+note; No. 9, Allegretto in E, quite as closely; the Andante of No. 11,
+in C; No. 13, Allegro, in B flat, beautifully harmonized; No. 19, Lento,
+Allegro assai, in E flat, more freely treated; and No. 16, Presto, in G
+minor, the melody assigned to the left hand, and written two octaves
+lower. These studies were the result of Schumann's hearing Paganini at
+Frankfort in 1830. The impression the great violinist made on the
+susceptible youth was so deep, that Wasielewski stated that it was more
+than probable Schumann's decision to devote himself to music dated from
+that experience. So here is another debt the musical world owes to
+Paganini. Schumann's Op. 3 bears the date of 1832. The next year he
+returned to the Italian master, and his Six Studies, Op. 10, are further
+transcriptions of the Capriccios. The first is a very free arrangement
+of No. 12, Allegro molto, in A flat; next is a paraphrase of No. 6,
+Adagio, in G minor, in which different figuration was absolutely
+necessary for the keyboard instrument. In No. 10, Vivace, in G minor, he
+divides the melody for the two hands, and accompanies with bold
+harmonies. The transcription of No. 4, Maestoso, in C, is almost
+literal, but there are "cuts," as also in No. 12. No. 2, Moderato, in B
+minor, with its "leaps and bounds," is altered to bring the intervals
+more within reach of the hand. The bare octaves which form the opening
+of No. 3, have been filled in with rich harmonies, and to the Presto
+movement a counterpoint in semiquavers has been added, making it a very
+attractive piece of the Tocatta order. It will be remembered that one
+short movement of Schumann's "Carnival" is entitled Paganini, but it is
+a reflexion of his style rather than an adaptation of his music. Liszt
+has borrowed much, in regard to form and melodic outline, from the
+Capriccios, in his _Etudes d'execution transcendante_. Of his _Grandes
+Etudes de Paganini_ notice will be taken later. Brahms has written two
+sets of variations on the theme of the Capriccio, No. 24, Quasi presto,
+in A minor. These are extraordinarily difficult and brilliant. They were
+published in 1866, and Carl Tausig was fond of playing them. Paganini's
+Op. 1, was published by Ricordi about the year 1820.
+
+Op. 2, and Op. 3. The house of Ricordi publish the Twelve Sonatas for
+violin and guitar, and Breitkopf and Haertel publish an edition for
+violin and pianoforte, edited by Ferdinand David. There is no clue as to
+the arranger of the pianoforte part, but it may be the work of
+Moscheles, who, it will be remembered, was induced "to make a pianoforte
+accompaniment for twelve small violin pieces," but who refused to have
+his name affixed to the title-page. Anyway, the pianoforte accompaniment
+is the work of a good musician. The title page of Op. 2 runs thus: _Sei
+Sonate per Violino e chitarra, Composte e Dedicate Al Signor Dellepiane,
+Da Nicolo Paganini_. The pieces are sonatas in the primitive sense of
+the term. Each contains two movements only. No. 1, Minuetto, Adagio in
+A, three-four, the violin part in the nature of a florid _cadenza_ but
+very clear in rhythm, the guitar accompaniment in semiquaver groups of
+broken chords. Second movement, Polonese, Quasi allegro, A major,
+three-four, tuneful, all derived from a short motive, not difficult. No.
+2, Larghetto expressivo, C major, six-eight, lyrical, melody highly
+embellished after the first phrase, varied bowing. Allegro spiritoso,
+same key and measure, in the style of a _Canto popolare_. No. 3, Adagio
+maestoso, D minor, two-four, principal motive of a dramatic kind, with
+brilliant passages intervening. Andantino gallantement, a crisp,
+staccato melody, with middle section in D major. No. 4, Andante
+calcando, A major, four-two, theme, in sixths, thirds and octaves. The
+movement is entitled _La Sinagoga_, but I can trace no Jewish melody
+corresponding to its subject. The second movement, Andantino con brio,
+in two-four measure is as bright and sparkling as the corresponding
+movement in No. 3. No. 5, Andante moderato, D major, two-four, two
+strains of eight bars, with a lyrical theme. The second movement in
+six-eight rhythm, is another specimen of the Italian _Cantilena_. No. 6,
+Largo, A minor, six-eight, a combination of recitative and Cadenza
+passages. Tempo di Valse, in three-eight measure, a tripping, fluent
+theme, for light bowing. The music altogether is light and pleasing,
+abounding in showy passages, and with the real Italian gift of melody.
+The accompaniments are in no way difficult.
+
+The Six Sonatas, Op. 3, have rather a curious dedication: _Alla Ragazza
+Eleonora_. "Ragazza" is a familiar term for a girl, and may be
+translated as "lass," or even "wench." The Eleonora it may be impossible
+now to identify, though the lady possibly was connected with the period
+of Paganini's disappearance when Napoleon invaded Italy. Sonata, No. 1,
+is in two movements, as are all the others. The first, Larghetto, A
+major, six-eight measure, has a theme resembling a popular melody, the
+close of each strain being highly embellished. Ricordi's edition gives
+an alternative reading of the penultimate bar, in the style of a
+cadenza. The second movement, Presto variato, in two-four rhythm, has a
+dance-like theme, with one variation. The two bars preceding the final
+cadence have semiquaver groups to be played pizzicato, each note with
+right and left hand alternately. No. 2, Adagio, con dolcezza, G major,
+three-eight, theme, pure Italian cantilena, in thirds or sixths
+throughout. Andantino scherzoso, two-four, crisp, tripping melody,
+chiefly for staccato bowing, ending with arpeggios extending to four
+octaves. No. 3, Andante sostenuto, D major, two-four, theme for six bars
+to be played on the second string. Rondo, Molto allegro, six-eight,
+bright and spirited; the opening might have been inspired by the Irish
+air "Garyone"--the lilt is so much the same. The movement ends with a
+rapid descending chromatic scale of three octaves. No. 4, Andante largo,
+A minor, two-two, the opening bars of the theme for the third string,
+declamatory, sad. Allegretto mottegiando, two-four, light, tripping
+melody, to be delivered in a spirit of banter. No. 5, Adagio amorosa, A
+major, two-four, theme, Italian melody embellished, in thirds
+throughout, with some semi-staccato bowing. Allegretto energicamente,
+two-four, a merry, quick-step movement of two eight-bar periods. The
+second part, in the tonic minor, has the theme divided equally for
+guitar and violin, in each strain. A coda of four bars, major, is added
+by way of close. In the arrangement for pianoforte, the violin has the
+theme throughout. No. 6, Andante innocentemente, E minor, four-four, a
+pathetic melody, simple, but touching. Allegro vivo e spiritoso,
+six-eight. One could imagine an Italian peasant singing this melody; it
+has all the characteristics of a folk-song. It is written throughout in
+double-notes, mostly thirds. The second part, in the minor, is in a
+different manner to the first part, which is repeated after it. The
+guitar accompaniments, with the exception named, are all in chords or
+arpeggios. The pianoforte part has more variety. It may be observed that
+the movements in two-four measure have much of the spirit of Haydn's
+Allegros.
+
+Op. 4, Three Quartets for violin, viola, violoncello and guitar. These
+were once in the Circulating Music Libraries of the firms of Novello and
+Augener, but are no longer to be met with. I have failed to obtain
+copies elsewhere.
+
+Op. 5, _Tre Quartetti a Violino, Viola, Chitarra e Violoncello. Composti
+e Dedicati Alle Amatrici Da Nicolo Paganini. Milano. Presso Gio.
+Ricordi._ By the courtesy of the firm of Novello, I have been enabled to
+examine this set, the title page of which I quote. The copy I examined
+is evidently of the original edition. Each quartet is in four
+movements. No. 1, Presto, D major, sixteen-eight, a peculiar signature,
+but apparently adopted by reason of the "figures" in quavers. This
+movement is very much in Rossini Overture form. Andante sotto voce e
+staccato, D minor, three-four, Canone a tre. The violin begins, the
+viola answers one bar later, an octave lower, and the violoncello
+follows in like manner. The guitar is silent. The Canon is kept up
+strictly to the end. The Trio--not in Canon--is in B flat major, and the
+guitar supports the strings with full chords. Tema con variazioni,
+Cantabile quasi Larghetto, D major, two-four, two strains of eight bars,
+the theme in each begun by the viola, and repeated by the violoncello.
+Three variations follow, the theme being allotted to each instrument in
+turn, the guitar included. Finale, Prestissimo, D major, three-eight, a
+brilliant, showy movement.
+
+No. 2, Allegro, C major, four-four measure, in binary form, the subjects
+given to the violin and violoncello. Minuetto, Allegretto, A minor,
+three-four, with Trio in two sections, F major and D minor. The violin
+has the theme, the others accompany with chords. Cantabile, Larghetto, A
+major, six-eight, the melody, floridly embellished, for violin, the
+other instruments accompanying. Polacca, Quasi presto, C major,
+six-four. The violin has the chief melody, subordinate parts being given
+to the viola and violoncello. The guitar has full chords throughout.
+
+No. 3, Allegro, D minor, four-four rhythm, Coda in D major, principal
+themes for the violin, the viola and violoncello taking up portions here
+and there with chords and arpeggios for the guitar. Allegro moderato, D
+minor, three-four, Canone a tre, theme for violin, answered by viola and
+violoncello at one bar interval, an octave below, as in No. 1. Guitar
+tacet. Tema Cantabile, Quasi adagio, B flat major, two-four. The
+movement consists of two periods, the theme for viola and violin
+alternately, in each. Variation I., florid, violoncello and violin in
+response; II., in G minor, more elaborate, theme for violoncello and
+violin, rapid arpeggios for guitar; III., in B flat major, theme for
+viola and violin, alternately, and finally for guitar. Polacchetta,
+Allegro con brio, D minor, three-four, a brilliant movement, with themes
+for the violin; the viola and violoncello share in the figurated
+passages, and the guitar has an accompaniment in chords and arpeggios.
+
+Paganini is said to have repudiated this work, although according to
+Fetis, the quartets were published at Genoa under his very eyes. I
+should rather say that the Milan edition was the first, and perhaps the
+only one. Paganini's assertion was that some one had taken a few of his
+themes, and badly arranged them. Fetis further states that various
+pieces published before, and up to, 1851, must be considered as
+"commercial frauds." Some of them are named, and will be referred to in
+due course. The music of Op. 5 cannot be regarded as in any way great,
+but there are graceful melodies, and the movements in Canon form are
+ingeniously worked out.
+
+Op. 6, _Premier Concerto (Mi Bemol), pour le violin avec accomp. de
+l'orchestre._ This was the first of the posthumous works, published
+by the firm of Schott and Co., Paris, in 1851. It is scored for
+two flutes, oboes, clarinets, bassoon, double bassoon, two horns,
+trumpets, three trombones, kettle drums, bass drum, cymbals, and the
+usual quintet of strings. The solo violin is tuned a semitone higher,
+and the part is in D, while the orchestra plays in E flat. Breitkopf
+and Haertel publish the orchestral parts in the key of D. There is an
+arrangement of the first movement, by August Wilhelmj, but with that I
+have nothing to do here. First movement, Allegro maestoso, E flat,
+four-four. The orchestral exordium extends to ninety-four bars,
+six more than in the introduction of Beethoven's Concerto. The
+movement--so it may be termed--is symphonic in form, with second
+subject in the dominant, and it is richly scored. The exception I take
+to it is the persistent employment of the cymbals with the bass drum.
+There is a delightful little touch in the canonic imitation for
+first violins and violoncellos. The solo has a principal theme scarcely
+indicated in the introduction, and also several important episodes.
+The slow movement, Adagio, C minor, four-four, was inspired, as already
+mentioned, by the Italian tragedian, Demarini. Paganini witnessed
+his performance in a prison scene, where, after recapitulating his
+misfortunes, he supplicated Providence to relieve him of the burden of
+his life. Paganini retired to rest still under the influence of the
+emotions excited by the actor. He could not sleep: he rose and sought
+through his violin a means of expression by which he could pour out the
+feelings that consumed his soul. Thus, genius tortures and produces. It
+must have been this movement in which William Gardiner heard "tones
+more than human, which seemed to be wrung from the deepest anguish of a
+broken heart." Observe, especially, the recitative passages that close
+the movement. Finale, Rondo, Allegro spiritoso, E flat, two-four. This
+is the longest concerto movement known to me, running on to four hundred
+and eighty-three bars, but the "measure" is short. The concerto is not
+so long as that of Beethoven, the first and second movements containing
+fewer bars. It may be noted that in the first and last movements
+Paganini introduces harmonics, and passages in tenths, most probably for
+the first time in a concerto. In the slow movement there is no double
+stopping. The Cadenzas were improvised, and Paganini, like Beethoven, in
+his improvisations surpassed anything he ever committed to paper.
