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+The Project Gutenberg EBook of Biographical notice of Nicolo Paganini, by 
+François-Joseph Fétis
+
+This eBook is for the use of anyone anywhere in the United States and most
+other parts of the world 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.  If you are not located in the United States, you'll have
+to check the laws of the country where you are located before using this ebook.
+
+Title: Biographical notice of Nicolo Paganini
+
+Author: François-Joseph Fétis
+
+Release Date: October 28, 2018 [EBook #58184]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK BIOGRAPHICAL NOTICE OF PAGANINI ***
+
+
+
+
+Produced by Adrian Mastronardi, Charlie Howard, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+(This file was produced from images generously made
+available by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+
+[Illustration: Paganini]
+
+
+
+
+  BIOGRAPHICAL NOTICE
+  OF
+  NICOLO PAGANINI,
+  WITH AN
+  Analysis of his Compositions,
+  AND A SKETCH OF
+  THE HISTORY OF THE VIOLIN.
+
+
+  BY
+  F. J. FÉTIS.
+
+
+  _SECOND EDITION._
+  WITH PORTRAIT AND WOOD ENGRAVINGS.
+
+
+  LONDON:
+  SCHOTT & CO., 159, Regent Street, W.
+
+  Paris:
+  MAISON SCHOTT.
+
+  Bruxelles:
+  SCHOTT FRÈRES.
+
+  Mayence:
+  B. SCHOTT’S SÖHNE
+
+  Frankfort-o-M.:
+  SCHOTT & CO.
+
+
+
+
+Index.
+
+
+                                                             PAGE
+  SKETCH OF THE HISTORY OF THE VIOLIN                           1
+
+  ART AND ARTISTS                                              15
+
+  NICOLO PAGANINI                                              26
+
+  PAGANINI APPRECIATED AS A COMPOSER. ANALYSIS OF HIS WORKS    79
+
+
+Illustrations.
+
+  PORTRAIT OF PAGANINI, AFTER POMMAYRAC, 1838.
+
+  ENGRAVINGS FROM PHOTOGRAPHS OF PAGANINI’S VIOLIN IN THE MUNICIPAL
+    PALACE AT GENOA. (_From_ “THE VIOLIN: ITS FAMOUS MAKERS AND
+    THEIR IMITATORS,” _by kind permission of_ MR. G. HART.)
+
+
+
+
+[Illustration]
+
+SKETCH OF THE HISTORY OF THE VIOLIN.
+
+The Instrument.
+
+
+Despite all contrary assertions, based upon pretended monuments,
+Oriental, Greek, and Roman antiquity was unacquainted with instruments
+played with a bow. Neither India nor Egypt furnish the least traces of
+them; nor do Greece and Italy; nor, in fact, does the whole of the old
+civilized world. As I stated in the “Résumé Philosophique de l’Histoire
+de la Musique,” the bow comes from the West; it was introduced into
+the whole of Europe by the western nations. Though Viols are found
+among the modern Arabs in Persia and Turkey, they were taken there
+by Europeans in the time of the Crusades. The Goudock of the Russian
+peasant, and the Crwth of the ancient Irish, appear to proceed from the
+highest antiquity, and to have been the type of instruments of this
+nature. The Irish chroniclers speak of musicians who, in the sixth
+century, were celebrated for their talent on the Crwth, a species of
+Viol with six strings; and Venance Fortunat, a Latin poet who wrote in
+609, states distinctly that this instrument belonged to Great Britain.
+
+It is not my intention to follow up here the various transformations
+of bow instruments in the middle ages; it will suffice to observe
+that there were frequent changes in them from the thirteenth to the
+sixteenth century; as much in the common kinds, vulgarly called in
+French Rebec, and in German Geige ohne Bunde (Violins without band or
+side pieces), which possessed only three strings, as in the improved
+Viols, the body of which was formed of belly and back joined by side
+pieces, as in our Violins, Tenors, and Basses. The smaller kinds also
+possessed only three strings; the larger kind had four; there were also
+others with five, six, and seven strings.
+
+In the middle ages, the Rebec, called Rubebbe, possessed but two
+strings. It is the same instrument which in Arabia acquired the name of
+Rebab. From the fifteenth century it is found with its three strings.
+This instrument took nearly the form of a mandoline; the neck and the
+body being formed of a single piece, the finger-board being as wide
+as the entire instrument, and reaching within a short distance of the
+bridge. No passage was left for the bow in the body of the instrument,
+but the body was very narrow, and the bridge formed a point for the
+middle string to rest upon, so that this string could be touched by
+the bow without touching the others. Like all instruments later than
+the fifteenth century, the Rebec was made of four different sizes,
+the smallest of which was called Discant, or upper; then followed,
+in progressively larger proportions, the Alto, the Tenor, and the
+Bass. The dancing-master’s Kit, of the latter years of the eighteenth
+century, was all that remained of the ancient Rebec.
+
+The Viol was called Vielle in the middle ages. This is the Viola of the
+Italians, and the Vihuela of the Spaniards. There were several kinds.
+As early as the fifteenth century, one of this kind had a flat belly,
+and a place for fixing the strings similar to that of the Guitar. As
+in the Lute, and all stringed instruments played with the fingers,
+the finger-board was divided into distances for placing the fingers.
+From the fifteenth century the bellies of Viols assumed the raised or
+vaulted form, the backs remaining flat. The cavities at the side, which
+had formerly been very large and straight, were made in the shape of a
+section of a circle, and were reduced to the dimensions necessary for
+the use of the bow. The raised bellies rendered it necessary to alter
+the bridge into the bridge-shape, so as to incline towards the ribs.
+Hence the term Bridge, which is called by the Italians, from its form,
+Ponticello. The divisions for the fingers on the finger-board were
+retained on the Viols up to the second half of the seventeenth century.
+During the fifteenth century the vaulted form of Viol possessed five
+strings; in the commencement of the sixteenth it had six. The first
+string was called in Italy Canto, the second Sotana, the third Mezzana,
+the fourth Tenore, the fifth Bordone, and the sixth Basso.
+
+The Viol was divided into three kinds, which were called Upper or
+Soprano, Tenor, and Bass. The Tenor was used also for playing the
+second upper part, or Alto; it was then tuned a note higher: the tuning
+of the upper Viol was, commencing from the first string, D, A, E, C,
+G, D; that of the Tenor tuned to Alto, A, E, B, G, D, A; the same
+instrument tuned to Tenor, G, D, A, F, C, G; and the Bass, D, A, E,
+C, G, D. At the commencement of the seventeenth century, the use of
+instruments specially for accompanying the voice became general; there
+was added to the other Viols a Double-Bass Viol, which was called
+Violone, that is, large Viol. This also had six strings, and was tuned
+a fourth lower than the Bass Viol, thus A, E, B, G, D, A. Prior to
+1650, this instrument was rarely used in France, it was then called
+“Viole à la mode de Lorraine.”
+
+In imitation of the vaulted form of Viol, there was made, already in
+the fifteenth century, a small instrument of the same kind, which the
+Italians called Violino, that is, small Viol. This is the instrument
+which was called Violon in France, and Geige in Germany.
+
+It is probable that the Violin originally had the same number of
+strings as the other Viols; that these were tuned a fourth above the
+upper Viol, viz., G, D, A, F, C, G; and that the neck also possessed
+divisions for the fingers; but it was soon discovered that the
+finger-board of the Violin was not wide enough to allow any one to play
+with facility on so large a number of strings; and that the space for
+the fingers to produce the notes was too narrow to admit of divisions.
+These were removed; the strings, reduced to four, were tuned in fifths;
+making the first string E, as it is at the present day. It cannot be
+doubted that these improvements originated in France; for on reference
+to the list of instruments employed in the “Orfeo” of Monteverde,
+it will be seen that the Violin was called in Italy, at the end of
+the sixteenth century, and the beginning of the seventeenth, “Violino
+piccolo alla francese.”
+
+The oldest maker of Violins on record was a native of Brittany, named
+Jean Kerlin. He followed his trade about the middle of the fifteenth
+century. La Borde, author of the imperfect and voluminous “Essai
+sur la Musique,” relates that he saw in Brittany a Violin with four
+strings, the neck of which did not appear to have been changed, and
+which, instead of the ordinary tail-piece, had a small piece of ivory
+inlaid, pierced with four holes. This Violin was thus labelled, “Joann.
+Kerlino, anno 1449.” It was afterwards brought to Paris, and Koliker,
+a musical instrument maker of that city, had it in his possession in
+1804. The belly was more raised than in good modern Italian Violins,
+and was not equally rounded at the upper and lower extremities; the
+sides were ill-formed and flattened. Its tone was sweet and muffled,
+and resembled that of instruments made by Antonio Amati at the close
+of the sixteenth century. After Jean Kerlin, there is a lapse of sixty
+years in the history of the manufacture of Violins, for the only
+maker of this instrument whose name has come down to us is Gaspard
+Duiffoprugcar, born in the Italian Tyrol, who commenced making his
+Violins at Bologna about 1510, working afterwards in Paris, and at
+Lyons. One Violin only of the large pattern which bears his name is in
+existence; it is dated 1539. The quality of tone of this instrument
+is powerful and penetrating, but when played upon for some time, it
+loses its intensity. Like an old man, it needs repose to recover its
+faculties. The scroll represents the head of a king’s jester, with
+a plaited frill. This Violin belonged to M. Meerts, formerly first
+solo violinist of the Theatre Royal, Brussels, and professor at the
+Conservatory of that city.
+
+Gaspard di Salo, thus called from being born in the small town of Salo,
+on the lake of Garda, in Lombardy, worked in the second half of the
+sixteenth century. He was specially celebrated for his Viols, Basses,
+and Double-Bass Viols, then more used than the Violin. Nevertheless, an
+excellent Violin of his make, dated 1576, was met with in a collection
+of valuable instruments which were sold at Milan in 1807; and the Baron
+de Bagge was in possession of one of which Rodolphe Kreutzer often
+spoke with admiration. These instruments, of rather a large pattern,
+possess a powerful tone, approximating to that of the Alto.
+
+Contemporaneously with Gaspard di Salo, the two brothers, Andrea and
+Nicolo Amati became famous for the excellence of their Viols and Bass
+Viols; they also made excellent Violins, the tone of which was mellow
+and agreeable, but they were wanting in power, like all the instruments
+made by the members of this family. Andrea and Nicolo, about 1570, made
+Violins of a large pattern for the chamber music of Charles IX. King
+of France. These instruments were remarkable for the beauty of their
+form, and perfection of finish. They were covered with an oil varnish,
+of a golden colour, shaded with red. Two of these were seen in Paris
+by Professor Cartier about 1810. The successors of Andrea and Nicolo
+Amati retained in the family the fame of those artists for more than a
+century and a half. Antonio, son of Andrea, Geronimo, his brother, and
+Nicolo, son of Geronimo, were instrument makers of high repute, but the
+sonority of their Violins and Basses, admirably adapted for the music
+of their time, is much too weak for the modern noisy system; however,
+Paganini possessed a Violin of Geronimo Amati, of large pattern, which
+he prized most highly.
+
+Two Italian makers were also famous at the beginning and towards
+the middle of the seventeenth century for their Violins: the first
+is Giovanni Paolo Maggini, who had an establishment at Brescia, his
+native town. His instruments are dated from 1612 to 1640. The pattern
+of these Violins is generally very large; although there are some of
+the small size. The bellies are raised, the back, rather flat at the
+extremities, swells out exceedingly towards the sides, which are very
+wide; the curves being well rounded towards the angles. A double row of
+purfling runs round both belly and back, terminating in some instances
+in an ornament at the upper and lower parts of the back. Most of
+Maggini’s Violins are varnished with spirit of wine, of a deep gold
+colour. Their tone is less mellow than that of the Stradiuari, and
+less powerful than the Guarnieri; it has more analogy to the tone of
+the Viol, and its character is somewhat melancholic. The second maker
+of that period celebrated in Italy is Giovanni Granzino; he resided
+at Milan, and worked there from 1612 to 1635. His Violins, of large
+pattern, resemble those of Gaspard di Salo.
+
+The fame of Italy for the construction of bow instruments attained its
+zenith between the middle of the seventeenth century and the first
+half of the eighteenth. To this period belong the names of Stradiuari
+and Guarnieri. Antonio Stradiuari, better known under the Latinised
+name of Stradivarius, the most celebrated maker of Violins, Viols,
+and Basses, was born at Cremona in 1664; he reached his eighty-third
+year, working until his death in 1747. A pupil of the Amati, he
+worked a long time with them, and upon their models. Towards 1700 he
+left them, and from that time changed his proportions, increased his
+form, lowered the bellies, and was as fastidious in the degrees of
+thickness of the wood as he was in the choice of the wood he employed.
+Contrary to the principles of the older Italian masters, his thickness
+increased towards the centre, in order to give support to the bridge
+upon which the tension of the strings bears, and diminished gradually
+towards the sides of the instrument. All is calculated, in the works
+of this excellent artist, for the better production of tone. To these
+advantages are superadded equality in all the strings, grace of form,
+finish of details, and brilliancy of varnish. In a large concert room
+a good Violin of Giuseppe Guarnieri has more power of sonority; but in
+a drawing-room nothing can possibly equal the brilliant mellowness of
+a well-preserved Stradiuari. Unfortunately many have fallen into the
+hands of unskilful workmen for repairs.
+
+The family of the Guarnieri or Guarnerius has also become illustrious
+for the manufacture of bow instruments. This family was also originally
+of Cremona, and constantly resided there, with the exception of Pietro
+Guarnieri, who settled at Mantua, and still resided there in 1717.
+The most celebrated of these makers is Giuseppe Guarnieri, called in
+Italy “Guarnieri del Gesu,” from his Violins bearing the mark IHS.
+He was born at Cremona at the close of the seventeenth century. It
+is said that he learned his trade in the workshop of Stradiuari, but
+he never attained his master’s delicacy of finish; on the contrary,
+his work evinces very frequently great carelessness. His sound-holes,
+nearly straight and angular, are badly shaped; his purfling badly
+traced; in fact, his instruments carry no masterly appearance, and one
+is tempted to believe that the excellent quality of their tone arises
+more from the happy choice of material than from studied principles.
+Nevertheless, on close inspection, it is evident positive principles
+guided him in the construction of his instruments; he has copied no
+maker who preceded him. He had two patterns, one small, the other
+large. The instruments of small pattern are the most numerous, their
+bellies are slightly raised, and their thickness rather exceeds that
+of the Stradiuari. The large patterns which proceed from Giuseppe
+Guarnieri are few in number, and rarely met with. It was upon one
+of these Violins that Paganini played at all his concerts. The tone
+of these instruments is exceedingly brilliant, and carries to a
+great distance, but is less round and mellow than the instruments of
+Stradiuari, and pleases less near than at a certain distance.
+
+After Stradiuari and Giuseppe Guarnieri, the art seems to have remained
+at its highest point of excellence, and the Italian makers appear
+not to have sought to improve, contenting themselves with copying
+the one or the other of these masters. Lorenzo Guadagnini, a pupil
+of Stradiuari, copied the small pattern of his master. The first
+and second string of his Violins possess brilliancy and roundness,
+but the third is unfortunately muffled. He had a son, who worked
+at Milan until towards the end of 1770, following the style of his
+father; but his instruments are less sought after. The Gagliani also
+copied the Stradiuari, but their instruments are far from equalling
+those of the master, doubtless from want of care in the selection of
+material. Ruggieri and Alvani copied the form of Giuseppe Guarnieri;
+they produced good Violins, which are less valuable, however, than the
+Stradiuari.
+
+The Tyrol lays claim to some excellent makers of bow instruments, the
+chief of whom is Jacob Stainer, who was born about 1620, at Absom,
+a village near Inspruck. This celebrated maker, at three different
+periods, changed his make. Firstly, while pupil of the Amati of
+Cremona: the Violins of this period are admirably finished, and are
+extremely scarce. The belly is more raised than in the Amati, the
+scrolls longer and wider in the lower part. All the labels of these
+Violins are written and signed in his own handwriting. One of these
+magnificent instruments, dated 1644, was the property of Gardel,
+ballet-master of the Opera at Paris, who performed upon it successfully
+in the ballet of “La Dansomanie.” Secondly, when established at Absom,
+after having married, he produced an immense number of instruments
+carelessly finished, from 1650 to 1667. However, after having led a
+life of poverty for several years, obliged to hawk his own Violins,
+which he sold for six florins each, he received orders from some
+noblemen, which improved his position. His genius from this period
+took a new flight, and he produced some splendid instruments, which
+are recognised by scrolls that represent heads of animals, by the
+close veining of the bellies, by the close and even small ribs, and
+by the varnish, resembling red mahogany faded by time into a brown
+colour. Stainer was assisted at this time by his brother Marcus, who
+later in life entered the order of the Brother Hermits, by the three
+brothers Klotz (Mathias, George, and Sebastian), and by Albani, all of
+whom were his pupils. The reproach attached to Stainer’s instruments
+of possessing a nasal tone applies only to this period, the labels of
+which are printed; there are, however, some admirable instruments of
+this time, which were in the possession of the violinist Ropiquet, of
+the Marquis de las Rosas, a grandee of Spain, of the Count de Marp, a
+Parisian amateur, and of Frey, an artist of the Opera, and publisher
+of music. There is an excellent Tenor of this period, formerly the
+property of M. Matrôt de Préville, governor of the port of L’Orient.
+
+The third period of Stainer’s career commences from his retiring into
+a convent after the death of his wife. In the tranquillity of the
+cloister, he determined to close his artistic life by the production
+of _chefs-d’œuvre_. Having obtained some wood of the first quality
+through the medium of his superior, he made sixteen Violins--models,
+combining every perfection; sent one to each of the twelve chiefs of
+electorates of the Empire, and presented the remaining four to the
+Emperor. Since then, these instruments are known under the name of
+Stainer-électeurs. Their tone is pure, metallic, and aerial, like the
+beautiful voice of a woman; they are graceful and elegant in form,
+exquisitely finished in all the details, and have a transparent varnish
+of a gold colour; such are the qualities which distinguish these
+productions of the third and last period of Stainer’s talent. The
+labels are in the hand-writing of this celebrated maker. Three of these
+rare instruments only are now to be met with; the fate of the others
+remains unknown. The first was given by the Empress Maria Theresa to
+Kennis, a Belgian violinist from Liège, after whose death it was taken
+to England, and became the property of Sir Richard Betenson, Bart.
+Another Stainer-électeur was purchased in Germany in 1771 by the Duke
+of Orleans, grandfather of King Louis Philippe, for the sum of 3,500
+florins. Afterwards, this prince, having discontinued playing the
+Violin, gave it to the younger Novoigille, in token of the pleasure he
+experienced in hearing him accompany Madame de Montesson. This precious
+Violin became the property of the violinist Cartier in 1817; it was
+in the hands of this artist when I heard and saw it. The third Violin
+Elector was in the possession of the King of Prussia, Frederick William
+II.
+
+After leaving Stainer, the Klotz family copied his models of the
+second period, and these instruments are not unfrequently mistaken
+for those of the master; they are, however, readily distinguished by
+the varnish; that of Klotz, instead of a deep red, has a black ground
+shaded with yellow; the tone of Mathias Klotz’ instruments is silvery,
+but of little power. These artists produced many pupils in the Tyrol,
+who imitated the Cremona models; but these imitations are easily
+discoverable by the inferior quality of the wood, the varnish, which is
+very dark, and the tone, which is deficient in every quality.
+
+The ancient manufacture of musical instruments in France, incontestably
+inferior to that of Italy, is represented, during the reigns of Henry
+the Fourth and Louis the Thirteenth, by Jacques Bocquay, born at
+Lyons, who settled in Paris; Pierret, his townsman, who produced more
+instruments, but of inferior finish; Antoine Despons, and Adrien Véron;
+these makers generally copied Amati. The Violins of the successor of
+Bocquay, Guersan, his pupil, are of small pattern, and finely finished.
+They have become extremely scarce; it is supposed that there are not
+more than twenty which can be considered as his own make; these are
+varnished in oil. The others were made in his workshop by his pupils;
+they are of inferior quality, and varnished in spirits of wine. The
+contemporaries of Guersan at Paris were Castagnery and Saint-Paul,
+whose Violins were formerly esteemed for accompaniment. After these
+came Salomon, whose instruments rivalled those of Guersan. Towards the
+end of the reign of Louis the Fourteenth, Lagetto enjoyed a certain
+reputation. As regards the ancient manufacture in the provinces of
+France, there is nothing which rises above mediocrity, with the
+exception of Médard, a contemporary of Geronimo Amati, whose models
+he copied. He lived at Nancy at the commencement of the seventeenth
+century. Lambert, surnamed “Charpentier de la Lutherie,” lived a
+century later in the same town. He produced nothing of any note.
+Saunier, his pupil, surpassed his master in finish; but in general
+Lorraine was the country of industry, not art.
+
+In the modern manufacture of instruments at Paris, Finth is specially
+distinguished. He was a German, who worked about 1770, and followed
+the proportions of Stradiuari; all his Violins, varnished in oil,
+are finished with care. They were greatly sought after in the first
+instance, but a change of taste followed, and opinion fell into a
+contrary excess. After Finth came Picte, a pupil of Saunier, whose
+Violins were given as prizes to the pupils of the Conservatory of
+Paris, at the beginning of the present century; they have been esteemed
+of little value. Not so with Lupot, who came from Orleans to settle in
+Paris in 1794. He studied, with great perseverance, the proportions
+of Stradiuari, incontestably the best, and selected the finest wood
+that could be obtained. Lupot made the manufacture of Violins his great
+study, and their finish a work of love. They are highly esteemed, and
+stand next in value with artists to good Cremona instruments.
+
+Thus far we have only seen the manufacture of bow instruments
+cultivated by inspiration or by imitation; science was not brought to
+bear as an element in the construction of these instruments; but we
+have arrived at a period of transition in this respect, less perhaps,
+from the results obtained, than from the foundations which have
+been laid: and I will first advert to the several essays which have
+been made with the view of dispensing with certain portions of the
+instrument, considered as obstacles to the free production of vibration.
+
+The first essay of this kind was made in 1816 by François Chanot,
+the son of an instrument-maker of Mirecourt, afterwards an engineer
+in the navy. Convinced that the best means of producing vibration in
+all the various parts of the Violin was to preserve, as far as it was
+practicable, the fibres of the wood lengthwise, he concluded that the
+shoulders of the ordinary Violin, with their angles, were insuperable
+obstacles to a free and powerful quality of tone; he believed, also,
+that the hollowing out of the belly to give it the vaulted form was
+contrary to theoretical principles, and consequently a radical error.
+He was persuaded, moreover, that short fibres favoured the production
+of acute tones, and long fibres grave ones. Upon these principles he
+constructed a Violin, the belly of which was only slightly raised, the
+sound-holes nearly straight, and, in place of sloping the instrument
+after the ordinary form, he depressed the sides gradually, similar to
+the body of a Guitar. With a view of favouring as much as possible
+the vibration of the belly, he attached the strings to the lower
+part of it, instead of to the ordinary tail-piece. This done, Chanot
+submitted his Violin to the Academies of Sciences and Fine Arts of the
+French Institute, and a favourable report of the essay was published
+in the “Moniteur Universel” on the 22nd of August, 1817. The judgment
+pronounced by these institutions has not been confirmed by the opinion
+of artists.
+
+It is to be remarked, that what Chanot conceived to be a discovery was
+simply returning to the form of Viols of the middle ages; that the
+form had been adopted by able makers, and that there is still extant
+a Bass Viol of Gaspard di Salo, the angles of which are removed, in
+the possession of M. Frazzini at Milan; that another Bass of the same
+form, constructed by Pietro Guarnieri, belongs to M. Cappi at Mantua;
+and that M. de Rovetta of Bergamo, possesses an old Violin of the same
+form. The artists who made these essays discovered that the results did
+not answer their expectations.
+
+A retired officer of the Italian army, M. Galbussera, reproduced
+the pretended invention of Chanot in a Violin which he exhibited in
+the Palace of Brera at Milan in 1832. M. Antolini, of that city,
+a distinguished artist, criticised in a small pamphlet the false
+principle which led to this return to primitive forms.[A]
+
+Some years after Chanot’s Violin had been consigned to the department
+of the museum specially devoted to this object, Felix Savart, a
+physicist of eminence, struck with the discoveries of Chladni on the
+communication of vibrations and regularity of sonorous waves, devoted
+himself with great ardour to the application of these discoveries in
+the construction of bow instruments, and after several experiments,
+made with great sagacity, he arrived at the following deductions:--1st,
+When two or a larger number of bodies, whatever they may be, come
+into immediate contact, and one is directly put into motion, they
+all produce the same number of vibrations at the same time; 2nd, All
+these vibrations follow parallel directions; 3rd, The increase of the
+sound of any kind of body--for example of a string--depends upon the
+simultaneity of the vibrations of the bodies with which this string is
+in contact; and this increase is carried to its highest point when the
+bodies put into motion by communication are in such conditions that, if
+they were directly put into motion, they would produce the same number
+of vibrations as the body acted upon in the first instance.
+
+The chief consequences of these principles are, that the vibrations
+produced by the strings of the Violin are communicated to the belly by
+the bridge, from the belly to the back by the sounding-post; and that
+the oscillations, in equal number, of all these bodies, cause equal
+vibration, and, by similar numbers of oscillations, to the mass of air
+held in suspension within the body of the instrument; hence it follows
+that the object in the construction of this sonorous box is to favour
+as much as possible the communication of the sound-waves, and to bring
+them into harmony. In seeking the application of this theory to the
+manufacture of bow instruments, Savart fell into error in the first
+pamphlet he wrote upon this subject,[B] when he expressed the opinion
+that the curves, the angles, and the raised belly adopted by the old
+manufacturers could only have proceeded from the prejudices of routine;
+but he discovered this error while prosecuting the continuation of his
+studies, and he ultimately extolled the proportions of Stradiuari,
+which he first believed to be only favourable to good effects from
+considerations which the celebrated maker had not perceived.
+
+A manufacturer of the greatest intelligence, M. Vuillaume, sen., born
+at Mirecourt, and settled in Paris, devoted himself to the principles
+of constructing bow instruments, at the very time Savart was occupied
+in endeavouring to discover them. These two ingenious men, in constant
+communication with each other on this subject, reciprocally aided each
+other. The artist brought to the man of science the tribute of his
+experience, and the man of science to the artist the result of his
+meditations. Vuillaume had been for a lengthened period engaged in
+experiments on the density, homogeneity, and the elasticity of various
+woods, convinced of the importance of this matter for the solution of
+most of the problems of acoustics relative to the sonorous quality
+of instruments. He was thus enabled to discover the most suitable
+wood to be used in the repairing of ancient instruments, as regards
+their quality or their defects, and the most signal success crowned
+his researches. Many instruments of great price, after having been
+deteriorated by unskilful hands, recovered their former value through
+the ability of this distinguished maker. What he acquired in this
+respect, he applied to all instruments of his own manufacture, and
+his deep study of the proportions of the best ancient instruments,
+joined to his knowledge of the special nature of woods, and the laws
+of vibration, has enabled him to produce a multitude of very superior
+instruments, which require only time to be stamped with excellence.
+
+It will be seen, from what has been said, that the art of constructing
+bow instruments has departed from the prejudices of routine, working
+in the dark, and by imitation, to pursue the wake of science, of
+observation, and of calculation. There can be no doubt that this is a
+real progress; but to shield this progress from all contestation, the
+effect of time is requisite. To bring a good instrument to that state
+of equilibrium which will make its qualities manifest, on the one hand
+it is necessary that the materials employed in its construction should,
+for a lengthened period, be submitted to the action of the various
+states of temperature and atmosphere; and on the other, that the
+elasticity of its various parts should have been put for a long time
+into action, to acquire all its development.
+
+[Illustration]
+
+
+
+
+[Illustration]
+
+Art and Artists.
+
+
+When singers possessed only part-songs, such as madrigals, and glees
+for four, five, or six voices, positive instrumental music was unknown.
+Instrumentalists played the voice parts in unison, either on bow
+instruments, or the Organ and Spinett, or on wind instruments, such
+as Oboes, Flutes, Horns, or Cromorns; for each instrument was then
+divided into upper, high, counter, tenor, and bass. The ricercari
+and dance tunes for four, five, or six Viols, formed the only
+instrumental music properly so called. Little skill was necessary in
+the execution, and artists required no greater amount of talent than
+the music itself displayed. As regards the Violin, few persons then
+cultivated it. In Italy one Giovanni Battista, surnamed Del Violino,
+is constantly cited, on account of his Violin performance. He lived in
+1590. As regards Giulio Tiburtino and Ludovico Lasagrino, who were in
+high repute at Florence about 1540, and of whom Ganassi del Fontego
+speaks in his “Regola Rubertina,” they were performers on the Viol,
+and not Violinists. The same may be said of Beaulieu, Salmon, and
+others, who were at the court of France. According to Mersenne, the
+French distinguished themselves as violinists at the commencement of
+the seventeenth century. He speaks in terms of great praise of the
+elegant playing of Constantine, King of the Violins; of the vehement
+enthusiasm of Boccan; of the delicacy and expression of Lazarin and
+Foucard. These artists lived in 1630. However, France soon afterwards
+lost its superiority in that respect. In 1650, Father Castrovillari, a
+monk of Padua, became distinguished by his performance on the Violin,
+and by the music he wrote for that instrument. The art of executing
+difficulties upon it must have attained a high degree of progress
+in the north of Europe, even as far back as 1675, for Jean Jacques
+Walther, principal Violin soloist at the court of Saxony, published at
+this period several works, among which one is peculiarly remarkable,
+and bears for its title “Hortulus Chelicus” (Mayence, 1688, in oblong
+quarto of 129 pages), containing sonatas and serenades, to be performed
+on a single Violin, with double, triple, and quadruple strings. This
+work, which displays great invention, consists of twenty-four pieces.
+The title of the last may serve to show the novelties which Walther
+introduced to the art of playing the Violin: “Serenade for a chorus
+of Violins, Trembling Organ, small Guitar, Bagpipe, two Trumpets and
+Kettle Drums, German Lyre, and Muted Harp, for a single Violin.” The
+various effects of this piece for a single Violin prove that Walther
+was the Paganini of his day.