+
+Op. 7, Concerto No. 2, in B minor. Allegro maestoso, B minor,
+twelve-eight. Adagio, D major, two-two. Rondo, Andantino allegretto
+moderato, B minor, six-eight. This is not so long as the first concerto
+by some two hundred bars, and is not so fine a work, but it is a piece
+worthy of being occasionally heard. In the principal theme of the Rondo
+occur the passages where the silver bell three times echoes the violin
+note--the top F sharp of the pianoforte keyboard. Failing the bell, the
+violinist produces the sound by an artificial harmonic. It is this Rondo
+that Liszt has included in his _Grosse Etueden von Paganini_. His
+treatment of Paganini must be briefly described. There are six
+"studies," the first a transcription of Paganini's Caprice, No. 6,
+Adagio, G minor. To this Liszt adds a prefix, the arpeggio prelude of
+No. 5. The Caprice itself is very literally copied, the whole being an
+octave lower, and at first assigned to the left hand alone. After the
+sixteenth bar the treatment becomes more free, while the figuration is
+much the same. The study ends with the arpeggio passage as at the
+beginning. The second takes for subject No. 17, Andante, E flat.
+Scarcely a note is omitted, but the passages are placed higher or lower,
+and the runs given to either hand. This is a marvel of ingenuity,
+forming a most brilliant pianoforte solo. It is followed, as by a second
+sonata movement, by the "Campanella" Rondo, the two being intended to be
+performed in succession. For this purpose the Rondo from the Concerto is
+transposed to G sharp minor, the closing E flat of the previous movement
+changing enharmonically to D sharp.
+
+The first exposition of the subject follows Paganini very closely, but
+in the development and further progress of the movement Liszt follows
+his own bent, repeating the principal theme again and again with ever
+varying treatment. This is a piece for the _virtuoso_, and one of the
+most showy in the pianist's repertory. The fourth study is an extremely
+clever transcription of the Caprice No. 1, Andante, E major. Not a note
+of Paganini's piece is left out, and the arpeggios are ingeniously set
+out for interwoven fingering, causing the performance to be something to
+look at as well as to hear. It is nearly all cross-handed work. The
+fifth study is an arrangement of the Caprice No. 9, Allegretto, E major.
+On paper it appears easier than the setting by Schumann, but it is more
+difficult to play. Here, again, the phrases are divided for both hands.
+The _glissando_ passages in sixths are impossible on modern instruments.
+The sixth and last study, on the Caprice, No. 24, Tema, con variazioni,
+A minor, is the most ingenious of all. The theme is simply harmonised at
+first, then used as a counterpoint to the arpeggios in the first
+variation. The next is more simply treated, and in the third variation
+Paganini's theme forms the bass upon which the figuration of the initial
+motive is superposed. To the end Liszt shows what possibilities in
+keyboard execution were latent in Paganini's violin figures; and if the
+latter had written only these Capriccios he would survive as the cause
+of the most original inventions in pianoforte technique that have yet
+seen the light.
+
+Op. 8, _Le Streghe._ Variations on the "Witches' Dance," theme from the
+Ballet, "Le Nozze di Benevento," by Vigano, music by Suessmayer. It has
+already been stated that Paganini witnessed a performance of this
+ballet, at La Scala, Milan, in 1813. He took the theme from a fantastic
+scene where the witches appear. In his London programmes Paganini thus
+described the piece; "Variations on the Country Dance Della Streghe alla
+Noce di Benevento (or the comic dances of the Witches under the walnut
+tree of Benevento), composed and performed by Signor Paganini." The
+piece is in the key of E flat, and the violin is to be tuned a semitone
+higher, the soloist playing in D. There is an orchestral prelude of
+eighteen bars, Maestoso, followed by a solo, Larghetto, a beautiful
+Italian melody, embellished, in two short strains. The theme is simply
+set forth, and the variations serve for the display of bravura playing
+with pizzicato and harmonics in the second movement, fourth string
+melody, and double harmonics in the third, and with the Finale
+resembling a Galopade. Orchestral parts are published, as well as the
+arrangement with pianoforte.
+
+Op. 9, Variations on "God save the King." Theme, Andante, G major, with
+Six Variations. One principal feature is the intermingling of left hand
+staccato with bowed notes. At the close there are sustained open notes
+on the G and D strings, bowed, with double pizzicato, in sixths, above.
+
+Op. 10, Variations on "The Carnival of Venice." For this the violin
+is tuned a semitone higher, the solo being played in A, and the
+accompaniment in B flat. The theme is a popular Venetian air, "O Mamma!"
+Paganini heard it when in Venice in 1816, but whether he then composed
+the variations is not certain. It was not long, however, before Paganini
+made the air a favourite everywhere he went, and it is to him the melody
+owes its world-wide popularity. The composer of the air remains unknown.
+Joseph Ghys published, at Paris and Berlin, what purported to be
+Paganini's variations; Ernst and Sivori played versions more or less
+exactly in accordance with the original; but the text was finally
+settled by the publication of the piece in 1851. There are twenty
+variations. The 9th and 14th are for the fourth string; the 11th has
+alternate bowed and pizzicato notes; the 15th and 18th are pizzicato
+throughout; the 19th is in tenths and thirds; and the piece ends with a
+short brilliant coda.
+
+Op. 11, _Moto Perpetuo._ Allegro vivace, C major. Fetis terms this piece
+a movement from a Sonata for violin and orchestra. It is in the
+repertory for all violinists, and its running passages of staccato
+semiquavers need no description.
+
+Op. 12, Introduction and Variations on the air "Non piu mesta accanto al
+fuoco." The theme is from Rossini's opera "La Cenerentola" (Cinderella),
+produced at Rome during the Carnival season of 1817, and forms the
+concluding number of the work. Paganini again directs the violin
+to be tuned a semitone higher, writing the solo part in D, and the
+accompaniment in E flat. The Introduction, Adagio Cantabile, is another
+example of Paganini's pure Italian style of melody. The theme seems to
+have appealed to him--doubtless he witnessed the _premiere_ of the
+opera--for the variations have a spontaneity and brilliance of their
+own. There are four variations, and a Finale full of dashing _bravura_.
+
+Op. 13, Introduction and Variations on the air "Di tanti palpiti," from
+Rossini's first serious opera, "Tancredi," produced at Venice in 1813.
+Rossini is said to have taken the theme from a Greek Litany he heard
+sung in a church on one of the Islets of the Laguna, near Venice. A
+Signora Righetti, a singer, writing in 1823 (?), stated that there was
+no truth in the assertion. Be that as it may, "Di tanti palpiti" made
+the opera, and Paganini's variations extended its popularity. The
+introduction is an elaborate movement, the violin tuned a semitone
+higher, and the part written in A, with accompaniment in B flat. There
+are three variations, the second being almost throughout in harmonics,
+single and double, and excessively difficult. This piece is very rarely
+played.
+
+Op. 14, Sixty Studies in Variation form, on the air known at Genoa as
+"Barucaba," for violin alone. This is one of the composer's latest
+works, and was written at Genoa in February 1835, and dedicated to
+Paganini's friend the Advocate, L. G. Germi. The theme is short, in
+simple ternary form, the opening sentence of four bars being repeated
+after the middle period of eight bars. The theme is in A major,
+Maestoso. The variations are studies upon various species of
+difficulties, and a special feature is the order of keys. Of the
+fifteen possible major keys, Paganini employs thirteen, and he is
+quite modern in the way in which he causes the one to succeed the
+other. Thus the second variation is in D, the third in B flat, the
+fourth in F sharp, and the fifth in D--in each case the drop of a
+major third or its enharmonic equivalent. Then he starts a new series,
+from D to B, thence to G, E, C, A flat, F, D flat, back to A. In 1835
+such a sequence was very uncommon; even Beethoven, in his Variations,
+only has one such, in the Variations in F, Op. 34. The Variation form
+is again in full vogue; at this distance we can afford to be just in
+our estimate of Paganini's achievements. He was not a Beethoven, but
+his Variations are not to be despised.
+
+
+WORKS WITHOUT OPUS NUMBER.
+
+Sonata in A major. As published in the collection of posthumous
+compositions, this Sonata is for violin, with pianoforte accompaniment.
+The piece consists of an Introduction, Theme, Three Variations and Coda,
+the term "Sonata" being employed quite in its primitive sense:--a piece
+to be played. The Introduction is only eight bars in length, ending with
+a short cadenza leading to the theme, Andantino, A major, two-four
+measure. The first part consists of two four-bar phrases, repeated; the
+second has a phrase extended, by a Codetta, to six bars, and ends with a
+repetition of the first phrase, with close in A. The first variation has
+a more florid version, in triplets, of the melody; the second begins
+with a simple form of the theme for the fourth string, and introduces
+harmonics; the third is a bravura movement, chiefly for staccato bowing
+in demisemiquaver passages. The coda, termed Finale, is made up of
+cadences, on a tonic pedal for eight bars. The accompaniment is easy.
+Messrs. Schott also publish the Sonata for violin, with accompaniment of
+violin and violoncello, very easy parts for these last.
+
+_Variazioni di bravura sopra Temi del Mose di G. Rossini, per Violino
+sulla quanta corda, di Nicolo Paganini._ This was originally for violin
+and orchestra. Berlioz has a reference to this piece, in which he states
+that Paganini employed the bass-drum with better effect than did Rossini
+himself in the accompaniment to the prayer, "Del tuo stellato soglio."
+Paganini placed the stroke of the drum on the syncopated beat to which
+the verbal accent was assigned, whereas Rossini gave the drum stroke on
+the first beat of the bar. Some one, complimenting Paganini upon his
+composition, added; "It must be confessed that Rossini furnished you a
+very beautiful theme." "That's very true," replied Paganini, "but he
+didn't invent my bang of the big drum." It is said that in this piece
+Paganini produced a tone that dominated the whole orchestra even in
+fortissimo passages.
+
+The firm of Ricordi publish an arrangement, for string quintet, and for
+pianoforte accompaniment. The G string of the solo violin is raised to B
+flat, and the Adagio is played in C minor and major, while the
+accompaniment is in E flat minor and major. The strain in the minor key
+is played three times. The second time, the first eight bars are to be
+played an octave higher then the first time; the third in harmonics. The
+Introductory Adagio is the celebrated Prayer. Then follows a Tema, Tempo
+alla Marcia, E flat, four-four, the violin part in C. This is a
+different theme, and appears to be a paraphrase of part of the March and
+Chorus (in the Oratorio), "Hail, happy day!" There are three variations,
+and a short coda. Harmonics are sparingly introduced. Rossini's opera,
+"Mose in Egitto," was produced at Naples in 1818, and was remodelled by
+the composer some years later, for performance at the Grand Opera, Paris
+(1827). It is not known when Paganini wrote his variations, but his
+themes were most probably taken from the first version of the opera.
+
+_Variazioni di Bravura per Violino sopra un tema originale con
+accompagnamento di Piano o Chitarra._ The theme is that of the
+Twenty-fourth Caprice, from Op. 1, and the variations are the same, only
+the notation of the eighth is different. The accompaniment, for either
+guitar or pianoforte, is extremely simple. There is a short interlude
+(called _Tutti_ in Ricordi's edition) of six bars to be played between
+the variations.
+
+_Introduzione e Variazioni sul Tema nel cor piu mi sento per Violino
+solo di Nicolo Paganini._ So runs the title in the edition published by
+Ricordi and Co. The theme is the duet in Paisiello's opera, _La
+Molinara_, which Beethoven also took as a subject for variations (in
+1795). Ricordi's publication agrees in every particular with the version
+to be found in Guhr's treatise on Paganini's "Art of Playing the
+Violin," published in 1831--preface dated Frankfurt, November, 1829.
+Guhr[53] heard Paganini many times, closely watched his playing, and
+frequently conversed with him on the subject. This piece was written
+from memory, and is certainly a great accomplishment; but it can
+scarcely be regarded as an authentic version. The introduction is
+brilliant, the theme, Andante, G major, six-eight measure, is profusely
+ornamented, and each of the seven variations--No. 6 is in G minor, the
+others in G major--has some special form of virtuosity. In the third
+there are double shakes in harmonics, which Guhr explains. The last is
+in widespread ascending and descending arpeggios throughout. The theme
+and third variation are written on two staves, one for bowed melody, the
+other for left hand pizzicato.
+
+That Paganini did not always play the piece in the form in which Guhr
+wrote it down, is proved by the existence of another manuscript, which
+is, perhaps, very little known. It was written by the late Mrs. Tom
+Taylor, who gave it to Mr. Alfred Burnett many years ago, and that
+gentleman has kindly permitted me to examine it. For this the violin is
+tuned a whole tone higher. The Introduction is altogether different, and
+the theme much less floridly embellished. The first variation
+corresponds to Guhr's No. 2, but the harmonics are not quite the same.
+In this the melody floats above tremolando chords. The second, in
+outline, resembles Guhr's No. 4, but whereas the latter has alternate
+natural notes and harmonics, Mrs. Taylor gives alternations of detached
+bowed notes and pizzicati. The third is like Guhr's No. 3, in that it
+has short figures in double notes, alternately for fundamental and
+harmonic sounds. Guhr's variation consists of twenty-five bars; Mrs.