+
+Giovanni Battista Bassani, a Venetian composer, was a pupil of
+Castrovillari for the Violin, and became celebrated for the excellent
+style of his instrumental music. Among many other compositions of
+various styles, there is a set of his sonatas “da camera” for Violin
+and Bass, published in 1679, and thirteen sonatas for two Violins and
+Bass, excellent of their kind, and which fixed the style of music for
+bow instruments at the period at which they appeared. Bassani had the
+honour of being the master of Corelli, the great artist, possessed of
+immense talent, who by the elevation of his ideas, and the perfection
+of his style, placed himself at the head of the Violin School, and
+hastened the progress of the art considerably. Arcangelo Corelli, a
+name justly celebrated in the annals of music, will descend to ages
+unborn without losing a particle of its glory, whatever revolutions
+may be effected in the domains of art. The great artist who bore that
+name, no less celebrated for his compositions than for his marvellous
+execution at that period, was born in 1653, at Fusignano, a small
+town in the States of the Church, and died at Rome, on the 18th of
+January, 1713. His contemporaries were not jealous of his glory, for
+the whole of Europe welcomed his talent with unanimous acclamations;
+his countrymen deposited his remains in the Pantheon, and erected a
+monument to him close to that of Raphael. At the expiration of a
+century and a half, Corelli is still considered as the primitive type
+of the best Violin schools; and although the art has been enriched by
+many effects unknown in his day; although its mechanism has attained a
+high degree of perfection, the study of his works is still one of the
+best for the acquirement of a broad and majestic style. His fifth work,
+composed of twelve sonatas for the Violin, with the continued Bass for
+the Harpsichord, printed at Rome in 1700, is a masterpiece of its kind.
+
+The art of playing the Violin, and the composition of music for this
+instrument, continued during the whole of the eighteenth century to
+progress rapidly. At the commencement of this century in almost every
+town of Italy, a distinguished violinist was met with. The genius of
+Corelli roused that of every artist. At Pisa, Costantino Clari, equally
+remarkable as composer and executant; at Florence, Francesco Veracini;
+at Bologna, Geronimo Laurenti; at Modena, Antonio Vitali; at Massa
+di Carrara, Cosmo Perelli and Francesco Ciampi; at Lucca, Lombardi;
+at Cremona, Visconti, whose counsels greatly aided Stradiuari in the
+manufacture of his instruments; at Pistoia, Giacopino; at Naples,
+Michaele Mascitti. Others, as Matteo Alberti, Tommaso Albinoni, Carlo
+Tessarini, and Antonio Vivaldi, all pupils of Corelli, were in their
+day not only _virtuosi_ of the first order, but admirable writers of
+instrumental music. Vivaldi was one of those predestined artists who
+impress upon the art of their time a new direction. To him may be
+attributed the first improvement of the concerto; for the _concerto
+grosso_ of Corelli is a work in which all the parts agree together, and
+each in turn partakes of its interest. “L’Estro Armonico” of Vivaldi,
+composed of twelve concertos for four Violins, two Viols, Violoncello,
+and Thorough-Bass for the Organ, follows this model; but in his sixth,
+seventh, eighth, ninth, tenth, eleventh and twelfth work, the genius of
+the author takes another flight, and although there is no division of
+_solo_ and _tutti_, the principal Violin part governs all the rest. The
+melodies of Vivaldi bear a modern complexion that Somis and Geminiani
+imitated.
+
+Among the above-mentioned galaxy of distinguished talent, the model
+violinist of the first half of the eighteenth century was Giuseppe
+Tartini, born at Pirano, in Istria, on the 12th of April, 1692. His
+early days were beset with difficulties, but having had the opportunity
+of hearing the celebrated violinist, Veracini, who happened to be at
+Venice when he was there, his vocation revealed itself. He withdrew
+to Ancona to practise uninterruptedly; and he applied himself in
+solitude more especially to the fundamental principle of bow movements,
+principles which have since served as the basis of every Violin school
+of Italy and of France. Settled in Padua in 1721, as principal soloist
+and chapel master of the celebrated church of St. Anthony, he passed
+forty-nine years of peace and comfort, solely occupied with the labours
+of his art, and died there on the 16th of February, 1770. In 1728,
+he established a school in that city, which became famous throughout
+Europe, and from which issued a multitude of violinists, among whom the
+following may be cited: Nardini, Pasqualino Bini, Alberghi, Domenico
+Ferrari, to whom is attributed the invention of harmonic sounds,
+Carminati, Capuzzi, Madame de Sirmen, and the French violinists, Pagin
+and La Houssaye. Tartini not only contributed towards perfecting the
+art of playing the Violin by his compositions for that instrument,
+but by the pupils he formed. His style is generally elevated; his
+ideas varied, and his harmony pure without being dry. The number of
+his published concertos and manuscripts amounts to nearly one hundred
+and fifty. There are also nearly fifty sonatas of his, among which is
+his “Sonata del Diavolo,” the anecdote of which is not dissimilar to
+that told of Paganini. Tartini thus related it:--“One night in 1713,
+I dreamt that I had entered into a compact with the devil, who was
+to be at my service. All succeeded to my utmost desires. My wishes
+were always anticipated, my desires surpassed, by the services of
+my new domestic. I thought of giving him my Violin, with the view
+of discovering whether he would play some fine things upon it; but
+what was my surprise when I heard a sonata so exquisitely beautiful
+and original, executed with such consummate skill and intelligence,
+that my deepest conceptions could not find its parallel. Overcome
+with surprise and pleasure, I lost my breath, which violent sensation
+awoke me. I instantly seized my Violin in the hope of remembering some
+portion of what I had heard, but in vain. The piece which this dream
+suggested, and which I wrote at the time, is doubtless the best of all
+my compositions, and I still call it “Sonata del Diavolo,” but it sinks
+so much into insignificance compared with what I heard, that I would
+have broken my instrument and abandoned music for ever, had my means
+permitted me to do so.”
+
+Among the pupils of Corelli, one of the most distinguished was
+Geminiani, who was born at Lucca, about 1680. Having terminated his
+studies under this celebrated master, he went to England in 1714, made
+some good pupils there, and died in Dublin, the 17th of September,
+1762, in his eighty-third year. His execution was brilliant and solid,
+but his compositions were wanting in imagination, being only a weak
+imitation of Vivaldi’s style. Somis, another pupil of Corelli, was born
+in Piedmont, towards the close of the seventeenth century, and had
+visited Rome and Venice in his youth, for the purpose of learning under
+the _virtuosi_ of that period. Corelli made him study his sonatas, and
+Somis at first became attached to his style, but when he heard Vivaldi,
+he modified his style, and copied him in his compositions. Somis was
+the founder of the Piedmontese Violin school, which, after the death of
+Tartini, greatly influenced the art of playing upon this instrument.
+Baptiste Anet, better known as Baptiste, who received lessons from
+Corelli, came to Paris about 1700, and was considered a prodigy,
+not at all surprising at a period when, according to Lully, “the
+best violinists of the opera, and of the king’s band, were incapable
+of playing their parts without previous study.” Rather a mediocre
+musician, Baptiste made but one pupil, Senaillé, so that he effected no
+improvement in the formation of a French school of violinists. Besides,
+he resided only five years in Paris, having accepted a position in
+Poland which was offered to him.
+
+The glory of laying the foundation of a Violin school in France was
+reserved for Jean Marie Leclair, pupil of Somis, and a celebrated
+violinist. He was born at Lyons in 1697. He at first used the Violin
+as a dancing master, for in his youth he appeared as a dancer at
+Rouen; but having been engaged as ballet-master at Turin, Somis, who
+was pleased at hearing him play some dance tunes, gave him lessons,
+by which he made rapid progress. After two years’ study, the pupil
+surpassed the master. Leclair continued his practice perseveringly, and
+ultimately became a celebrated performer. Arriving in Paris in 1729,
+he was engaged in the orchestra of the Opera, and afterwards in the
+king’s band. The pupils he formed, and the publication of his sonatas,
+his duets, and trios, are the starting points of the school of French
+violinists. Jean Baptiste Senaillé had also some part in influencing
+the first development of this school. Born in Paris, the 23rd of
+November, 1687, he took lessons from Queversin, one of the twenty-four
+violinists of the king’s great band, and afterwards became the pupil
+of Baptiste Anet. The great fame of the Italian violinists of that
+period induced him to proceed to Modena, where he received lessons from
+Antonio Vitali. He produced a great sensation in that city, and became
+attached to the Court, through the influence of the Grand Duchess.
+Returning to Paris in 1719, he made some excellent pupils, among others
+Guignon, and probably Guillemain, who obtained a certain degree of
+celebrity for some admirable sonatas for the Violin.
+
+Of all Corelli’s pupils, the one who departed the most from his
+master’s style, and by his daring arrived at most extraordinary
+results, was Pietro Locatelli, justly celebrated as a violinist, born
+at Bergamo in 1693. He could have received but few lessons from his
+illustrious master, being scarcely sixteen years of age when Corelli
+died. Bold and original, he invented new combinations in tuning the
+Violin, in double notes, arpeggios, and harmonic sounds. The most
+important work in which he put forth the result of his discoveries in
+these various matters, bears the title of “Arte de nuova modulazione.”
+The French editions of this work are entitled “Caprices énigmatiques.”
+If Locatelli, who died in Holland in 1764, did not produce many pupils,
+he had many imitators, Lolli, Fiorillo, and above all, Paganini, whose
+talent was the most complete development of this model.
+
+The Piedmontese school, founded by Somis, was destined to become the
+most fruitful in first-class talent. Besides Leclair, his nephew
+Schabran, or Chabran, became celebrated at Paris in 1751. Giardini,
+a model of grace, and above all Pugnani, who, endowed with a highly
+developed organisation, exercised a great influence upon the art, by
+the grandeur of his executive style, the variety of his bowing, and the
+improvements he introduced into the form of the concerto, as regards
+the effect of solos. Having become the leader of the Piedmontese
+school, Pugnani arrived at the zenith of his glory in maturing and
+forming the purer, beautiful, and brilliant talent of Viotti, who
+subsequently became both the model and despair of the violinists of
+every country.
+
+Contemporary with Pugnani, Gaviniès effected for the French school
+at Paris what the Piedmontese violinist effected at Turin for the
+Italian school. Mechanism of the bow, which renders every difficulty
+easy, perfect intonation, imposing style, expression replete with
+charm and feeling; such were the qualities which excited Viotti when
+he heard Gaviniès, whom he called “le Tartini français.” The talent
+of this artist was especially appreciated at its full value upon
+various occasions at concerts of sacred music, where other violinists
+of incontestable merit had performed. He bore away the palm after
+contesting it with Pugnani, Domenico Ferrari, and John Stamitz.
+
+The arrival of Viotti in Paris produced a sensation difficult to
+describe. No performer had been heard who had attained so high a
+degree of perfection--no artist had possessed so fine a tone, such
+sustained elegance, such fire, and a style so varied. The fancy which
+was developed in his concertos increased the delight he produced in his
+auditory; his compositions for the Violin were as superior to those
+which had been previously heard as his execution surpassed that of all
+his predecessors and rivals. When this beautiful music became known,
+the rage for the concertos of Jarnowick became extinct, and the French
+school adopted more enlarged views. Viotti made few pupils; but there
+was one who alone was worth an entire school: Rode, who possessed all
+the brilliant qualifications of his master. There are few alive at the
+present day who have heard this artist in his prime, when he played at
+the concerts in the Rue Feydeau and at the Opera; but those artists who
+did will never forget the model of perfection which entranced them. It
+is an interesting remark, which I deem it a duty to make, that from
+Corelli to Rode there is no hiatus in the school--for Corelli was the
+master of Somis, Somis of Pugnani, Pugnani of Viotti, and Viotti of
+Rode.
+
+When the talent of Rode was at its zenith, two other violinists
+rendered the French school illustrious. First, Rodolphe Kreutzer, the
+son of one of the Court musicians, who was born at Versailles in 1766,
+and was a pupil of Anthony Stamitz, a German violinist, who founded
+a school. Kreutzer at first adopted the narrow style of his master;
+but, under the guidance of Gaviniès, and after hearing Viotti, his
+method became broader, more brilliant, and bold beyond conception. His
+tone was full rather than mellow; and his manner of expression less
+remarkable than his mastery of difficulties. His great quality was
+originality, being no follower of any system, and obeying only the
+impulsion of his own energetic sensibility. Kreutzer founded a school,
+and made many pupils, who have taken advantage of his qualities, and
+who generally, are remarked for their brilliancy of execution.
+
+Baillot, of whom I have still to speak, was not only a great violinist
+by the readiest and most varied mechanism imaginable, but he was a
+poet by his exquisite feeling for the beauties of music and his ready
+conception of the style necessary for imparting the true character
+of each composition. Pollani, pupil of Nardini, was one of Baillot’s
+masters; but the immense natural talent of Baillot formed the rich
+basis of his own fancy; a great solo performer, he never went to the
+extent of his vast capabilities, if the work he was to interpret failed
+to awaken his appreciation. At the Opera, where he was engaged to play
+the solos for dancing, he was only the shadow of himself; but when at
+annual meetings for the performance of quartetts and quintetts, with
+the genius of Boccherini, of Haydn, of Mozart, and of Beethoven, his
+enthusiasm was aroused; he became sublime and unequalled for his varied
+accentuation, the various shadings of expression, and the poetry of his
+ideas. His bow was magical; and every note under his fingers became an
+eloquent inspiration. Baillot was not only a great violinist--he was a
+great professor. The number of excellent violinists who were his pupils
+is considerable. His school produced Habeneck and Mazas--both of whom
+were eminent artists. Having become professor at the Conservatory of
+Paris, and the successor of his master, Habeneck produced some clever
+pupils, at the head of whom stands M. Alard, the present chief of the
+French school.
+
+Lafont, too, one of the bright glories of the French school of
+violinists, was, at first, the pupil of Kreutzer. Dissatisfied with the
+style of his master, which did not sympathise with his own, he joined
+the school of Rode, which seemed formed for the development of his own
+qualities, combining grace, purity, elegance, and charm--qualities
+which, subsequently, with study, rendered him a perfect master of his
+art. The perfection of his intonation was so certain--the style of his
+bowing so seductive--his taste so exquisite in his ornament--that, if
+the sentiment of grandeur left anything to be desired, it was scarcely
+perceptible, it was lost in the rapture created by his grace and
+delicacy.
+
+A new school has been formed. I allude to the Belgian school for the
+Violin, which numbers a nation of heroes, the chiefs of whom are De
+Bériot and Vieuxtemps; but, convinced that the history of one’s friends
+is as difficult to write as that of one’s enemies, I shall leave to
+future historians the agreeable task of handing down to posterity the
+names of these glories of their country.
+
+Germany has produced several schools of violinists, whose principal
+qualities have been perfect intonation and neat execution; but which
+in the eighteenth century, especially, wanted a more powerful tone
+and broadness of execution. The prodigies invented by Walther in the
+seventeenth century, seem not to have left any traces. Italy and
+Bohemia were the cradles of two schools of German violinists, from
+whence the others proceeded.
+
+Corelli, who disseminated everywhere the effects of his powerful
+influence, was first violinist in the chapel of the Margrave of
+Anspach, in 1699, when Pisendel, then choir-boy, became his pupil,
+and made such progress under his guidance, that he became first
+violinist of the chapel in 1702. This Pisendel, having become an
+eminent violinist, was attached to the Court of Saxony as master of
+the concerts, and opened, at Dresden, a school for the Violin. All the
+traditions of his master were transmitted to his pupils, but with the
+mannerism that was in vogue at the Court of Dresden. It was here the
+talent of Johann Gottlieb Graun, brother of the celebrated composer
+of that name, and master of the concerts of Frederick the Great, King
+of Prussia, was formed. Graun possessed sterling talent, of which he
+afforded many proofs, both by the pupils he made and by twenty-nine
+concertos for the Violin in manuscript, some of which I have seen, and
+which evince a remarkable degree of cleverness. In his youth, when
+he left the school of Pisendel, he went to Italy, and there received
+lessons from Tartini, whose style he adopted.
+
+The school for the Violin founded in Bohemia, commenced by Konieseck of
+Prague. Konieseck is only known as having been the master of Francis
+Benda, a great artist, born at Althenatka, in Bohemia, the 23rd of
+November, 1709. His first master was a blind Jew, of the name of
+Lœbel, a very eminent violinist. He subsequently became the pupil of
+Konieseck, and acquired his brilliant style, though deficient in tone,
+which he transmitted to all his pupils. The school of Benda, from which
+proceeded his two sons, Ramnitz, Rust, Matthes, and several others, was
+celebrated for a long period in Germany. From this school came most of
+the Saxon and Prussian violinists. Benda, after the death of Graun,
+succeeded him as master of the concerts at the Court of Prussia in
+1772, and died at Potsdam in 1786.
+
+John Charles Stamitz, a remarkable violinist, and distinguished
+composer, emanated from Bohemia; he was born in 1719, his Violin master
+was a monk of the Abbey of Reichenau, the Father Czernohorsky. Being
+in the service of the Palatinate Elector in 1745, Stamitz became
+the founder of the celebrated school of Mannheim, which produced the
+greater number of the German violinists of later days. The concertos
+of Stamitz, and a duet for one Violin, several times published,
+would alone suffice to prove the great capabilities of this artist:
+even did his pupils not bear evidence in favour of this judgment.
+Among his pupils were his two sons, Charles and Anthony, Canabich,
+Foerster, and several others. Christian Canabich succeeded his master;
+and his pupils were William Cramer, Danner, Ignace Fraenzel, all of
+whom were distinguished artists, but of different styles. Cramer and
+Danner possessed broadness in the style of bowing, but Fraenzel was a
+graceful and elegant performer, though his tone was somewhat thin. A
+pupil of Danner, John Frederick Eck, born at Mannheim in 1766, became
+a brilliant violinist of this school. This artist, director of the
+concerts of the Court of Munich, was the master of Spohr--at least,
+as far as talent can be formed, until individual organisation and
+meditation receive the stamp of personality. Louis Spohr has founded a
+Violin school in Germany, on a more extended and more vigorous scale
+than those of his predecessors. When Paganini heard him at Venice, he
+spoke of him in unqualified terms of approbation. This worthy artist
+has formed many pupils, who occupy most honourable positions in the
+large cities, and he has exposed the principles of his school in an
+extensive work, published by Haslinger, of Vienna, and subsequently
+translated into French and English.
+
+[Illustration]
+
+
+
+
+[Illustration]
+
+Nicolo Paganini.
+
+
+Genius--talent, whatever its extent--cannot always count upon
+popularity. Susceptibility of the highest conceptions of the most
+sublime creations, frequently fail in securing the attention of the
+multitude. How is this most coveted point to be attained? It would be
+difficult to arrive at any precise conclusion, from the fact that it
+applies to matters totally differing from each other; it is, however,
+perhaps possible to define the aggregation of qualities required to
+move the public in masses, by calling it “sympathetic wonderment.”
+Fortunate boldness is its characteristic mark; originality its absolute
+condition. The most renowned popularities of the nineteenth century
+have each differed in their specialty,--Napoleon Bonaparte, Rossini,
+and Paganini. Many other names, doubtless, recall talents of the finest
+order, and personalities of the highest value; yet, notwithstanding
+their having been duly appreciated by the intelligent and enlightened
+classes, they have not called forth those outbursts of enthusiasm
+which have been manifested towards others during an entire generation.
+The truly popular name appears surrounded by its prestige, even to
+the lowest degrees of the social scale; such was the case with the
+prodigious artist who is the object of this notice.
+
+Nicolo Paganini, the most extraordinary--the most renowned violinist
+of the nineteenth century--was born on February the 18th, 1784. His
+father, Antonio Paganini, a commercial broker, or simply a broker’s
+clerk, according to some biographers, was passionately fond of music,
+and played upon the mandoline. His penetration soon discovered the
+aptitude of his son for this art. He resolved that study should
+develope it. His excessive severity would have probably led to results
+contrary to those he expected, had not the younger Paganini been
+endowed with the firm determination of becoming an artist. From the
+age of six years he was a musician, and played the Violin. The lessons
+he received from his father, as may be presumed, were not given in the
+most gentle manner. The ill-treatment to which he was subjected during
+this period of his youth, appears to have exercised a fatal influence
+upon his nervous and delicate constitution. From his first attempts
+he was imbued with the disposition to execute feats of strength and
+agility upon his instrument. His instinct urged him to attempt the most
+extraordinary things; his precocious skill exciting the astonishment of
+his young friends. His confidence in the future was not to be shaken,
+from the fact of his mother saying to him one day, “My son, you will be
+a great musician. An angel, radiant with beauty, appeared to me during
+the night, and, addressing me, spoke thus: ‘If thou wouldst proffer a
+wish, it shall be accomplished.’ I asked that you should become the
+greatest of all violinists, and the angel promised the fulfilment of my
+desire.”
+
+His father’s lessons soon became useless, and Servetto, a musician
+of the theatre, at Genoa, became his teacher; but even he was not
+possessed of sufficient ability to be of benefit to this predestined
+artist. Paganini received his instructions for a short period only, and
+he was placed under Giacomo Costa, director of music, and principal
+violinist to the churches of Genoa, under whose care he progressed
+rapidly. He had now attained his eighth year, when he wrote his first
+sonata, which he unfortunately took no care of, and has been lost among
+many other of his productions. His countryman, Gnecco, a distinguished
+composer, encouraged the visits of the boy, and tendered counsel
+which doubtless aided him materially in his progress. Costa only gave
+him lessons for six months, during which period he obliged his pupil
+to play in the churches. But the master’s instructions were not at
+all satisfactory to the pupil, who had already conceived a method of
+fingering and bowing.
+
+Having reached his ninth year, the young _virtuoso_ appeared in
+public, for the first time, in a concert at the large theatre of his
+native town, given by the excellent soprano Marchesi, with the vocalist
+Albertinatti. These two artists sang subsequently at a concert for
+Paganini’s benefit, and in both these instances this extraordinary
+child played variations of his own composition on the French air,
+“la Carmagnole,” amid the frenzied acclamations of an enthusiastic
+audience. About this period of his life the father was advised, by
+judicious friends, to place the boy under good masters of the Violin
+and composition; and he shortly after took him to Parma, where
+Alexandro Rolla then resided, so celebrated for his performance, as
+conductor of the orchestra, and as a composer. Paganini was now twelve
+years of age. The following anecdote, related by M. Schottky, and which
+Paganini published in a Vienna journal, furnishes interesting details
+of the master’s first interview with the young artist:--“On arriving
+at Rolla’s house, he said, we found him ill, and in bed. His wife
+conducted us into a room adjoining the one where the sick man lay, in
+order to concert with her husband, who, it appeared, was not at all
+disposed to receive us. Perceiving upon the table of the chamber into
+which we were ushered a Violin, and the last concerto of Rolla, I took
+up the Violin and played the piece at first sight. Surprised at what
+he heard, the composer inquired the name of the _virtuoso_ he had just
+heard. When he heard it was only a mere lad, he would not give credence
+to the fact unless by ocular demonstration. Thus satisfied, he told
+me, that he could teach me nothing, and recommended me to take lessons
+in composition from Paër.” The evident desire evinced by Paganini to
+refute the supposition of his having received lessons from Rolla, is a
+singularity difficult to account for. Gervasoni, who knew him at Parma
+at this period, affirms[C] that he was the pupil of Rolla for several
+months. However, it was not Paër, then in Germany, who taught Paganini
+harmony and counterpoint, but Ghiretti, who had directed the studies
+of Paër himself. During six months this precocious artist received
+three lessons weekly, and specially applied himself to the study of
+instrumentation. Even now Paganini was occupied in discovering new
+effects on his instrument. Frequent discussions took place between him
+and Rolla on the innovations which the young artist contemplated, and
+which he could, at this period, only execute imperfectly, whilst the
+severe taste of his master deprecated these bold attempts, except for
+the sake of occasional effects. It was, however, only after his return
+to Genoa, that Paganini wrote his first compositions for the Violin.
+This music was so difficult that he was obliged to study it himself
+with increasing perseverance, and to make constant efforts to solve
+problems unknown to all other violinists. He was seen to have tried the
+same passage in a thousand different ways during ten or twelve hours,
+and to be completely overwhelmed with fatigue at the end of the day.
+It is by this unexampled perseverance that he overcame difficulties
+which were considered insurmountable by contemporary artists, when he
+published a specimen in the shape of a collection of studies.
+
+Quitting Parma, at the commencement of 1797, Paganini made his first
+professional tour with his father through all the principal towns in
+Lombardy, and commenced a reputation which increased daily from that
+period. On his return to Genoa, and after having, in solitude, made
+the efforts necessary for the development of his talent, he began to
+feel the weight of the chain by which he was held by his father, and
+determined to release himself from the ill-treatment to which he was
+still subjected under the paternal roof. His artistic soul revolted
+at this degrading slavery, and felt that some respect was due to him.
+A favourable opportunity alone was required to execute his design.
+This soon presented itself. The fête of St. Martin was celebrated
+annually at Lucca by a musical festival, to which persons flocked from
+every part of Italy. As this period approached, Paganini entreated
+his father to permit him to attend it, accompanied by his elder
+brother. His demand was at first met with a peremptory refusal; but
+the solicitations of the son, and the prayers of the mother, finally
+prevailed, and the heart of the young artist, at liberty for the first
+time, bounded with joy and he set out agitated by dreams of success
+and happiness. At Lucca he was received with enthusiasm. Encouraged by
+this propitious débût, he visited Pisa, and some other towns, in all of
+which his success was unequivocal. The year 1799 had just commenced,
+and Paganini had not attained his fifteenth year. This is not the age
+of prudence. His moral education had been grossly neglected, and the
+severity which assailed his more youthful years, was not calculated to
+awaken him to the dangers of a life of freedom. Freed from restraint,
+and relishing the delights of his new-born independence, he formed
+connections with other artists, whose sole abilities seemed to consist
+in encouraging a taste for gambling in young men of family and means,
+and turning the tables upon them to their own advantage. Paganini, in
+this manner, frequently lost the produce of several concerts in one
+night, and was consequently often in a state of great embarrassment.
+His talent soon procured fresh resources, and time passed gaily enough,
+alternately between good and bad fortune. He was frequently reduced, by
+distress, to part with his Violin. In this condition he found himself
+at Leghorn, and was indebted to the kindness of a French merchant,
+(M. Livron), a distinguished amateur, for the loan of a Violin, an
+excellent Guarnieri. When the concert had concluded, Paganini brought
+it back to its owner, when this gentleman exclaimed, “Never will I
+profane strings which your fingers have touched; that instrument is
+now yours.” This is the Violin Paganini afterwards used in all his
+concerts. A similar event occurred to him at Parma, but under different
+circumstances. Pasini, an eminent painter, and an excellent amateur
+performer on the Violin, had disbelieved the prodigious faculty imputed
+to Paganini, of playing the most difficult music at first sight, as
+well as if he had maturely studied it. He brought him a manuscript
+concerto, containing the most difficult passages, imagined almost
+by every performer as insurmountable, and placing in his hands an
+excellent instrument of Stradiuari, added, “This instrument shall be
+yours, if you can play, in a masterly manner, that concerto at first
+sight.” “If that is the case,” replied Paganini, “you may bid adieu to
+it,” and he forthwith, by his exquisite performance of the piece, threw
+Pasini into extatic admiration.
+
+Adventures of every kind characterise this period of Paganini’s early
+days; the enthusiasm of art, love, and gambling, divided his time,
+despite the warnings of a delicate constitution, which proclaimed the
+necessity of great care. Heedless of everything, he continued his
+career of dissipation, until the prostration of all his faculties
+forced a respite. He would then lie up for several weeks, in a state
+of absolute repose, until, with refreshed energies, he recommenced his
+artistic career and wandering life. Unexpected resources occasionally
+relieved him from positive poverty. In this position, at seventeen
+years of age, being at Leghorn, in 1801, he became acquainted with a
+wealthy Swedish amateur, whose favourite instrument was the bassoon.
+Complaining that he could meet with no music for his instrument,
+sufficiently difficult for his talent, Paganini provided him with
+compositions almost impracticable, for which he was richly rewarded.
+It was to be feared that this dissolute life would ultimately deprive
+the world of his marvellous talent, when an unforeseen and important
+circumstance, related by himself, ended his fatal passion for gambling.
+
+“I shall never forget,” he said, “that I one day, placed myself in
+a position which was to decide my future. The Prince of ---- had,
+for some time, coveted the possession of my Violin--the only one I
+possessed at that period, and which I still have. He, on one particular
+occasion, was extremely anxious that I should mention the sum for which
+I would dispose of it; but not wishing to part with my instrument, I
+declared I would not sell it for 250 gold napoleons. Some time after
+the Prince said to me that I was, doubtless, only speaking in jest
+in asking such a sum, but that he would be willing to give me 2,000
+francs. I was, at this moment, in the greatest want of money to meet a
+debt of honour I had incurred at play, and was almost tempted to accept
+the proffered amount, when I received an invitation to a party that
+evening at a friend’s house. All my capital consisted of thirty francs,
+as I had disposed of all my jewels, watch, rings, and brooches, &c. I
+resolved on risking this last resource; and, if fortune proved fickle,
+to sell my Violin to the Prince and to proceed to St. Petersburg,
+without instrument or luggage, with the view of re-establishing my
+affairs; my thirty francs were reduced to three, and I fancied myself
+on the road to Russia, when suddenly my fortune took a sudden turn;
+and, with the small remains of my capital I won 160 francs. This amount
+saved my Violin, and completely set me up. From that day I abjured
+gambling--to which I had sacrificed part of my youth--convinced that a
+gamester is an object of contempt to all well-regulated minds.”
+
+Although he was still in the prime of youth, Paganini knew of nothing
+but success and profit, when, during one of those hallucinations to
+which all great artists are subject, the Violin lost its attractions
+in his eyes. A lady of rank having fallen desperately in love with
+him, and the feeling being reciprocated, he withdrew with her to an
+estate she possessed in Tuscany.[D] This lady played the Guitar, and
+Paganini imbibed a taste for that instrument, and applied himself as
+sedulously to its practice as he had formerly done with the Violin. He
+soon discovered new resources, which he imparted to his friend; and
+during a period of three years, he devoted all the energies of his
+mind to its study, and to agricultural pursuits, for which the lady’s
+estate afforded him ample opportunities. It was at this period he wrote
+his two sonatas for Guitar and Violin, which form his second and third
+works.
+
+Love cools with time in a castle as in a cottage. Paganini discovered
+this; all his former penchant for the Violin returned, and he decided
+on resuming his travels. On his return to Genoa, in 1804, he occupied
+himself solely with composition, and wrote here his fourth work which
+consists of four grand quartetts for Violin, Viol, Guitar, and
+Violoncello; and bravura variations for Violin, on an original theme,
+with Guitar accompaniment, which forms his fifth work. It appears too,
+that at this period he gave instruction on the Violin to Catarina
+Calcagno,[E] born at Genoa, in 1797, who, at the age of fifteen,
+astounded Italy by the boldness of her style. All traces of her seem
+lost after 1816. Towards the middle of 1805, Paganini left Genoa, to
+undertake a new tour in Italy. The first town he visited was Lucca,
+the scene of his first successes. Here he again created so great a
+sensation by a concerto he performed at a nocturnal festival in a
+convent chapel, that the monks were obliged to leave their stalls, in
+order to repress the applause which burst forth despite the sanctity
+of the place. He was then twenty-one years of age. The principality of
+Lucca and Piombino had been organised in the month of March, of the
+same year, in favour of the Princess Eliza, sister of Napoleon, and the
+wife of Prince Bacciochi. The Court had fixed its residence in the town
+of Lucca. The great reputation of the violinist induced the Princess to
+offer him the posts of director of her private music, and conductor of
+the opera orchestra. Notwithstanding his propensity for independence of
+action, and although the emoluments were scanty, the position pleased
+him, and he accepted it. The Prince Bacciochi received instruction from
+him on the Violin. The Princess, who had appreciated the originality of
+his talent, induced him to extend his discoveries of novel effects upon
+the instrument. To convince him of the interest he had inspired her
+with, she granted him the grade of captain in the royal gendarmerie,
+so that he might be admitted with his brilliant costume to all the
+great Court receptions. Paganini added many novelties to those which
+characterised his talent. Thus, seeking to vary the effect of his
+instrument at the Court concerts, where it was his duty to play, he
+removed the second and third strings, and composed a dialogue for the
+first and fourth strings. He has related this circumstance himself
+nearly in these terms:--
+
+“At Lucca I directed the orchestra when the reigning family honoured
+the opera with their presence. I was often called upon to play at
+Court: and then, I organised fortnightly concerts. The Princess Eliza
+always withdrew before the termination, as my harmonic sounds irritated
+her nerves. A lady, whom I had long loved without having avowed my
+passion, attended the concerts with great regularity. I fancied I
+perceived that I was the object of her assiduous visits. Insensibly our
+mutual passion increased; but important motives rendered prudence and
+mystery necessary; our love in consequence became more violent. I had
+promised her, on one occasion, that, at the following concert, I would
+introduce a musical piece which should bear allusion to our relative
+positions; and I announced to the Court a novelty under the title
+of “Scène amoureuse.” Curiosity rose to the highest pitch; but the
+surprise of all present at Court was extreme, when I entered the saloon
+with a Violin with only two strings. I had only retained the first and
+the fourth. The former was to express the sentiments of a young girl,
+the other was to express the passionate language of a lover. I had
+composed a kind of dialogue, in which the most tender accents followed
+the outbursts of jealousy. At one time, chords representing most tender
+appeals, at another, plaintive reproaches; cries of joy and anger,
+felicity and pain. Then followed the reconciliation; and the lovers,
+more persuaded than ever, executed a _pas de deux_, which terminated in
+a brilliant coda. This novelty was eminently successful. I do not speak
+of the languishing looks which the goddess of my thoughts darted at me.
+The Princess Eliza lauded me to the skies; and said to me in the most
+gracious manner possible, ‘You have just performed impossibilities;
+would not a single string suffice for your talent?’ I promised to make
+the attempt. The idea delighted me; and, some weeks after, I composed
+my military sonata, entitled “Napoleon,” which I performed on the 25th
+of August, before a numerous and brilliant Court. Its success far
+surpassed my expectations. My predilection for the G string dates from
+this period. All I wrote for this string was received with enthusiasm,
+and I daily acquired greater facility upon it: hence I obtained the
+mastery of it, which you know, and should no longer surprise you.”
+
+In the summer of 1808, Paganini obtained leave to travel, and quitted
+Lucca, never more to return. As the sister of Napoleon had become Grand
+Duchess of Tuscany, she fixed her residence at Florence, with all
+her Court, where the great artist retained his position.[F] He went
+to Leghorn, where, seven years previously, he had met with so much
+success. Here he was not received with the warmth extended to him on
+his former visit; but his talent soon overcame the coldness evinced
+towards him. He has related, with much humour, a series of tribulations
+which happened to him upon the occasion of his first concert there.
+“A nail,” he said, “had run into my heel, and I came on limping, at
+which the audience laughed. At the moment I was about to commence my
+concerto, the candles of my desk fell out. (Another laugh.) At the
+end of the first few bars of the solo, my first string broke, which
+increased the hilarity of the audience, but I played the piece on
+the three strings--and the grins quickly changed into acclamations
+of applause.” The broken string frequently occurred afterwards; and
+Paganini has been accused of using it as a means of success, having
+previously practised upon the three strings, pieces which appear to
+require the use of the first also.
+
+From Leghorn he went to Turin, where the Princess Pauline Borghese,
+sister of Napoleon, the Prince, her husband, and suite, were
+sojourning. Blangini, then attached to the service of the Princess
+as director of music (1808 or 1809), there heard the illustrious
+violinist at several concerts; and spoke of him to me, on his return
+to Paris, with unbounded admiration. It was at Turin that Paganini
+was first attacked with internal inflammation, which subsequently so
+debilitated his health, as frequently to cause long interruptions to
+his travels, and his series of concerts. He was nearly convalescent,
+when he was recalled to the Court of Florence, in the month of October,
+1809, for the concerts which were to be given on the occasion of peace
+between France and Austria. It was at this period that my friend, the
+celebrated sculptor, Bartolini, executed a bust of Paganini, which
+I saw in his studio at Florence, in 1841. An excellent work by M.
+Conestabile, which has just appeared, and which only reached me a few
+days ago,[G] furnishes me with information as to the manner Paganini
+was employed in 1810. It will be found (p. 58) that he must have left
+Florence about December, 1809, to visit Romagna and Lombardy; that he
+gave concerts at the old theatre of Cesena; that he afterwards produced
+an extraordinary sensation at a concert given at Rimini, the 22nd of
+January, 1810. This information was extracted by M. Conestabile, from
+manuscript memoirs by M. Giangi, an amateur composer, relating to the
+town of Rimini. It is probable he afterwards visited the other cities
+of Central Italy, Ravenna, Forli, Imola, and Faenza; but this is not
+certain. It appears also about the same period he met with an adventure
+at Ferrara that nearly cost him his life. He had gone to Bologna with
+a friend, and purposed giving some concerts there. Arrangements were
+already made with the manager, and rehearsals appointed, when, at the
+moment the rehearsal was about to commence, Marcolini, who was to
+sing at the concert, capriciously refused to do so. Disconcerted by
+this _contretemps_, Paganini sought the aid of Madame Pallerini, the
+principal dancer of the theatre, but who possessed a most agreeable
+voice, which she only cultivated for herself and her friends.
+Vanquished by the solicitations of the great violinist, she consented
+to sing at the concert; but when she presented herself to the public,
+fear overpowered her--she sang with timidity--and when she retired,
+encouraged by the kind applause which rewarded her efforts, a piercing
+hiss was heard. Maddened with rage, Paganini vowed to avenge this
+outrage at the end of the concert. As he was about to commence his last
+solo, he announced to the public that he purposed imitating the notes
+and cries of various animals. After having imitated the chirping of
+certain birds, cock-crowing, the mewing of a cat, and the barking of
+a dog, he advanced to the footlights, and while imitating the braying
+of an ass, he called out “This for the men who hissed” (Questo è
+per quelli che han fischiato!) He was convinced this repartee would
+excite laughter, and the hissers be hooted; but the pit rose to a
+man, vociferating, and rushing forward to the orchestra, which they
+literally scaled. Paganini had only time to escape, by hasty flight,
+the dangers that menaced him. It was only after he was safely at home,
+that he learned the cause of this fearful tumult. He was told that the
+peasantry in the suburbs of Ferrara entertain peculiar ill feelings
+towards the residents of that town--considering them as a community of
+idiots, and compare them to asses. Hence, any resident of the suburb,
+if questioned from whence he came, never admits it is from Ferrara,
+but vociferates a vigorous hee-haw. The audience present at Paganini’s
+concert considered this a personal allusion to themselves; the result
+was, that the authorities withdrew their permission and prohibited the
+continuation of his concerts. Since then, Paganini was never heard
+again at Ferrara.
+
+Gervasoni relates[H] that on the 16th of August, 1811, Paganini gave
+a concert at Parma, at which he produced an immense sensation, both
+upon artists and amateurs, particularly in his variations on the fourth
+string. It would appear that from Parma he returned to his duties at
+the Court of Florence. Here he probably remained during the year 1812,
+for no information of him in other places, during this period, is met
+with. He was, there can be little doubt, obliged to return occasionally
+to the capital of Tuscany to fulfil his duties. Here, about the end of
+1812, or the commencement of 1813, occurred the adventure which obliged
+him suddenly to quit the service of the Grand Duchess, and leave the
+town. This adventure had been certified to M. Conestabile by ocular
+witnesses, in nearly the following terms:--At a grand Court gala, where
+a concert preceded a ball, Paganini, who directed the former, and was
+to have performed, appeared in the orchestra in his uniform of captain
+of the royal gendarmerie. The Princess, as soon as she perceived this,
+sent her commands that the uniform was to be replaced by evening
+dress. He replied that his commission allowed him to wear the uniform,
+and refused to change it. The command was repeated during the concert
+and again met with refusal; and to prove that he defied the orders of
+the Grand Duchess, he appeared at the ball in his uniform. Moreover, in
+order to show that he did not care what might be thought of the insult
+proffered to him, he walked up and down the room after the ball had
+commenced. Nevertheless, convinced that although reason and right were
+both in his favour, absolutism prevailed at Court, and his defiance
+might endanger his liberty, he quitted Florence during the night, and
+directed his steps towards Lombardy. The most tempting offers, and the
+promise of the Grand Duchess’s leniency, proved unavailing to induce
+him to return.[I] Delighted at finding himself his own master, he
+determined never again to accept a fixed position, however tempting the
+offer.
+
+Being at Milan in the spring of 1813, he witnessed, at the Theatre La
+Scala, the ballet of “Il Noce di Benevento” by Virgano, the music of
+which was by Süssmayer.[J] It was from this ballet that Paganini took
+the theme of his celebrated variations “le Streghe,” (the Witches),
+from the air being that to which the witches appeared. While busied
+with these variations, and making arrangements for his concerts, he was
+again seized with a return of his former malady, and several months
+elapsed before he could appear in public. It was only on the 29th of
+October following he was enabled to give his first concert, when he
+excited a sensation which the journals of Italy and Germany made known
+to the whole world.
+
+Paganini always evinced an extraordinary predilection for Milan, to
+which city he was much attached. Not only did he reside there the
+greater part of 1813, with the exception of his visit to Genoa, but
+also, until the month of September, 1814, visiting it three times
+during five years, residing there for a long period, and giving
+thirty-seven concerts. In 1813 he gave eleven, some at La Scala, and
+others at the Theatre Carcano; and, after a repose of some months,
+another series at the Theatre Rè, in 1814. In the month of October of
+that year he went to Bologna, where he saw Rossini for the first time,
+and commenced a friendship which became strengthened at Rome, in 1817,
+and at Paris in 1831. Rossini produced his “Aureliano in Palmira,” in
+December, 1813, at Milan, at which period Paganini was at Genoa, so
+that these artists had never yet met each other until Rossini was about
+leaving Bologna, to write his “Turco in Italia,” at Milan.
+
+Up to the year 1828, Paganini had made three times the round of
+Italy. In 1815 he returned to Romagna, and having given some concerts
+there, stopped at Ancona. Here his malady returned to him for several
+months, and he then proceeded to Genoa, about the commencement of
+1816, while Lafont was giving concerts at Milan. Anxious to hear the
+French violinist, he repaired thither, where a rivalry ensued, which
+was much spoken of, and appreciated in various ways, according to the
+bias of school and nationality. Lafont, who frequently related to me
+the circumstances of this meeting, was perfectly convinced that he
+was the victor. It is interesting to hear Paganini’s relation of this
+circumstance of his life:--“Being at Genoa, in March, 1816, I heard
+that Lafont was giving concerts at Milan, for which city I immediately
+started, for the purpose of hearing him. His performance pleased me
+exceedingly. A week afterwards I gave a concert at the Theatre La
+Scala, to make myself known to him. The next day Lafont proposed we
+should both perform on the same evening. I excused myself by saying
+that such experiments were always impolitic, as the public invariably
+looked upon such matters as duels, in which there was always a victim,
+and that it would be so in this case; for as he was acknowledged the
+best violinist in France, so the public indulgently considered me as
+the best of Italian violinists. Lafont not looking at it in this
+light, I was obliged to accept the challenge. I allowed him to regulate
+the programme, which he did in the following manner:--We each in turn
+played one of our own compositions, after which we played together the
+“Symphonie concertante” of Kreutzer, for two Violins. In this I did not
+deviate in the least from the author’s text, while we both were playing
+our own parts; but in the solos I yielded to my own imagination, and
+introduced several novelties, which seemed to annoy my adversary. Then
+followed a Russian air, with variations, by Lafont, and I finished the
+concert with my variations on “le Streghe.” Lafont probably surpassed
+me in tone, but the applause which followed my efforts convinced me
+I did not suffer by comparison.” Lafont, it cannot be denied, acted
+imprudently under the circumstances, for although it may be admitted he
+possessed more purely classical qualities, and was more in accordance
+with French taste than Paganini, although his tone was fuller, and
+more equal, yet, in original fancy, poetry of execution, and mastery
+of difficulties, he could not place himself in juxtaposition with his
+antagonist. In a concert, at the Conservatory of Paris, in 1816, the
+palm would have been awarded to him, but, with an Italian public,
+athirst for novelty and originality, his failure was certain.
+
+[Illustration: PAGANINI’S VIOLIN, IN THE MUNICIPAL PALACE AT GENOA.
+
+_From “The Violin: its Famous Makers and their Imitators.” (By kind
+permission of Mr. G. Hart.)_]
+
+A similar circumstance occurred two years later, when Paganini
+had returned to Placentia to give concerts. The Polish violinist,
+Lipinski,[K] was then there (1818). He had sought Paganini without
+success at Venice, Verona, and Milan, and had abandoned all hopes
+of meeting him, when a concert bill was put into his hands, which
+announced that they were then together in the same town. Paganini
+gave six concerts in this town; and, at the sixth, played a concerted
+symphony with Lipinski, which was much applauded. They frequently met
+at each other’s residence and improvised together. Some time after,
+Lipinski dedicated to him one of his works[L] as a tribute of respect;
+but when they again met at Warsaw, in 1829, a journal, speaking
+of a concert which the Polish violinist had just given, and lauding
+his talent, took occasion to depreciate the ability of Paganini, and
+to accuse the virtuoso of charlatanism. Other journals defended the
+Genoese violinist, and undervalued the merit of Lipinski, who deemed it
+a duty publicly to exculpate himself from the suspicion of having been
+connected with the discourteous attack directed towards his illustrious
+competitor. Paganini did not seem at all concerned about the matter,
+but the intimacy of the two artists ceased.
+
+From Milan, Paganini repaired to Venice, in the summer of 1816, where
+he remained for upwards of a year, to restore his health, which had
+for some time been in a declining state; he also gave some concerts.
+This protracted sojourn at Venice is mentioned in the “Leipziger
+Musikalische Zeitung,” of July the 23rd, 1817, by a correspondent, who
+thus alludes to the subject:--
+
+“The celebrated violinist, Paganini, has at last quitted Venice, where
+he has been sojourning for more than twelve months, and has returned to
+Genoa, his native town, taking Milan in his route.”
+
+In the same year (1817) he arrived at Rome, and found Rossini there
+busy in producing his “Cenerentola.” Several concerts which he gave
+there during the Carnival excited the greatest enthusiasm. He also
+frequently played at the palace of the Count de Kaunitz, ambassador of
+Austria, where he met Count Metternich, who urgently pressed him to
+visit Vienna. From this time Paganini formed the project of leaving
+Italy to visit the principal cities of Germany and France; however,
+the uncertain state of his health, which, at times, placed his life
+in danger, prevented him from realising his project at this period.
+Besides, he had not yet visited Naples and Sicily--and he had long
+entertained a strong desire of doing so; however, it does not seem that
+he visited, at this time, that portion of the Peninsula, for we hear of
+him in Upper Italy, giving concerts at Verona, at Placentia, at Turin,
+at Florence, and throughout Tuscany, during 1818, and a portion of
+1819.[M] It was only in the latter year that he arrived at Naples. It
+is a very remarkable circumstance that he appeared there in a manner
+unworthy of his great name; for, instead of giving his first concerts
+at the San Carlo, he modestly commenced at the theatre Il Fondo. It
+is true that, at the period he arrived--namely in the middle of the
+summer, the theatrical performances are more frequently given at the
+Fondo than at San Carlo.
+
+On his arrival at Naples, Paganini found several artists indisposed
+towards him. They doubted the reality of the prodigies attributed to
+him, and awaited a failure. To put his talent to the test, the young
+composer, Danna, recently from the Conservatory, was engaged to write
+a quartett, containing every species of difficulty, convinced that the
+great violinist would not vanquish them. He was, therefore, invited
+to a musical re-union, where he met the violinist Onorio de Vito, the
+composer Danna, the violinist and director of music Festa, and the
+violoncellist Ciandelli. The piece was immediately given to him to
+play at first sight. Understanding the snare that was laid for him, he
+merely glanced at it, and played it as if he had been familiar with it.
+Amazed and confounded at what they had heard, the highest approbation
+was awarded to him, and he was proclaimed a miracle.
+
+It was during this sojourn at Naples, that Paganini met with one of the
+most singular adventures of his extraordinary life. An alarming relapse
+of his malady took place; and, thinking that any current of air was
+injurious to him, he took an apartment in a part of the town called
+Petrajo, below Sant Elmo; but meeting here that which he most sought
+to avoid, and his health daily becoming worse, it was reported that he
+was consumptive. At Naples, the opinion prevailed that consumption is
+contagious. His landlord, alarmed at having in his house one who was
+supposed to be dying of this malady, had the inhumanity to turn him out
+into the street, with all he possessed. Fortunately, the violoncellist
+Ciandelli, the friend of Paganini, happened to be passing, and,
+incensed at this act of cruelty, which might have proved fatal to the
+great artist, belaboured the barbarian unmercifully with a stick he
+carried, and then had his friend conveyed to a comfortable lodging,
+where every attention was paid to him. Paganini recovered sufficiently
+to give concerts.
+
+Having returned to Milan, in March, 1820, Paganini took part in
+founding a society of musical amateurs, which adopted the name of “Gli
+Orfei,” for the performance of the classical works of the old masters.
+He conducted several of this society’s concerts who, in testimony
+of gratitude and admiration, presented him with medals and crowns.
+Paganini’s predilection for the capital of Lombardy detained him there
+until December. He then went to Rome, and arrived while Rossini was
+producing his “Matilda di Sabran,” at the Apollo Theatre. On the day
+of the general rehearsal, the leader of the orchestra was seized with
+apoplexy. This unexpected event was a source of great embarrassment
+to the composer, inasmuch as the talent of the musicians was below
+mediocrity. As soon as this circumstance reached Paganini, he flew to
+his friend’s assistance, attended the general rehearsal, and led the
+three first representations with an energy that struck the band with
+amazement.
+
+In May, 1821, Paganini left Rome to return to Naples. Kandler met
+him here during the summer. He gave concerts at the Fondo, and at
+the Teatro Nuovo. This literary musician has given an account in the
+“Morgenblatt” (1821, No. 290) of the extraordinary impression this
+“Hercules of Violinists,” as he called him, made upon him. The account
+is filled with expressions of unbounded admiration.
+
+From Naples Paganini went to Palermo, and gave concerts, which
+were but poorly attended, attributed by the correspondent of the
+“Leipziger Musikalische Zeitung” to the indifference of the Sicilians
+for instrumental music. His stay here was of short duration, for we
+find him at Venice, then at Placentia, at the commencement of 1822.
+In April of the same year he gave concerts at Milan, his return
+being hailed with the warmest tokens of delight, and with a success
+surpassing all his former visits. He was now seriously preoccupied
+with his visit to Germany, as projected by Count Metternich; but
+during an excursion to Pavia, he again fell seriously ill, in January,
+1823, and his life was despaired of. He had scarcely recovered when
+he proceeded to Turin, where a similar welcome and success awaited
+him. His health was, however, extremely delicate, and the necessity of
+repose so manifest, that he was obliged to return to his native air.
+Some months of inaction and calm, passed at Genoa, renewed his health
+and strength sufficiently to enable him to give concerts at the Theatre
+Saint Augustin, to which his fellow-townsfolk flocked in crowds. These
+concerts took place in the month of May, 1824, after which he repaired
+to Milan. Here he played at La Scala, on the 12th of June of the same
+year, and was received with acclamations which denoted the intense
+interest his health had excited. Some days after, he returned to Genoa,
+and gave two concerts, the first on the 30th of June, the second on the
+7th of July following.
+
+Paganini seemed to have recovered all his pristine health and strength,
+for in the month of November in the same year his talent seemed to
+be greater than ever at the concerts he gave at Venice. The title of
+“Filarmonico,” which then followed his name on his concert bills, gave
+rise to polemical discussions. Enemies, which great talent invariably
+creates, pretended that the Genoese violinist sought to induce the
+belief that he was a member of the Academy of Philharmonics of Bologna;
+although such was not the case, his admirers replied that the Academy
+would be honoured if Paganini condescended to become one. He terminated
+the discussion by declaring that his assuming the addition to his name
+was merely a declaration of his love for the art.
+
+In January, 1825, Paganini gave two concerts at Trieste; thence he
+proceeded to Naples, for the third time, and met with a renewal of
+his former triumphs. In the summer he returned to Palermo, and this
+time his success was unparalleled. The delicious climate of Sicily
+was so agreeable to him that he remained here a year, giving here and
+there occasional concerts, but enjoying long intervals of repose. This
+lengthened sojourn in such a favourable climate restored him to better
+health than he had experienced for a long period, and he returned to
+his project of quitting Italy. However, before doing so, he wished
+to return to several towns of which he retained so many delightful
+reminiscences, and went to Trieste in the summer of 1826, then to
+Venice, and finally to Rome, where he gave five concerts at the Theatre
+Argentina, each of which was a separate ovation. On the 5th of April,
+1827, Pope Leo the Twelfth decorated him with the Order of the Golden
+Spur, in token of his admiration of his great talent. From Rome he went
+to Florence, where he was detained by a disease in one of his legs,
+which remained uncured for a very long period. He went to Milan, where
+he was warmly received by his friends, and on the 2nd of March, 1828,
+he quitted this town and proceeded to Vienna, where he arrived the 16th
+of the same month.
+
+On the 29th of March, the first concert of this great artist threw
+the Viennese population into an indescribable paroxysm of enthusiasm.
+“The first note he played on his Guarnerius (says M. Schilling, in
+poetical style, in his “Universal-Lexicon der Musik”)--indeed, from
+his first step into the room--his reputation was decided in Germany.
+Acted upon as by an electric spark, a brilliant halo of glory appeared
+to invest his whole person; he stood before us like a miraculous
+apparition in the domain of art.” The Vienna journals were unlimited
+in hyperbolical expressions of admiration; and the immense crowd whom
+he had enchanted at this concert, unceasingly poured forth hymns of
+praise to the glory of the enchanter, for two months. The most eminent
+artists of the Austrian capital, Mayseder, Jansa, Slawich, Léon de
+St. Lubin, Strebinger, Böhm, and others, all admitted his performance
+to be incomparable. Other concerts given on the 13th, 16th, 18th, of
+April, etc., created universal intoxication. Verses appeared in every
+publication--medals were struck--the name of Paganini engrossing all;
+and, as M. Schottky remarks, everything was à la Paganini. Fashion
+assumed his name. Hats, dresses, gloves, shoes, etc., bore his name.
+Cooks designated certain productions after him; and any extraordinary
+stroke at billiards was compared to a bow movement of the artist. His
+portrait appeared on snuff-boxes and cigar-cases; in fact, his bust
+surmounted the walking-sticks of fashionable men. After a concert
+given for the benefit of the poor, the magistrate of Vienna presented
+to Paganini the large gold medal of St. Salvador, and the Emperor
+conferred upon him the title of virtuoso of his private band.
+
+A lengthened sojourn in the capital of Austria, and numerous concerts,
+did not in the least diminish the impression Paganini had created on
+his arrival. The same ovations were showered upon him in every town of
+Germany. Prague, from certain traditionary opposition to the musical
+opinions of Vienna, alone received him coldly; but Berlin so amply
+avenged this indifference, that he exclaimed at his first concert,
+“Here is my Vienna public!” After an uninterrupted series of triumphs,
+during three years, in Austria, Bohemia, Saxony, Poland, Bavaria,
+Prussia, and in the Rhenish provinces, after unceasing ovations of
+Vienna, Dresden, Berlin, and Frankfort, the celebrated artist arrived
+at Paris, and gave his first concert at the Opera, the 9th of March,
+1831. His studies for the Violin, which had been published there for
+some time--a species of enigma which had perplexed every violinist;
+the European fame of the artist, his travels and triumphs, raised the
+curiosity of the artists and the public. It is impossible to describe
+the enthusiasm his first concert created--it was universal frenzy.
+Tumultuous applause preceded and followed all his performances, the
+audience rose _en masse_ to recall him after each, and nothing was
+heard but general approbation and amazement. The same enthusiasm
+prevailed during his entire stay in Paris.
+
+Towards the middle of May he left this city, and proceeded to London,
+where he was expected with the utmost impatience, but not with that
+artistic and perceptive interest with which he had been received at
+Paris. The high prices of admission charged for his concerts drew down
+the reprobation of the English journals, as if the artist was not
+privileged to put what price he pleased upon his talent, or that they
+were perforce obliged to go and hear him. The concerts at London, at
+which Paganini performed, and his professional tour through England,
+Scotland, and Ireland, produced an immense amount of money; this was a
+large fortune, to which he added considerably afterwards, during his
+visits to France and Belgium. He has been reproached with having sold
+himself to an English speculator for a certain time and a definite
+sum: a system which many artists have since adopted, though it is
+repugnant both to art and the dignity of the artist. Yet the great
+care necessary for the organisation of concerts, the difficulties
+encountered by an artist in England, certainly offer some apology for
+its adoption. The scandalous manner in which the managements plunder
+the artists--the toll claimed by the band, charitable institutions,
+printers, advertisements, lighting, servants, &c., &c., &c., offer so
+many interruptions to the calm serenity necessary for the display of
+talent, that the artist can scarcely be blamed for ridding himself
+of these annoyances by concluding a compact by which he is assured a
+specific sum.[N]
+
+After an absence of six years, Paganini again set foot on his native
+soil. The wealth he had amassed in his European tour, placed him in a
+position of great independence. He sought to place this to advantage,
+yet was undecided what part of the Peninsula he would select as his
+place of abode. His former predilection was for Tuscany; but, among
+the various properties he purchased, was a charming country house
+in the environs of Parma, called la Villa Gajona--here he decided
+on residing. Various projects occupied him at this period, the
+most important of which was the publication of his compositions--a
+publication which was ardently desired by all violinists, under the
+impression that they would arrive at the secret of his marvellous
+talent. During his stay in London, M. Troupenas, one of the most
+eminent publishers in Paris at that time, arrived there for the purpose
+of purchasing the copyright of his manuscripts; yet, although M.
+Troupenas was accustomed to pay large sums to celebrated authors, whose
+works he published, particularly Rossini and Auber, he could not come
+to terms with the great violinist. M. Troupenas has frequently told me
+that the sum asked by Paganini for his manuscripts was so considerable,
+that a continuous sale during ten years would not have reimbursed him.
+Afterwards, at Brussels, Paganini told me he contemplated publishing
+his works himself; but, not having yet abandoned giving concerts, he
+conceived the singular idea of arranging his music for the Pianoforte.
+
+On returning to Italy, where he was almost worshipped by his
+countrymen, from the great triumphs he had obtained, and the honours
+conferred on him by foreign potentates, he was received with the most
+marked degree of respect. On the 14th of November, 1834, he gave a
+concert at Placentia, for the benefit of the poor. The following 12th
+of December, he played at the Court of Maria Louisa, Duchess of Parma,
+from whom he received the imperial Order of St. George. During the year
+1835, Paganini alternately resided at Genoa, Milan, and at his retreat
+near Parma. The cholera, which was then raging at Genoa, gave rise to
+the rumour that he had fallen a victim to the infection. This event was
+announced in the public papers, in which there appeared necrological
+notices; but, although his health was lamentably bad, he escaped the
+cholera.
+
+In 1836, some speculators induced him to lend the aid of his name and
+talent to establish a casino, of which music was the pretext, but
+gambling the real object. This establishment, which was situated in
+the most fashionable locality of Paris, was opened with considerable
+splendour at the end of November, 1837, under the name of Casino
+Paganini; but the Government refused to authorize its opening as a
+gambling house, and the speculators were reduced to give concerts, the
+proceeds of which were far exceeded by the expenses of the undertaking.
+Under the necessity of meeting the engagement entered into for this
+purpose, the great artist withdrew from his country house near Parma,
+and proceeded by way of Piedmont. At Turin, together with the guitarist
+Legnani, he gave a concert on the 9th of June, for the benefit of
+the poor; and he then proceeded by way of Lyons, notwithstanding his
+ill state of health, and arrived at Paris oppressed with fatigue and
+suffering. The decline of his health was manifest; and his wasted
+strength precluded the possibility of his playing at the Casino. As
+the price of his painful journey to Paris, and the loss of his health,
+a law suit was commenced against him, which he lost; the judges,
+without having heard his defence, condemned him to pay 50,000f. to the
+creditors of the speculation, and he was to be deprived of his liberty
+until that amount was paid.
+
+When this decision was pronounced, Paganini was dying--his malady,
+which was phthisis of the larynx, had increased since the commencement
+of 1839. The medical men advised him to proceed to Marseilles, the
+climate of which they considered favourable to his health. He followed
+their advice, and travelled by slow stages to the south. His great
+energy struggled against the illness. In retirement at the house of
+a friend, near the gates of the city, he still occupied himself with
+his art, and alternated between the Violin and the Guitar. One day he
+seemed to revive, and performed a quartett of Beethoven, his particular
+favourite, with the greatest energy. Despite his extreme weakness,
+he went, some few days after, to hear a requiem for male voices, by
+Cherubini, finally, on the 21st of June, he attended in one of the
+churches at Marseilles, to take part in a solemn mass by Beethoven.
+However, the love of change, inherent in all valetudinarians, induced
+him to return to Genoa by sea, fully impressed that the voyage would
+recruit his health. Vain hope! In the commencement of October of the
+same year, he wrote from his native city to M. Galafre, a painter, and
+an esteemed friend of his: “Being in much worse health than I was at
+Marseilles, I have resolved on passing the winter at Nice.” Thus he
+believed he was flying from death, and death was pursuing him. Nice
+was destined to be his last abode. The progress of his malady was
+rapid--his voice became almost extinct, and dreadful fits of coughing,
+which daily became more frequent, finally reduced him to a shadow. The
+sinking of the features, a certain token of approaching death, was
+visible in his face. An Italian writer has furnished us with a most
+touching description of his last moments in the following terms:--
+
+“On the last night of his existence, he appeared unusually tranquil. He
+had slept a little; when he awoke, he requested that the curtains of
+his bed should be drawn aside to contemplate the moon, which, at its
+full, was advancing calmly in the immensity of the pure heavens. While
+steadily gazing at this luminous orb, he again became drowsy, but the
+murmuring of the neighbouring trees awakened in his breast that sweet
+agitation which is the reality of the beautiful. At this solemn hour,
+he seemed desirous to return to Nature all the soft sensations which he
+was then possessed of; stretching forth his hands towards his enchanted
+Violin--to the faithful companion of his travels--to the magician which
+had robbed care of its stings--he sent to heaven, with its last sounds,
+the last sigh of a life which had been all melody.”