+Taylor's of thirty-one, there being a short cadenza. The fourth
+resembles Guhr's No. 7 in the wide-spread arpeggios, but the harmonics
+are differently distributed, and the coda is not the same as in
+Guhr.[54]
+
+[Illustration: PLATE 25. (_See Appendix._)]
+
+[Illustration: PLATE 26. (_See Appendix._)]
+
+In the Imperial Library, Berlin, there is a manuscript by Paganini,
+inscribed "Capriccio a Violino Solo di Nicolo Paganini In cor piu non mi
+sento," in which the embellished theme differs from both those already
+described. The first page is reproduced in facsimile in Paul Stoeving's
+"Story of the Violin," p. 213. Then there is an autograph copy in the
+British Museum with this inscription: "In cuor piu non mi sento, Thema
+con variazioni per Violino, con Accompagnementi di Violino e Violoncello
+Composta da Niccolo Paganini." The piece consists of an Introduction,
+Theme and four Variations, and, so far, agrees with Mrs. Taylor's copy.
+Finally, Paganini played the piece with the orchestra, as will be seen
+from this extract from a programme: "Prelude and Variations on the Tema,
+'Nel cor piu non missento,' with orchestral accompaniment, by Signor
+Paganini." This was played at the concert of June 27th, 1831, at the
+King's Theatre, and the programme from which this extract is taken is in
+possession of Mr. Richard Harrison, of Brighton, who most obligingly
+copied it for me.
+
+Duo pour le violon seul. This begins with an Adagio, C major,
+three-four measure, with a melody for the bow, and left hand pizzicato
+accompaniment. A short Allegro molto follows, in square time, the
+pizzicato accompaniment being chiefly in double notes, with occasional
+chromatic harmonics. This little piece must have been on sale in London
+a year before Paganini arrived, for the following anecdote was in print
+in May, 1830. "A few days since, a footman went into Mori's music shop
+to buy a fiddle string. While he was making his choice a gentleman
+entered the shop, and began to examine various compositions for the
+violin. Among the rest he found Paganini's celebrated _Merveille--duo
+pour un seul Violon_ and, perceiving the difficulties in which it
+abounded, asked the shopman if he thought that Mori himself could
+play it. The young man, a little perplexed and unwilling to imply that
+his master's powers had any limits, at length replied, that he had no
+doubt he could perform it, provided he practised it for a week. Upon
+which the footman, who stood intent upon the conversation, broke in on
+the discourse and swore that Mori could do no such thing, for that he
+himself had been practising the piece for three weeks and could not play
+it yet."
+
+Trois Airs Varies pour le Violon, pour etre executes sur la Quatrieme
+Corda seulement, avec accompagnement de Piano par Gustavo Carulli. Fetis
+says these are merely souvenirs arranged by the author of the
+accompaniments.[55] Antonio Minasi includes them in the lists of works
+performed by Paganini in England. The fourth string is to be raised to
+A, for all three. The first is in C, with two easy variations; the
+second, in G, resembles a folk song, and has three variations; the
+third, in C, also has three variations. The first two are marked
+Andante; the third, Andantino. The accompaniments are of the easiest
+song kind.
+
+Le Charme de Padua, Divertimento pour Violon et Piano concertant,
+compose par Nicolo Paganini. This piece was published in London before
+the date of Paganini's first concert, and possibly before the arrival of
+that artist in England. It was issued by a firm of repute, Wessel and
+Stodar, who were the first publishers in England of the works of Chopin.
+The music was reviewed in _The Harmonicon_, June 1831, the notice
+concluding thus: "It perhaps is a bagatelle on which he (Paganini) has
+bestowed little time and less thought. It certainly is a flimsy affair,
+and might have been produced by the dullest and most mechanical
+_repieno_ in the band of a suburb (_sic_) theatre." The piece consists
+of a Larghetto and Presto, in C major, the slow introduction being in
+six-eight rhythm, the Presto in six-four. There is one principal theme
+in the first part, given out by the violin and repeated by the
+pianoforte, a simple melody, with embellishments. The Presto is in Rondo
+form, with leading theme for pianoforte, continued by violin, and
+relieved by an episode contrasted in character. The music is not great,
+but unprejudiced musicians will scarcely endorse the captious remarks of
+the reviewer. The firm of Edwin Ashdown (successor to Wessel) publish
+the composition, also a version by S. Godbe for viola and pianoforte. In
+this the themes are written an octave lower, and modifications occur in
+double-stops, and so forth, to suit the viola. There is likewise an
+arrangement for flute and pianoforte, by J. Sedlazek. It is not stated
+by whom the pianoforte part was written, but it is very well done, and
+is not a mere accompaniment.
+
+
+WORKS UNPUBLISHED, OR LOST.
+
+Concerto in D minor. Fetis terms this a magnificent concerto; it was
+performed by Paganini at the first concert he gave in Paris, March 25th,
+1831, and that seems to be all that is known about the piece. Concerto
+in E minor. This was in three movements; Allegro maestoso; Adagio
+flebile, con sentimento; Rondo, Andantino Gajo, "with a triangle
+accompaniment." It was played by Paganini at the King's Theatre, June
+13th, 1831. Concerto in E major. The three movements of this piece were;
+Allegro Marziale; Cantabile Spianato; and Polacca brillante. Paganini
+played this concerto at his concert, July 4th, 1831. Concerto in two
+movements. This was a medley. The one movement, Cantabile a doppie
+corde, was by Paganini; the other, Ronda scherzoso, by Rodolphe
+Kreutzer. Played, August 17th, 1831.
+
+Four Concertos, of which the instrumentation was not written. Of these
+nothing seems now to be known. Fetis says that the last of the four was
+composed at Nice a short time before the death of Paganini.
+
+Concerto for bassoon, with string trio accompaniment. This was
+discovered at Stockholm in 1890, and the manuscript was said to be in
+the composer's hand-writing. The announcement of the discovery will be
+found in _The Musical Times_, of November, 1890, page 681. I have found
+no further reference to the subject.
+
+Nine Quartets for Violin, Viola, Violoncello and Guitar. These are in
+the list drawn up by Constabile as being among the manuscripts preserved
+by the son of the composer. It is impossible now to say where these
+manuscripts are; the first three seem completely lost. A copy, probably
+unique, of the Quartets, Nos. 10 to 15, is among the treasures in the
+possession of Mr. Alfred Burnett, and by his kindness I am enabled to
+give a description of the music. Five of the Quartets, Nos. 10 to 14,
+were composed and dedicated "Al suo Amico Il Sig. Avvocato Luigi
+Guglielmo Germi." No. 14 was composed "expressly" for that friend. The
+Quartets dedicated to Germi might be designated "house music," for
+though they are difficult, they do not seem to have been written for the
+"great public." They contain the most lovely music Paganini ever penned.
+If only the guitar were once more in fashion, these pieces might be
+heard, and I feel certain they would charm lovers of pure melody.[56]
+But this is to anticipate.
+
+Quartet, No. 10, in A major, in four movements (as indeed are five out
+of the six). Allegro, A major, four-four rhythm, in free sonata form,
+with first and second subject--both lyrical--middle modulatory section,
+and recapitulation. The violin has the melody, the other instruments
+accompanying. Minuetto Scherzo, Allegretto, A major, three-four measure,
+with first short strain on a figure in triplets. Trio in D major,
+Cantabile theme for violin, doubled by the viola in the octave below.
+Adagio Cantabile, D major, two-four rhythm. A melody that might be
+signed Haydn or Mozart, but embellished with a grace peculiar to Italian
+art. Here the violin is the solo instrument, the others supporting with
+rich harmonies, the 'cello emphasising the rhythm with frequent
+pizzicato notes. Rondo Andantino con brio, A major, two-four measure, a
+bright, sparkling principal theme, staccato, with contrasting episodes,
+one in D, with fourth string phrases, also with brilliant passages in
+thirds for the violin, which again has all the thematic work. This is a
+well developed movement.
+
+Quartet, No. 11, in B major. For this the guitar is tuned a tone higher,
+the _capo tasto_ raising the E strings to F sharp, and the guitar part
+is written in the open key of A. The first movement, Allegro moderato, B
+major, four-four rhythm is free in form, with repeat of the first part.
+The thematic material is assigned chiefly to the violin, but in the
+second part there is an episode, a sort of folk-tune, given to the
+violoncello. Minuetto, Allegretto, B major, three-four, with Trio in G
+major. The melodies are fresh, and move step-wise, very much like those
+in the Minuet of Beethoven's first Symphony. They are in scale
+formation, up and down, and there is only one skip of a third in the
+first sixteen bars. Again the violin takes all the themes. Larghetto con
+passione, F sharp minor, six-eight measure, a Lament, a fine expressive
+theme, opening nobly, but with the elevated style not maintained
+throughout. The viola and violoncello parts are in keeping with the
+pathetic feeling of the movement, but the rhythmic figure of the guitar
+part detracts from its dignity. Polacca, Andantino mosso, B major,
+three-four measure, a well-written movement, with three clearly defined
+subjects, two of which are taken up by the viola and violoncello. The
+violin part in this quartet is brilliant, but not particularly
+difficult; there is no double-stopping, excepting in chords of
+accompaniment.
+
+Quartet, No. 12, in A minor. This number is in three movements only.
+The first, Allegro giusto, A minor, four-four rhythm, is quite
+orchestral in character, and opens with a theme of symphonic breadth.
+There is science displayed in the development of this movement. In the
+first part the second subject is in C major, and in the recapitulation
+in A major. The slow movement, Adagio tenuto, con precisione, C major,
+three-four measure, has at first a very broad and declamatory theme for
+the violin. The writing becomes very elaborate, and the rhythmic
+figuration complex, passages with four and five-stroke notes occurring.
+The Finale, Minuetto, Allegretto mosso, is a fully developed movement
+quite in sonata form, with first part repeated. The exposition has a
+first subject of two extended members, the second in the major mode. The
+second subject, in E, is well contrasted. There is a long working out
+section, with episodial matter, and the recapitulation is very happily
+led up to. The music has a lilt that is irresistible, and the writing is
+interesting for each instrument.
+
+Quartet, No. 13, in F. The first movement, Allegro con brio, F major,
+four-four time, opens with a theme of a declamatory type, and the
+expression is dramatic. The second subject in C, is in the style of the
+Italian _aria_, concluding with the lively _Cabaletta_ strain. A short
+_Coda_ ends the first part. In the working out section there is an
+important episodial theme for the violoncello, and in the recapitulation
+the second subject, now in F, is allotted to the viola, the violin
+taking up the _Cabaletta_. Both parts are marked for repetition.
+Minuetto, Allegretto, F major, three-four measure. The violin has the
+theme of the first strain of eight bars repeated; the violoncello
+responds with the subject of the next strain of twenty-five bars, one
+phrase lengthened to five bars. The Trio in B flat has a tripping theme
+for the viola, legato and staccato bowing in the same "figure." Later
+the phrases are broken into dialogue for violin and viola. In the Minuet
+the guitar has a "second" to the violin melody. Larghetto tenuto, con
+anima, D flat major, six-eight rhythm, a broad, cantabile theme for the
+violin, with spare embellishment. The movement must be slow, for there
+are arpeggios of eight notes to the quaver beat in the guitar part.
+Finale, Prestissimo, F major, two-two measure. The theme for the violin
+resembles very much some of those merry "tributary" motives found
+in Mozart's symphonies towards the close of the first part of a
+movement--the "Jupiter," first movement for instance. The second subject
+affords contrast. The whole is most spirited and light-hearted. Paganini
+must have been in a happy mood when he wrote this quartet.
+
+Quartet, No. 14, in A major. The first movement, Allegro maestoso, A
+major, four-four measure, is very brilliant, opening with a theme in
+which arpeggio and scale figures abound. This closes in B, and the
+second subject begins in E. Here occurs some very free chromatic
+writing, suggestive of Richard Strauss, as, for instance, D sharp for
+violoncello against E flat for guitar and viola; and C natural opposed
+to B sharp. But it is a mere matter of spelling. The first part ends in
+E, and is marked for repetition. Then, with a single prefatory chord of
+E minor, the working out section begins in C, with a new motive, which
+passes through a number of keys, the primary returning with the second
+subject. Minuetto, Scherzo affettuoso, A major, three-four. The subject
+is based on a three-note figure, giving, by cross accents, to the
+four-bar phrase the effect of a six-bar phrase in duple measure--Tempo
+rubato. The Trio, in D, has a theme in triple measure, but the middle
+sentence has the displaced accents of the Minuet. Largo, con sentimento,
+G flat major, four-four measure. For this the pitch of the guitar is
+raised a tone, and the part written in E major. The movement is in song
+form, the melody opening in stately fashion, but the writing soon
+becomes florid. At the second entry the theme begins in A major, the
+return to G flat being ingeniously effected. There are some rapid
+pizzicato passages for the violoncello. Finale, Allegro vivace, A major,
+four-four rhythm. This is a moto perpetuo, sempre staccato, for the
+violin. The theme is quite unlike that of the movement known as Op. 11.
+After the exposition of the subject, the violin has figure-playing of an
+easy kind, while the violoncello has a Cantabile theme. This recurs, and
+snatches of it are heard in the brief coda. The other instruments merely
+accompany. This quartet has distinct character.
+
+Quartet, No. 15. The title simply runs: "Composto da Nicola Paganini,"
+without any dedication. Note the copyist's spelling of the Christian
+name. In the first movement, Maestoso, A minor, four-four measure, the
+first subject is given out by the viola. It begins with a mournful,
+somewhat stern motive, bold, and with an embellished subordinate theme.