+
+The great artist expired the 27th of May, 1840, at the age of 56,
+leaving to his only son, Achille--the fruit of his liaison with the
+cantatrice, Antonia Bianchi, of Como--an immense fortune, and the
+title of Baron, which had been conceded to him in Germany. All had
+not ended with the man whose life was as extraordinary as his talent.
+Whether from the effect of certain popular rumours, of which mention
+will be made hereafter, or whether, from the fact of Paganini having
+died without receiving the last rites of the Church, he had left doubts
+as to his religion, his remains were refused interment in consecrated
+ground by the Bishop of Nice, Monsignor Antonio Galvano. Vainly did
+his son, his friends, and most of the artists of the city, solicit
+permission to celebrate a solemn service for his eternal rest, on the
+plea that, as in all cases of phthisis, the sufferer never believed
+his end was approaching, but had died suddenly; the Bishop remained
+inexorable, but proffered an authentic act of decease, with permission
+to remove the body wheresoever they pleased. This was not accepted,
+and the matter was brought before the tribunals. At Nice, a verdict
+was returned in favour of the Bishop. Recourse was then had to Rome,
+which remitted the Bishop’s decision, and charged the Bishop of Turin,
+conjointly with two Canons of the Cathedral of Genoa, to institute an
+inquiry with reference to the catholicity of Paganini. All this time
+the body was lying in one of the rooms of the hospital at Nice; it was
+afterwards removed by sea from the lazaretto of Villa Franca, near the
+city, to a country spot named Polcevera, near Genoa, which belonged to
+the family of the illustrious artist. It was rumoured that piteous and
+extraordinary tones were heard there at night. To end these popular
+reports, the young Baron Paganini resolved on defraying the expense
+of a solemn service to the memory of his father, as Chevalier de St.
+George, which was celebrated at Parma in the church of the Steccata,
+belonging to that chivalrous order. After this ceremony, the friends of
+the deceased obtained permission from the Bishop of Parma to bring the
+body into the Duchy, to remove it to the Villa Gajona, and to inter it
+in the village church. This funeral homage was rendered to the remains
+of the celebrated man, in the month of May, 1845, but without pomp, in
+conformity with the orders which had emanated from the Government.
+
+By his will, made on the 27th of April, 1837, and opened on the 1st
+of June, 1840, Paganini left to his son, legitimized by deeds of law,
+a fortune estimated at two millions (£80,000 sterling), out of which
+two legacies were to be paid, of fifty and sixty thousand francs, to
+his two sisters, leaving to the mother of his son Achille an annuity
+of 1,200 francs. Independently of his wealth, Paganini possessed a
+collection of valuable instruments, among which was an incomparable
+Stradiuari, estimated at upwards of 8,000 Austrian florins, a charming
+Guarnieri of the smaller pattern, an excellent Amati, a Stradiuari
+Bass, equally prized with his Violin of this master, and his large
+Guarnieri, the only instrument which accompanied him in his travels,
+and which he bequeathed to the town of Genoa, not being desirous that
+any artist should possess it after him.
+
+The frenzied admiration which Paganini’s prodigious talent excited
+wherever he went, and the wealth he amassed, were painfully compensated
+for, by the distressing state of his health during the greater part
+of his life. His biographers attribute this delicate state to the
+excesses of a stormy youth; but the immoderate use, during more than
+twenty years, of the quack medicine of Le Roy, exerted an equally
+fatal influence over his physical constitution. He rarely consulted
+the faculty, and less frequently followed their advice. His confidence
+in this favourite panacea was unshaken; he resorted to it on every
+occasion, convinced that no ill with which humanity is afflicted, could
+resist its action. The powerful agitation it excited was looked upon as
+a salutary crisis. Its frequent use subjected the intestinal functions
+to frequent disturbance, induced irritation, which became chronic, and
+produced nervous attacks, which often almost deprived him of the power
+of speech.
+
+It was not only by his almost constant indisposition that Paganini
+expiated his glory and his success, for the malignity of his enemies
+pursued him for more than fifteen years with calumnious imputations,
+which everywhere left their traces, and compromised his honour. Crime
+was even imputed to him. The versions varied, as regards the deeds laid
+to his charge; according to one, his liaisons, unworthy of his talent,
+led him in his youth to the commission of highway robbery; others
+attributed to him a maddening and vindictive jealousy in love affairs,
+which frequently brought him to the verge of murder. Now his mistress,
+now his rival, had fallen victims to his irrepressible fury. It was
+even said, a long incarceration in prison had expiated his crime. The
+long intervals which took place between his concerts, either for the
+re-establishment of his health or for repose and meditation, favoured
+these calumnious reports. The qualities even of his talent were but
+weapons for his enemies, and it was said that the solitude of a prison,
+and the impossibility of replacing the strings of his Violin which
+had broken, led to his marvellous performance on the fourth, the only
+one that remained upon his instrument. When Paganini visited Germany,
+France, and England, envy pursued him, greedy of collecting odious
+calumny, to oppose his success, as if it were decreed that genius and
+talent should ever expiate the advantages which nature and study had
+endowed them with. Paganini was frequently driven to defend himself
+in the columns of the press; vainly had he appealed to the testimony
+of the ambassadors of the foreign powers; vainly did he call upon his
+enemies to cite, with precision, the facts and dates which they had
+vaguely propagated; but no advantageous results were derived from this.
+Paris, especially, was hostile to him, although that city contributed
+principally to his fame. Apart from the real public, who entertain
+neither hatred nor prejudice, and who yield to the pleasure which
+talent provides for them, there is, in that city, a hunger-starved
+population, which exists on the ill it does and the good it prevents.
+This contemptible world speculated upon the celebrity of the artist,
+and persuaded itself that he would purchase their silence. Lithographic
+prints presented him a prisoner; journals attacked his morals, his
+humanity, his integrity. These reiterated attacks--this pillory to
+which he saw himself attached, as actor and as spectator--affected
+him deeply. He confided his sorrows to me, and took counsel from me,
+satisfying me perfectly of their unjust malice. I requested him to
+furnish me with some notes to enable me to write a letter, which I
+published with his signature, and was copied into most of the Paris
+journals. The facts, related in that letter, possess so much interest
+for the history of the most extraordinary man of our age, that I deem
+it important to give it a place here. I conceive it, besides, a duty to
+omit nothing that may avenge the calumnies which attached to one of the
+most dazzling glories of the musical art:--
+
+“SIR,--So many proofs of kindness have been showered upon me by the
+French public, so much encouraging approbation has been bestowed upon
+me, that I cannot avoid believing in the fame which it is said preceded
+me in Paris, and that I fell not short of my reputation at my concerts.
+But, if any doubt of that kind existed in my bosom, it would be removed
+by the eagerness evinced by your artists to produce my likeness, and
+by the great number of portraits of Paganini--faithful resemblances
+or not--which cover the walls of your city; but, sir, it is not only
+simple portraits that speculators of that nature stop at--for, while
+walking yesterday on the Boulevard des Italiens, I saw in a shop, where
+engravings are sold, a lithograph representing Paganini in prison.
+‘Oh!’ I exclaimed, ‘here are some honest folks who, after the fashion
+of Basile, make a profit out of certain calumnies which have pursued
+me for the last fifteen years.’ However, I examined laughingly this
+mystification, with all the details that the imagination of the artist
+had conjured up, when I perceived that a large number of persons had
+congregated around me, each of whom, confronting my face with that of
+the young man represented in the lithograph, verified the change that
+had taken place in my person since my detention. I then saw that it was
+looked on in a serious light by those you call, I believe, louts, and
+that the speculation was a good one. It struck me that, as everybody
+must live, I might furnish the artists, who are kind enough to consider
+me worthy of their attention, with some anecdotes--anecdotes from
+which they could derive subjects of similar facetiæ to the subject in
+question. It is to give them publicity, that I claim from your kindness
+the insertion of this letter in the ‘Revue Musicale.’
+
+“They have represented me in prison; but they are ignorant of the
+cause of my incarceration; however, they know as much of that as I do
+myself, and those who concocted the anecdote. There are many stories in
+reference to this, which would supply them with as many subjects for
+their pencils; for example, it is stated that, having found a rival in
+my mistress’ apartment, I stabbed him honourably in the back, while he
+was unable to defend himself. Others assert, that, in the madness of
+jealousy, I slew my mistress; but they do not state how I effected my
+bloody purpose. Some assert I used a dagger--others that, desirous of
+witnessing her agony, I used poison. Each has settled it in accordance
+with his own fancy. Why should not lithographers have the same
+privilege? I will relate what occurred to me at Padua, nearly fifteen
+years since. I had played at a concert with great success. The next
+day, seated at the table d’hôte (I was the sixtieth) my entrance in the
+room passed unobserved. One of the guests spoke of the great effect
+I had produced the previous evening. His neighbour concurred in all
+that was said, and added, ‘There is nothing surprising in Paganini’s
+performance--he acquired his talent while confined in a dungeon
+during eight years, having only his Violin to soften the rigours of
+his confinement. He was condemned for having, coward-like, stabbed
+one of my friends, who was his rival.’ As you may imagine, every one
+was shocked by the enormity of my crime. I then addressed myself to
+the person who was so well acquainted with my history, and requested
+to know when and where this had taken place. Every eye was directed
+towards me. Judge the surprise when they recognised the principal
+actor in this tragical history! The narrator was embarrassed. It was
+no longer his friend who had been assassinated. He heard--it had been
+affirmed--he believed; but it was not improbable he had been deceived.
+This is how an artist’s reputation is trifled with, because indolent
+people will never comprehend that one may study at liberty as well as
+under lock and key.
+
+“A still more ridiculous report, at Vienna, tested the credulity of
+some enthusiasts. I had played the variations entitled “Le Streghe”
+(the Witches), and they produced some effect. One individual, who was
+represented to me as of a sallow complexion, melancholy air, and bright
+eye, affirmed that he saw nothing surprising in my performance, for he
+had distinctly seen, while I was playing my variations, the devil at my
+elbow directing my arm and guiding my bow. My resemblance to him was a
+proof of my origin. He was clothed in red--had horns on his head--and
+carried his tail between his legs. After so minute a description,
+you will understand, sir, it was impossible to doubt the fact; hence,
+many concluded they had discovered the secret of what they termed my
+wonderful feats.
+
+“My mind was disturbed for a long time by these reports, and I sought
+every means to prove their absurdity. I remarked that from the age of
+fourteen, I had continued to give concerts, consequently was always
+before the public; that I had been engaged as leader of the orchestra,
+and musical director to the Court of Lucca; that if it were true, I
+had been detained eight years in prison, for having assassinated my
+mistress or my rival, it must have taken place before my appearance
+in public; that I must have had a mistress and a rival at seven years
+of age. At Vienna I appealed to the ambassador of my country, who
+declared he had known me for upwards of twenty years as an honest man,
+and I succeeded in setting the calumny aside temporarily; but there
+are always some remains, and I was not surprised to find them here.
+How am I to act, sir? I see nothing but resignation, and submit to
+the malignity which exerts itself at my expense. I deem it, however,
+a duty, before I conclude, to communicate to you an anecdote, which
+gave rise to the injurious reports propagated against me. A violinist,
+of the name of Duranowski, who was at Milan in 1798, connected
+himself with two persons of disreputable character, and was induced
+to accompany them to a village, where they purposed assassinating the
+priest, who was reported to be very rich. Fortunately, the heart of
+one failed him at the moment of the dreadful deed, and he immediately
+denounced his accomplices. The gendarmerie soon arrived on the spot,
+and took Duranowski and his companion prisoners at the moment they
+arrived at the priest’s house. They were condemned to the galleys for
+twenty years, and thrown into a dungeon; but General Menou, after he
+became Governor of Milan, restored Duranowski to liberty, after two
+years’ detention. Will you credit it?--upon this groundwork they have
+constructed my history. It was necessary that the violinist should
+end in _i_, it was Paganini; the assassination became that of my
+mistress or my rival; and I it was who was sent to prison,--with this
+exception, that I was to discover there a new school for the Violin:
+the irons were not adjudged against me, in order that my arms might be
+at perfect liberty. Since these reports are persisted in, against all
+probability, I must necessarily bear them with resignation. One hope
+remains: it is, that after my death, calumny will abandon its prey, and
+that those who have so cruelly avenged my triumphs, will leave my ashes
+at rest.--Receive, &c.,
+
+                    “PAGANINI.”
+
+As just stated, Paganini was deeply mortified by these reports which
+affected his honour. He wrote to the editors of the journals in Vienna;
+and when Mr. Schottky, of Prague, formed the project of writing his
+biography, to crush his calumniators, Paganini, who rejoiced at the
+idea of such a publication, urged his friend to hasten his labours. He
+wrote to him from Berlin:--“It is high time I should write to you. I
+have no bad news to communicate, though I suffer slightly with my eyes,
+which inconveniences me a good deal. You have probably seen the Dresden
+journals. I met with all kinds of gratifications at Dresden, which the
+extreme kindness of the royal family completed. It is true, I learned
+that you had in one of your contributions promised my biography, but
+I have not heard anything since. My curiosity is at its utmost pitch.
+My relation, of whom I spoke to you, joined me at Dresden; he is also
+extremely anxious. Do let us see some portion of your work. My honour
+is in your keeping. How fortunate to have found an avenger, whose name
+alone suffices to crush the basest calumnies! Your integrity and your
+talents will drive my enemies to despair, and to you will remain the
+gratification of having done a generous action.”
+
+Nothing can be more honourable or more natural than the indignation
+felt by Paganini at the calumnies which his success engendered; but it
+would seem that he was deceived as to the means of silencing them: for
+the publication of the chronological order of his life would easily
+have demonstrated the absurdity of the reports propagated against
+him. It is a fact, that until he was nearly fifteen years of age,
+he remained under the paternal roof. Hence he proceeded to Lucca,
+where he unfortunately formed an acquaintance with some disreputable
+persons, who, taking advantage of his inexperience, robbed him of the
+fruits of his industry, and drove him to Pisa, Arezzo, and Leghorn,
+where he gave concerts to repair the inroads his losses had made, and
+improve his pecuniary position. He was at this latter place in 1801,
+and was then only seventeen years of age. This date is authentically
+established by Gervasoni, who was his contemporary. Some months after,
+his predilection for the Violin changed, and he took up the Guitar,
+acquired a mastery over that instrument nearly equal to the Violin, and
+wrote for it several distinguished compositions, which are still sought
+for in Italy. In 1804, we find him at Genoa, giving instructions to the
+young Catarina Calcagno, who became a most worthy pupil. The following
+year, he enters the service at the Court of Lucca, remains in that town
+until 1808, then undertakes a professional tour, arrives at Leghorn,
+and plays at several concerts. In 1809, Blangini meets him at Turin.
+In the same year he returns to Florence, where Bartolini executes
+his bust. In 1810, he travels through the Romagna, and performs
+particularly at Rimini, an inhabitant of which furnished an account to
+M. Conestabile. It is afterwards that his adventure at Ferrara occurs;
+and the 16th of August of the following year he gives concerts at
+Parma, as confirmed by M. Gervasoni. Returning to Florence, he remains
+there during 1812, where, at the beginning of 1813, the affair takes
+place which drives him from Court. In the same year he gives thirteen
+concerts at Milan. In 1814 he is at Genoa, his native place. He then
+returns to Milan, gives eleven concerts there, and proceeds to Bologna,
+where he meets Rossini. In 1815, he makes his second professional
+tour in Romagna, and plays at Ancona, returning again to his native
+place. In March, 1816, he goes to hear Lafont at Milan, receives the
+challenge, gives concerts, and proceeds to Venice in the summer of the
+same year. He remains there nearly a year, according to the report of
+a correspondent of the “Leipziger Musikalische Zeitung,” from which
+period until his death the public journals teem with accounts of his
+brilliant successes. It is manifest, and beyond contradiction, that
+during an existence constantly before the public, no period can be
+found where he could have suffered a detention of eight years, or even
+the time necessary for undergoing a criminal procedure. Paganini, with
+the design of confounding his vilifiers, should have collected the
+testimonies of those he had known previously to and during all this
+period, and have published the chronological table which has been thus
+sketched: the whole matter would then have been set at rest.
+
+Human credulity is prone to feed on outrageous absurdities. Not only
+was his dignity as a man attacked, for endeavours were ever made to
+deprive him of this, and to grant him only a fantastic existence. The
+almost insuperable difficulties he had overcome as a violinist, were
+not the only motives which gave birth to the reports circulated. The
+extraordinary expression of his face, his livid paleness, his dark and
+penetrating eye, together with the sardonic smile which occasionally
+played upon his lips, appeared to the vulgar, and to certain diseased
+minds, unmistakable evidences of satanic origin. It has been seen by
+his letter, which has been given _in extenso_, what he himself related
+on that subject. But these ridiculous ideas were not entertained in
+Germany only, for there are traces of them even in Italy, and they
+probably had some effect upon the difficulties which attended his
+obsequies. M. Amati, a distinguished writer, has furnished M. Schottky
+with an anecdote which has reference to his acquaintance with Paganini
+at Florence. It will be seen what impression the extraordinary aspect
+of this singular being had upon nervous temperaments. Thus speaks the
+narrator:--“Near the gate of Pitti, at Florence, there is a steep hill,
+on the summit of which stands the ancient Fiesole, formerly the rival
+of the capital of Tuscany, but divested of its former splendour. Here
+the purest air is inhaled, and the beauty of the prospect produces
+rather the effect of a dream than of reality. One beautiful May
+morning, when the flowers and verdure lay smiling, kissed by the sun’s
+rays, and all nature was beaming with youth, I ascended this hill by
+its most rugged path, from whence the most beautiful view is obtained.
+In front of me was a stranger, who, from time to time, stopped to
+recover his breath, and admire the enchanting landscape, which met
+his eye in every direction. Insensibly I approached him. Believing
+himself alone, he spoke aloud, and accompanied his monologue with rapid
+gesticulations and loud laughter. Suddenly he checked himself; his
+lynx-like eye had perceived in the distance a charming object, which
+soon after also attracted my attention. It was a young peasant girl,
+who was approaching towards us slowly, carrying a basket of flowers.
+She wore a straw hat; her hair, dark and lustrous as jet, played upon
+her forehead; and the regularity of her handsome features was softened
+by the mildness of her looks. With a beautifully formed hand she
+constantly replaced her shining ringlets, which the refreshing zephyr
+displaced. The stranger, astonished at so much beauty, fixed his ardent
+looks upon her; when she had got near to him, she seemed transfixed
+at the appearance of the individual who stood before her, grew pale,
+and trembled. Her basket seemed ready to fall from her hands. She,
+however, hurried on, and soon disappeared behind a projection. During
+this period, I contemplated the stranger, whose eyes were fixed in the
+direction the girl had taken. Never had I seen so extraordinary a face.
+He merely cast upon me a passing glance, accompanied by a most singular
+smile, and pursued his way.
+
+“The next day, dark clouds, driven by the winds, rolled along like the
+sea waves; scarcely was the sun visible, yet, despite the weather, I
+went out, and having traversed the bridge Delle Grazie, outside the
+gate which bears that name, I directed my steps to the right, towards
+the hill, on the summit of which I already perceived the ruined castle
+with its drawbridge. I approached the remains of this ancient edifice,
+through the dilapidated walls of which the wind was whistling. Here
+everything bore the impress of destruction. Here, contemplating the
+fearful ravages of time, and listening to the mournful melodies of the
+hurricane, the moanings of a human voice struck upon my ear, and made
+me shudder. It seemed as if the voice proceeded from a subterranean
+cavity near which I was standing. I rushed forward to its mouth, where
+I found a man--pale and with haggard looks, lying upon the moss. I
+recognised the stranger of the previous day; his searching look was
+fixed upon me; I recoiled from it, and perceiving the stranger was in
+no need of assistance, I withdrew.
+
+“On the following evening, I was walking by the side of the Arno,
+the moonlight flickering as it rose. The nightingale’s note, and the
+warbling of birds of every kind preparing to roost, were saluting the
+departing rays of day. Sounds of a totally different nature suddenly
+intermingled with these harmonized melodies of nature. Attracted by
+this exquisite and unknown music, I followed the direction from whence
+they seemed to proceed, and I again found myself near the singular
+being who had occupied all my thoughts for the last three days.
+Carelessly lying beneath a tree, his features were now as calm as
+they had appeared troubled the day previous, and as he listened with
+impassioned expression to the fury of the tempest in the old castle,
+so did he now seem to enjoy the concert of the feathered tribe, whose
+notes he was whistling with most astounding imitation. I could not
+explain the strange destiny that led me constantly into his presence.
+
+“My astonishment had not yet ceased, for, on returning the following
+evening from a long walk, just as the stars began their first
+scintillations, I sat down to repose myself under the Loggie degli
+Uffizi. A joyous party passed me, and sat down on a marble seat some
+distance from me; soon after, celestial sounds struck upon my ear,
+by turns joyful and plaintive, evidently produced by the hand of a
+superior artist. Silence succeeded to the hilarious shouts of the
+merry party, all of whom seemed as transfixed by the divine music
+as I was myself. They all rose, silently, to follow the artist, who
+continued walking while he played. I also followed, to discover what
+instrument it was I heard, and who the artist might be that discoursed
+so enchantingly upon it. Arrived at the square of the Palazzo Vecchio,
+the party entered a restaurant. I followed them. Here they regained
+their former merriment, and the leader, more than his companions,
+displayed extraordinary animation. To my great surprise, the instrument
+was a guitar (which seemed to have become magical), and the performer,
+I discovered to be the stranger I had so continuously met. He was no
+longer the suffering being he had seemed: his eyes beamed, his veins
+swelled with exultation, his coat and waistcoat were both unbuttoned,
+his cravat loosened, and his gesticulations those of a madman. I
+inquired his name. ‘None of us knows it,’ replied the individual, one
+of the party, to whom I addressed myself; ‘I was in company with my
+friends, who were singing and dancing to my guitar, when this singular
+man pushed in among us, and snatching the guitar from my hands,
+commenced playing without saying a word. Annoyed at the intrusion, we
+were about to lay hands upon him, but without noticing us in the least,
+he continued playing, subjugating us by his exquisite performance.
+Each time we inquired his name, he resumed his playing without making
+any reply. He occasionally ceased for a while, to relate to us some
+extraordinary anecdote. In this manner he has brought us hither,
+without more knowledge of him than you possess.’
+
+“Some days after, Paganini was announced to give a concert. Eager to
+hear the incomparable artist, whose fame was so universal, and whom I
+had not yet heard, I went to the theatre, which was literally crowded
+to suffocation. The utmost impatience was manifested until the concert
+commenced with a symphony, which, although by a composer of eminence,
+was listened to with indifference. At last the artist appeared. I was
+astonished at recognising in him the stranger who had so mystified me
+for some days, whom I had met at Fiesole, etc. I will not attempt to
+describe the effect his performance produced--the transports of frenzy
+his incomparable talent excited. Let it suffice to say, that on that
+one evening, he seemed to conjoin all the delightful impressions of the
+graceful appearance of the peasant girl of the mountain, the hurricane
+in the ruins, the warbling of the feathered songsters on the banks of
+the Arno, and the inspiring delirium of the evening at the Loggie.”
+
+With a people so imaginative as the Italians, so extraordinary a
+looking person as Paganini, his wondrous talent, and the eccentricity
+of his mode of life, naturally conduced to superstitious ideas, and
+the belief in the supernatural. Many believed he had entered into
+a compact with the devil. In Germany these prejudices were greater
+even than among the Italians. It has been seen in his letter already
+given what was said of him at Vienna, when he played his variations on
+the “Witches’ Dance.” At Leipzig, the “Zeitung für die elegant Welt”
+gave the following account of one of his concerts:--“In the Hotel de
+Pologne, resided a lady of exceeding beauty, whose tresses were the
+object of much admiration, but whose features wore an aspect of deep
+melancholy, though a sweet yet sad smile was ever playing on her lips.
+I had seen her once: this sufficed to imprint her features upon my
+memory, and I sought every means to see her at all times. The evening
+Paganini gave his last concert, I was near the stage, and although my
+eyes wandered all over the theatre, I did not discover her I sought
+so anxiously. Paganini appeared. Can I describe the magic of his bow?
+The marvellous tones he extracted from the melancholy and plaintive G
+string touched every heart; and upon this occasion more so than I ever
+remember. At this moment, the sound of a sigh, such as proceeds from
+some person dying, struck upon my ear. I looked around, and I saw my
+_incognita_, white as marble, unconscious, apparently, of the tears
+which fell in showers down her cheeks. I uttered a cry of surprise,
+which was heard throughout the theatre; every voice being at the time
+hushed into silence. Paganini, who was only a few paces from me, turned
+round and looked at me. An extraordinary smile, such as I had never
+before seen, played upon his face; but it did not seem either intended
+for me or the lady. I watched its direction, and perceived, not without
+emotion, dressed in the English fashion, and seated next the lady, my
+not very reputable acquaintance of Elbingerode, who returned the smile
+with one no less extraordinary. They were then intimate? I understand
+that smile now. In reality, it had been generally observed, and for
+a long time surmised, that Paganini and Satan were most intimately
+connected, or that they were one and the same person. My discovery made
+me forget my lady; but judge of my horror, when upon turning round I
+saw her neighbour take her hand, squeeze it with affection, and the
+lady grow paler than before. I was thunderstruck; but at this moment
+the applause increased. Paganini had finished playing. The audience
+rose, as did the lady and her friend. I followed them to the door,
+before which stood a carriage with two black horses. The lady got in,
+followed by her cavalier, when the carriage flew off, bright flashes
+of lightning bursting forth from the horses’ eyes. Greatly agitated,
+I returned to the theatre; but Paganini’s marvels no longer astounded
+me. The concert concluded, I left by the same door through which the
+mysterious lady had passed, and then found there was no place where a
+carriage could stand.”
+
+Paganini was deeply affected by these rumours, which not only detracted
+from his position, but tended to render his talent valueless. It is
+not improbable that in his youth he had himself contributed to the
+propagation of such fabrications by his eccentricities. But when age
+crept on--when honours and successes had accumulated--he discovered
+that none, however great his fame, however favoured by fortune, could
+be great when general esteem is withheld. With the view of ending the
+ridiculous reports concerning his origin, he published at Prague the
+following letter, which his mother had written to him on the 21st of
+July, 1828:--
+
+“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 realized.
+
+“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 all 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,
+                        “TERESA PAGANINI.”
+
+This letter was not necessary to prove to reasoning mortals that the
+great artist was not a son of Satan. But the ignorant mass listens not
+to reason, nor are its superstitious beliefs easily removed. Opinion
+in France did justice to these follies, but they seemed to revive
+afterwards, and acquired renewed strength after the decease of him who
+had been so calumniated during his life.
+
+Nothing could be more variable than the moral dispositions of Paganini;
+at one time melancholy and taciturn, passing several hours seated,
+without uttering a word; at another, he would give himself entirely
+up to unrestrained gaiety, without any apparent motive for either the
+one or the other. He seldom spoke much; but while travelling, the
+movement of the carriage rendered him loquacious. Mr. George Harrys,
+who lived for some time on terms of intimacy with him, and who has
+published some curious details on his private life,[O] states that his
+bad health rendered his speaking aloud extremely painful, but when the
+noise of the wheels rattling over the stones was almost deafening, he
+spoke loudly and rapidly. It was not, as with most persons, the beauty
+of the country through which he passed that made him communicative,
+for he paid no attention to the lovely landscapes which met his eye in
+every direction; rapid transit seemed to be his only aim; but there
+was something in the rolling of the coach which made conversation
+a necessity. His constant suffering did not permit him to enjoy a
+beautiful country, where others dwelt who were blessed with health.
+Besides, he was always cold, and even at a summer heat of twenty-two
+degrees he wrapped his large cloak around him, and ensconced himself
+in a corner of a carriage, with the windows hermetically closed. By
+a singular contradiction, he invariably kept all the windows of his
+apartments wide open, to take, as he called it, an air bath. He cursed
+the climate of Germany, of France, and above all of England, saying
+there was no living but in Italy. Travelling was exceedingly painful to
+him, suffering, as he constantly did, from pain in the abdomen; hence
+his wish to travel quickly. In the agony he experienced, his habitual
+paleness was replaced by a livid and greenish hue. Sleep to him was a
+source of great delight, and he would sleep uninterruptedly for two
+or three hours consecutively, and awake full of cheerfulness. When
+the horses were being changed, he either remained in the carriage, or
+walked about until the fresh horses were put to; but he never entered
+an inn or post-house until he arrived at the end of his journey. Before
+starting, he neither took tea nor coffee, but a basin of soup, or a
+cup of chocolate. If he started early in the morning, he would do so
+fasting, and frequently remained nearly the whole day without taking
+any refreshment. His luggage caused no trouble, as it consisted only of
+a small dilapidated trunk, containing his precious Guarnieri Violin,
+his jewels, his money, and a few fine linen articles, a carpet bag, and
+a hat-case, which was placed in the interior of the carriage. Careless
+of all that related to the comforts of life, he was alike negligent
+in his toilet. A small napkin would contain his entire wardrobe; his
+papers, which were of paramount importance, representing immense value,
+he kept in a small red pocket-book, which also contained his accounts.
+None but himself could decipher these hieroglyphics of his Babel-like
+accounts, where pell-mell were mixed up Vienna and Carlsruhe, Berlin,
+Frankfort, and Leipzig, receipts and outlay for post-horses, etc.,
+and concert tickets. All was clear to him; though extremely ignorant
+of arithmetic, he had devised certain means of arriving at an exact
+account of all his affairs.
+
+In the inns on the road, Paganini was never dissatisfied. It was a
+matter of indifference to him, whether he was shown into a garret or
+an elegantly-furnished chamber, whether the bed was good or bad, as
+long as he was removed from all noise. “I have enough noise in large
+towns,” he would say, “I wish to rest on the road.” His supper was
+always extremely light; frequently he would take nothing but a cupful
+of camomile tea, after which he would sleep soundly till the morning.
+However, when, about fifteen years before his death, he was attacked
+with the phthisis which ultimately proved fatal, a convulsive cough
+frequently interrupted his sleep; but as soon as the crisis was over,
+he was asleep again.
+
+The most securely-guarded state prisoner never experienced so
+monotonous a course of existence as that to which Paganini condemned
+himself at home; he left his room with regret, and only seemed happy
+in perfect solitude. Many have thought his Violin occupied him
+constantly. Never was error greater--he never touched it except to tune
+it previously to going to a rehearsal or a concert. “I have laboured
+enough to acquire my talent,” he would say, “it is time I should rest
+myself.” The anecdote is perhaps known, of an Englishman, a passionate
+admirer and amateur of the Violin, who, intent on discovering the
+secret of the great artist’s study, followed in his steps for more
+than six months, staying at the same hotels, and always when possible
+in the next room. Vainly, however, did he seek to hear him study some
+of his difficulties--the most profound silence reigned in the artist’s
+apartment. It occurred, however, that on one occasion the rooms of the
+amateur and the artist were only separated by a door which was not
+used. Peeping through the keyhole, the curiosity of the amateur was,
+as it appeared, about to be gratified. He saw Paganini, seated on a
+sofa, taking from its case the precious Violin, which, on being raised
+to his shoulder, assured him his long-sought happiness was about to
+be realized; but not a note was heard, for Paganini merely moved his
+left hand up and down the finger-board, to calculate certain positions,
+without using the bow. This done, the Violin was replaced in its case.
+In utter despair, the Englishman gave up the fruitless pursuit, and
+returned to England.
+
+Paganini did not seek to conceal that his constant study of the
+instrument in his early years precluded his attending to his education,
+and that his mind was but ill-stored with literary instruction. He
+never looked into a book, not even to wile away any portion of time
+by reading a romance. History and the sciences were sealed books to
+him. M. Schottky, notwithstanding, found among the documents which
+were furnished to him by M. Amati, an anecdote which indicates
+that the great violinist’s memory retained certain smatterings of
+history, mythology, and poetry, which he would apply occasionally most
+oppositely. Dining one day with the celebrated poets, Monti and Ugo
+Foscolo, at the residence of the beautiful, rich, and witty Comtesse
+F----’s, Foscolo, who was captivated with the charms of the Comtesse,
+arrived the last, and finding Monti, his rival, addressing her in
+terms of gallantry, he abruptly quitted the apartment, and hastened to
+allay his fierceness on the garden terrace. Here he met Paganini, and
+his passion subsided. Approaching him with great warmth, and seizing
+his hand, he said to him, “When I heard you at the concert yesterday,
+Homer stood before me in all his sublimity. The grandeur of the first
+movement of your concerto brought to my mind the arrival of the Greek
+ships before Troy. The exquisite loveliness of the Adagio pictured to
+me the tender love-talk of Achilles and Briséis. When will you let me
+hear the despair and wailings of the hero over the body of Patroclus?”
+Paganini replied, without hesitation, “When Achilles Paganini finds his
+Patroclus among violinists.”
+
+Political events had no interest for him; he consequently never read a
+newspaper unless it contained something concerning himself. His whole
+thoughts were occupied on projects for the future. Among these were the
+founding of a musical conservatory in Italy, the publication of his
+compositions, the writing of operas, and abandoning his professional
+tours. While dwelling on these subjects, he would pace his room with
+great rapidity, arrange his stray pieces of music, or number his red
+diary, dress himself and go to dinner, or have it brought to his room,
+which he preferred to the _table d’hôte_. He spent a great portion of
+the day reclining on his bed, and left his room only in the evening,
+to walk for about an hour. He would pass the entire evening without
+light in his apartment, and rarely went to bed later than half-past
+ten. He frequently remained for hours absorbed in deep thought, almost
+motionless. Mistrustful, like most Italians, he complained of the
+treachery of some of his most intimate friends, which necessarily
+rendered him the more so; hence his dislike to society--he did not
+believe he could repose the slightest confidence in any one.
+
+Notwithstanding his extreme repugnance to receiving visits, his
+world-wide fame brought sometimes from sixty to eighty visitors,
+anxious to see and speak with him; many of these he would refer to his
+secretary, but others he could not avoid receiving. Circumspect with
+those who came on business, he was more so with artists who came to
+discover the secret of his talent; he listened to these patiently. His
+fatigue was so great after receiving these visits, that he would bolt
+his door, and not answer anyone who knocked.
+
+The invitations he received for dinners and suppers were very numerous
+in all the towns he visited, or remained in to give concerts; they
+annoyed him, and he refused most of them, aware of his habit of
+partaking of everything that was placed on the table. He could eat and
+drink largely without feeling any ill effects at the time, but in a
+day or two his intestinal pains would come on with redoubled force. He
+would invariably, if he could do so without being observed, retire to
+rest as soon as he left the table. He was infinitely gayer previous to
+dinner than after. One would be inclined to suppose he was desirous
+of impressing upon his host the sacrifice he made in accepting the
+invitation: it was so, in fact.
+
+At evening parties he was extremely cheerful, if no mention was made
+of music; but if, with the ill-judged view of affording him amusement,
+it was proposed or spoken of, his spirits immediately left him. If to
+gather his opinions upon other violinists, or to question him upon his
+talent, he only replied monosyllabically, and endeavoured to avoid
+the inquisition by stealing away to another part of the room, or to
+interrupt the conversation by observations on other subjects. In the
+large cities of Germany, vocal and instrumental societies deemed it a
+homage to his talent to perform before him some musical compositions;
+but, although he would appear to listen with attention, his mind was
+pre-occupied on other subjects, and he rarely knew what he listened to.
+He occasionally avowed, with great sincerity, that the obligation of
+identifying his public existence with music made him feel an imperious
+desire to forget the art when he entered into ordinary life. Nor can
+it be dissimulated that this idiosyncracy pertains to almost every
+artist who has obtained great celebrity, and who has acquired popular
+fame. With these, all their faculties are concentrated in the feeling
+of their personality. Art, separated from their own glorification, does
+not exist. Gluck and Grétry recognized no music but their own, nor
+believed any other to be worthy of being performed. How many composers
+have been imbued with the same feeling, differing with those great
+men only in dissimulation! With those whose executive talents bring
+them in contact with the public, it is worse still; without personal
+ovations, it is not only indifference for the art, it is hatred.
+Hence, when, having returned to the ordinary conditions of life, and
+withdrawn from the manifestations of enthusiasm they have for so long
+a period excited, artists who come into this category decline rapidly,
+and present in their old age a spectacle of moral degradation, unless,
+by an extraordinary exception, great intellectual faculties have been
+united to their extraordinary talent.
+
+Paganini felt great pleasure in a small circle of friends, and in quiet
+conversation. The amusements of society delighted him; and he would
+remain until a late hour, where he did not appear to be an object of
+attention. He did not like the glare of light--his sight having been
+affected by stage lights--hence his habit of playing with his back to
+the lights, and of remaining in the dark when at home. His memory was
+excellent, despite his habitual abstraction. When once persons had been
+introduced to him, their features and names were never forgotten; but,
+by some inexplicable singularity, he never remembered the name of a
+town in which he gave concerts the moment he left it.
+
+Notwithstanding the enormous number of concerts he gave, Paganini was
+pre-occupied the day on which one was given. He would remain idle the
+whole morning, lying on a sofa. Before going to a rehearsal, he would
+open his Violin-case to examine the state of his strings, tune it, and
+prepare the orchestral parts of the pieces he intended playing. During
+these operations he took large quantities of snuff--a certain token
+with him of great mental excitement and disquietude. On arriving at
+rehearsal, his first care was to see that no person was in the room or
+theatre. Should any one be there, he merely indicated to the band what
+he desired by almost an imperceptible sound, or slight pizzicato. He
+was extremely severe with the band; and would have a solo or a tutti
+repeated for the slightest error. If this continued, he would pace to
+and fro before the orchestra, and dart the most furious looks at the
+musicians; but when a tutti came in too soon, before the termination of
+a cadenza, he burst forth into a tempest of rage which would cause the
+boldest to tremble. When, however, the accompaniment was satisfactory,
+he would smile, and express his approbation aloud, in these words,
+“Bravissimo! Siete tutti virtuosi!” When he came to a pause for the
+introduction of a cadenza, the musicians all rose, eager to observe
+what he was about to play, but Paganini would merely play a few
+notes--stop suddenly--and, turning towards them, would laughingly add,
+“Et cætera, Messieurs!” It was only in the evening he would put forth
+all his strength. After the rehearsal, he would converse for a few
+moments with the leader, to thank him for the attention that had been
+paid, and sought out especial passages for his particular observation.
+He invariably carried away himself the orchestral parts, of which he
+was particularly careful. The principal part was never seen, as he
+played from memory, to avoid his pieces being copied. When he returned
+home he partook of a light repast, threw himself upon his bed, and
+remained there until the carriage came to take him to the theatre. A
+few minutes sufficed for his toilet, and he proceeded at once to the
+concert. When he arrived he evinced as much gaiety, as he had displayed
+gravity during the day. His first question was “is there a large
+audience?” If answered in the affirmative, he would say, “good--good!
+excellent people!” if, on the contrary, he was told the audience was
+small, he expressed a fear that the effect of the music would be lost
+in the empty boxes.
+
+Paganini was not always alike disposed for his concerts. He had doubts
+of himself; and, trying several difficult passages, if he failed in
+executing them with his usual facility, he became angry, and exclaimed,
+“If I were in Paris, I would not play to-day.” He would frequently
+recover himself during the evening, and say ingeniously to his friends,
+“I have played better at the end than at the commencement of the
+concert.” He kept the public waiting a long time before he came on.
+His departure from the theatre resembled a triumph; a crowd formed an
+avenue to his carriage, and greeted him with loud acclamations; he
+was received similarly on his arrival at his hotel. Paganini seemed
+delighted with the homage, and frequently mixed with the crowds that
+surrounded the doors. He would join the company at the _table d’hôte_
+in the best possible spirits, and would sup heartily.
+
+There are few examples of such devotion to severe study as Paganini
+evinced in the accomplishment of his art. He created the difficulties
+he performed, with a view of varying the effects and augmenting the
+resources of his instrument--this, as it is seen, having been his
+object, so soon as he was capable of reflecting on his ultimate
+destiny. Having played the music of the old masters, particularly that
+of Pugnani, Viotti and Kreutzer, he felt he could never attain great
+fame if he followed in their path. Chance brought under his notice
+the ninth work of Locatelli, entitled, “l’Arte di Nuova Modulazione,”
+and he at once saw in it a new world of ideas and facts, though,
+on its first appearance it was unsuccessful from its excessive
+difficulty, and, perhaps, also, because it was in advance of the
+period when “classic” forms should be departed from. Circumstances
+were favourable to Paganini, for the necessity of innovation was at
+its zenith in his day. In adopting the ideas of his predecessors, in
+resuscitating forgotten effects, in superadding what his genius and
+perseverance gave birth to, he arrived at that distinctive character of
+performance and his ultimate greatness. The diversity of sounds--the
+different methods of tuning his instrument--the frequent employment of
+double and single harmonic notes--the simultaneous pizzicato and bow
+passages--the various staccati--the use of the double and even triple
+notes--a prodigious facility in executing wide intervals with unerring
+precision, joined to an extraordinary number of various styles of
+bowing--such were the principal features of Paganini’s talent--means
+which were rendered perfect by his execution--his exquisite nervous
+sensibility, and his enormous musical feeling. From the manner in which
+he placed himself, leaning, as it were, on his hip, from the position
+of his right arm, and the manner in which he held his bow, it would
+have been thought its movements would be nothing less than awkward,
+and the arm all stiffness; but it was soon observed that the bow and
+the arm moved with equal ease, and what appeared to be the result of
+some malformation, was the result of deep study of that which was most
+favourable to the effect the artist wished to produce. His bow was of
+ordinary dimensions; but was screwed up with more than usual tension.
+It is probable Paganini found it preferable for his bounding staccato,
+which differed from that of all other violinists. In the notice which
+he wrote at Lucca, he says great surprise was manifested at the length
+of his bow, and the thickness of his strings; but, some time after, he
+evidently discovered the difficulty of producing vibration in every
+part of the strings, and consequently, of obtaining a perfect tone, for
+he gradually diminished their dimensions--and when he played in Paris
+his strings were under the medium size. Paganini’s hands were large,
+dry, and nervous. His fingers, by dint of excessive practice, had
+acquired a suppleness and aptitude difficult to conceive. The thumb of
+the left hand fell easily upon the palm of his hand, when necessary for
+the execution of certain shifting passages.
+
+The quality of tone which Paganini brought from his instrument was
+clear and pure, without being excessively full, except in certain
+effects, when it was manifest he collected all his power to arrive
+at extraordinary results. But what most distinguished this portion
+of his talent was the variety of voices he drew from the strings, by
+means of his own, or which, after having been discovered by others,
+had been neglected, their full import having been misunderstood. Thus,
+the harmonic sounds, which before his time had only been considered
+as curious and limited effects, rather than as a positive benefit to
+a violinist, formed an important feature in Paganini’s performance.
+It was not only for an isolated effect that he employed them, but as
+an artificial means to reach certain intervals, which the largest
+hand could never embrace. It was from the harmonic sounds that he
+obtained on the fourth string a compass of three octaves. Before
+Paganini, none had imagined that beyond natural harmonics, it was
+possible to execute thirds, fifths, sixths; in fact, that at the
+octaves in diatonic succession, natural and harmonic sounds could be
+produced. All these Paganini executed in every position with the utmost
+facility. In singing he frequently produced a vibratory effect, which
+greatly resembled the human voice, but when, by sliding the hand, the
+voice became like that of an old woman, the effect was affected and
+exaggerated. Paganini’s intonation was perfect; this rare quality was
+not the least of the advantages he possessed over other violinists.
+
+After having spoken of the great qualities of Paganini’s talent, it
+is necessary to consider it from the general impression it produced
+upon the public. Many overleap the bounds of reason in expatiating on
+the poetry of his playing, particularly upon his singing. He was cited
+as the great Violin singer--as the creator of a pathetic and dramatic
+school, applied to the art of bowing. I confess that I do not look at
+his prodigious talent in this light. What I experienced in listening to
+him was astonishment--unbounded admiration; but I was seldom moved by
+that feeling which appears to me inseparable from the true expression
+of music. The poetry of the great violinist consisted, principally, in
+his brilliancy; and, if I may be allowed the expression, the mastery of
+his bow. There was fulness and grandeur in his phrasing--but there was
+no tenderness in his accents. In the prayer from “Mosè,” for example,
+he was great when the baritone voice was heard on the fourth string,
+from the elevated character he gave to it; but when he came to the
+part of Elcia, an octave higher on the same string, he fell into an
+affected strain of heavy, tremulous sounds, which good taste would
+have rejected. His triumph was in the last major strain; here he was
+sublime--and he then left an impression bordering on enthusiasm.
+
+To pronounce judgment upon Paganini, it was necessary to hear him in
+his own especial style--that which most characterized his talent. In
+his concerts in Paris, he thought it necessary to flatter the national
+feeling by playing a concerto by Kreutzer and one by Rode--but he
+scarcely rose above mediocrity in their performance. His secretary,
+Mr. Harrys, tells us the opinion Paganini formed of himself as regards
+these attempts. He said to him, “I have my own peculiar style; in
+accordance with this, I regulate my composition. To play those of
+other artists, I must arrange them accordingly: I had much rather
+write a piece in which I can trust myself entirely to my own musical
+impressions.” The unfavourable impression he made in Paris, with
+these two pieces, was a lesson to him; he never played from that time
+any music but his own. Paganini’s art did not apply to any species
+of composition--his was a specialty, of which he alone could be the
+interpreter--an art born with him, the secret of which he has carried
+with him to the grave.
+
+I have used a word he often repeated--for he frequently insisted
+that his talent resulted from a secret discovered by him--and which
+he would reveal before his death, in a “study for the Violin,” that
+should only contain a small number of pages, but that should cause the
+utmost consternation to all violinists. He cited, in support of the
+infallibility of his secret, the experiment that he had made at Naples,
+upon a violoncellist of little talent, named Gaetano Ciandelli, who, by
+the revelation of the mystery, became transformed in one morning into
+a _virtuoso_. Apart from the study of mechanism--for which there is
+no substitute--no secret can exist from talent, but that which nature
+implants in the heart of the artist; there is, however, something
+astounding and mysterious in the faculty which Paganini possessed, of
+invariably overcoming the almost unheard-of difficulties, without ever
+touching the Violin except at concerts and rehearsals. Mr. Harrys, who
+was his secretary, and did not leave him for more than a year, never
+saw him take his Violin from its case. Be it, however, as it may, death
+has not permitted the secret, of which Paganini spoke, to be divulged.
+
+Many notices of the life and talent of this great artist have been
+published, either in collections or separately; the most important are
+the following:--
+
+1. “Paganini’s Leben und Treiben als Künstler und als Mensch,” (Life
+and Adventures of Paganini, as an Artist, and as a Man). Prague,
+Calve, 1830, in 8vo of 410 pages. This work, of which M. Schottky is
+the author, is but a compilation, without order, of correspondence,
+anecdotes, and German newspaper reports, as far as concerns the travels
+of the artist, from his first leaving Italy. An abridgment of this
+work, in which many doubtful facts and positive false accounts have
+been introduced, was published by M. L. Vinela, under the title of
+“Paganini’s Leben und Charakter,” (Life and Character of Paganini).
+Hamburg, Hoffmann and Campe, 1830, in 8vo.
+
+2. “Paganini in seinem Reisewagen und Zimmer, in seinen redseligen
+Stunden, in gesellschaftlichen Zirkeln, und seinen Concerten,”
+(Paganini in his Post-chaise, in his Room, in his hours of Privacy,
+in Society, and his Concerts). Brunswick, Vieweg, 1830, in 8vo of 68
+pages. A work written in simplicity and good faith, indicating sound
+judgment. Mr. George Harrys, or Harris, the writer of this opusculum,
+was an Englishman, attached to the Court of Hanover. With a view of
+studying Paganini as a man and an artist, and to publish this notice,
+he became his interpreter and secretary, and remained with him an
+entire year.
+
+3. “Leben, Character und Kunst N. Paganini’s. Eine Skizze,” (Sketch of
+the Life, Character, and Talent of Paganini, by M. F. C. J. Schütz,
+Professor at Halle). Leipzig, Rein, 1830, in 8vo.
+
+4. “Notice sur le célèbre violoniste Nicolo Paganini,” by M. J. Imbert
+de la Phalèque. Paris, E. Guyot, in 8vo, of 66 pages, with portrait.
+
+5. “Paganini, his Life, his Person, and a few Words upon his Secret,”
+by G. L. Anders. Paris, Delaunay, 1831, in 8vo.
+
+6. “Paganini et Bériot, ou Avis aux artistes qui se destinent à
+l’enseignement du Violon,” by Fr. Fayolle. Paris, Legouest, 1831, in
+8vo.
+
+7. “Vita di Nicolo Paganini di Genova, scritta ed illustrata da
+Giancarlo Conestabile, socio di varie Academie.” Perugia, tipografia di
+Vincenzo Bartelli, 1831, 1 vol. in 8vo, 317 pages. An excellent work,
+carefully edited, and in a good spirit of criticism, from documents
+chosen with discernment. The portrait of Paganini is given from M.
+Schottky’s, but softened and idealized.
+
+Independently of the portraits which accompany most of the above works,
+many were published in Italy, in Germany, and in France. The most
+sought for are the following:--1st. Portrait of Paganini, lithographed
+by Maurin, in the 7th volume of the Revue Musicale; 2nd, one
+lithographed by Mauzaise, in 4to, Paris, Bénard; 3rd, Milan, Ricordi;
+4th, drawn and lithographed by Begas, Berlin, Sachse, in 4to; 5th,
+without name of author, in 4to, Berlin, Trautwein and Co.; 6th, drawn
+by Hahn, Munich, Falter; 7th, lithographed by Krätzschmar, Leipzig,
+Breitkopf and Härtel; 8th, without name of author, Vienna, Artaria,
+1828; 9th, ditto, Hamburg, Niemeyer; 10th, ditto, Leipzig, Pönicke;
+11th, ditto, Mannheim, Heckel.
+
+[Illustration]
+
+
+
+
+[Illustration]
+
+Paganini Appreciated as a Composer.
+
+ANALYSIS OF HIS WORKS.
+
+
+Long ere the talent of Paganini had acquired popularity beyond Italy, a
+collection of studies for the Violin, under his name, still unknown to
+French violinists, had been published, and created a deep impression;
+so many novelties were there accumulated, and the difficulties they
+presented were so problematical, and under forms so peculiar, that many
+professors doubted the possibility of their execution, and went so
+far as to look upon the publication of that work as a mystification.
+However, the composer, Andreozzi, who had brought to Paris the copy
+from which Pacini published his edition, attested that there was
+in Italy a man who executed those difficulties as though they were
+mere trifles, and who would astound the professors and pupils of the
+Conservatoire, if they heard him. This man was the author himself--it
+was Paganini.
+
+At the same time, Blangini, on his return from Italy, also spoke of
+this artist with enthusiasm, and likewise attested that his art bore no
+affinity with the manner of playing the Violin that all great masters
+had propagated until his day; that all was the invention of his talent,
+and that he was destined to revolutionize the style of playing the
+Violin. Some young artists, among whom was Habeneck, attempted to solve
+these musical enigmas, but finally abandoned them, as they could not
+discover the application of these novelties to the pure music of the
+great composers.
+
+The struggle between Lafont and Paganini resuscitated the confused
+recollection of his name, and the prodigies he effected were the
+subject of serious conversation. Insensibly the fact of his success
+became patent--the journals confirmed it, and the name of the artist
+gradually acquired popularity. However, fame blazoned forth his name
+as a violinist only--not as a composer. The twenty-four studies of the
+first work were only known in France, more than twenty years after it
+was published. It was only after he had enchanted all Paris, and had
+traversed France, gaining triumphs wherever he played, that the value
+of his compositions attracted some attention. They were then sought
+after. Italy and Germany were written to for copies of his concertos,
+his fantasias, and his airs with variations, but none of them had been
+published. The list of this artist’s works which appeared, comprised
+the following only:--
+
+1. “Ventiquattro Capricci per Violino solo, dedicati agli artisti,
+Op. 1.” These studies or capriccios, in various keys, consist of
+arpeggi, staccati, trills in octaves, and scales in octaves, tenths,
+combinations of double, triple, and quadruple chords, etc.
+
+2. “Sei Sonate per Violino e Chitarra, dedicati al Signor delle Piane.”
+Op. 2.
+
+3. “Sei Sonati per Violino e Chitarra, dedicati alla Ragazza Eleonora.”
+Op. 3.
+
+4. “Tre gran Quartetti a Violino, Viola, Chitarra e Violoncello,
+dedicati alle amatrici.” Op. 4, Idem. Op. 5, Ibid. Paganini said of
+this work to Mr. Harrys, that it was not his, but was formed from some
+of his themes badly arranged.
+
+These are the only positive productions of Paganini published up to
+the present day (June, 1851); all that has appeared since must be
+considered as commercial trickeries, as extracts from the preceding
+works, or simply as fugitive recollections of some artists. Such are
+the following:--
+
+“Variazioni di bravura per Violino sopra un tema originale, con
+accompagnamento di Chitarra o Piano.” These variations are those which
+form the twenty-fourth capriccio (in A minor) of the first work.
+
+“Trois airs variés pour le Violon, pour être exécutés sur la quatrième
+corde seulement, avec accompagnement de Piano, par Gustave Carulli.”
+These are recollections arranged by the author of the accompaniment.
+
+“Introduzione e variazioni in sol sul tema, ‘Nel cor più non mi sento’
+per Violino solo.” This piece, published in the work of Guhr, upon the
+art of Paganini[P] is noted nearly from memory.
+
+“Merveille de Paganini, ou duo pour le Violon seul en ut.” This is also
+from Guhr.
+
+Ghys published at Paris and at Berlin the “Carnaval de Venise, tel
+que le jouait Paganini.” Ernst and Sivori have also given, as exact
+traditions of this musical pleasantry, versions differing more or less,
+which gave rise to discussions in the newspapers. The publication of
+the veritable “Carnaval de Venise” of the illustrious violinist will
+remove all uncertainty in this respect.
+
+Paganini was aware that the interest which his concerts created would
+diminish materially, if he published the compositions he performed.
+He resolved therefore upon not publishing them until after he had
+ceased to travel, and had retired from his career of executive artist.
+He only carried with him the orchestral parts of those pieces he
+habitually played; and no one ever saw the Violin solo parts of these
+compositions, for he dreaded the indiscretion of all who sought to gain
+access to him. He seldom spoke of his works, even to his most intimate
+friends, consequently an indistinct notion of the nature and number of
+these works could alone exist. M. Conestabile, who made every effort
+to acquire the truth of all that concerned the person, the talent, and
+the success of Paganini, has published in his book the catalogue which
+was sent to him of all the manuscript and original works of Paganini
+preserved by his son.
+
+The titles of the works are as follows:--
+
+1. Four Concertos for the Violin, with accompaniments.
+
+2. Four other concertos, the orchestral parts unwritten. The last was
+written a short time prior to his death, at Nice.
+
+3. Variations upon a comic theme continued for the orchestra.
+
+4. Sonata for the large Viol, with orchestral parts.
+
+5. “God save the King,” varied for the Violin, with orchestral parts.
+
+6. “Le Streghe,” variations on a ballet air, with orchestral parts.
+
+7. Variations upon “Non più mesta,” theme from “Cenerentola.”
+
+8. Grand Sentimental Sonata.
+
+9. Sonata, with variations.
+
+10. “La Primavera,” (Spring), Sonata, without accompaniments.
+
+11. “Varsovie,” Sonata.
+
+12. La ci darem la mano.
+
+13. “Le Carnaval de Venise.”
+
+14. “Di tanti palpiti.”
+
+15. “Marie Louise.”
+
+16. Romance pour le chant.
+
+17. Cantabile for Violin and Piano.
+
+18. Polonaise, with variations.
+
+19. Fantaisie Vocale.
+
+20. Sonata, for Violin Solo.
+
+21. Nine Quartetts, for Violin, Alto, Violoncello, and Guitar.
+
+22. Cantabile and Waltz.
+
+23. Three Duetts, for Violin and Violoncello.
+
+24. Other Duetts and small Pieces for Violin and Guitar.
+
+Unfortunately many of these compositions are incomplete. The original
+scores, without omissions, which have been found, are the two concertos
+in E flat and in B minor (it is in this latter the celebrated rondo
+of “La Clochette” is found); the allegro of a sonata, entitled
+“Movimento perpetuo”; the famous variations “Le Streghe” (the Witches)
+with orchestral parts; the variations upon “God save the King,” with
+parts; variations upon “Di tanti palpiti,” with parts; variations
+upon “Non più mesta, accanto al fuoco,” with parts; the “Carnaval de
+Venise,” twenty-four variations upon a popular Venetian air; and sixty
+variations, in three series, with accompaniment for Piano or Guitar,
+upon the popular air known at Genoa under the name of “Barucaba.” The
+theme is very short; the variations are studies of various kind of
+difficulties. These were written by Paganini, at Genoa, in February,
+1835, and were among his latest works; he dedicated them to his friend
+the advocate, M. L. G. Germi. By some singular circumstance these
+variations are not included in the list furnished by M. Conestabile.
+
+It will be seen the complete works of Paganini, which have been
+found, are only nine in number. It is to be deplored that among these
+high-class productions, the magnificent concerto that the great artist
+wrote for Paris, and which he played at his third concert at the opera,
+the 25th of March 1831, should be wanting; also the grand military
+sonata upon the fourth string in which he displayed such marvellous
+ability, in a compass of three octaves with harmonic sounds; and,
+finally, his variations upon “Nel cor più non mi sento.”
+
+The compositions of Paganini are redolent with merit--novelty in ideas,
+elegance of form, richness of harmony, and variety in the effects of
+instrumentation. These qualities are especially found in his concertos,
+which have exercised great influence on compositions of this nature
+that have subsequently been published. They differ in form in many
+points from the classic form of Viotti’s concertos. There is the
+merit of uniformity and increasing interest, which it were well all
+violinists would meditate upon. In general, without diverting attention
+from the solo by over-elaborated passages, the instrumentation
+possessed an interest which cannot be separated from the principal
+design. The _entrées_ are neither cold nor symmetrical--the effects new
+and varied.
+
+The first concerto is in E flat, set for the orchestra, but the Violin
+is written in D; the four strings of the instrument are consequently
+tuned a semitone higher. The tutti, admirably written, is bold and
+flowing, and very effective. The forms remind one generally of those
+of the old concerto, more than of those Paganini wrote since, this
+being his first. I have an indistinct recollection of his having
+composed this one in 1811. There is little originality in the style
+of the tutti and the solos; but in the details, and above all, in the
+brilliant passages, there are certain points which render this concerto
+a work of the greatest interest; there is frequent employment of double
+notes and harmonics. The second solo presents effects on the fourth
+string, of which effects Paganini is the inventor. It terminates with
+the last passage of the first solo transposed into the original key.
+
+The adagio (in C minor) is a dialogue between the fourth string and the
+other three. The conception of this dialogue appears to have absorbed
+all the artist’s attention, for the melody has little novelty. This is
+not the case with the rondo--the theme of which is peculiarly original.
+There is an extraordinary staccato passage, which Paganini executed in
+a novel manner, peculiar to himself. It is necessary to understand the
+method to give this passage its original character. It is in this rondo
+that Paganini employed, for the first time, tenths, combined in various
+ways, producing wonderful effects, by the unerring and marvellous
+certainty of his mechanism. The character of the piece is bold: the
+second solo, nearly all on the fourth string and in harmonics, produced
+an extraordinary sensation, nothing similar having been heard prior to
+its introduction.
+
+The second concerto is in B minor. The commencement of the first
+piece is broad and impassioned; the harmony often interesting in its
+successions; the instrumentation intelligent and rich in effects. The
+tutti are weak in development, and serve only to connect together the
+various solo parts. The phrase of the commencement of the first solo
+is very grand, and largely developed, followed by a modulation in D,
+where much boldness is displayed in a novel passage of double notes.
+The melody which follows is somewhat poor--the four first bars being
+repeated without any change--which is a fault; but the passage which
+follows is particularly effective. Paganini in this has evinced much
+daring in the combination of difficulties, both for the bow and the
+left hand. He has introduced a double shake, descending in thirds--in
+the execution of which he was incomparable, both in brilliancy and the
+irreproachable perfection of his intonation.
+
+The second tutti, which recalls the subject of the first, is rather
+short, but interesting; it modulates in E minor, and terminates with
+an unusual form of suspension. The subject of the second solo differs
+totally from the first; the melody is expressive and combines effects
+of staccato, to which Paganini imparted a character quite peculiar.
+The passage which follows this subject, all in double notes, is very
+effective: its combinations present immense difficulties, which to the
+great artist were but mere trifles. The second solo ends in B major,
+finishes with the passage of the first, transposed into this new key,
+and consequently rendered much more difficult.