+The second subject, also assigned to the viola, is an impassioned
+lyrical theme in C major. In the working out section, the violin takes
+the first subject, and joins the violoncello in an episodial theme, the
+viola contributing a florid counterpoint. There are modifications in the
+recapitulation, but the viola again has the second subject now in the
+tonic major. The guitar is busy throughout the movement, with full
+chords and extended arpeggios. Minuetto a Canone, Andantino, A major,
+three-four measure. The Canon is confined to the violin and viola, the
+latter starting with a theme in short, detached figures, the violin
+following, an octave higher, one beat later. Guitar and violoncello give
+supporting harmonies. In the Trio, in D major, the melody is given to
+the guitar, with a pizzicato accompaniment for the other instruments. At
+the seventeenth bar, there are again four bars of canon, this time in
+the unison, staccato bowing. The Minuet, abbreviated, is then repeated.
+The canon is not continuous, a cadence occurring at the end of each
+eight bars. Next comes an Interlude, Recitative, Andante sostenuto, con
+sentimento, D major. This is for the viola, and extends to twenty-one
+bars, the expression being dramatic. The other instruments have a rather
+elaborate accompaniment. The slow movement immediately ensues, Adagio
+Cantabile, D major, two-four rhythm. The viola has the melody, in the
+form of the Italian aria, embellished with prima donna fioriture. The
+movement is short, only running to forty-six bars. Rondo, Allegretto, A
+minor, two-four. The leading theme, marked by syncopations, is given to
+the viola, the violin joining in the repetition. The tonality is
+constantly changing from the minor to the major and back again. There is
+a new theme in the middle section, and some elaboration before the first
+subject returns. The close is abrupt. The viola has the chief part in
+this quartet, which is quite different to the others.
+
+I have only a few notes concerning some of the works yet to be
+considered. Dramatic Sonata, "The Storm," for violin and orchestra.
+This was evidently a piece of programme music, for it was thus
+described:--Part I., the approach of the storm; II., the commencement of
+the tempest; III., the prayer; IV., the fury of the sea; V., the
+hurricane; VI., the tumult at its height; VII., the stilling of the
+tempest; VIII., an outburst of the most lively joy. It was played at
+Paganini's third and last concert at Prague, December 20th, 1828, and
+one account refers to it as a "dramatic sonata for a full orchestra,
+with analogous embellishments and solos and variations, by Paganini on
+the fourth string."[57]
+
+"Sonata Militaire," in G, for the fourth string, theme, the air "Non piu
+andrai," from Mozart's opera "Le Nozze di Figaro." This piece was
+composed expressly for the second of the two concerts Paganini gave in
+Genoa in 1824, when the young singer, Antonia Bianchi, made her debut.
+The Sonata was played by Paganini at his first concert in London. All
+traces of it appear to have been lost.
+
+"Napoleon Sonata," for the fourth string. Paganini gave an account of
+the origin of this piece to his friend, Julius Schottky, and to what has
+already been related in connection therewith may now be added the
+further statement he made. Paganini sang to his friend the first
+movement of this Sonata "in an animated though feeble tone," and said
+that Rossini transferred the theme into one of his earlier operas. It
+would be interesting to know the opera in question, but the early works
+of Rossini would be searched in vain without the clue afforded by the
+Sonata, which appears to have vanished completely.
+
+"Sonata Maestosa Sentimentale," with variations on a theme by Haydn, for
+the fourth string. It is probable that the theme for these variations
+was the well-known Emperor's Hymn, and that this Sonata was performed by
+Paganini before the Austrian Court in 1828.
+
+Sonata with variations on a theme from the opera "L'Amor Marinaro."
+Nothing is now known of this Sonata, nor of the particular theme chosen
+from the opera. "L'Amor Marinaro" (the Corsair in Love) was one of the
+early productions of Joseph Weigl, being written in 1798. An opera
+buffa, it was distinguished by natural charm, freshness of colouring and
+beauty of melody, and to the latter quality Paganini's choice of it must
+doubtless be attributed.
+
+"Chant of the Monks of the Monastery of St. Bernard." This was the title
+given to a piece in the programme of a concert at Covent Garden Theatre.
+It was performed on a darkened stage and the solemn character of its
+music was emphasized by a beautiful scene representing a monastery with
+stained glass windows. The introduction, a movement of some length of
+the basses in unison, was followed by a chant "of lovely harmonies,
+performed in harmonics (I believe, on the fourth strings) in combination
+with the wood instruments." Minasi, who gives this account of the piece,
+states that he believes it to be merely the second movement of the
+Concerto in B minor, Op. 7.
+
+Cantabile for two strings. This piece was performed at the King's
+Theatre, on June 13th, 1831. Possibly it was the same as the musical
+fantasia already referred to as played at Lucca under the title of "A
+Love Scene." Of the remaining pieces, except the one mentioned below,
+nothing seems now to be known save the names.
+
+The one exception is the piece entitled "The Vagaries of a Farmyard,"
+which contained a wonderful series of imitations of farmyard sounds. In
+this connection the following anecdote, illustrating Paganini's
+extraordinary power of portraying curious sounds on his violin, may
+be worth repeating. One fine night, when staying at a little inn
+just outside Frankfort, he was sitting at his window lost in the
+contemplation of the glorious heavens. The striking of a clock broke
+through his reverie and called back to his mind an occurrence of which
+he had but recently been an ear-witness. He seized his violin, and there
+arose on the stillness of the night the moans and cries of a mother and
+her new-born babe. The landlord of the inn, awakened by the unusual
+sounds and wondering how such visitors had found their way into his
+house without his knowledge, called his son and hastened to the room
+whence the plaintive cries proceeded; and he found Paganini, too deep in
+thought to perceive his entrance, making his violin bring forth these
+human sounds. It is stated of Paganini that he was wont to produce his
+animal cries under the stress of special excitement or during an access
+of fever, and that with his farmyard piece he electrified the audience
+at one of the last of his concerts in London.
+
+FOOTNOTES:
+
+[52] Lapheleque, p. 45.
+
+[53] Carl F. W. Guhr, born at Militsch, Silesia, October 30th, 1787,
+violinist, pianist and composer, became Director of the Museum Concerts
+and Conductor of the Opera at Frankfort-on-the-Main, in which city he
+died July 22nd, 1848.
+
+[54] Mrs. Tom Taylor (_nee_ Laura Wilson Barker) was a fine musician, a
+composer, and almost phenomenal performer on the pianoforte and the
+violin. She played with both Spohr and Paganini, and took down this set
+of variations after hearing Paganini play them twice. She died at
+Coleshill, Bucks, May 22nd, 1905, at the advanced age of eighty-six.
+
+[55] Gustavo Carulli was the son of the celebrated guitarrist,
+Ferdinando Carulli, and was born at Leghorn in 1801.
+
+[56] They were performed at the private quartet concerts given by Mr.
+Burnett in the Art Club, Blackheath, from about the year 1893 onward.
+
+[57] _The Quarterly Musical Magazine and Review_, Vol. X., p. 205.
+
+
+
+
+CHAPTER XII.
+
+
+This may have been the concert at which, according to a lithograph,[58]
+Paganini received "the homage of five thousand persons after having
+pocketed L2,000 for two hours' performance." While the great world
+showed their appreciation of his playing in this way, and Royal patrons
+delighted to invest him with noble orders, the more humble admirers of
+Paganini caused medals to be struck in his honour. One of these, a
+tribute from the city of Vienna, has already been referred to; another
+very fine medal, struck in Paris during Paganini's first visit there in
+1831 is reproduced here. The inscription round Paganini's head fills one
+with a strangely ironical feeling, when one remembers that the fame of
+Paganini did but survive to lead to the homage of exhumation.
+
+[Illustration: _Plate 27.--See Appendix._
+
+MEDAL STRUCK IN PAGANINI'S HONOUR IN 1831.]
+
+True, the world has remembered him sufficiently to place memorial
+tablets on the houses where he was born and died. Fifty years after his
+death a tablet was affixed to the house wherein he breathed his last,
+and at the centenary celebration of his birth the following inscription
+was placed on the house wherein he first saw the light: "A great honour
+fell to the lot of this modest house, in which, on the 27th October,
+1782, Nicolo Paganini, unsurpassed in the divine art of tone, was born,
+to the glory of Genoa and to the delight of the world." At present one
+may enquire in vain of most Genoese people as to the position of
+Paganini's birthplace, and chance alone will direct one, who trusts to
+them for the information, to the slum quarter and the narrow street
+where the building stands. Difficult though it may be, however, to find
+this spot, it is an easy task to find the Palazzo Municipale where
+reposes the famous Guarnerius violin of Paganini.
+
+This superb instrument, bequeathed to the city of Genoa by Paganini
+himself, has been most carefully preserved by the civic authorities.
+It has only twice been heard in public--once at the 1882
+celebrations--since Paganini's death, and on both occasions it was
+played by his favourite pupil Sivori. It was carefully examined and
+photographed by Mr. Edward Heron-Allen in 1885, and a very interesting
+account was given by him[59] of the manner in which the violin was worn
+away by Paganini's peculiar method of playing. After describing its
+general condition he says, "The patch by the side of the tailpiece and
+the large wear on the back tell of the force with which he held the
+instrument in those high and pizzicato passages, which account for the
+long groove down the side of the fingerboard and the broad patch at the
+side of the neck, on the table of the instrument. The wearing away of
+the edges in the curves of the instrument bear a striking testimony to
+the force with which he sawed the gut in his bravura passages on the
+first and fourth strings." In the same glass case as the violin is
+placed the medal presented to Paganini by the Decurional Council of
+Genoa in 1834. On the reverse it bears this inscription:--
+
+     Nic. Paganino, Fidicini, cui nemo par fuit civique bene mecrenti
+     A.D. MDCCCXXXIIII.
+
+Such outward honours as the world gives to its dead have indeed been
+offered to the memory of Paganini; but it is doubtful whether the higher
+honour of a frank recognition by the musical world of the work that
+he did for it, has ever been his. Unlike the great composer the
+instrumentalist leaves behind him no visible proof of the part he has
+played in the development of his art. And the world has easily forgotten
+that from the day of Paganini not only was the violin transformed into a
+new instrument, not only were its capabilities, previously undreamt of,
+newly revealed, but also in other branches of musical art, in orchestral
+music especially, a fresh field was opened up before the composer. It is
+scarcely too much to say that the scores of Tchaikovsky and Richard
+Strauss could not have been written, had Paganini never lived. We do not
+desire to see another Paganini, so complete a slave to his instrument,
+albeit its master; we do not desire to see another such life, with
+bodily health and moral vigour sacrificed to so absorbing a devotion to
+one single end. We would fain believe that Nicolo Paganini did not live
+in vain, that like a real artist he had and fulfilled his mission, that
+the evil he did died with him and that the good lives on to benefit the
+world.
+
+    THE END.
+
+FOOTNOTES:
+
+[58] Reproduced on page 144.
+
+[59] _The Musical Times_, May 1st, 1886.
+
+
+
+
+APPENDIX.
+
+NOTES ON THE ILLUSTRATIONS IN THIS VOLUME.
+
+
+_Plate 1_--Frontispiece.
+
+Portrait of NICOLO PAGANINI, by Maurin, a French Artist. Free from
+caricature, it is probably the most authentic picture of the great
+virtuoso. It appeared in the seventh volume of the "Revue Musicale."
+
+_Plate 2_--Facing page 4.
+
+THE BIRTHPLACE OF THE CELEBRATED PAGANINI in the Passo di Gatto Moro,
+Genoa, Italy. The house is in a squalid neighbourhood--a dirty, narrow
+alley now occupied by the poorest of the city. Probably no worse than at
+the time of Paganini's birth. There is a tablet which reads as
+follows:--
+
+     Alta ventura sortita ad umile luogo
+     in questa casa
+     il giorno XXVII di Ottobre dell' anno
+     MDCCLXXXII
+     Nacque
+     a decoro di Genova a delizia del mondo
+     Nicolo Paganini
+     nella divina arte dei suoni insuperato maestro.
+
+The date 1782 given here confirms the latest research that Paganini was
+born in that year and not in 1784 so usually quoted.
+
+_Plate 3_--Facing page 14.
+
+PAGANINI'S VIOLIN, BOW, CASE, ETC., in the Municipal Museum at Genoa.
+This is the celebrated Joseph Guarnerius on which the great virtuoso
+invariably performed. The instrument is under a glass shade, and with
+other relics of Paganini, preserved in a strong safe. It is stated that
+L5,000 has, in vain, been offered for the violin.
+
+_Plate 4_--Facing page 20.
+
+THIS IS ANOTHER CARICATURE--Paganini performing on a tight rope--under
+which is printed "Exercices sur une seule corde,"--in reference to his
+one string solos. This was published by Mori and Lavenu, London, circa
+1831.
+
+_Plate 5_--Facing page 40.
+
+This is, we believe, from a contemporary German picture.
+
+_Plate 6_--Facing page 50.