+
+Throughout this first piece, the double-note passages and jumping
+bowing are quite novel, and depart entirely from the ordinary form of
+the concerto. Two things are equally remarkable in the manner Paganini
+played them. The first was his perfect intonation of the double notes
+in this shoal of difficulties, particularly in the excessive rapidity
+in the passages; the second was the marvellous skill with which
+he managed the bow, however great the distances of the intervals.
+There was in this part alone of the artist’s talent an evident
+predestination, and the study of an entire life. It is impossible to
+give any idea of all the combinations which are met in the fingering
+of the chords strewn among these immensely difficult passages; they
+embrace occasionally such extraordinary intervals, that violinists
+are at a loss to discover the artifices by which the hand reaches
+them. Besides, in this labyrinth of unheard-of difficulties, neither a
+doubtful note nor uncertain intonation ever occurred.
+
+The adagio (in D) is a cantabile of the finest character. More simple
+than the rest of Paganini’s compositions, it produced but little
+effect, finishing as it does without the exhibition of extraordinary
+difficulties, which the public were wont to expect from him;
+nevertheless, the forms of the melody are elegant, expressive, and full
+of charms. Good taste prevails throughout this piece. The rondo with
+the obbligato bell accompaniment is delightfully fanciful; the most
+incomprehensible feats of skill are here combined with exquisite taste.
+The first subject is remarkable for its elegance and novelty, both
+in its details and its general formation. Some charming bow effects
+are introduced, which Paganini executed with marvellous brilliancy
+and dexterity. The bow fluttered so nimbly over the strings, and the
+fingers moved so briskly and lightly, that the performance seemed
+one of easy accomplishment. The rondo of the “Clochette” obtained
+enthusiastic success throughout Europe.
+
+The allegro of the sonata for Violin and orchestra, entitled “Movimento
+perpetuo,” is only remarkable as a study for detached bowing of
+exceedingly rapid movement, which continues until the last bar. This
+species of difficulty exacts great suppleness of arm to avoid fatigue,
+and a perfect _ensemble_ of the left hand and the bow. In this piece
+there are no less than 170 bars without a single rest. Considered as a
+composition, it is unimportant, but interesting as a study.
+
+Few musical compositions ever obtained such universal fame as the
+“Streghe” (the Witches), either from the prodigious execution of the
+great violinist, or perhaps because some superstition attached to the
+title. The original manuscript indicates that the introduction and the
+variations are composed upon an original air; however, if tradition is
+to be depended upon, the air was taken from the ballet of “Il Noce di
+Benevento.” The introduction is short. The first variation, in double
+and triple notes, is extremely difficult. It may be regarded as a
+valuable study for playing in tune. In the second there is a mixture
+of harmonics and pizzicato which produces a very original effect. The
+third is a dialogue between the fourth string and the double harmonics;
+a novel effect which never failed to draw down the loudest acclamations
+of the auditory. The finale, which joins this variation, terminates
+with rapid passages upon the fourth string, and in harmonics of extreme
+difficulty.
+
+In the variations upon “God save the King,” Paganini seems to have
+intended concentrating all the new effects he had discovered, and all
+the enormous difficulties over which he had triumphed. The subject
+is written in three and in four parts; the melody is played with the
+bow, and the other parts of the accompaniment is pizzicato. The
+first variation, in double notes, presents successions of thirds and
+tenths, which require a large hand and a great certainty of intonation.
+Paganini played it in a light and rapid manner, which greatly increased
+its difficulty. The second variation is a complication of rapid
+triplets, intermingled with passages of double notes and bounding
+staccatos. The execution of this variation requires extraordinary
+dexterity. In the third the subject is sustained in a slow movement,
+during which the accompaniment is going on in extremely rapid passages
+on the third and fourth strings. The fourth is peculiarly quaint; it
+consists in rapid passages pizzicato in the upper part, while the
+accompaniment is played upon the lower, with the bow staccato. The
+fifth, written in double notes, is an echo effect on the upper octave,
+the bass is by pizzicato on the lower strings. The sixth and last
+consists in staccato arpeggios, difficult of execution, arising from
+the complex positions of the left hand.
+
+In the fantasia with variations, on “Di tanti palpiti,” the orchestra
+is written in B flat, the solo a semitone higher; in the second
+variation the fourth string is lowered to B flat. Paganini effected
+this change with so much address, that it was never perceived at his
+concerts. The piece commences by an introductory larghetto, followed by
+a recitative. The subject which follows is quite simple, and the first
+variation without very remarkable difficulties, with the exception of
+a very rapid descending scale in harmonics. In the second, where the
+fourth string is lowered to B flat, passages occur in double notes
+of great difficulty for the bow. The third is the most curious and
+difficult; it consists of arpeggios with double notes in a presto
+movement, and combinations of harmonics and ordinary notes in a new and
+quaint style.
+
+The air with variations, on “La Cenerentola” (Non più mesta), is
+written in E flat for the Orchestra; the Violin is tuned a semitone
+higher. The first variation contains nothing remarkable; the second,
+a combination of bounding staccato harmonics and pizzicato, recalls
+similar passages found in other works of the author. The third, in a
+minor mood, is composed nearly of octaves. The fourth is an echo, the
+effects are double harmonics. It is followed by a finale in thirds and
+octaves, brilliantly effective, but fraught with difficulty.
+
+The twenty variations upon the popular air “Oh, Mamma,” known as
+the “Carnaval de Venise,” which has been so frequently imitated, are
+remarkable for the distinct character given to each; all the bow and
+finger effects imagined by Paganini are concentrated in it. Good taste
+is sometimes departed from in a few of the variations, but it will
+not be denied that some extraordinary effects are produced in those
+strange freaks, to which the marvellous dexterity of the artist lent an
+irresistible charm.
+
+The last work to which I have to allude is the collection of sixty
+variations, in the form of studies, upon the popular air “Barucaba.”
+Paganini purposed in each of these studies to give every style of
+bowing, all the difficulties of fingering, and all the combinations of
+harmony, upon which his school is founded. By a singular notion, nearly
+all these variations are written in different keys.
+
+If the astonishing success of Paganini, the immense popularity of
+his name, and the influence he exercised over the talent of some
+of the violinists of the younger school, be considered, the high
+interest attached to the publication of the works with which the great
+artist astonished Europe, will be understood. At all events, these
+considerations will afford but a very imperfect idea of the importance
+of their long-withheld publication. Their value can only be understood
+after a long and close examination. For more than twenty years every
+violinist has looked forward to the production of these works with
+anxiety and curiosity, under the impression of being able, with them,
+to “do the Paganini,” and establish himself, if not in imitation,
+at least as a pupil of that illustrious man. But few imagined the
+great truths which would manifest themselves by the revelation of
+the secret of his music--none could foresee how much this great man
+would be elevated in their esteem when the prodigious difficulties he
+executed while playing, were placed before them. Some of his effects,
+the most easy of execution, were hastily copied, and the mystery of
+his talent was supposed to have been discovered. How much illusion
+will be dissipated by the examination and study of these anxiously
+expected works! I will not speak of the simply curious effects by
+which Paganini dazzled the million--of his pizzicato and bow feats--of
+the modifications in tuning the instrument, and of the thousand
+combinations, the merit of which consisted principally in perfect
+execution. These will only have an exceptional existence, and will
+never hold a place in serious music. Besides, the sagacity of Guhr, a
+skilful violinist, and the able conductor of the Frankfort Theatre,
+has penetrated, to a certain extent, the secret of these things,
+and has cleverly exposed the theory in a work especially devoted to
+this purpose.[Q] That which most struck me on reading the MSS. of
+Paganini, that which raised him immensely in my estimation, was the
+conviction that the mechanism of the art was never carried to the same
+extent--that he was never equalled in surmounting difficulties--and
+never was such infinite variety displayed in brilliant passages. The
+double notes for instance, always the test of great Violinists, as
+respects true intonation and precision--particularly when the left hand
+descends to its natural position--form a salient feature in the rapid
+passages of his compositions. The intervals are ever varying--sometimes
+in thirds, sometimes in sixths, eighths, and tenths--passing with
+rapidity from one kind of interval to another--jumping incredible
+distances--always in double notes--with unerring certainty and perfect
+intonation. His hand was a geometrical compass which divided the
+finger board with mathematical precision--his fingers falling exactly
+where the intonation of the intervals of the double notes was to be
+found. I do not speak of the varieties of bowing, by which he rendered
+these difficulties more complicated, I merely look at the double-note
+passages alone,--I therefore say, that these passages, which were
+trifles to Paganini, will be impracticable to any other violinist
+whomsoever he may be, if he would execute them with the same rapidity
+and with the perfect intonation of the author. As a study, it is a
+new world for the perseverance of young artists, the results of which
+will be the acquisition of certainty, which only a small number of
+performers possess, and the enlargement of the great resources of the
+instrument.
+
+It may be asked why new difficulties are introduced into art; and it
+may be remarked, with reason, that the aim of music is not to surprise
+with marvellous feats, but to delight the feelings. This principle I
+perfectly coincide with; yet I would observe, on the one hand, that
+certain artists will never be prevented from endeavouring to overcome
+difficulties, however apparently insurmountable, nor the public from
+applauding the happy result of their efforts: on the other hand,
+that the study of difficulties conduces to certainty in what is more
+simple. If any violinist can play, with perfect intonation, and in
+the prescribed time, the passages of Paganini’s concertos, he will
+necessarily attain imperturbable certainty in ordinary music.
+
+Is it imperative, I may ask, that these new and varied forms of
+passages in Violin concertos are to be excluded? Admirable in
+sentiment, as avowedly the concertos of Viotti are, their weakness
+consists in the monotony of the rapid passages--and the same may be
+said of nearly all other known concertos. Art is evidently limited in
+this species of composition, to things which cannot be considered as
+the last essay of the artist’s skill--more may be boldly attempted, and
+that by varied means. Let the happy darings of Paganini be studied, and
+it will be found that something is gained.
+
+[Illustration]
+
+
+
+
+FOOTNOTES
+
+
+[A] “Osservazzioni su due Violini esposti nelle sale dell’ I. R.
+Palazzo di Brera uno de’ quali di forma non commune.” Milan, 1832, in
+8vo.
+
+[B] “Mémoire sur la construction des instruments à cordes et à archet,
+lu à l’Academie des Sciences le 31 Mai, 1819.” Paris: Déterville. One
+vol. in 8vo.
+
+[C] “Nuova Teoria di Musica,” &c. Parma, 1812. 1 vol., in 8vo (page
+214). Gervasoni adds that no teacher could have conducted such an
+artist to the sublime height Paganini attained, and that nature alone
+could have directed him.
+
+[D] This circumstance in the life of Paganini made very little
+impression upon me when he related it to me, as I was only interested
+in his artistic career: later, this anecdote appeared important to
+establish the chronological order of his life, as will be hereafter
+seen.
+
+[E] Gervasoni, “Nuova Teoria di Musica,” page 103.
+
+[F] Gervasoni, “Nuova Teoria di Musica,” page 214.
+
+[G] “Vita di Paganini di Genova, scritta ed illustrata da Giancarlo
+Conestabile. Perugia, Tipografia di Vincenzo Bartilli, 1851.” 1 vol.,
+in 8vo, 317 pages.
+
+[H] Loc. cit.
+
+[I] From the sentiments which induced the Grand Duchess to overlook his
+insubordination, and from certain innuendoes which have escaped the pen
+of M. Conestabile, inferences may be drawn, which delicacy dictates
+should not be mentioned unreservedly.
+
+[J] An artist of great merit, author of several operas, and who
+continued the Requiem of Mozart.
+
+[K] Who subsequently became principal Violin soloist at the Chapel of
+the King of Saxony.
+
+[L] Tre Capricci per il Violino, dedicati al esimio professore Nicolo
+Paganini, da Carlo Lipinski. Leipzig: Breitkopf und Härtel, 1827.
+
+[M] M. Conestabile places Paganini’s first visit to Naples and Sicily
+immediately after the concerts at Rome during the Carnival, but I
+have found no traces of his having done so in the musical journals,
+the Italian newspapers, and the almanacks, of that period (1818).
+It would be difficult to understand that, in a short time, Paganini
+could have given several concerts at the Theatre Fondo, others at San
+Carlo, at Naples, then at Palermo; and that he should have left Upper
+Italy, Piedmont, and Tuscany, to return to Naples and Sicily in 1819.
+I believe his first visit to Naples only took place in 1819. In the
+months of December, 1818, and January, 1819, he gave four concerts
+at the Theatre Carignano of Turin; in the February following he gave
+concerts at Florence, and in June and July some at Naples.
+
+[N] M. Fétis ought by this time to be aware that an artist suffers
+from any of these difficulties in a less degree in England than in any
+country of Europe; in no part of the world is the true merit or just
+talent of a musician sooner discerned, or more justly rewarded, than in
+England; yet, at the same time, it must be conceded that charlatanism,
+both native and foreign, has long been rampant and held a sway, as
+far as music is concerned, in this country, quite revolting to a true
+artist.--_Translator’s Note._
+
+[O] Paganini in seinem Reisewagen und Zimmer, etc. Aus einem
+Reisejournale. Brunswick, 1830. 12mo.
+
+[P] Published by Schott & Co., Mayence and London.
+
+[Q] “Essai sur l’art de jouer du Violon, de Paganini.” Mayence e
+Londres, Schott & Co.
+
+
+
+
+Transcriber’s Notes
+
+
+Punctuation and spelling were made consistent when a predominant
+preference was found in this book; otherwise they were not changed.
+
+Simple typographical errors were corrected.
+
+Ambiguous hyphens at the ends of lines were retained.
+
+Uncaptioned “Illustration” indicators represent decorative headpieces
+and tailpieces; the two actual images are a portrait of Paganini and a
+photograph of his violin.
+
+
+
+
+
+End of the Project Gutenberg EBook of Biographical notice of Nicolo Paganini, by 
+François-Joseph Fétis
+
+*** END OF THIS PROJECT GUTENBERG EBOOK BIOGRAPHICAL NOTICE OF PAGANINI ***
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+<pre>
+
+The Project Gutenberg EBook of Biographical notice of Nicolo Paganini, by 
+François-Joseph Fétis
+
+This eBook is for the use of anyone anywhere in the United States and most
+other parts of the world 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.  If you are not located in the United States, you'll have
+to check the laws of the country where you are located before using this ebook.
+
+Title: Biographical notice of Nicolo Paganini
+
+Author: François-Joseph Fétis
+
+Release Date: October 28, 2018 [EBook #58184]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK BIOGRAPHICAL NOTICE OF PAGANINI ***
+
+
+
+
+Produced by Adrian Mastronardi, Charlie Howard, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+(This file was produced from images generously made
+available by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+</pre>
+
+
+<div id="i_paganini" class="figcenter" style="max-width: 27.25em;">
+  <img src="images/i002.jpg" width="436" height="600" alt="" />
+  <div class="caption">Paganini</div>
+</div>
+
+<h1>
+<span class="smaller wspace">BIOGRAPHICAL NOTICE</span><br />
+<span class="xxsmall">OF</span><br />
+<span class="gesperrt">NICOLO PAGANINI</span>,<br />
+<span class="xxsmall wspace">WITH AN</span><br />
+<span class="smaller bold">Analysis of his Compositions,</span><br />
+<span class="xxsmall wspace">AND A SKETCH OF</span><br />
+<span class="wspace smaller">THE HISTORY OF THE VIOLIN.</span></h1>
+
+<p class="center vspace xxlarge"><span class="xxsmall">BY</span><br />
+<span class="smcap">F. J. Fétis.</span></p>
+
+<p class="p2 center vspace wspace"><i>SECOND EDITION.</i><br />
+<span class="small">WITH PORTRAIT AND WOOD ENGRAVINGS.</span></p>
+
+<p class="p2 center vspace large"><span class="xsmall">LONDON:</span><br />
+<span class="bold">SCHOTT &amp; CO., 159, Regent Street, W.</span></p>
+
+<div class="smaller wspace">
+<p class="center"><span class="bold">Paris:</span><br />
+<span class="smcap">Maison Schott.</span></p>
+
+<p class="center"><span class="bold">Bruxelles:</span><br />
+<span class="smcap">Schott Frères.</span></p>
+
+<p class="center"><span class="bold">Mayence:</span><br />
+<span class="smcap">B. Schott’s Söhne</span></p>
+
+<p class="center"><span class="bold">Frankfort-o-M.:</span><br />
+<span class="smcap">Schott &amp; Co.</span></p>
+</div>
+
+<hr />
+
+<div class="chapter">
+<h2><a id="Index"></a><img src="images/small_i.jpg" width="24" height="24" class="dc-small" alt="" /><span class="dc-small first">I</span>ndex.</h2>
+</div>
+
+<table id="toc" summary="Index">
+  <tr class="small">
+    <td> </td>
+    <td class="tdr">PAGE</td></tr>
+  <tr>
+    <td class="tdl"><span class="smcap">Sketch of the History of the Violin</span></td>
+    <td class="tdr"><a href="#ch_1">1</a></td></tr>
+  <tr>
+    <td class="tdl"><span class="smcap">Art and Artists</span></td>
+    <td class="tdr"><a href="#ch_2">15</a></td></tr>
+  <tr>
+    <td class="tdl"><span class="smcap">Nicolo Paganini</span></td>
+    <td class="tdr"><a href="#ch_3">26</a></td></tr>
+  <tr>
+    <td class="tdl"><span class="smcap">Paganini Appreciated as a Composer. Analysis of his Works</span></td>
+    <td class="tdr"><a href="#ch_4">79</a></td></tr>
+</table>
+
+<h3><img src="images/small_i.jpg" width="24" height="24" class="dc-small" alt="" /><span class="dc-small first">I</span>llustrations.</h3>
+
+<div class="center"><div class="ilb">
+<p class="hang vspace">
+<span class="smcap"><a href="#i_paganini">Portrait of Paganini</a>, after Pommayrac, 1838.</span></p>
+
+<p class="hang vspace"><span class="smcap"><a href="#i_violin">Engravings from Photographs of Paganini’s Violin</a> in the
+Municipal Palace at Genoa.</span> (<i>From</i> “<span class="smcap">The Violin: its
+Famous Makers and their Imitators</span>,” <i>by kind permission
+of</i> <span class="smcap">Mr. G. Hart</span>.)
+</p>
+</div></div>
+
+<hr />
+
+<p><span class="pagenum" id="Page_1">1</span></p>
+
+<div id="ch_1" class="chapter">
+<div id="ip_1" class="figcenter" style="max-width: 29.3125em;">
+  <img src="images/i007.jpg" width="469" height="103" alt="" /></div>
+
+<h2 class="nobreak p2 vspace wspace"><a id="SKETCH_OF_THE_HISTORY_OF_THE_VIOLIN"></a>SKETCH OF THE<br /><span class="large">HISTORY OF THE VIOLIN.</span></h2>
+</div>
+
+<h2 class="nobreak p2"><img src="images/small_t.jpg" width="32" height="24" class="dc-small" alt="" /><span class="dc-small first">T</span>he <img src="images/small_i.jpg" width="24" height="24" class="dc-small" alt="" /><span class="dc-small first">I</span>nstrument.</h2>
+
+<div><img class="drop-cap" src="images/dc_d.jpg" width="30" height="50" alt="" /></div>
+<p class="drop-cap"><span class="allcaps">Despite</span> all contrary assertions, based upon pretended
+monuments, Oriental, Greek, and Roman antiquity was
+unacquainted with instruments played with a bow. Neither
+India nor Egypt furnish the least traces of them; nor do Greece
+and Italy; nor, in fact, does the whole of the old civilized
+world. As I stated in the “Résumé Philosophique de l’Histoire
+de la Musique,” the bow comes from the West; it was introduced
+into the whole of Europe by the western nations. Though
+Viols are found among the modern Arabs in Persia and Turkey,
+they were taken there by Europeans in the time of the Crusades.
+The Goudock of the Russian peasant, and the Crwth of the
+ancient Irish, appear to proceed from the highest antiquity, and
+to have been the type of instruments of this nature. The Irish
+chroniclers speak of musicians who, in the sixth century, were
+celebrated for their talent on the Crwth, a species of Viol with
+six strings; and Venance Fortunat, a Latin poet who wrote in
+609, states distinctly that this instrument belonged to Great
+Britain.</p>
+
+<p>It is not my intention to follow up here the various transformations
+of bow instruments in the middle ages; it will suffice
+to observe that there were frequent changes in them from the
+thirteenth to the sixteenth century; as much in the common
+kinds, vulgarly called in French Rebec, and in German Geige<span class="pagenum" id="Page_2">2</span>
+ohne Bunde (Violins without band or side pieces), which possessed
+only three strings, as in the improved Viols, the body of which
+was formed of belly and back joined by side pieces, as in our
+Violins, Tenors, and Basses. The smaller kinds also possessed
+only three strings; the larger kind had four; there were also
+others with five, six, and seven strings.</p>
+
+<p>In the middle ages, the Rebec, called Rubebbe, possessed but
+two strings. It is the same instrument which in Arabia acquired
+the name of Rebab. From the fifteenth century it is found with
+its three strings. This instrument took nearly the form of a
+mandoline; the neck and the body being formed of a single piece,
+the finger-board being as wide as the entire instrument, and
+reaching within a short distance of the bridge. No passage was
+left for the bow in the body of the instrument, but the body was
+very narrow, and the bridge formed a point for the middle string
+to rest upon, so that this string could be touched by the bow
+without touching the others. Like all instruments later than the
+fifteenth century, the Rebec was made of four different sizes, the
+smallest of which was called Discant, or upper; then followed, in
+progressively larger proportions, the Alto, the Tenor, and the Bass.
+The dancing-master’s Kit, of the latter years of the eighteenth
+century, was all that remained of the ancient Rebec.</p>
+
+<p>The Viol was called Vielle in the middle ages. This is the
+Viola of the Italians, and the Vihuela of the Spaniards. There
+were several kinds. As early as the fifteenth century, one of this
+kind had a flat belly, and a place for fixing the strings similar to
+that of the Guitar. As in the Lute, and all stringed instruments
+played with the fingers, the finger-board was divided into distances
+for placing the fingers. From the fifteenth century the
+bellies of Viols assumed the raised or vaulted form, the backs
+remaining flat. The cavities at the side, which had formerly been
+very large and straight, were made in the shape of a section of a
+circle, and were reduced to the dimensions necessary for the use
+of the bow. The raised bellies rendered it necessary to alter the
+bridge into the bridge-shape, so as to incline towards the ribs.
+Hence the term Bridge, which is called by the Italians, from its<span class="pagenum" id="Page_3">3</span>
+form, Ponticello. The divisions for the fingers on the finger-board
+were retained on the Viols up to the second half of the seventeenth
+century. During the fifteenth century the vaulted form of Viol
+possessed five strings; in the commencement of the sixteenth it
+had six. The first string was called in Italy Canto, the second
+Sotana, the third Mezzana, the fourth Tenore, the fifth Bordone,
+and the sixth Basso.</p>
+
+<p>The Viol was divided into three kinds, which were called
+Upper or Soprano, Tenor, and Bass. The Tenor was used also for
+playing the second upper part, or Alto; it was then tuned a note
+higher: the tuning of the upper Viol was, commencing from the
+first string, <span class="smcap smaller">D</span>, <span class="smcap smaller">A</span>, <span class="smcap smaller">E</span>, <span class="smcap smaller">C</span>, <span class="smcap smaller">G</span>, <span class="smcap smaller">D</span>; that of the Tenor tuned to Alto, <span class="smcap smaller">A</span>, <span class="smcap smaller">E</span>, <span class="smcap smaller">B</span>,
+<span class="smcap smaller">G</span>, <span class="smcap smaller">D</span>, <span class="smcap smaller">A</span>; the same instrument tuned to Tenor, <span class="smcap smaller">G</span>, <span class="smcap smaller">D</span>, <span class="smcap smaller">A</span>, <span class="smcap smaller">F</span>, <span class="smcap smaller">C</span>, <span class="smcap smaller">G</span>; and the
+Bass, <span class="smcap smaller">D</span>, <span class="smcap smaller">A</span>, <span class="smcap smaller">E</span>, <span class="smcap smaller">C</span>, <span class="smcap smaller">G</span>, <span class="smcap smaller">D</span>. At the commencement of the seventeenth
+century, the use of instruments specially for accompanying the
+voice became general; there was added to the other Viols a Double-Bass
+Viol, which was called Violone, that is, large Viol. This also
+had six strings, and was tuned a fourth lower than the Bass Viol,
+thus <span class="smcap smaller">A</span>, <span class="smcap smaller">E</span>, <span class="smcap smaller">B</span>, <span class="smcap smaller">G</span>, <span class="smcap smaller">D</span>, <span class="smcap smaller">A</span>. Prior to 1650, this instrument was rarely
+used in France, it was then called “Viole à la mode de Lorraine.”</p>
+
+<p>In imitation of the vaulted form of Viol, there was made,
+already in the fifteenth century, a small instrument of the same
+kind, which the Italians called Violino, that is, small Viol. This
+is the instrument which was called Violon in France, and Geige
+in Germany.</p>
+
+<p>It is probable that the Violin originally had the same number
+of strings as the other Viols; that these were tuned a fourth above
+the upper Viol, viz., <span class="smcap smaller">G</span>, <span class="smcap smaller">D</span>, <span class="smcap smaller">A</span>, <span class="smcap smaller">F</span>, <span class="smcap smaller">C</span>, <span class="smcap smaller">G</span>; and that the neck also
+possessed divisions for the fingers; but it was soon discovered
+that the finger-board of the Violin was not wide enough to allow
+any one to play with facility on so large a number of strings;
+and that the space for the fingers to produce the notes was too
+narrow to admit of divisions. These were removed; the strings,
+reduced to four, were tuned in fifths; making the first string <span class="smcap smaller">E</span>,
+as it is at the present day. It cannot be doubted that these
+improvements originated in France; for on reference to the<span class="pagenum" id="Page_4">4</span>
+list of instruments employed in the “Orfeo” of Monteverde, it will
+be seen that the Violin was called in Italy, at the end of the
+sixteenth century, and the beginning of the seventeenth, “Violino
+piccolo alla francese.”</p>
+
+<p>The oldest maker of Violins on record was a native of Brittany,
+named Jean Kerlin. He followed his trade about the middle of
+the fifteenth century. La Borde, author of the imperfect and voluminous
+“Essai sur la Musique,” relates that he saw in Brittany a
+Violin with four strings, the neck of which did not appear to have
+been changed, and which, instead of the ordinary tail-piece, had
+a small piece of ivory inlaid, pierced with four holes. This Violin
+was thus labelled, “Joann. Kerlino, anno 1449.” It was afterwards
+brought to Paris, and Koliker, a musical instrument maker of that
+city, had it in his possession in 1804. The belly was more raised
+than in good modern Italian Violins, and was not equally rounded
+at the upper and lower extremities; the sides were ill-formed and
+flattened. Its tone was sweet and muffled, and resembled that of
+instruments made by Antonio Amati at the close of the sixteenth
+century. After Jean Kerlin, there is a lapse of sixty years in the
+history of the manufacture of Violins, for the only maker of this
+instrument whose name has come down to us is Gaspard
+Duiffoprugcar, born in the Italian Tyrol, who commenced making
+his Violins at Bologna about 1510, working afterwards in Paris,
+and at Lyons. One Violin only of the large pattern which bears
+his name is in existence; it is dated 1539. The quality of tone
+of this instrument is powerful and penetrating, but when played
+upon for some time, it loses its intensity. Like an old man, it
+needs repose to recover its faculties. The scroll represents the
+head of a king’s jester, with a plaited frill. This Violin belonged
+to M. Meerts, formerly first solo violinist of the Theatre Royal,
+Brussels, and professor at the Conservatory of that city.</p>
+
+<p>Gaspard di Salo, thus called from being born in the small
+town of Salo, on the lake of Garda, in Lombardy, worked in
+the second half of the sixteenth century. He was specially celebrated
+for his Viols, Basses, and Double-Bass Viols, then more used
+than the Violin. Nevertheless, an excellent Violin of his make,<span class="pagenum" id="Page_5">5</span>
+dated 1576, was met with in a collection of valuable instruments
+which were sold at Milan in 1807; and the Baron de Bagge was
+in possession of one of which Rodolphe Kreutzer often spoke
+with admiration. These instruments, of rather a large pattern,
+possess a powerful tone, approximating to that of the Alto.</p>
+
+<p>Contemporaneously with Gaspard di Salo, the two brothers,
+Andrea and Nicolo Amati became famous for the excellence of
+their Viols and Bass Viols; they also made excellent Violins, the
+tone of which was mellow and agreeable, but they were wanting
+in power, like all the instruments made by the members of this
+family. Andrea and Nicolo, about 1570, made Violins of a large
+pattern for the chamber music of Charles IX. King of France.
+These instruments were remarkable for the beauty of their form,
+and perfection of finish. They were covered with an oil varnish,
+of a golden colour, shaded with red. Two of these were seen in
+Paris by Professor Cartier about 1810. The successors of Andrea
+and Nicolo Amati retained in the family the fame of those
+artists for more than a century and a half. Antonio, son of
+Andrea, Geronimo, his brother, and Nicolo, son of Geronimo, were
+instrument makers of high repute, but the sonority of their Violins
+and Basses, admirably adapted for the music of their time, is
+much too weak for the modern noisy system; however, Paganini
+possessed a Violin of Geronimo Amati, of large pattern, which he
+prized most highly.</p>
+
+<p>Two Italian makers were also famous at the beginning and
+towards the middle of the seventeenth century for their Violins:
+the first is Giovanni Paolo Maggini, who had an establishment at
+Brescia, his native town. His instruments are dated from 1612
+to 1640. The pattern of these Violins is generally very large;
+although there are some of the small size. The bellies are raised,
+the back, rather flat at the extremities, swells out exceedingly
+towards the sides, which are very wide; the curves being well
+rounded towards the angles. A double row of purfling runs
+round both belly and back, terminating in some instances in an
+ornament at the upper and lower parts of the back. Most of
+Maggini’s Violins are varnished with spirit of wine, of a deep gold<span class="pagenum" id="Page_6">6</span>
+colour. Their tone is less mellow than that of the Stradiuari, and
+less powerful than the Guarnieri; it has more analogy to the tone
+of the Viol, and its character is somewhat melancholic. The second
+maker of that period celebrated in Italy is Giovanni Granzino;
+he resided at Milan, and worked there from 1612 to 1635. His
+Violins, of large pattern, resemble those of Gaspard di Salo.</p>
+
+<p>The fame of Italy for the construction of bow instruments
+attained its zenith between the middle of the seventeenth century
+and the first half of the eighteenth. To this period belong the
+names of Stradiuari and Guarnieri. Antonio Stradiuari, better
+known under the Latinised name of Stradivarius, the most celebrated
+maker of Violins, Viols, and Basses, was born at Cremona
+in 1664; he reached his eighty-third year, working until his death
+in 1747. A pupil of the Amati, he worked a long time with
+them, and upon their models. Towards 1700 he left them, and
+from that time changed his proportions, increased his form,
+lowered the bellies, and was as fastidious in the degrees of thickness
+of the wood as he was in the choice of the wood he employed.