+
+This humorous picture is on the title-page of a comic song, "The
+wonderful Paganini, or London fiddling mad." The poetry by W. T.
+Moncrieff, Esq., and the melody by one of the first composers of the
+day! London, published by Leoni Lee, circa 1831. The "poetry" is not of
+a classical standard.
+
+    "What a hubbub! what a fuss! all London sure are frantic Sirs,
+        The Prince of Fiddlers has arriv'd, great Paganini has come.
+    So wonderful, exorbitant, so frightful, so romantic, Sirs, the
+            world of Music at his mighty presence are struck dumb.
+    So firm his touch, so fine his stop, everyone must own his sway,
+    Great King King of Catgut! Agitato! presto! Who but he Sirs,
+        Mori, Spagnoletti, now must second fiddle play, Sirs--
+    Glory be to Tweedle dum! Success to Tweedle dee! Sirs--
+    Such golden sounds, he from one string can draw, no sum can pay
+            him, Sirs,
+    Germany, France, Italy, combined his fame to puff
+    The prices must be doubled, all the world crowd to survey him, Sirs,
+    Four thousand pounds a night to pay him is not half enough,
+    Sixpences, none, after this, must dare call fiddlers' money Sirs.
+    Thousands, tens of thousands, must the wondrous man reward,"
+                    etc., etc.,
+            and so on for five verses!
+
+_Plate 7_--Facing page 54.
+
+SIGR. PAGANINI. During one of his performances at the King's Theatre,
+June, 1831. From a contemporary lithograph of the celebrated sketch by
+D. Maclise, R.A., now in the Foster Collection, South Kensington Museum.
+In the background are J. B. Cramer, Lindley, Dragonetti, Mori, etc. This
+is, perhaps, the most interesting print of the great violinist. It was
+published on July 12th, 1831, by W. Spooner, 259, Regent Street, London.
+
+_Plate 8_--Facing page 60.
+
+Reproduction of the celebrated Statuette (caricature), by Dainton.
+
+_Plate 9_--Facing page 66.
+
+PAGANINI WITH THE VIOLIN, Rossini at the pianoforte and the celebrated
+prima-donna Pasta. (Jos. McGuire, delt., printed by Englemann & Co.),
+circa 1832.
+
+_Plate 10_--Facing page 76.
+
+A COPY OF THE ORIGINAL OIL PAINTING OF PAGANINI in the Municipal Museum
+at Genoa. The face full of intellect, shows the ravages of the disease
+which was so soon to terminate his existence.
+
+_Plate 11_--Facing page 80.
+
+THE HOUSE AT NICE IN WHICH PAGANINI DIED on the 27th May, 1840. It was
+formerly the residence of the Count de Sessol. The lower part has been
+converted into shops.
+
+_Plate 12_--Facing page 80.
+
+THE TABLET, with inscription, fixed on the front of the house, Rue de la
+Prefecture, Nice, France.
+
+_Plate 13_--Facing page 84.
+
+THE TOMB OF PAGANINI AT PARMA. Neither religious nor political martyr
+ever had so many objections made to his obsequies. To the cemetery, near
+Parma, in November, 1876, the embalmed remains of Paganini were
+transposed from the family villa at Gaione, by order of his son, the
+Baron Achille (who died in December, 1895). The funeral was held at
+night by torchlight. A nephew, the Baron Attila Paganini, followed, and
+crowds of curious sightseers joined the procession. In 1893 there was
+erected the beautiful mausoleum which is now depicted from the only
+known photograph, taken expressly for THE STRAD. It bears this
+inscription:--
+
+        Qui riposano le ceneri
+          di Nicolo Paganini
+    Che traendo dal violino armonie divine
+    Scosse genio insuperabile tutta Europa
+          e cinse all'Italia,
+        Nuova sfolgorante corona.
+
+          Mente elettissima
+    Compose stupendamente in musica
+    Ammirato dai piu illustri maestri.
+
+        Cuore oltremodo generoso
+          dono largamente
+    ai parenti, agli artisti ai poveri.
+
+Beneath this cupola of white marble, with its granite columns, may the
+ashes of Paganini rest in peace. His true remains--his reputation, his
+influence, his music, are with us for ever.
+
+_Plate 14_--Facing page 90.
+
+PAGANINI IN PRISON. One of the many scandals which is contradicted in
+the text. (See page 90.) There is another prison story that during
+Paganini's incarceration, he was reduced to the G, in consequence of the
+other strings having broken--hence his wonderful development of the
+fourth. This is again apocryphal. Paganini has greater claim to a
+scientific knowledge of the acoustical property of strings.
+
+_Plates 15, 16, and 17_, see pages 101, 102, and 103,
+
+are reproductions of Paganini's MSS. in the British Museum. No. 15, a
+letter (dated April 16th, 1832, and in French) thanking the person
+addressed, for kindness shown to his "cher fils Achille," Nos. 16 (dated
+February 19th, 1835) and 17 (dated May 5th, 1838); short notes (in
+Italian) are interesting autographs. Paganini was proverbially a "silent
+man"--his epistles are very rare.
+
+_Plates 18, 19, 20, 21, and 22_--Pages 129-133.
+
+These reproductions of rare programmes tell their own tales--they are
+interesting, because there are seen the items and the arrangement of
+concerts, also the prices, for admission, etc.--in those years.
+
+_Plate 23_--Facing page 136.
+
+FACSIMILE OF A LETTER BY PAGANINI, dated 1829. It was formerly in the
+possession of the late Mr. Carrodus, the great English violinist.
+
+_Plate 24_--Facing page 144.
+
+A SEMI-CARICATURE OF PAGANINI with the inscription.
+
+     The Modern Apollo (not Belvedere)
+     Receiving the homage of 5,000 persons, after having pocketed
+     L2,000 for two hours' performance.
+
+Sketched at his last Concert at the King's Theatre. Published by G.
+Madeley, Wellington Street, Strand, 1831.
+
+_Plates 25 and 26_, see pages 176 and 177.
+
+Reproductions of music MS. in British Museum. A Theme, with variations
+for violin, with accompaniment, is a curious example of the great
+master's compositions.
+
+_Plate 27_--Facing page 190.
+
+COPY OF A RARE COPPER MEDAL struck in Paganini's honor in 1831.
+
+
+
+
+BIBLIOGRAPHY.
+
+
+The extraordinary career of Paganini has received more attention than
+the life of any other instrumentalist. Of these biographies, it is
+impossible to give a complete list.
+
+The following may, however, be commended.
+
+     "Paganini in seinem Reisewagen und Zimmer, in seinen redseligen
+     Stunden, in gesellsschaftlichen Kirkeln, und seinen Concerten."
+     Brunswick, Vieweg, 1830. Mr. George Harris, the writer of this
+     pamphlet, was an Englishman, who in order to study Paganini, became
+     the Violinist's secretary and interpreter.
+
+     "Leben, Charakter und Kunst N. Paganini's--Eine Skizze,"--by M. F.
+     Shuetz, a Professor at Halle. Leipzig, 1830.
+
+     "Paganini's Leben und Treiben als Kuenstler und als Mensch." Prague,
+     1830. Written by Professor Schottky.
+
+     "Paganini's Leben und Charakter," by M. L. Vinela. Hamburg, 1830.
+
+     "Notice sur le celebre violoniste Nicolo Paganini," by M. J. Imbert
+     de Laphaleque. Paris.
+
+     "Paganini et de Beriot, ou Avis aux artistes qui se destinent a
+     l'enseignement du Violon," by F. Fayolle. Paris, 1831.
+
+     "Paganini, his life, his person, and a few words upon his secret,"
+     by J. L. Anders. Paris, 1831.
+
+     "Vita di Nicolo Paganini di Genova, scritta ed illustrata da
+     Giancarlo Conestabile, socio di varie Academie." Perugia, 1831.
+
+     "Nicolo Paganini," by F. J. Fetis. Published by Schott and Co.
+
+     "L'Album." "Paganini." Rome, 1840.
+
+     "Good Words." Three articles by Rev. H. R. Haweis, M.A.
+
+     "Musical Gem." "Paganini." Portrait by R. J. Hamerton. London,
+     1832.
+
+     "The Violin," with some account of that leading instrument and its
+     most eminent professors, by George Dubourg, 1836 and 1878. This
+     interesting book contains a long account of Paganini (illustrated.)
+
+     "Life of Moscheles." Two vols. 1873. In Vol. I., chapters 13 and
+     14, "Paganini."
+
+     "Louis Spohr's Autobiography," _vide_ "Paganini," Vol. I., page
+     279, and Vol. II., page 168. Spohr says: "His (Paganini's) left
+     hand and his constantly pure intonation were to me astonishing."
+
+     "Dictionary of Music and Musicians," by Sir George Grove, D.C.L.,
+     _vide_ article Paganini.
+
+     "Encyclopaedie der gesammten musicalischen Wissenschaften," by Dr.
+     Gustav Schilling. Article Paganini.
+
+     Dr. Riemann's "Dictionary of Music," article Paganini.
+
+     "The Strad," various articles and paragraphs in the series of this
+     journal.
+
+     "The Violin," by George Hart. Engravings of Paganini's Violin.
+
+     "Old Violins and their Makers," by James M. Fleming.
+
+     "Ole Bull," by Sara C. Bull. Various notices of Paganini.
+
+     "Musical Opinion," July, August, and September, 1888. A renowned
+     fiddler (Paganini.) Three articles by Richard Harrison.
+
+     "Musical News," 1903.
+
+     "A Wooden Shoe" (Story of Paganini) by M. P. Audebrand.
+
+     "Paganiniana," (circa 1865.)
+
+     "Troubadour," August, 1899. Paganini, by Richard Harrison.
+
+     "The Athenaeum," 1831. Critiques on Paganini.
+
+     "The Tatler," 1831.
+
+     "An account of Paganini's debut in London," June 3rd, 1831, by Mr.
+     Gardner of Leicester, appears in Dubourg's "Violin."
+
+     "Paganini's Concerts in Paris." A clever description was published
+     in "Le Globe."
+
+     "Foreign Quarterly Review" (circa 1832).
+
+     "Catalogue of Paganini's compositions," by M. Conestabile.
+
+     Paganini's works are published by Ricordi and Co., of Milan, and
+     Schott and Co., of Mayence and London.
+
+     "Revue et Gazette Musicale de Paris," December 23rd, 1840. Article
+     Paganini.
+
+     "Story of the Violin," by Paul Stoeving.
+
+     "The Quarterly Musical Magazine and Review," Vol. X.
+
+     "Ueber Paganini's Kunst, die Violine zu spielen," by Carl F. W.
+     Guhr, original edition 1831. Modern. Schott and Co.
+
+     "Biographical Sketches of Celebrated Violinists." London: Bentley,
+     publisher.
+
+     "Celebrated Violinists, Past and Present." Translated from the
+     German of A. Ehrlich, and edited with notes and additions by Robin
+     H. Legge (eighteen pages devoted to Paganini). Portraits. STRAD
+     Office, London.
+
+     "Notice of Antony Stradivari," by F. J. Fetis. Translated by John
+     Bishop. London, 1864.
+
+     "The Harmonicon." An excellent musical journal. Published in London
+     (contemporary with Paganini).
+
+     "The Life of Rossini," by Sutherland Edwards.
+
+     "History of Music," by Emil Naumann. 2 vols. Cassell and Co.,
+     London, 1886.
+
+     "Life and Letters of Sir Charles Halle." Paganini is mentioned by a
+     musical amateur (Count de Stendhal), 1814 and 1817.
+
+     "Diary of an Invalid," by Mathews, 1818.
+
+     "History of the Violin," by William Sandys and S. A. Forster, 1864.
+
+     "Old Violins," by Rev. H. R. Haweis, M.A. 1898.
+
+     "Researches into the History of the Violin Family," by Carl Engel.
+     1883.
+
+     "Musical World." 1836.
+
+     "Musical and Personal Recollections," by Henry Phillips, 1864.
+
+     "Music and Manners in France and Germany," by Henry F. Chorley.
+     1841.
+
+     "The Student's History of Music," by F. L. Ritter. 1880.
+
+
+Collectors will be interested in the Medals and Busts of Paganini.
+
+The English and Continental contemporary Press notices, etc., would
+alone make a Paganini volume.
+
+Of Paganini, there are many portraits, though too generally caricatures.
+M. Fetis, in his Life of Paganini, gives a short but incomplete
+catalogue. Those included in this volume have been carefully selected
+from contemporary prints, etc.
+
+
+
+
+ADVERTISEMENTS
+
+
+"THE STRAD" LIBRARY No. I.
+
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+_"THE STRAD" LIBRARY EDITION is the only Authorised Edition of_
+
+     Technics of Violin Playing
+     ON
+     JOACHIM'S METHOD
+
+     BY
+     CARL COURVOISIER,
+
+     With Folding Plates, containing Fifteen Illustrations.
+
+
+LETTER FROM DR. JOACHIM.
+
+[COPY.]
+
+MY DEAR MR. COURVOISIER: I have read the book on Violin Playing you have
+sent me, and have to congratulate you sincerely on the manner in which
+you have performed a most difficult task, _i.e._, to describe the best
+way of arriving at a correct manner of playing the violin.
+
+It cannot but be welcome to thoughtful teachers, who reflect on the
+method of our art, and I hope that your work will prove useful to many
+students.
+
+Believe me, my dear Mr. Courvoisier, to be most faithfully yours,
+
+    JOSEPH JOACHIM.
+
+Berlin, November 3rd, 1894.
+
+
+The New and Revised Edition of "Technics of Violin Playing," issued by
+THE STRAD, is the only authorised edition of my work. The several
+English Editions which have all appeared without my knowledge are
+_incomplete_ and _faulty_.
+
+    CARL COURVOISIER.
+
+
+
+
+"THE STRAD" LIBRARY, No. II.
+
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+     HOW TO STUDY THE VIOLIN
+     By J. T. CARRODUS.
+
+
+CONTENTS.
+
+Strings and Tuning. The Bow and Bowing. Faults and their Correction.
+Scales and their Importance. Course of Study. Advice on Elementary
+Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some
+Experiences as a Soloist. With full page portraits of Carrodus, Molique,
+Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, and a
+photo-reproduction of Dr. Spohr's testimonial to Carrodus.
+
+
+"An interesting series of articles 'How to Study the Violin,' which
+Carrodus contributed to THE STRAD, and completed only a week or two
+before his death, have now been collected in cheap book form. The
+technical hints to violin students, which are practical, plainly worded,
+and from such a pen most valuable."--_Daily News._
+
+"But a few weeks before his sudden death the most distinguished of
+native violinists completed in THE STRAD a series of chats to students
+of the instrument associated with his name. These chats are now
+re-issued, with a sympathetic preface and instructive annotations. All
+who care to listen to what were virtually the last words of such a
+conscientious teacher will recognise the pains taken by Carrodus to
+render every detail as clear to the novice as to the advanced pupil.
+Pleasant gossip concerning provincial festivals at which Carrodus was
+for many years 'leader' of the orchestra, ends a little volume worthy a
+place in musical libraries both for its practical value and as a memento
+of the life-work of an artist universally esteemed."--_Daily Chronicle._
+
+"It is surely, hardly necessary to direct the attention of students to
+the unique value of the hints and advice given by so experienced and
+accomplished a virtuoso as the late Mr. Carrodus, so that it only
+remains to state that the 'Recollections' make delightful reading, and
+that the book, as a whole, is as entertaining as it is instructive. The
+value of the _brochure_ is enhanced by an excellent portrait of Mr.
+Carrodus, as well as of a number of other violin worthies, and the
+printing, paper, and get up generally are good as could possibly
+be."--_Musical Answers._
+
+
+
+
+"THE STRAD" LIBRARY, No. III.
+
+_Crown 8vo, Cloth, 2/6, Post Free, 2/9._
+
+     THE BOW
+     Its History, Manufacture and Use
+
+     BY
+     HENRY SAINT-GEORGE.
+
+With Full Page Illustrations (exact size) by Photo Process.
+
+
+MONS. EMILE SAURET writes--"I have read it with great interest, and
+think that it supplies a real want in giving musicians such an excellent
+description of all matters referring to this important instrument."
+
+SIGNOR GUIDO PAPINI writes--"Thanks so much for your splendid and
+interesting book. You are quite successful and all the artists and
+amateurs are indebted to you for so exact and correct a '_Texte_' on the
+subject."
+
+ADOLF BRODSKY writes--"I am delighted with the book and find it very
+instructive, even for those who think to know everything about the bow.
+It is very original and at times very amusing. No violinist should miss
+the opportunity to buy it."
+
+THE TIMES--"A useful treatise on the Bow, in which the history,
+manufacture and use of the bow are discussed with considerable technical
+knowledge."
+
+DAILY TELEGRAPH--"To the student there is much of interest in the work,
+which has the advantage of being copiously illustrated."
+
+DAILY NEWS--"This book seems practically to exhaust its subject."
+
+
+
+
+_"THE STRAD" LIBRARY, No. IV._
+
+_Crown 8vo., Cloth, 5/-, Post Free, 5/4._
+
+     CELEBRATED VIOLINISTS:
+     PAST AND PRESENT,
+
+     _Translated from the German of_
+     A. EHRLICH,
+
+     _And Edited with Notes and Additions by_
+     ROBIN H. LEGGE.
+
+_WITH EIGHTY-NINE PORTRAITS._
+
+
+PRESS NOTICES.
+
+"Those who love their fiddles better than their fellows, and who
+treasure up every detail that can be found and recorded about their
+favourite and cherished players, will not fail to provide themselves
+with a copy of this book."--_Musical Opinion._
+
+"This book of 280 pages is a most interesting and valuable addition to
+the violinist's library. It contains 89 biographical sketches of
+well-known artists, ancient and modern, of all nations. This is not
+intended to be a perfect dictionary of violinists; the aim of the Editor
+of the present volume being merely to give a few more up-to-date details
+concerning some of the greatest of stringed instrument players, and we
+must concede that no name of the first importance has been omitted.
+Germany is represented by 21 names, Italy by 13, France by 10, England
+by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known
+ladies, such as Teresina Tua, Therese and Marie Milanollo, Lady Halle,
+Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this is
+most agreeable reading to the numerous army of violinists, both
+professionals and amateurs, and after careful examination we can find
+nothing but praise for this translation into English of a book well
+known on the Continent."--_The Piano, Organ and Music Trades Journal._
+
+
+
+
+"THE STRAD" LIBRARY, No. V.
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+     TECHNICS OF
+     VIOLONCELLO PLAYING
+
+     BY
+     E. VAN DER STRAETEN.
+
+COPIOUSLY ILLUSTRATED.
+
+
+_Copy of Letter received by the Author from the great 'cellist, SIGNOR
+ALFRED PIATTI._
+
+    Cadenabbia, Lake of Como, March 9th, 1898.
+
+DEAR SIR,--I received the book you kindly sent me on "The Technics of
+Violoncello Playing," which I found excellent, particularly for
+beginners, which naturally was your scope. With many thanks for kindly
+remembering an old ex-violoncello player.
+
+    Believe me, yours sincerely,
+        ALFRED PIATTI.
+
+_Copy of Letter received by the Author from the eminent 'cellist, HERR
+DAVID POPPER._
+
+    Budapest, February 22nd, 1898.
+
+DEAR SIR,--In sending me your book on "The Technics of Violoncello
+Playing" you have given me a real and true pleasure. I know of no work,
+tutors and studies not excepted, which presents so much valuable
+material, so much that is absolutely to the point, avoiding--I might
+say, on principle--all that is superfluous and dispensable. Every
+earnest thinking violoncello student will in future make your book his
+own and thereby receive hints which will further and complete the
+instructions of his master.
+
+I congratulate you and ourselves most heartily on the new violoncello
+book. With kind regards, Yours most sincerely,
+
+    DAVID POPPER.
+
+
+
+
+"THE STRAD" LIBRARY, No. VI.
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+     VIOLIN PLAYING
+
+     BY
+     JOHN DUNN.
+
+
+CONTENTS
+
+INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints on
+the Choice of a Teacher--Some Tricks of pretending professors exposed.
+
+ON THE CHOICE OF A VIOLIN AND BOW--Advice regarding general adjustment
+and repairs.
+
+ON THE CHOICE OF STRINGS--Stringing the Instrument and keeping the Pegs
+in Order.
+
+ON THE GENERAL POSTURE--The manner of holding the Violin and Bow as
+accepted by the leading artists of the day.
+
+ON FINGERING GENERALLY--The various positions--Scales recommended--The
+Modern Orchestral "Principal" or (so-called) Leader.
+
+ON GLIDING--Special Characteristics of some of the most Eminent Players.
+
+DOUBLE STOPPING--The main difficulty in Double Stopping--How to gain
+Independence of Finger.
+
+BOWINGS--Smooth Bowings--Solid Staccato--Spiccato--Spring Bow--Mixed
+Bowings.
+
+TONE PRODUCTION--Character of Tone--Rules and Conditions necessary to
+produce a good tone--Style and Expression.
+
+
+
+
+"THE STRAD" LIBRARY, No. VII.
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+     Chats to 'Cello Students
+
+     BY
+     ARTHUR BROADLEY.
+
+
+"Musicians, devotees of the 'cello in particular, will welcome the
+latest volume of THE 'STRAD Library,' 'Chats to 'Cello Students,' by
+Arthur Broadley.... Mr. Broadley not only knows what he is talking
+about, but has practised what he says. From the choice of an instrument
+to finished delivery and orchestral playing, 'Chats to 'Cello Students'
+leaves nothing undiscussed. The treatment is simple and practical. The
+exhaustive chapter on 'bowing' should be an invaluable aid to students.
+In the last chapter of his book, 'On Delivery and Style' Mr. Broadley
+has given a lucid expression to a subject which has sadly needed
+voicing."--_The Tribune, Nuneaton._
+
+"Is a brightly written little volume filled with practical information
+for those who seek to bring out the wealth of expression of which the
+violoncello is capable. The instruction is presented in homely,
+common-sense fashion, and there are upwards of fifty examples in music
+type to illustrate the author's meaning."--_Lloyd's Weekly._
+
+"Every kind of bowing and fingering, the portamento, harmonic effects,
+arpeggios and their evolution from various chords, are all ably treated,
+and the work concludes with a few remarks on orchestral playing which
+are of especial interest."--_Musical News._
+
+"As a writer on the technique of his instrument Mr. Broadley is known
+all over the world, perhaps his most successful work being a little book
+published by THE STRAD, 'Chats to 'Cello Students.'"--_The Violinist._
+
+
+
+
+"THE STRAD" LIBRARY, No. VIII.
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+     ANTONIO STRADIVARI
+
+     BY
+     HORACE PETHERICK.
+
+_Of the Music Jury, International Inventions Exhibition, South
+Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in
+Law Courts, 1891; President of the Cremona Society._
+
+ILLUSTRATED BY THE AUTHOR.
+
+
+"This is the history of the life-work of the great Italian stringed
+musical instrument maker.... There is a most interesting analysis of
+Stradivari's method of mechanical construction which again is
+illustrated by original drawings from the many Strads which it has been
+Mr. Petherick's privilege to examine. All lovers of the king of
+instruments will read this delightful little volume."--_Reynolds._
+
+"Among makers of violins Stradivari perhaps occupies the premier
+position, and this account of his work, designs, and variations in
+finish of details will afford pleasure to many readers."--_Morning
+Post._
+
+"This is a monograph which all students of the violin will be happy to
+possess. The author is a connoisseur and expert, and his account of the
+great Cremonese master and his life-work, is singularly well and clearly
+told, whilst the technical descriptions and diagrams cannot fail to
+interest everyone who has fallen under the spell of the violin.... Mr.
+Petherick traces the career of Stradivari from his earliest insight into
+the mysteries of the craft to his highest achievements. Numerous
+illustrations lend attraction to the volume, not the least being a view
+of Stradivari's atelier, from a painting by Rinaldi, the sketch of which
+was made on the premises."--_Music._
+
+"Mr. Petherick is well known in the musical world as a violin expert
+with a special knowledge of the instruments made by the Cremonese
+master, whose biography he has here given us. He tells us how the master
+worked, what his pupils did, and where their work differs from that of
+their preceptor. In fact, the volume is as much a dissertation on the
+violins of Stradivari as a biography of the master, and is full of
+deeply interesting matter."--_Lloyds._
+
+
+
+
+"THE STRAD" LIBRARY, No. IX.
+
+_Crown 8vo., Cloth, 5/-, Post Free, 5/4._
+
+     VIOLIN MAKING
+
+     BY
+     WALTER H. MAYSON,
+
+With Thirty-one Full-page PHOTO ETCHINGS,
+
+Illustrating the process of Violin-making in every stage--from the rough
+slab of wood to the finished Instrument.
+
+The text is written by an =Actual Violin Maker=, in a very clear and
+lucid style.
+
+
+"'Popular lecture' style, with photographic illustrations."--_The Times._
+
+"A feature of the book is the clearness of the illustrations."--_Morning
+Post._
+
+"Describes a very fascinating art from start to finish."--_Morning
+Leader._
+
+"This new booklet, on how to make a violin, is an admirable exposition
+of methods. Mr. Mayson avoids learned terminology. He uses the simplest
+English, and goes straight to the point. He begins by showing the young
+learner how to choose the best wood for the violin that is to be.
+Throughout a whole chatty, perfectly simple chapter, he discourses on
+the back. A separate chapter is devoted to the modelling of the back,
+and a third to its 'working out.' The art of sound-holes, ribs, neck,
+fingerboard, the scroll, the belly. Among the illustrations is one
+showing the tools which the author himself uses in the making of his
+instruments. To learners of the well-known Manchester maker's delicate
+art we commend this little volume."--_Daily News._
+
+
+
+
+"THE STRAD" LIBRARY, No. X.
+
+_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
+
+(DEDICATED, BY PERMISSION, TO DR. JOSEPH JOACHIM)
+
+     THE VIOLIN MUSIC OF
+     BEETHOVEN,
+
+     Critically discussed, and Illustrated with over
+     FIFTY MUSICAL EXAMPLES,
+
+     BY
+     J. MATTHEWS.