+Contrary to the principles of the older Italian masters,
+his thickness increased towards the centre, in order to give
+support to the bridge upon which the tension of the strings bears,
+and diminished gradually towards the sides of the instrument.
+All is calculated, in the works of this excellent artist, for the
+better production of tone. To these advantages are superadded
+equality in all the strings, grace of form, finish of details, and
+brilliancy of varnish. In a large concert room a good Violin of
+Giuseppe Guarnieri has more power of sonority; but in a drawing-room
+nothing can possibly equal the brilliant mellowness of a
+well-preserved Stradiuari. Unfortunately many have fallen into
+the hands of unskilful workmen for repairs.</p>
+
+<p>The family of the Guarnieri or Guarnerius has also become
+illustrious for the manufacture of bow instruments. This family
+was also originally of Cremona, and constantly resided there, with
+the exception of Pietro Guarnieri, who settled at Mantua, and
+still resided there in 1717. The most celebrated of these makers
+is Giuseppe Guarnieri, called in Italy “Guarnieri del Gesu,” from his<span class="pagenum" id="Page_7">7</span>
+Violins bearing the mark IHS. He was born at Cremona at the
+close of the seventeenth century. It is said that he learned his
+trade in the workshop of Stradiuari, but he never attained his
+master’s delicacy of finish; on the contrary, his work evinces very
+frequently great carelessness. His sound-holes, nearly straight
+and angular, are badly shaped; his purfling badly traced; in fact,
+his instruments carry no masterly appearance, and one is tempted
+to believe that the excellent quality of their tone arises more
+from the happy choice of material than from studied principles.
+Nevertheless, on close inspection, it is evident positive principles
+guided him in the construction of his instruments; he has copied
+no maker who preceded him. He had two patterns, one small,
+the other large. The instruments of small pattern are the most
+numerous, their bellies are slightly raised, and their thickness
+rather exceeds that of the Stradiuari. The large patterns which
+proceed from Giuseppe Guarnieri are few in number, and rarely
+met with. It was upon one of these Violins that Paganini played
+at all his concerts. The tone of these instruments is exceedingly
+brilliant, and carries to a great distance, but is less round and
+mellow than the instruments of Stradiuari, and pleases less near
+than at a certain distance.</p>
+
+<p>After Stradiuari and Giuseppe Guarnieri, the art seems to have
+remained at its highest point of excellence, and the Italian
+makers appear not to have sought to improve, contenting themselves
+with copying the one or the other of these masters.
+Lorenzo Guadagnini, a pupil of Stradiuari, copied the small pattern
+of his master. The first and second string of his Violins possess
+brilliancy and roundness, but the third is unfortunately muffled.
+He had a son, who worked at Milan until towards the end of
+1770, following the style of his father; but his instruments are
+less sought after. The Gagliani also copied the Stradiuari, but
+their instruments are far from equalling those of the master, doubtless
+from want of care in the selection of material. Ruggieri and
+Alvani copied the form of Giuseppe Guarnieri; they produced
+good Violins, which are less valuable, however, than the Stradiuari.</p>
+
+<p>The Tyrol lays claim to some excellent makers of bow instruments,<span class="pagenum" id="Page_8">8</span>
+the chief of whom is Jacob Stainer, who was born about
+1620, at Absom, a village near Inspruck. This celebrated maker,
+at three different periods, changed his make. Firstly, while pupil
+of the Amati of Cremona: the Violins of this period are admirably
+finished, and are extremely scarce. The belly is more
+raised than in the Amati, the scrolls longer and wider in the lower
+part. All the labels of these Violins are written and signed in his
+own handwriting. One of these magnificent instruments, dated
+1644, was the property of Gardel, ballet-master of the Opera at
+Paris, who performed upon it successfully in the ballet of “La
+Dansomanie.” Secondly, when established at Absom, after
+having married, he produced an immense number of instruments
+carelessly finished, from 1650 to 1667. However, after having
+led a life of poverty for several years, obliged to hawk his own
+Violins, which he sold for six florins each, he received orders from
+some noblemen, which improved his position. His genius from
+this period took a new flight, and he produced some splendid
+instruments, which are recognised by scrolls that represent heads
+of animals, by the close veining of the bellies, by the close and
+even small ribs, and by the varnish, resembling red mahogany
+faded by time into a brown colour. Stainer was assisted at this
+time by his brother Marcus, who later in life entered the order
+of the Brother Hermits, by the three brothers Klotz (Mathias,
+George, and Sebastian), and by Albani, all of whom were his
+pupils. The reproach attached to Stainer’s instruments of possessing
+a nasal tone applies only to this period, the labels of
+which are printed; there are, however, some admirable instruments
+of this time, which were in the possession of the violinist
+Ropiquet, of the Marquis de las Rosas, a grandee of Spain, of
+the Count de Marp, a Parisian amateur, and of Frey, an artist
+of the Opera, and publisher of music. There is an excellent
+Tenor of this period, formerly the property of M. Matrôt de
+Préville, governor of the port of L’Orient.</p>
+
+<p>The third period of Stainer’s career commences from his
+retiring into a convent after the death of his wife. In the tranquillity
+of the cloister, he determined to close his artistic life<span class="pagenum" id="Page_9">9</span>
+by the production of <i>chefs-d’œuvre</i>. Having obtained some
+wood of the first quality through the medium of his superior, he
+made sixteen Violins—models, combining every perfection; sent
+one to each of the twelve chiefs of electorates of the Empire, and
+presented the remaining four to the Emperor. Since then, these
+instruments are known under the name of Stainer-électeurs. Their
+tone is pure, metallic, and aerial, like the beautiful voice of a
+woman; they are graceful and elegant in form, exquisitely finished
+in all the details, and have a transparent varnish of a gold colour;
+such are the qualities which distinguish these productions of the
+third and last period of Stainer’s talent. The labels are in the
+hand-writing of this celebrated maker. Three of these rare
+instruments only are now to be met with; the fate of the others
+remains unknown. The first was given by the Empress Maria
+Theresa to Kennis, a Belgian violinist from Liège, after whose
+death it was taken to England, and became the property of Sir
+Richard Betenson, Bart. Another Stainer-électeur was purchased
+in Germany in 1771 by the Duke of Orleans, grandfather of King
+Louis Philippe, for the sum of 3,500 florins. Afterwards, this
+prince, having discontinued playing the Violin, gave it to the
+younger Novoigille, in token of the pleasure he experienced in
+hearing him accompany Madame de Montesson. This precious
+Violin became the property of the violinist Cartier in 1817; it was
+in the hands of this artist when I heard and saw it. The third
+Violin Elector was in the possession of the King of Prussia,
+Frederick William II.</p>
+
+<p>After leaving Stainer, the Klotz family copied his models of
+the second period, and these instruments are not unfrequently
+mistaken for those of the master; they are, however, readily distinguished
+by the varnish; that of Klotz, instead of a deep red,
+has a black ground shaded with yellow; the tone of Mathias
+Klotz’ instruments is silvery, but of little power. These artists
+produced many pupils in the Tyrol, who imitated the Cremona
+models; but these imitations are easily discoverable by the
+inferior quality of the wood, the varnish, which is very dark, and
+the tone, which is deficient in every quality.</p>
+
+<p><span class="pagenum" id="Page_10">10</span>
+The ancient manufacture of musical instruments in France,
+incontestably inferior to that of Italy, is represented, during the
+reigns of Henry the Fourth and Louis the Thirteenth, by Jacques
+Bocquay, born at Lyons, who settled in Paris; Pierret, his townsman,
+who produced more instruments, but of inferior finish;
+Antoine Despons, and Adrien Véron; these makers generally
+copied Amati. The Violins of the successor of Bocquay, Guersan,
+his pupil, are of small pattern, and finely finished. They have
+become extremely scarce; it is supposed that there are not more
+than twenty which can be considered as his own make; these are
+varnished in oil. The others were made in his workshop by his
+pupils; they are of inferior quality, and varnished in spirits of
+wine. The contemporaries of Guersan at Paris were Castagnery
+and Saint-Paul, whose Violins were formerly esteemed for accompaniment.
+After these came Salomon, whose instruments rivalled
+those of Guersan. Towards the end of the reign of Louis the
+Fourteenth, Lagetto enjoyed a certain reputation. As regards the
+ancient manufacture in the provinces of France, there is nothing
+which rises above mediocrity, with the exception of Médard, a
+contemporary of Geronimo Amati, whose models he copied. He
+lived at Nancy at the commencement of the seventeenth century.
+Lambert, surnamed “Charpentier de la Lutherie,” lived a century
+later in the same town. He produced nothing of any note.
+Saunier, his pupil, surpassed his master in finish; but in general
+Lorraine was the country of industry, not art.</p>
+
+<p>In the modern manufacture of instruments at Paris, Finth is
+specially distinguished. He was a German, who worked about
+1770, and followed the proportions of Stradiuari; all his Violins,
+varnished in oil, are finished with care. They were greatly
+sought after in the first instance, but a change of taste followed,
+and opinion fell into a contrary excess. After Finth came Picte, a
+pupil of Saunier, whose Violins were given as prizes to the pupils
+of the Conservatory of Paris, at the beginning of the present
+century; they have been esteemed of little value. Not so with
+Lupot, who came from Orleans to settle in Paris in 1794. He
+studied, with great perseverance, the proportions of Stradiuari,<span class="pagenum" id="Page_11">11</span>
+incontestably the best, and selected the finest wood that could
+be obtained. Lupot made the manufacture of Violins his great
+study, and their finish a work of love. They are highly esteemed,
+and stand next in value with artists to good Cremona instruments.</p>
+
+<p>Thus far we have only seen the manufacture of bow instruments
+cultivated by inspiration or by imitation; science was not
+brought to bear as an element in the construction of these instruments;
+but we have arrived at a period of transition in this
+respect, less perhaps, from the results obtained, than from the
+foundations which have been laid: and I will first advert to the
+several essays which have been made with the view of dispensing
+with certain portions of the instrument, considered as obstacles
+to the free production of vibration.</p>
+
+<p>The first essay of this kind was made in 1816 by François
+Chanot, the son of an instrument-maker of Mirecourt, afterwards
+an engineer in the navy. Convinced that the best means of producing
+vibration in all the various parts of the Violin was to
+preserve, as far as it was practicable, the fibres of the wood
+lengthwise, he concluded that the shoulders of the ordinary Violin,
+with their angles, were insuperable obstacles to a free and
+powerful quality of tone; he believed, also, that the hollowing out
+of the belly to give it the vaulted form was contrary to theoretical
+principles, and consequently a radical error. He was persuaded,
+moreover, that short fibres favoured the production of acute tones,
+and long fibres grave ones. Upon these principles he constructed
+a Violin, the belly of which was only slightly raised, the sound-holes
+nearly straight, and, in place of sloping the instrument after
+the ordinary form, he depressed the sides gradually, similar to the
+body of a Guitar. With a view of favouring as much as possible
+the vibration of the belly, he attached the strings to the lower part
+of it, instead of to the ordinary tail-piece. This done, Chanot submitted
+his Violin to the Academies of Sciences and Fine Arts of
+the French Institute, and a favourable report of the essay was
+published in the “Moniteur Universel” on the 22nd of August,
+1817. The judgment pronounced by these institutions has not
+been confirmed by the opinion of artists.</p>
+
+<p><span class="pagenum" id="Page_12">12</span>
+It is to be remarked, that what Chanot conceived to be a discovery
+was simply returning to the form of Viols of the middle
+ages; that the form had been adopted by able makers, and that
+there is still extant a Bass Viol of Gaspard di Salo, the angles of
+which are removed, in the possession of M. Frazzini at Milan;
+that another Bass of the same form, constructed by Pietro
+Guarnieri, belongs to M. Cappi at Mantua; and that M. de
+Rovetta of Bergamo, possesses an old Violin of the same form.
+The artists who made these essays discovered that the results did
+not answer their expectations.</p>
+
+<p>A retired officer of the Italian army, M. Galbussera, reproduced
+the pretended invention of Chanot in a Violin which he
+exhibited in the Palace of Brera at Milan in 1832. M. Antolini, of
+that city, a distinguished artist, criticised in a small pamphlet the
+false principle which led to this return to primitive forms.<a id="FNanchor_A" href="#Footnote_A" class="fnanchor">A</a></p>
+
+<p>Some years after Chanot’s Violin had been consigned to the
+department of the museum specially devoted to this object, Felix
+Savart, a physicist of eminence, struck with the discoveries of
+Chladni on the communication of vibrations and regularity of
+sonorous waves, devoted himself with great ardour to the application
+of these discoveries in the construction of bow instruments,
+and after several experiments, made with great sagacity, he arrived
+at the following deductions:—1st, When two or a larger number
+of bodies, whatever they may be, come into immediate contact,
+and one is directly put into motion, they all produce the same
+number of vibrations at the same time; 2nd, All these vibrations
+follow parallel directions; 3rd, The increase of the sound of any
+kind of body—for example of a string—depends upon the simultaneity
+of the vibrations of the bodies with which this string is in
+contact; and this increase is carried to its highest point when the
+bodies put into motion by communication are in such conditions
+that, if they were directly put into motion, they would produce
+the same number of vibrations as the body acted upon in the first
+instance.</p>
+
+<p><span class="pagenum" id="Page_13">13</span>
+The chief consequences of these principles are, that the
+vibrations produced by the strings of the Violin are communicated
+to the belly by the bridge, from the belly to the back by the
+sounding-post; and that the oscillations, in equal number, of all
+these bodies, cause equal vibration, and, by similar numbers of
+oscillations, to the mass of air held in suspension within the body
+of the instrument; hence it follows that the object in the construction
+of this sonorous box is to favour as much as possible
+the communication of the sound-waves, and to bring them into
+harmony. In seeking the application of this theory to the manufacture
+of bow instruments, Savart fell into error in the first
+pamphlet he wrote upon this subject,<a id="FNanchor_B" href="#Footnote_B" class="fnanchor">B</a> when he expressed the
+opinion that the curves, the angles, and the raised belly adopted
+by the old manufacturers could only have proceeded from the
+prejudices of routine; but he discovered this error while prosecuting
+the continuation of his studies, and he ultimately extolled
+the proportions of Stradiuari, which he first believed to be only
+favourable to good effects from considerations which the celebrated
+maker had not perceived.</p>
+
+<p>A manufacturer of the greatest intelligence, M. Vuillaume,
+sen., born at Mirecourt, and settled in Paris, devoted himself to
+the principles of constructing bow instruments, at the very time
+Savart was occupied in endeavouring to discover them. These
+two ingenious men, in constant communication with each other on
+this subject, reciprocally aided each other. The artist brought to
+the man of science the tribute of his experience, and the man of
+science to the artist the result of his meditations. Vuillaume had
+been for a lengthened period engaged in experiments on the
+density, homogeneity, and the elasticity of various woods, convinced
+of the importance of this matter for the solution of most of
+the problems of acoustics relative to the sonorous quality of
+instruments. He was thus enabled to discover the most suitable
+wood to be used in the repairing of ancient instruments, as
+regards their quality or their defects, and the most signal success<span class="pagenum" id="Page_14">14</span>
+crowned his researches. Many instruments of great price, after
+having been deteriorated by unskilful hands, recovered their former
+value through the ability of this distinguished maker. What he
+acquired in this respect, he applied to all instruments of his own
+manufacture, and his deep study of the proportions of the best
+ancient instruments, joined to his knowledge of the special nature
+of woods, and the laws of vibration, has enabled him to produce
+a multitude of very superior instruments, which require only time
+to be stamped with excellence.</p>
+
+<p>It will be seen, from what has been said, that the art of constructing
+bow instruments has departed from the prejudices of
+routine, working in the dark, and by imitation, to pursue the wake
+of science, of observation, and of calculation. There can be no
+doubt that this is a real progress; but to shield this progress from
+all contestation, the effect of time is requisite. To bring a good
+instrument to that state of equilibrium which will make its
+qualities manifest, on the one hand it is necessary that the
+materials employed in its construction should, for a lengthened
+period, be submitted to the action of the various states of temperature
+and atmosphere; and on the other, that the elasticity
+of its various parts should have been put for a long time into
+action, to acquire all its development.</p>
+
+<div id="ip_14" class="figcenter" style="max-width: 11.5625em;">
+  <img src="images/i020.jpg" width="185" height="107" alt="" /></div>
+
+<hr />
+
+<p><span class="pagenum" id="Page_15">15</span></p>
+
+<div id="ch_2" class="chapter">
+
+<div id="ip_15" class="figcenter" style="max-width: 29.6875em;">
+  <img src="images/i021.jpg" width="475" height="102" alt="" /></div>
+
+<h2 class="nobreak p2"><a id="Art_and_Artists"></a><img src="images/small_a.jpg" width="38" height="24" class="dc-small" alt="" /><span class="dc-small first">A</span>rt and <img src="images/small_a.jpg" width="38" height="24" class="dc-small" alt="a" /><span class="dc-small first">A</span>rtists.</h2>
+</div>
+
+<div><img class="drop-cap" src="images/dc_w.jpg" width="43" height="50" alt="" /></div>
+<p class="drop-cap"><span class="allcaps">When</span> singers possessed only part-songs, such as madrigals,
+and glees for four, five, or six voices, positive instrumental
+music was unknown. Instrumentalists played the voice
+parts in unison, either on bow instruments, or the Organ and
+Spinett, or on wind instruments, such as Oboes, Flutes, Horns,
+or Cromorns; for each instrument was then divided into upper,
+high, counter, tenor, and bass. The ricercari and dance tunes for
+four, five, or six Viols, formed the only instrumental music
+properly so called. Little skill was necessary in the execution,
+and artists required no greater amount of talent than the
+music itself displayed. As regards the Violin, few persons then
+cultivated it. In Italy one Giovanni Battista, surnamed Del
+Violino, is constantly cited, on account of his Violin performance.
+He lived in 1590. As regards Giulio Tiburtino and Ludovico
+Lasagrino, who were in high repute at Florence about 1540, and
+of whom Ganassi del Fontego speaks in his “Regola Rubertina,”
+they were performers on the Viol, and not Violinists. The same
+may be said of Beaulieu, Salmon, and others, who were at the
+court of France. According to Mersenne, the French distinguished
+themselves as violinists at the commencement of the
+seventeenth century. He speaks in terms of great praise of the
+elegant playing of Constantine, King of the Violins; of the
+vehement enthusiasm of Boccan; of the delicacy and expression
+of Lazarin and Foucard. These artists lived in 1630. However,
+France soon afterwards lost its superiority in that respect.
+In 1650, Father Castrovillari, a monk of Padua, became distinguished
+by his performance on the Violin, and by the music he
+wrote for that instrument. The art of executing difficulties upon
+it must have attained a high degree of progress in the north of<span class="pagenum" id="Page_16">16</span>
+Europe, even as far back as 1675, for Jean Jacques Walther,
+principal Violin soloist at the court of Saxony, published at this
+period several works, among which one is peculiarly remarkable,
+and bears for its title “Hortulus Chelicus” (Mayence, 1688, in
+oblong quarto of 129 pages), containing sonatas and serenades, to
+be performed on a single Violin, with double, triple, and quadruple
+strings. This work, which displays great invention, consists
+of twenty-four pieces. The title of the last may serve to show
+the novelties which Walther introduced to the art of playing the
+Violin: “Serenade for a chorus of Violins, Trembling Organ, small
+Guitar, Bagpipe, two Trumpets and Kettle Drums, German Lyre,
+and Muted Harp, for a single Violin.” The various effects of
+this piece for a single Violin prove that Walther was the Paganini
+of his day.</p>
+
+<p>Giovanni Battista Bassani, a Venetian composer, was a pupil of
+Castrovillari for the Violin, and became celebrated for the excellent
+style of his instrumental music. Among many other compositions
+of various styles, there is a set of his sonatas “da camera”
+for Violin and Bass, published in 1679, and thirteen sonatas for
+two Violins and Bass, excellent of their kind, and which fixed the
+style of music for bow instruments at the period at which they
+appeared. Bassani had the honour of being the master of
+Corelli, the great artist, possessed of immense talent, who by the
+elevation of his ideas, and the perfection of his style, placed
+himself at the head of the Violin School, and hastened the progress
+of the art considerably. Arcangelo Corelli, a name justly
+celebrated in the annals of music, will descend to ages unborn
+without losing a particle of its glory, whatever revolutions may be
+effected in the domains of art. The great artist who bore that
+name, no less celebrated for his compositions than for his marvellous
+execution at that period, was born in 1653, at Fusignano,
+a small town in the States of the Church, and died at Rome, on
+the 18th of January, 1713. His contemporaries were not jealous
+of his glory, for the whole of Europe welcomed his talent with
+unanimous acclamations; his countrymen deposited his remains
+in the Pantheon, and erected a monument to him close to that<span class="pagenum" id="Page_17">17</span>
+of Raphael. At the expiration of a century and a half, Corelli is
+still considered as the primitive type of the best Violin schools;
+and although the art has been enriched by many effects unknown
+in his day; although its mechanism has attained a high degree of
+perfection, the study of his works is still one of the best for the
+acquirement of a broad and majestic style. His fifth work, composed
+of twelve sonatas for the Violin, with the continued Bass
+for the Harpsichord, printed at Rome in 1700, is a masterpiece
+of its kind.</p>
+
+<p>The art of playing the Violin, and the composition of music
+for this instrument, continued during the whole of the eighteenth
+century to progress rapidly. At the commencement of this century
+in almost every town of Italy, a distinguished violinist was met
+with. The genius of Corelli roused that of every artist. At Pisa,
+Costantino Clari, equally remarkable as composer and executant;
+at Florence, Francesco Veracini; at Bologna, Geronimo Laurenti;
+at Modena, Antonio Vitali; at Massa di Carrara, Cosmo Perelli
+and Francesco Ciampi; at Lucca, Lombardi; at Cremona, Visconti,
+whose counsels greatly aided Stradiuari in the manufacture of his
+instruments; at Pistoia, Giacopino; at Naples, Michaele Mascitti.
+Others, as Matteo Alberti, Tommaso Albinoni, Carlo Tessarini,
+and Antonio Vivaldi, all pupils of Corelli, were in their day not
+only <i>virtuosi</i> of the first order, but admirable writers of instrumental
+music. Vivaldi was one of those predestined artists who
+impress upon the art of their time a new direction. To him may
+be attributed the first improvement of the concerto; for the
+<i>concerto grosso</i> of Corelli is a work in which all the parts agree
+together, and each in turn partakes of its interest. “L’Estro
+Armonico” of Vivaldi, composed of twelve concertos for four
+Violins, two Viols, Violoncello, and Thorough-Bass for the Organ,
+follows this model; but in his sixth, seventh, eighth, ninth, tenth,
+eleventh and twelfth work, the genius of the author takes another
+flight, and although there is no division of <i>solo</i> and <i>tutti</i>, the principal
+Violin part governs all the rest. The melodies of Vivaldi
+bear a modern complexion that Somis and Geminiani imitated.</p>
+
+<p>Among the above-mentioned galaxy of distinguished talent,<span class="pagenum" id="Page_18">18</span>
+the model violinist of the first half of the eighteenth century was
+Giuseppe Tartini, born at Pirano, in Istria, on the 12th of April,
+1692. His early days were beset with difficulties, but having
+had the opportunity of hearing the celebrated violinist, Veracini,
+who happened to be at Venice when he was there, his vocation
+revealed itself. He withdrew to Ancona to practise uninterruptedly;
+and he applied himself in solitude more especially to
+the fundamental principle of bow movements, principles which
+have since served as the basis of every Violin school of Italy and
+of France. Settled in Padua in 1721, as principal soloist and
+chapel master of the celebrated church of St. Anthony, he passed
+forty-nine years of peace and comfort, solely occupied with the
+labours of his art, and died there on the 16th of February, 1770.
+In 1728, he established a school in that city, which became
+famous throughout Europe, and from which issued a multitude of
+violinists, among whom the following may be cited: Nardini,
+Pasqualino Bini, Alberghi, Domenico Ferrari, to whom is
+attributed the invention of harmonic sounds, Carminati, Capuzzi,
+Madame de Sirmen, and the French violinists, Pagin and La
+Houssaye. Tartini not only contributed towards perfecting the
+art of playing the Violin by his compositions for that instrument,
+but by the pupils he formed. His style is generally
+elevated; his ideas varied, and his harmony pure without being
+dry. The number of his published concertos and manuscripts
+amounts to nearly one hundred and fifty. There are also nearly
+fifty sonatas of his, among which is his “Sonata del Diavolo,”
+the anecdote of which is not dissimilar to that told of Paganini.
+Tartini thus related it:—“One night in 1713, I dreamt that I had
+entered into a compact with the devil, who was to be at my
+service. All succeeded to my utmost desires. My wishes were
+always anticipated, my desires surpassed, by the services of my
+new domestic. I thought of giving him my Violin, with the view
+of discovering whether he would play some fine things upon it;
+but what was my surprise when I heard a sonata so exquisitely
+beautiful and original, executed with such consummate skill and intelligence,
+that my deepest conceptions could not find its parallel.<span class="pagenum" id="Page_19">19</span>
+Overcome with surprise and pleasure, I lost my breath, which
+violent sensation awoke me. I instantly seized my Violin in the
+hope of remembering some portion of what I had heard, but in
+vain. The piece which this dream suggested, and which I wrote
+at the time, is doubtless the best of all my compositions, and I
+still call it “Sonata del Diavolo,” but it sinks so much into insignificance
+compared with what I heard, that I would have broken
+my instrument and abandoned music for ever, had my means
+permitted me to do so.”</p>
+
+<p>Among the pupils of Corelli, one of the most distinguished was
+Geminiani, who was born at Lucca, about 1680. Having terminated
+his studies under this celebrated master, he went to England
+in 1714, made some good pupils there, and died in Dublin, the
+17th of September, 1762, in his eighty-third year. His execution
+was brilliant and solid, but his compositions were wanting in
+imagination, being only a weak imitation of Vivaldi’s style. Somis,
+another pupil of Corelli, was born in Piedmont, towards the close
+of the seventeenth century, and had visited Rome and Venice in
+his youth, for the purpose of learning under the <i>virtuosi</i> of that
+period. Corelli made him study his sonatas, and Somis at first
+became attached to his style, but when he heard Vivaldi, he
+modified his style, and copied him in his compositions. Somis
+was the founder of the Piedmontese Violin school, which, after
+the death of Tartini, greatly influenced the art of playing upon
+this instrument. Baptiste Anet, better known as Baptiste, who
+received lessons from Corelli, came to Paris about 1700, and was
+considered a prodigy, not at all surprising at a period when,
+according to Lully, “the best violinists of the opera, and of the
+king’s band, were incapable of playing their parts without
+previous study.” Rather a mediocre musician, Baptiste made but
+one pupil, Senaillé, so that he effected no improvement in the
+formation of a French school of violinists. Besides, he resided
+only five years in Paris, having accepted a position in Poland
+which was offered to him.</p>
+
+<p>The glory of laying the foundation of a Violin school in France
+was reserved for Jean Marie Leclair, pupil of Somis, and a celebrated<span class="pagenum" id="Page_20">20</span>
+violinist. He was born at Lyons in 1697. He at first used
+the Violin as a dancing master, for in his youth he appeared as a
+dancer at Rouen; but having been engaged as ballet-master at
+Turin, Somis, who was pleased at hearing him play some dance
+tunes, gave him lessons, by which he made rapid progress. After
+two years’ study, the pupil surpassed the master. Leclair continued
+his practice perseveringly, and ultimately became a celebrated
+performer. Arriving in Paris in 1729, he was engaged in
+the orchestra of the Opera, and afterwards in the king’s band.
+The pupils he formed, and the publication of his sonatas, his
+duets, and trios, are the starting points of the school of French
+violinists. Jean Baptiste Senaillé had also some part in influencing
+the first development of this school. Born in Paris, the 23rd
+of November, 1687, he took lessons from Queversin, one of the
+twenty-four violinists of the king’s great band, and afterwards
+became the pupil of Baptiste Anet. The great fame of the
+Italian violinists of that period induced him to proceed to
+Modena, where he received lessons from Antonio Vitali. He
+produced a great sensation in that city, and became attached to
+the Court, through the influence of the Grand Duchess. Returning
+to Paris in 1719, he made some excellent pupils, among
+others Guignon, and probably Guillemain, who obtained a
+certain degree of celebrity for some admirable sonatas for the
+Violin.</p>
+
+<p>Of all Corelli’s pupils, the one who departed the most from
+his master’s style, and by his daring arrived at most extraordinary
+results, was Pietro Locatelli, justly celebrated as a
+violinist, born at Bergamo in 1693. He could have received but
+few lessons from his illustrious master, being scarcely sixteen years
+of age when Corelli died. Bold and original, he invented new
+combinations in tuning the Violin, in double notes, arpeggios, and
+harmonic sounds. The most important work in which he put
+forth the result of his discoveries in these various matters, bears
+the title of “Arte de nuova modulazione.” The French editions
+of this work are entitled “Caprices énigmatiques.” If Locatelli,
+who died in Holland in 1764, did not produce many pupils, he<span class="pagenum" id="Page_21">21</span>
+had many imitators, Lolli, Fiorillo, and above all, Paganini, whose
+talent was the most complete development of this model.</p>
+
+<p>The Piedmontese school, founded by Somis, was destined to
+become the most fruitful in first-class talent. Besides Leclair, his
+nephew Schabran, or Chabran, became celebrated at Paris in
+1751. Giardini, a model of grace, and above all Pugnani, who,
+endowed with a highly developed organisation, exercised a great
+influence upon the art, by the grandeur of his executive style, the
+variety of his bowing, and the improvements he introduced into
+the form of the concerto, as regards the effect of solos. Having
+become the leader of the Piedmontese school, Pugnani arrived at
+the zenith of his glory in maturing and forming the purer,
+beautiful, and brilliant talent of Viotti, who subsequently became
+both the model and despair of the violinists of every country.</p>
+
+<p>Contemporary with Pugnani, Gaviniès effected for the French
+school at Paris what the Piedmontese violinist effected at Turin
+for the Italian school. Mechanism of the bow, which renders
+every difficulty easy, perfect intonation, imposing style, expression
+replete with charm and feeling; such were the qualities which
+excited Viotti when he heard Gaviniès, whom he called “le
+Tartini français.” The talent of this artist was especially appreciated
+at its full value upon various occasions at concerts of
+sacred music, where other violinists of incontestable merit had
+performed. He bore away the palm after contesting it with
+Pugnani, Domenico Ferrari, and John Stamitz.</p>
+
+<p>The arrival of Viotti in Paris produced a sensation difficult to
+describe. No performer had been heard who had attained so
+high a degree of perfection—no artist had possessed so fine a
+tone, such sustained elegance, such fire, and a style so varied.