+
+The book contains analytical and historical notes upon the Chamber
+Music of Beethoven, in which the violin takes part as a solo instrument,
+with some account of the various editions of the principal works;
+Beethoven's method of working, as shown by his Sketch Books, etc. It is
+dedicated to Dr. JOACHIM, who has furnished some notes respecting the
+stringed instruments possessed by Beethoven.
+
+
+_Extract from Author's Preface_:--
+
+"Young students often suppose that they ought to admire every work which
+proceeds from a great genius; an attempt therefore has been made to
+convey some idea of the relative art-value and importance of the various
+compositions discussed in these pages. For between the best work of any
+man and his least inspired, there is a wide difference. Certainly
+nothing annoyed the great master more than to hear his least mature
+works praised, especially at a time when many of his greatest creations
+were too little studied to be understood save by a few."
+
+
+"Mr. John Matthews--dealing with Beethoven's music in pleasant fashion,
+and at not too great length--gives an historical account, and in many
+instances short analyses, with illustrations in music type of
+Beethoven's works for this instrument, and particularly the sonatas (to
+which considerable space is devoted), the trios, the quartets, and other
+compositions in which the master employed the violin. The book will be
+found by amateurs both interesting and instructive."--_Daily News._
+
+LONDON:
+
+"STRAD" OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C.
+
+
+
+
+"THE STRAD" LIBRARY, No. I.
+
+12MO., CLOTH, 1.00.
+
+_"THE STRAD" LIBRARY EDITION is the only Authorised Edition of_
+
+     Technics of Violin Playing
+     ON
+     JOACHIM'S METHOD
+
+     BY
+     CARL COURVOISIER,
+
+     With Folding Plates, containing Fifteen Illustrations.
+
+
+LETTER FROM DR. JOACHIM.
+
+[COPY.]
+
+MY DEAR MR. COURVOISIER: I have read the book on Violin Playing you have
+sent me, and have to congratulate you sincerely on the manner in which
+you have performed a most difficult task, _i.e._, to describe the best
+way of arriving at a correct manner of playing the violin.
+
+It cannot but be welcome to thoughtful teachers, who reflect on the
+method of our art, and I hope that your work will prove useful to many
+students.
+
+Believe me, my dear Mr. Courvoisier, to be most faithfully yours,
+
+    JOSEPH JOACHIM.
+
+Berlin, November 3rd, 1894.
+
+
+The New and Revised Edition of "Technics of Violin Playing," issued by
+THE STRAD, is the only authorised edition of my work. The several
+English Editions which have all appeared without my knowledge are
+_incomplete_ and _faulty_.
+
+    CARL COURVOISIER.
+
+
+
+
+"THE STRAD" LIBRARY, No. II.
+
+12MO., CLOTH, 1.00.
+
+
+     HOW TO STUDY THE VIOLIN
+     By J. T. CARRODUS.
+
+
+CONTENTS.
+
+Strings and Tuning. The Bow and Bowing. Faults and their Correction.
+Scales and their Importance. Course of Study. Advice on Elementary
+Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some
+Experiences as a Soloist. With full page portraits of Carrodus, Molique,
+Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, and a
+photo-reproduction of Dr. Spohr's testimonial to Carrodus.
+
+
+"An interesting series of articles 'How to Study the Violin,' which
+Carrodus contributed to THE STRAD, and completed only a week or two
+before his death, have now been collected in cheap book form. The
+technical hints to violin students, which are practical, plainly worded,
+and from such a pen most valuable."--_Daily News._
+
+"But a few weeks before his sudden death the most distinguished of
+native violinists completed in THE STRAD a series of chats to students
+of the instrument associated with his name. These chats are now
+re-issued, with a sympathetic preface and instructive annotations. All
+who care to listen to what were virtually the last words of such a
+conscientious teacher will recognise the pains taken by Carrodus to
+render every detail as clear to the novice as to the advanced pupil.
+Pleasant gossip concerning provincial festivals at which Carrodus was
+for many years 'leader' of the orchestra, ends a little volume worthy a
+place in musical libraries both for its practical value and as a memento
+of the life-work of an artist universally esteemed."--_Daily Chronicle._
+
+"It is surely, hardly necessary to direct the attention of students to
+the unique value of the hints and advice given by so experienced and
+accomplished a virtuoso as the late Mr. Carrodus, so that it only
+remains to state that the 'Recollections' make delightful reading, and
+that the book, as a whole, is as entertaining as it is instructive. The
+value of the _brochure_ is enhanced by an excellent portrait of Mr.
+Carrodus, as well as of a number of other violin worthies, and the
+printing, paper, and get up generally are good as could possibly
+be."--_Musical Answers._
+
+
+
+
+"THE STRAD" LIBRARY, No. III.
+
+12MO., CLOTH, 1.00.
+
+     THE BOW
+     Its History, Manufacture and Use
+
+     BY
+     HENRY SAINT-GEORGE.
+
+With Full Page Illustrations (exact size) by Photo Process.
+
+
+MONS. EMILE SAURET writes--"I have read it with great interest, and
+think that it supplies a real want in giving musicians such an excellent
+description of all matters referring to this important instrument."
+
+SIGNOR GUIDO PAPINI writes--"Thanks so much for your splendid and
+interesting book. You are quite successful and all the artists and
+amateurs are indebted to you for so exact and correct a '_Texte_' on the
+subject."
+
+ADOLF BRODSKY writes--"I am delighted with the book and find it very
+instructive, even for those who think to know everything about the bow.
+It is very original and at times very amusing. No violinist should miss
+the opportunity to buy it."
+
+THE TIMES--"A useful treatise on the Bow, in which the history,
+manufacture and use of the bow are discussed with considerable technical
+knowledge."
+
+DAILY TELEGRAPH--"To the student there is much of interest in the work,
+which has the advantage of being copiously illustrated."
+
+DAILY NEWS--"This book seems practically to exhaust its subject."
+
+
+
+
+"THE STRAD" LIBRARY, No. IV.
+
+12MO., CLOTH, 2.00.
+
+     CELEBRATED VIOLINISTS:
+     PAST AND PRESENT,
+
+     _Translated from the German of_
+     A. EHRLICH,
+
+     _And Edited with Notes and Additions by_
+     ROBIN H. LEGGE.
+
+_WITH EIGHTY-NINE PORTRAITS._
+
+
+PRESS NOTICES.
+
+"Those who love their fiddles better than their fellows, and who
+treasure up every detail that can be found and recorded about their
+favourite and cherished players, will not fail to provide themselves
+with a copy of this book."--_Musical Opinion._
+
+"This book of 280 pages is a most interesting and valuable addition to
+the violinist's library. It contains 89 biographical sketches of
+well-known artists, ancient and modern, of all nations. This is not
+intended to be a perfect dictionary of violinists; the aim of the Editor
+of the present volume being merely to give a few more up-to-date details
+concerning some of the greatest of stringed instrument players, and we
+must concede that no name of the first importance has been omitted.
+Germany is represented by 21 names, Italy by 13, France by 10, England
+by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known
+ladies, such as Teresina Tua, Therese and Marie Milanollo, Lady Halle,
+Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this is
+most agreeable reading to the numerous army of violinists, both
+professionals and amateurs, and after careful examination we can find
+nothing but praise for this translation into English of a book well
+known on the Continent."--_The Piano, Organ and Music Trades Journal._
+
+
+
+
+"THE STRAD" LIBRARY, No. V.
+
+12MO., CLOTH, 1.00.
+
+     TECHNICS OF
+     VIOLONCELLO PLAYING
+
+     BY
+     E. VAN DER STRAETEN.
+
+COPIOUSLY ILLUSTRATED.
+
+
+_Copy of Letter received by the Author from the great 'cellist, SIGNOR
+ALFRED PIATTI._
+
+    Cadenabbia, Lake of Como, March 9th, 1898.
+
+DEAR SIR,--I received the book you kindly sent me on "The Technics of
+Violoncello Playing," which I found excellent, particularly for
+beginners, which naturally was your scope. With many thanks for kindly
+remembering an old ex-violoncello player.
+
+    Believe me, yours sincerely,
+        ALFRED PIATTI.
+
+_Copy of Letter received by the Author from the eminent 'cellist, HERR
+DAVID POPPER._
+
+    Budapest, February 22nd, 1898.
+
+DEAR SIR,--In sending me your book on "The Technics of Violoncello
+Playing" you have given me a real and true pleasure. I know of no work,
+tutors and studies not excepted, which presents so much valuable
+material, so much that is absolutely to the point, avoiding--I might
+say, on principle--all that is superfluous and dispensable. Every
+earnest thinking violoncello student will in future make your book his
+own and thereby receive hints which will further and complete the
+instructions of his master.
+
+I congratulate you and ourselves most heartily on the new violoncello
+book. With kind regards, Yours most sincerely,
+
+    DAVID POPPER.
+
+
+
+
+"THE STRAD" LIBRARY, No. VI.
+
+12MO., CLOTH, 1.00
+
+     VIOLIN PLAYING
+
+     BY
+     JOHN DUNN.
+
+
+CONTENTS
+
+INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints on
+the Choice of a Teacher--Some Tricks of pretending professors exposed.
+
+ON THE CHOICE OF A VIOLIN AND BOW--Advice regarding general adjustment
+and repairs.
+
+ON THE CHOICE OF STRINGS--Stringing the Instrument and keeping the Pegs
+in Order.
+
+ON THE GENERAL POSTURE--The manner of holding the Violin and Bow as
+accepted by the leading artists of the day.
+
+ON FINGERING GENERALLY--The various positions--Scales recommended--The
+Modern Orchestral "Principal" or (so-called) Leader.
+
+ON GLIDING--Special Characteristics of some of the most Eminent Players.
+
+DOUBLE STOPPING--The main difficulty in Double Stopping--How to gain
+Independence of Finger.
+
+BOWINGS--Smooth Bowings--Solid Staccato--Spiccato--Spring Bow--Mixed
+Bowings.
+
+TONE PRODUCTION--Character of Tone--Rules and Conditions necessary to
+produce a good tone--Style and Expression.
+
+
+
+
+"THE STRAD" LIBRARY, NO. VII.
+
+12MO., CLOTH, 1.00.
+
+     Chats to 'Cello Students
+
+     BY
+     ARTHUR BROADLEY.
+
+
+"Musicians, devotees of the 'cello in particular, will welcome the
+latest volume of THE 'STRAD Library,' 'Chats to 'Cello Students,' by
+Arthur Broadley.... Mr. Broadley not only knows what he is talking
+about, but has practised what he says. From the choice of an instrument
+to finished delivery and orchestral playing, 'Chats to 'Cello Students'
+leaves nothing undiscussed. The treatment is simple and practical. The
+exhaustive chapter on 'bowing' should be an invaluable aid to students.
+In the last chapter of his book, 'On Delivery and Style' Mr. Broadley
+has given a lucid expression to a subject which has sadly needed
+voicing."--_The Tribune, Nuneaton._
+
+"Is a brightly written little volume filled with practical information
+for those who seek to bring out the wealth of expression of which the
+violoncello is capable. The instruction is presented in homely,
+common-sense fashion, and there are upwards of fifty examples in music
+type to illustrate the author's meaning."--_Lloyd's Weekly._
+
+"Every kind of bowing and fingering, the portamento, harmonic effects,
+arpeggios and their evolution from various chords, are all ably treated,
+and the work concludes with a few remarks on orchestral playing which
+are of especial interest."--_Musical News._
+
+"As a writer on the technique of his instrument Mr. Broadley is known
+all over the world, perhaps his most successful work being a little book
+published by THE STRAD, 'Chats to 'Cello Students.'"--_The Violinist._
+
+
+
+
+"THE STRAD" LIBRARY, No. VIII.
+
+12MO., CLOTH, 1.00.
+
+     ANTONIO STRADIVARI
+
+     BY
+     HORACE PETHERICK.
+
+_Of the Music Jury, International Inventions Exhibition, South
+Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in
+Law Courts, 1891; President of the Cremona Society._
+
+ILLUSTRATED BY THE AUTHOR.
+
+
+"This is the history of the life-work of the great Italian stringed
+musical instrument maker.... There is a most interesting analysis of
+Stradivari's method of mechanical construction which again is
+illustrated by original drawings from the many Strads which it has been
+Mr. Petherick's privilege to examine. All lovers of the king of
+instruments will read this delightful little volume."--_Reynolds._
+
+"Among makers of violins Stradivari perhaps occupies the premier
+position, and this account of his work, designs, and variations in
+finish of details will afford pleasure to many readers."--_Morning
+Post._
+
+"This is a monograph which all students of the violin will be happy to
+possess. The author is a connoisseur and expert, and his account of the
+great Cremonese master and his life-work, is singularly well and clearly
+told, whilst the technical descriptions and diagrams cannot fail to
+interest everyone who has fallen under the spell of the violin.... Mr.
+Petherick traces the career of Stradivari from his earliest insight into
+the mysteries of the craft to his highest achievements. Numerous
+illustrations lend attraction to the volume, not the least being a view
+of Stradivari's atelier, from a painting by Rinaldi, the sketch of which
+was made on the premises."--_Music._
+
+"Mr. Petherick is well known in the musical world as a violin expert
+with a special knowledge of the instruments made by the Cremonese
+master, whose biography he has here given us. He tells us how the master
+worked, what his pupils did, and where their work differs from that of
+their preceptor. In fact, the volume is as much a dissertation on the
+violins of Stradivari as a biography of the master, and is full of
+deeply interesting matter."--_Lloyds._
+
+
+
+
+"THE STRAD" LIBRARY, No. IX.
+
+12MO., CLOTH, 2.00.
+
+     VIOLIN MAKING
+
+     BY
+     WALTER H. MAYSON,
+
+With Thirty-one Full-page PHOTO ETCHINGS,
+
+Illustrating the process of Violin-making in every stage--from the rough
+slab of wood to the finished Instrument.
+
+The text is written by an =Actual Violin Maker=, in a very clear and
+lucid style.
+
+
+"'Popular lecture' style, with photographic illustrations."--_The Times._
+
+"A feature of the book is the clearness of the illustrations."--_Morning
+Post._
+
+"Describes a very fascinating art from start to finish."--_Morning
+Leader._
+
+"This new booklet, on how to make a violin, is an admirable exposition
+of methods. Mr. Mayson avoids learned terminology. He uses the simplest
+English, and goes straight to the point. He begins by showing the young
+learner how to choose the best wood for the violin that is to be.
+Throughout a whole chatty, perfectly simple chapter, he discourses on
+the back. A separate chapter is devoted to the modelling of the back,
+and a third to its 'working out.' The art of sound-holes, ribs, neck,
+fingerboard, the scroll, the belly. Among the illustrations is one
+showing the tools which the author himself uses in the making of his
+instruments. To learners of the well-known Manchester maker's delicate
+art we commend this little volume."--_Daily News._
+
+
+
+
+"THE STRAD" LIBRARY, No. X.
+
+12MO., CLOTH, 1.00.
+
+(DEDICATED, BY PERMISSION, TO DR. JOSEPH JOACHIM)
+
+     THE VIOLIN MUSIC OF
+     BEETHOVEN,
+
+     Critically discussed, and Illustrated with over
+     FIFTY MUSICAL EXAMPLES,
+
+     BY
+     J. MATTHEWS.
+
+The book contains analytical and historical notes upon the Chamber
+Music of Beethoven, in which the violin takes part as a solo instrument,
+with some account of the various editions of the principal works;
+Beethoven's method of working, as shown by his Sketch Books, etc. It is
+dedicated to Dr. JOACHIM, who has furnished some notes respecting the
+stringed instruments possessed by Beethoven.
+
+
+_Extract from Author's Preface_:--
+
+"Young students often suppose that they ought to admire every work which
+proceeds from a great genius; an attempt therefore has been made to
+convey some idea of the relative art-value and importance of the various
+compositions discussed in these pages. For between the best work of any
+man and his least inspired, there is a wide difference. Certainly
+nothing annoyed the great master more than to hear his least mature
+works praised, especially at a time when many of his greatest creations
+were too little studied to be understood save by a few."
+
+
+"Mr. John Matthews--dealing with Beethoven's music in pleasant fashion,
+and at not too great length--gives an historical account, and in many
+instances short analyses, with illustrations in music type of
+Beethoven's works for this instrument, and particularly the sonatas (to
+which considerable space is devoted), the trios, the quartets, and other
+compositions in which the master employed the violin. The book will be
+found by amateurs both interesting and instructive."--_Daily News._
+
+
+
+
+"THE STRAD" LIBRARY, NO. XI.
+
+12MO., CLOTH, 1.00.
+
+     Advice to Pupils & Teachers
+     of the Violin,
+
+     BY
+     BASIL ALTHAUS.
+
+_Strongly recommended by_ =AUGUST WILHELMJ= & =GUIDO PAPINI=.
+
+
+    _London, March 18th, 1903._
+
+    DEAR MR. ALTHAUS,
+
+I read your book, "Advice to Pupils and Teachers of the Violin," with
+great interest, and find it very useful. Hoping your book will meet with
+the success it deserves.
+
+    I am, yours sincerely,
+        AUGUST WILHELMJ.
+
+
+    _London, Feb. 19th, 1903._
+
+    DEAR MR. ALTHAUS,
+
+I have read with interest your admirable book, "Advice to Pupils and
+Teachers of the Violin." I have no hesitation in recommending it as an
+indispensable work to all aspiring violinists and teachers. Your remarks
+on the acquirement of the various bowings, with the many musical
+examples, are excellent. I know of no work on this important subject so
+explicit and exhaustive. Wishing your book the great success it
+deserves,
+
+    Believe me, yours sincerely,
+        GUIDO PAPINI.
+
+
+"I have read the 157 pages that go to form the book in question, and can
+say, without any misgiving, that Mr. Althaus has successfully achieved
+what he set out to do."--_Musical Standard._
+
+
+
+
+"THE STRAD" LIBRARY, No. XII.
+
+12MO., CLOTH, 1.00.
+
+     THE
+     Repairing and Restoration
+     of Violins,
+
+     BY
+     HORACE PETHERICK.
+
+_Of the Music Jury, International Inventions Exhibition, South
+Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in
+Law Courts, 1891; President of the Cremona Society._
+
+WITH FIFTY ILLUSTRATIONS BY THE AUTHOR.
+
+
+CONTENTS.
+
+The proper sort of glue--Its preparation and use--Loose
+fingerboards--Injuries to the scroll--Insertion of fresh wood--Fracture
+of peg-box and shell--Worn peg-holes--Refilling or boring
+same--Grafting--Lengthening the neck--Treatment of worm-holes--Fixing on
+graft on neck--Ways of removing the upper table and the neck--Cleansing
+the interior--Closing of cracks in upper table--Getting parts
+together that apparently do not fit--Treatment of warped lower
+table--Repairing old end blocks by new ones--Matching wood for large
+cracks--Replacing lost portions--Repairs to purfling--Removal of a fixed
+sound-post--Fitting a fresh part of worm-eaten rib--Lining a thin
+back--Fixing the bar--Varnishing, etc., etc.
+
+
+"The author is a man of wide experience, and with him it is a labour of
+love, so that few more suitable hands could be found for the task. To
+him fiddles are quite human in their characteristics, needing a
+'physician within beck and call,' and developing symptoms capable of
+temporary alleviation or permanent cure, as the case may be, and no
+remedial measures are left undescribed."--_Musical News._
+
+"Mr. Petherick is a man of wide experience in violins, so his hints
+about the treatment and care of the instrument are invaluable. His
+imaginary interviews are both clever and amusing, and, moreover, contain
+useful information of what to do, and avoid, in the treatment of
+violins."--_Hereford Times._
+
+
+
+
+"THE STRAD" LIBRARY, No. XIII.
+
+12MO., CLOTH, 1.00.
+
+     THE VIOLIN:
+     Solo Playing, Soloists and Solos,
+
+     BY
+     WILLIAM HENLEY.
+
+
+"Mr. William Henley is an excellent performer, and his book, 'The
+Violin: Solo Playing, Soloists and Solos,' is the result of considerable
+practice in the art he discusses.... The opening advice to violin
+students, the insistence on tune first and then on tone, the latter
+depending greatly for its excellence upon the correctness of the former,
+is not only worth saying, but is said well, and with conviction. Mr.
+Henley discriminates well between violinists: Joachim, the classic;
+Carrodus, the plain; Sarasate, the neat and elegant; and Wilhelmj, the
+fiery and bold.... The list of violin concertos, given in the last
+chapter but one of the book, seems a very complete one, and should be
+useful for purposes of reference."--_The London and Provincial Music
+Trades Review._
+
+"For the student whose intention it is to make the violin a means
+of livelihood--the professional soloist or orchestral player in
+embryo--this little work, written in a spirit of obvious sincerity, is
+well-nigh invaluable.... The chapters on 'Teaching and Studies,' 'The
+Artist,' 'Phrasing,' 'Conception,' and 'True Feeling,' are very
+well written, and the whole work is worth careful and diligent
+perusal."--_The Musical World._
+
+"The author of this book has thought much and deeply on the fascinating
+subject of which he treats, and is entitled to a hearing.... The
+author's remarks on 'Tone' are excellently conceived, and of no small
+interest, the subject being less hackneyed than that of ordinary
+technique. In his chapter on 'Style' he reminds the readers of the many
+factors which go to the making of a fine violinist, among which
+Style--which is the outcome of the imagination and the sensibility of
+the player--is one of the most important. The fine executant is common
+enough now-a-days, but the fine stylist as rare as ever."--_Musical
+News._
+
+
+
+
+"THE STRAD" LIBRARY, No. XIV.
+
+12MO., CLOTH, 1.00.
+
+     SELECTED VIOLIN SOLOS,
+
+     AND
+     HOW TO PLAY THEM,
+
+     BY
+     BASIL ALTHAUS
+     (_Author of "Advice to Pupils and Teachers of the Violin."_)
+
+With 283 Musical Examples.
+
+
+CONTENTS.
+
+INTRODUCTION.
+
+SECTION I.
+
+    GRADE A.--Elementary Pieces.
+
+    GRADE B.--Easy, not exceeding First Position.
+
+    GRADE C.--Easy, using First and Third Position.
+
+SECTION II.
+
+    GRADE D.--Moderately Difficult, not exceeding the Third Position.
+
+    GRADE E.--Moderately Difficult, as far as the Fifth Position.
+
+    GRADE F.--Difficult, especially as regards Sentiment and
+    Expression.
+
+SECTION III.
+
+    GRADE G.--Difficult, using all Positions.
+
+    GRADE H.--Very Difficult, including Standard Concertos and
+    Concert Pieces.
+
+    GRADE I.--For Virtuosi.
+
+
+
+
+"THE STRAD" LIBRARY, No. XV.
+
+12MO., CLOTH, 1.00.
+
+     THE
+     VIOLIN AND ITS STORY:
+
+     OR THE
+     HISTORY AND CONSTRUCTION
+     OF THE VIOLIN.
+
+     _Translated and Adapted from the German of_
+     HYACINTH ABELE
+
+     BY
+     GEOFFREY ALWYN.
+
+_WITH TWENTY-EIGHT ILLUSTRATIONS._
+
+
+"The school of Cremona is dealt with at great length, but in the most
+interesting way. Short biographical sketches are given of the great
+exponents of this school, which was founded by Andreas Amati. To it
+belonged Antonio Stradivari, who is said to be the greatest of all
+violin makers, and Joseph Guarnerius. The pupils of the Amati and the
+others mentioned are duly tabulated before the schools of Milan and
+Venice are discussed. Following these we have the German school, etc.,
+etc. Part III. of the book under notice deals with the constituent parts
+of the violin, and there is nothing that the seeker after knowledge
+cannot find here, even to the number of hairs which should go to the
+making of a bow. Strings, bridges, sound-posts, bass-bars, nuts,
+pegs--indeed, everything about a violin is treated in an authoritative
+way. Not for a very long time have we been so interested in a book, and
+for that reason we wish our violin players to share that pleasure by
+getting a copy."--_The Cumnock Chronicle._
+
+
+
+
+"THE STRAD" LIBRARY, No. XVI.
+
+12MO., CLOTH, 2.00.
+
+     JOSEPH GUARNERIUS,
+     HIS WORK & HIS MASTER,
+
+     BY
+     HORACE PETHERICK
+
+(_Of the Music Jury, International Inventions Exhibition, South
+Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in
+Law Courts, 1891; President of the Cremona Society_).
+
+With numerous Illustrations by the Author, 41 full-page Reproductions of
+Photographs,
+
+AND
+
+220 pages of Letterpress.
+
+
+"Mr. Petherick is well known in the musical world as a violin expert
+with a special knowledge of the instruments made by the Cremonese
+master."--_Lloyds._
+
+
+This is the only exhaustive work published on JOSEPH GUARNERIUS, and the
+Author claims to have discovered his Teacher in Andreas Gisalberti,
+whose name is here mentioned for the first time as a maker of renown.
+
+NEW YORK:
+
+CHARLES SCRIBNER'S SONS, 153-157, FIFTH AVENUE.
+
+
+       *       *       *       *       *
+
+
+Transcriber's Notes:
+
+"Nicolo" and "Nicolo" were both used in the text. Many other variant and
+alternative spellings have been preserved, except where obviously
+misspelled in the original. Obvious punctuation errors have also been
+corrected.
+
+The illustrations have been moved so that they do not break up paragraphs
+and so that they are next the text they illustrate. Thus the location of
+an illustration may not match the references to it in the text.
+
+The printed text was followed by two series of advertisements. The first
+series was reproduced in the second, except with American rather than
+British pricing. The first series bore a header "Advertisements." on each
+page; this has been replaced by a heading preceding the advertisements.
+Only the second series had page numbers.
+
+
+
+
+
+End of the Project Gutenberg EBook of Nicolo Paganini: His Life and Work, by
+Stephen Samuel Stratton
+
+*** END OF THIS PROJECT GUTENBERG EBOOK NICOLO PAGANINI: HIS LIFE AND WORK ***
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #39571 (https://www.gutenberg.org/ebooks/39571)