+The fancy which was developed in his concertos increased the
+delight he produced in his auditory; his compositions for the
+Violin were as superior to those which had been previously heard
+as his execution surpassed that of all his predecessors and rivals.
+When this beautiful music became known, the rage for the concertos
+of Jarnowick became extinct, and the French school adopted more
+enlarged views. Viotti made few pupils; but there was one who<span class="pagenum" id="Page_22">22</span>
+alone was worth an entire school: Rode, who possessed all the
+brilliant qualifications of his master. There are few alive at the
+present day who have heard this artist in his prime, when he
+played at the concerts in the Rue Feydeau and at the Opera; but
+those artists who did will never forget the model of perfection
+which entranced them. It is an interesting remark, which I
+deem it a duty to make, that from Corelli to Rode there is no
+hiatus in the school—for Corelli was the master of Somis, Somis
+of Pugnani, Pugnani of Viotti, and Viotti of Rode.</p>
+
+<p>When the talent of Rode was at its zenith, two other violinists
+rendered the French school illustrious. First, Rodolphe Kreutzer,
+the son of one of the Court musicians, who was born at Versailles
+in 1766, and was a pupil of Anthony Stamitz, a German violinist,
+who founded a school. Kreutzer at first adopted the narrow
+style of his master; but, under the guidance of Gaviniès, and
+after hearing Viotti, his method became broader, more brilliant,
+and bold beyond conception. His tone was full rather than
+mellow; and his manner of expression less remarkable than his
+mastery of difficulties. His great quality was originality, being
+no follower of any system, and obeying only the impulsion of his
+own energetic sensibility. Kreutzer founded a school, and made
+many pupils, who have taken advantage of his qualities, and who
+generally, are remarked for their brilliancy of execution.</p>
+
+<p>Baillot, of whom I have still to speak, was not only a great
+violinist by the readiest and most varied mechanism imaginable,
+but he was a poet by his exquisite feeling for the beauties of
+music and his ready conception of the style necessary for imparting
+the true character of each composition. Pollani, pupil of
+Nardini, was one of Baillot’s masters; but the immense natural
+talent of Baillot formed the rich basis of his own fancy; a great
+solo performer, he never went to the extent of his vast capabilities,
+if the work he was to interpret failed to awaken his
+appreciation. At the Opera, where he was engaged to play the
+solos for dancing, he was only the shadow of himself; but when at
+annual meetings for the performance of quartetts and quintetts,
+with the genius of Boccherini, of Haydn, of Mozart, and of<span class="pagenum" id="Page_23">23</span>
+Beethoven, his enthusiasm was aroused; he became sublime and
+unequalled for his varied accentuation, the various shadings of
+expression, and the poetry of his ideas. His bow was magical;
+and every note under his fingers became an eloquent inspiration.
+Baillot was not only a great violinist—he was a great professor.
+The number of excellent violinists who were his pupils is considerable.
+His school produced Habeneck and Mazas—both of
+whom were eminent artists. Having become professor at the
+Conservatory of Paris, and the successor of his master, Habeneck
+produced some clever pupils, at the head of whom stands M.
+Alard, the present chief of the French school.</p>
+
+<p>Lafont, too, one of the bright glories of the French school
+of violinists, was, at first, the pupil of Kreutzer. Dissatisfied
+with the style of his master, which did not sympathise with his
+own, he joined the school of Rode, which seemed formed for the
+development of his own qualities, combining grace, purity,
+elegance, and charm—qualities which, subsequently, with study,
+rendered him a perfect master of his art. The perfection of his
+intonation was so certain—the style of his bowing so seductive—his
+taste so exquisite in his ornament—that, if the sentiment
+of grandeur left anything to be desired, it was scarcely perceptible,
+it was lost in the rapture created by his grace and delicacy.</p>
+
+<p>A new school has been formed. I allude to the Belgian
+school for the Violin, which numbers a nation of heroes, the
+chiefs of whom are De Bériot and Vieuxtemps; but, convinced
+that the history of one’s friends is as difficult to write as that of
+one’s enemies, I shall leave to future historians the agreeable task
+of handing down to posterity the names of these glories of their
+country.</p>
+
+<p>Germany has produced several schools of violinists, whose
+principal qualities have been perfect intonation and neat execution;
+but which in the eighteenth century, especially, wanted a
+more powerful tone and broadness of execution. The prodigies
+invented by Walther in the seventeenth century, seem not to have
+left any traces. Italy and Bohemia were the cradles of two
+schools of German violinists, from whence the others proceeded.</p>
+
+<p><span class="pagenum" id="Page_24">24</span>
+Corelli, who disseminated everywhere the effects of his
+powerful influence, was first violinist in the chapel of the
+Margrave of Anspach, in 1699, when Pisendel, then choir-boy,
+became his pupil, and made such progress under his guidance,
+that he became first violinist of the chapel in 1702. This
+Pisendel, having become an eminent violinist, was attached to the
+Court of Saxony as master of the concerts, and opened, at
+Dresden, a school for the Violin. All the traditions of his master
+were transmitted to his pupils, but with the mannerism that was
+in vogue at the Court of Dresden. It was here the talent of
+Johann Gottlieb Graun, brother of the celebrated composer of
+that name, and master of the concerts of Frederick the Great, King
+of Prussia, was formed. Graun possessed sterling talent, of which
+he afforded many proofs, both by the pupils he made and by
+twenty-nine concertos for the Violin in manuscript, some of which
+I have seen, and which evince a remarkable degree of cleverness.
+In his youth, when he left the school of Pisendel, he went to
+Italy, and there received lessons from Tartini, whose style he
+adopted.</p>
+
+<p>The school for the Violin founded in Bohemia, commenced
+by Konieseck of Prague. Konieseck is only known as having
+been the master of Francis Benda, a great artist, born at
+Althenatka, in Bohemia, the 23rd of November, 1709. His first
+master was a blind Jew, of the name of Lœbel, a very eminent
+violinist. He subsequently became the pupil of Konieseck, and
+acquired his brilliant style, though deficient in tone, which he
+transmitted to all his pupils. The school of Benda, from which
+proceeded his two sons, Ramnitz, Rust, Matthes, and several
+others, was celebrated for a long period in Germany. From this
+school came most of the Saxon and Prussian violinists. Benda,
+after the death of Graun, succeeded him as master of the concerts
+at the Court of Prussia in 1772, and died at Potsdam in 1786.</p>
+
+<p>John Charles Stamitz, a remarkable violinist, and distinguished
+composer, emanated from Bohemia; he was born in 1719,
+his Violin master was a monk of the Abbey of Reichenau, the
+Father Czernohorsky. Being in the service of the Palatinate<span class="pagenum" id="Page_25">25</span>
+Elector in 1745, Stamitz became the founder of the celebrated
+school of Mannheim, which produced the greater number of the
+German violinists of later days. The concertos of Stamitz, and a
+duet for one Violin, several times published, would alone suffice
+to prove the great capabilities of this artist: even did his pupils
+not bear evidence in favour of this judgment. Among his pupils
+were his two sons, Charles and Anthony, Canabich, Foerster,
+and several others. Christian Canabich succeeded his master;
+and his pupils were William Cramer, Danner, Ignace Fraenzel,
+all of whom were distinguished artists, but of different styles.
+Cramer and Danner possessed broadness in the style of bowing,
+but Fraenzel was a graceful and elegant performer, though his
+tone was somewhat thin. A pupil of Danner, John Frederick
+Eck, born at Mannheim in 1766, became a brilliant violinist of
+this school. This artist, director of the concerts of the Court of
+Munich, was the master of Spohr—at least, as far as talent can be
+formed, until individual organisation and meditation receive the
+stamp of personality. Louis Spohr has founded a Violin school
+in Germany, on a more extended and more vigorous scale than
+those of his predecessors. When Paganini heard him at Venice,
+he spoke of him in unqualified terms of approbation. This
+worthy artist has formed many pupils, who occupy most
+honourable positions in the large cities, and he has exposed the
+principles of his school in an extensive work, published by
+Haslinger, of Vienna, and subsequently translated into French
+and English.</p>
+
+<div id="ip_25" class="figcenter" style="max-width: 15.3125em;">
+  <img src="images/i031.jpg" width="245" height="153" alt="" /></div>
+
+<hr />
+
+<p><span class="pagenum" id="Page_26">26</span></p>
+
+<div id="ch_3" class="chapter">
+<div id="ip_26" class="figcenter" style="max-width: 29.3125em;">
+  <img src="images/i032.jpg" width="469" height="101" alt="" /></div>
+
+<h2 class="nobreak p2"><a id="Nicolo_Paganini"></a><img src="images/small_n.jpg" width="37" height="24" class="dc-small" alt="" /><span class="dc-small first">N</span>icolo <img src="images/small_p.jpg" width="34" height="24" class="dc-small" alt="" /><span class="dc-small first">P</span>aganini.</h2>
+</div>
+
+<div><img class="drop-cap" src="images/dc_g.jpg" width="25" height="50" alt="" /></div>
+<p class="drop-cap"><span class="allcaps">Genius</span>—talent, whatever its extent—cannot always count
+upon popularity. Susceptibility of the highest conceptions
+of the most sublime creations, frequently fail in securing
+the attention of the multitude. How is this most coveted point
+to be attained? It would be difficult to arrive at any precise
+conclusion, from the fact that it applies to matters totally differing
+from each other; it is, however, perhaps possible to define the
+aggregation of qualities required to move the public in masses, by
+calling it “sympathetic wonderment.” Fortunate boldness is its
+characteristic mark; originality its absolute condition. The most
+renowned popularities of the nineteenth century have each differed
+in their specialty,—Napoleon Bonaparte, Rossini, and Paganini.
+Many other names, doubtless, recall talents of the finest order,
+and personalities of the highest value; yet, notwithstanding their
+having been duly appreciated by the intelligent and enlightened
+classes, they have not called forth those outbursts of enthusiasm
+which have been manifested towards others during an entire
+generation. The truly popular name appears surrounded by its
+prestige, even to the lowest degrees of the social scale; such was
+the case with the prodigious artist who is the object of this notice.</p>
+
+<p>Nicolo Paganini, the most extraordinary—the most renowned
+violinist of the nineteenth century—was born on February the 18th,
+1784. His father, Antonio Paganini, a commercial broker, or
+simply a broker’s clerk, according to some biographers, was passionately
+fond of music, and played upon the mandoline. His
+penetration soon discovered the aptitude of his son for this art.
+He resolved that study should develope it. His excessive<span class="pagenum" id="Page_27">27</span>
+severity would have probably led to results contrary to those he
+expected, had not the younger Paganini been endowed with the
+firm determination of becoming an artist. From the age of six
+years he was a musician, and played the Violin. The lessons he
+received from his father, as may be presumed, were not given in
+the most gentle manner. The ill-treatment to which he was
+subjected during this period of his youth, appears to have
+exercised a fatal influence upon his nervous and delicate constitution.
+From his first attempts he was imbued with the disposition
+to execute feats of strength and agility upon his instrument. His
+instinct urged him to attempt the most extraordinary things; his
+precocious skill exciting the astonishment of his young friends.
+His confidence in the future was not to be shaken, from the fact
+of his mother saying to him one day, “My son, you will be a
+great musician. An angel, radiant with beauty, appeared to me
+during the night, and, addressing me, spoke thus: ‘If thou
+wouldst proffer a wish, it shall be accomplished.’ I asked that
+you should become the greatest of all violinists, and the angel
+promised the fulfilment of my desire.”</p>
+
+<p>His father’s lessons soon became useless, and Servetto, a
+musician of the theatre, at Genoa, became his teacher; but even
+he was not possessed of sufficient ability to be of benefit to this
+predestined artist. Paganini received his instructions for a short
+period only, and he was placed under Giacomo Costa, director of
+music, and principal violinist to the churches of Genoa, under
+whose care he progressed rapidly. He had now attained his
+eighth year, when he wrote his first sonata, which he unfortunately
+took no care of, and has been lost among many other of
+his productions. His countryman, Gnecco, a distinguished composer,
+encouraged the visits of the boy, and tendered counsel
+which doubtless aided him materially in his progress. Costa only
+gave him lessons for six months, during which period he obliged
+his pupil to play in the churches. But the master’s instructions
+were not at all satisfactory to the pupil, who had already conceived
+a method of fingering and bowing.</p>
+
+<p>Having reached his ninth year, the young <i>virtuoso</i> appeared in<span class="pagenum" id="Page_28">28</span>
+public, for the first time, in a concert at the large theatre of his
+native town, given by the excellent soprano Marchesi, with the
+vocalist Albertinatti. These two artists sang subsequently at a
+concert for Paganini’s benefit, and in both these instances this
+extraordinary child played variations of his own composition on
+the French air, “la Carmagnole,” amid the frenzied acclamations
+of an enthusiastic audience. About this period of his life the father
+was advised, by judicious friends, to place the boy under good
+masters of the Violin and composition; and he shortly after took
+him to Parma, where Alexandro Rolla then resided, so celebrated
+for his performance, as conductor of the orchestra, and as a composer.
+Paganini was now twelve years of age. The following
+anecdote, related by M. Schottky, and which Paganini published
+in a Vienna journal, furnishes interesting details of the master’s
+first interview with the young artist:—“On arriving at Rolla’s
+house, he said, we found him ill, and in bed. His wife conducted
+us into a room adjoining the one where the sick man lay, in order
+to concert with her husband, who, it appeared, was not at all disposed
+to receive us. Perceiving upon the table of the chamber
+into which we were ushered a Violin, and the last concerto of
+Rolla, I took up the Violin and played the piece at first sight.
+Surprised at what he heard, the composer inquired the name of
+the <i>virtuoso</i> he had just heard. When he heard it was only a
+mere lad, he would not give credence to the fact unless by ocular
+demonstration. Thus satisfied, he told me, that he could teach
+me nothing, and recommended me to take lessons in composition
+from Paër.” The evident desire evinced by Paganini to refute
+the supposition of his having received lessons from Rolla, is a
+singularity difficult to account for. Gervasoni, who knew him at
+Parma at this period, affirms<a id="FNanchor_C" href="#Footnote_C" class="fnanchor">C</a> that he was the pupil of Rolla for
+several months. However, it was not Paër, then in Germany,
+who taught Paganini harmony and counterpoint, but Ghiretti, who<span class="pagenum" id="Page_29">29</span>
+had directed the studies of Paër himself. During six months this
+precocious artist received three lessons weekly, and specially
+applied himself to the study of instrumentation. Even now
+Paganini was occupied in discovering new effects on his instrument.
+Frequent discussions took place between him and Rolla
+on the innovations which the young artist contemplated, and
+which he could, at this period, only execute imperfectly, whilst the
+severe taste of his master deprecated these bold attempts, except
+for the sake of occasional effects. It was, however, only after his
+return to Genoa, that Paganini wrote his first compositions for the
+Violin. This music was so difficult that he was obliged to study
+it himself with increasing perseverance, and to make constant
+efforts to solve problems unknown to all other violinists. He was
+seen to have tried the same passage in a thousand different ways
+during ten or twelve hours, and to be completely overwhelmed
+with fatigue at the end of the day. It is by this unexampled
+perseverance that he overcame difficulties which were considered
+insurmountable by contemporary artists, when he published a
+specimen in the shape of a collection of studies.</p>
+
+<p>Quitting Parma, at the commencement of 1797, Paganini
+made his first professional tour with his father through all the
+principal towns in Lombardy, and commenced a reputation which
+increased daily from that period. On his return to Genoa, and
+after having, in solitude, made the efforts necessary for the
+development of his talent, he began to feel the weight of the
+chain by which he was held by his father, and determined to
+release himself from the ill-treatment to which he was still
+subjected under the paternal roof. His artistic soul revolted at
+this degrading slavery, and felt that some respect was due to him.
+A favourable opportunity alone was required to execute his design.
+This soon presented itself. The fête of St. Martin was celebrated
+annually at Lucca by a musical festival, to which persons flocked
+from every part of Italy. As this period approached, Paganini
+entreated his father to permit him to attend it, accompanied by
+his elder brother. His demand was at first met with a peremptory
+refusal; but the solicitations of the son, and the prayers of<span class="pagenum" id="Page_30">30</span>
+the mother, finally prevailed, and the heart of the young artist, at
+liberty for the first time, bounded with joy and he set out
+agitated by dreams of success and happiness. At Lucca he was
+received with enthusiasm. Encouraged by this propitious débût,
+he visited Pisa, and some other towns, in all of which his success
+was unequivocal. The year 1799 had just commenced, and
+Paganini had not attained his fifteenth year. This is not the age
+of prudence. His moral education had been grossly neglected,
+and the severity which assailed his more youthful years, was not
+calculated to awaken him to the dangers of a life of freedom.
+Freed from restraint, and relishing the delights of his new-born
+independence, he formed connections with other artists, whose sole
+abilities seemed to consist in encouraging a taste for gambling in
+young men of family and means, and turning the tables upon
+them to their own advantage. Paganini, in this manner, frequently
+lost the produce of several concerts in one night, and was
+consequently often in a state of great embarrassment. His talent
+soon procured fresh resources, and time passed gaily enough,
+alternately between good and bad fortune. He was frequently
+reduced, by distress, to part with his Violin. In this condition he
+found himself at Leghorn, and was indebted to the kindness of a
+French merchant, (M. Livron), a distinguished amateur, for the
+loan of a Violin, an excellent Guarnieri. When the concert had
+concluded, Paganini brought it back to its owner, when this
+gentleman exclaimed, “Never will I profane strings which your
+fingers have touched; that instrument is now yours.” This is the
+Violin Paganini afterwards used in all his concerts. A similar event
+occurred to him at Parma, but under different circumstances.
+Pasini, an eminent painter, and an excellent amateur performer
+on the Violin, had disbelieved the prodigious faculty imputed
+to Paganini, of playing the most difficult music at first sight,
+as well as if he had maturely studied it. He brought him
+a manuscript concerto, containing the most difficult passages,
+imagined almost by every performer as insurmountable, and
+placing in his hands an excellent instrument of Stradiuari, added,
+“This instrument shall be yours, if you can play, in a masterly<span class="pagenum" id="Page_31">31</span>
+manner, that concerto at first sight.” “If that is the case,”
+replied Paganini, “you may bid adieu to it,” and he forthwith,
+by his exquisite performance of the piece, threw Pasini into
+extatic admiration.</p>
+
+<p>Adventures of every kind characterise this period of Paganini’s
+early days; the enthusiasm of art, love, and gambling, divided his
+time, despite the warnings of a delicate constitution, which
+proclaimed the necessity of great care. Heedless of everything,
+he continued his career of dissipation, until the prostration of all
+his faculties forced a respite. He would then lie up for several
+weeks, in a state of absolute repose, until, with refreshed energies,
+he recommenced his artistic career and wandering life. Unexpected
+resources occasionally relieved him from positive poverty.
+In this position, at seventeen years of age, being at Leghorn, in
+1801, he became acquainted with a wealthy Swedish amateur,
+whose favourite instrument was the bassoon. Complaining that
+he could meet with no music for his instrument, sufficiently
+difficult for his talent, Paganini provided him with compositions
+almost impracticable, for which he was richly rewarded. It was
+to be feared that this dissolute life would ultimately deprive the
+world of his marvellous talent, when an unforeseen and important
+circumstance, related by himself, ended his fatal passion for
+gambling.</p>
+
+<blockquote>
+<p>“I shall never forget,” he said, “that I one day, placed myself
+in a position which was to decide my future. The Prince of ——
+had, for some time, coveted the possession of my Violin—the
+only one I possessed at that period, and which I still have. He,
+on one particular occasion, was extremely anxious that I should
+mention the sum for which I would dispose of it; but not wishing
+to part with my instrument, I declared I would not sell it for 250
+gold napoleons. Some time after the Prince said to me that I
+was, doubtless, only speaking in jest in asking such a sum, but
+that he would be willing to give me 2,000 francs. I was, at this
+moment, in the greatest want of money to meet a debt of honour
+I had incurred at play, and was almost tempted to accept the
+proffered amount, when I received an invitation to a party that<span class="pagenum" id="Page_32">32</span>
+evening at a friend’s house. All my capital consisted of thirty
+francs, as I had disposed of all my jewels, watch, rings, and
+brooches, &amp;c. I resolved on risking this last resource; and, if
+fortune proved fickle, to sell my Violin to the Prince and to
+proceed to St. Petersburg, without instrument or luggage, with the
+view of re-establishing my affairs; my thirty francs were reduced
+to three, and I fancied myself on the road to Russia, when suddenly
+my fortune took a sudden turn; and, with the small remains of
+my capital I won 160 francs. This amount saved my Violin, and
+completely set me up. From that day I abjured gambling—to
+which I had sacrificed part of my youth—convinced that
+a gamester is an object of contempt to all well-regulated minds.”</p>
+</blockquote>
+
+<p>Although he was still in the prime of youth, Paganini knew of
+nothing but success and profit, when, during one of those hallucinations
+to which all great artists are subject, the Violin lost its
+attractions in his eyes. A lady of rank having fallen desperately
+in love with him, and the feeling being reciprocated, he withdrew
+with her to an estate she possessed in Tuscany.<a id="FNanchor_D" href="#Footnote_D" class="fnanchor">D</a> This lady
+played the Guitar, and Paganini imbibed a taste for that instrument,
+and applied himself as sedulously to its practice as he had
+formerly done with the Violin. He soon discovered new
+resources, which he imparted to his friend; and during a period
+of three years, he devoted all the energies of his mind to its study,
+and to agricultural pursuits, for which the lady’s estate afforded
+him ample opportunities. It was at this period he wrote his two
+sonatas for Guitar and Violin, which form his second and third
+works.</p>
+
+<p>Love cools with time in a castle as in a cottage. Paganini
+discovered this; all his former penchant for the Violin returned,
+and he decided on resuming his travels. On his return to
+Genoa, in 1804, he occupied himself solely with composition,
+and wrote here his fourth work which consists of four grand<span class="pagenum" id="Page_33">33</span>
+quartetts for Violin, Viol, Guitar, and Violoncello; and bravura
+variations for Violin, on an original theme, with Guitar accompaniment,
+which forms his fifth work. It appears too, that at this
+period he gave instruction on the Violin to Catarina Calcagno,<a id="FNanchor_E" href="#Footnote_E" class="fnanchor">E</a>
+born at Genoa, in 1797, who, at the age of fifteen, astounded
+Italy by the boldness of her style. All traces of her seem lost after
+1816. Towards the middle of 1805, Paganini left Genoa, to
+undertake a new tour in Italy. The first town he visited was
+Lucca, the scene of his first successes. Here he again created so
+great a sensation by a concerto he performed at a nocturnal
+festival in a convent chapel, that the monks were obliged to leave
+their stalls, in order to repress the applause which burst forth
+despite the sanctity of the place. He was then twenty-one years
+of age. The principality of Lucca and Piombino had been
+organised in the month of March, of the same year, in favour of
+the Princess Eliza, sister of Napoleon, and the wife of Prince
+Bacciochi. The Court had fixed its residence in the town of
+Lucca. The great reputation of the violinist induced the Princess
+to offer him the posts of director of her private music, and
+conductor of the opera orchestra. Notwithstanding his propensity
+for independence of action, and although the emoluments
+were scanty, the position pleased him, and he accepted it. The
+Prince Bacciochi received instruction from him on the Violin.
+The Princess, who had appreciated the originality of his talent,
+induced him to extend his discoveries of novel effects upon the
+instrument. To convince him of the interest he had inspired her
+with, she granted him the grade of captain in the royal gendarmerie,
+so that he might be admitted with his brilliant costume to all the
+great Court receptions. Paganini added many novelties to those
+which characterised his talent. Thus, seeking to vary the effect
+of his instrument at the Court concerts, where it was his duty to
+play, he removed the second and third strings, and composed a
+dialogue for the first and fourth strings. He has related this
+circumstance himself nearly in these <span class="locked">terms:—</span></p>
+
+<p><span class="pagenum" id="Page_34">34</span></p>
+
+<blockquote>
+<p>“At Lucca I directed the orchestra when the reigning family
+honoured the opera with their presence. I was often called upon
+to play at Court: and then, I organised fortnightly concerts.
+The Princess Eliza always withdrew before the termination, as my
+harmonic sounds irritated her nerves. A lady, whom I had long
+loved without having avowed my passion, attended the concerts
+with great regularity. I fancied I perceived that I was the object
+of her assiduous visits. Insensibly our mutual passion increased;
+but important motives rendered prudence and mystery necessary;
+our love in consequence became more violent. I had promised
+her, on one occasion, that, at the following concert, I would
+introduce a musical piece which should bear allusion to our
+relative positions; and I announced to the Court a novelty under
+the title of “Scène amoureuse.” Curiosity rose to the highest
+pitch; but the surprise of all present at Court was extreme, when
+I entered the saloon with a Violin with only two strings. I had
+only retained the first and the fourth. The former was to express
+the sentiments of a young girl, the other was to express the
+passionate language of a lover. I had composed a kind of
+dialogue, in which the most tender accents followed the outbursts
+of jealousy. At one time, chords representing most tender
+appeals, at another, plaintive reproaches; cries of joy and anger,
+felicity and pain. Then followed the reconciliation; and the
+lovers, more persuaded than ever, executed a <i>pas de deux</i>, which
+terminated in a brilliant coda. This novelty was eminently
+successful. I do not speak of the languishing looks which the
+goddess of my thoughts darted at me. The Princess Eliza lauded
+me to the skies; and said to me in the most gracious manner
+possible, ‘You have just performed impossibilities; would not a
+single string suffice for your talent?’ I promised to make the
+attempt. The idea delighted me; and, some weeks after, I
+composed my military sonata, entitled “Napoleon,” which I
+performed on the 25th of August, before a numerous and brilliant
+Court. Its success far surpassed my expectations. My predilection
+for the G string dates from this period. All I wrote for this
+string was received with enthusiasm, and I daily acquired greater<span class="pagenum" id="Page_35">35</span>
+facility upon it: hence I obtained the mastery of it, which you
+know, and should no longer surprise you.”</p>
+</blockquote>
+
+<p>In the summer of 1808, Paganini obtained leave to travel, and
+quitted Lucca, never more to return. As the sister of Napoleon
+had become Grand Duchess of Tuscany, she fixed her residence
+at Florence, with all her Court, where the great artist retained his
+position.<a id="FNanchor_F" href="#Footnote_F" class="fnanchor">F</a> He went to Leghorn, where, seven years previously,
+he had met with so much success. Here he was not received
+with the warmth extended to him on his former visit; but his
+talent soon overcame the coldness evinced towards him. He has
+related, with much humour, a series of tribulations which happened
+to him upon the occasion of his first concert there. “A nail,”
+he said, “had run into my heel, and I came on limping, at which
+the audience laughed. At the moment I was about to commence
+my concerto, the candles of my desk fell out. (Another laugh.)
+At the end of the first few bars of the solo, my first string broke,
+which increased the hilarity of the audience, but I played the
+piece on the three strings—and the grins quickly changed into
+acclamations of applause.” The broken string frequently occurred
+afterwards; and Paganini has been accused of using it as a means
+of success, having previously practised upon the three strings,
+pieces which appear to require the use of the first also.</p>
+
+<p>From Leghorn he went to Turin, where the Princess Pauline
+Borghese, sister of Napoleon, the Prince, her husband, and suite,
+were sojourning. Blangini, then attached to the service of the
+Princess as director of music (1808 or 1809), there heard the
+illustrious violinist at several concerts; and spoke of him to me,
+on his return to Paris, with unbounded admiration. It was at
+Turin that Paganini was first attacked with internal inflammation,
+which subsequently so debilitated his health, as frequently to
+cause long interruptions to his travels, and his series of concerts.
+He was nearly convalescent, when he was recalled to the Court of
+Florence, in the month of October, 1809, for the concerts which
+were to be given on the occasion of peace between France and<span class="pagenum" id="Page_36">36</span>
+Austria. It was at this period that my friend, the celebrated
+sculptor, Bartolini, executed a bust of Paganini, which I saw in
+his studio at Florence, in 1841. An excellent work by M.
+Conestabile, which has just appeared, and which only reached
+me a few days ago,<a id="FNanchor_G" href="#Footnote_G" class="fnanchor">G</a> furnishes me with information as to the
+manner Paganini was employed in 1810. It will be found (<a href="#Page_58">p. 58</a>)
+that he must have left Florence about December, 1809, to visit
+Romagna and Lombardy; that he gave concerts at the old theatre
+of Cesena; that he afterwards produced an extraordinary sensation
+at a concert given at Rimini, the 22nd of January, 1810. This
+information was extracted by M. Conestabile, from manuscript
+memoirs by M. Giangi, an amateur composer, relating to the
+town of Rimini. It is probable he afterwards visited the other
+cities of Central Italy, Ravenna, Forli, Imola, and Faenza; but
+this is not certain. It appears also about the same period he met
+with an adventure at Ferrara that nearly cost him his life. He
+had gone to Bologna with a friend, and purposed giving some
+concerts there. Arrangements were already made with the manager,
+and rehearsals appointed, when, at the moment the rehearsal was
+about to commence, Marcolini, who was to sing at the concert,
+capriciously refused to do so. Disconcerted by this <i>contretemps</i>,
+Paganini sought the aid of Madame Pallerini, the principal dancer
+of the theatre, but who possessed a most agreeable voice, which
+she only cultivated for herself and her friends. Vanquished by
+the solicitations of the great violinist, she consented to sing at the
+concert; but when she presented herself to the public, fear overpowered
+her—she sang with timidity—and when she retired,
+encouraged by the kind applause which rewarded her efforts, a
+piercing hiss was heard. Maddened with rage, Paganini vowed
+to avenge this outrage at the end of the concert. As he was
+about to commence his last solo, he announced to the public that
+he purposed imitating the notes and cries of various animals.
+After having imitated the chirping of certain birds, cock-crowing,<span class="pagenum" id="Page_37">37</span>
+the mewing of a cat, and the barking of a dog, he advanced to
+the footlights, and while imitating the braying of an ass, he called
+out “This for the men who hissed” (Questo è per quelli che han
+fischiato!) He was convinced this repartee would excite laughter,
+and the hissers be hooted; but the pit rose to a man, vociferating,
+and rushing forward to the orchestra, which they literally scaled.
+Paganini had only time to escape, by hasty flight, the dangers that
+menaced him. It was only after he was safely at home, that he
+learned the cause of this fearful tumult. He was told that the
+peasantry in the suburbs of Ferrara entertain peculiar ill feelings
+towards the residents of that town—considering them as a community
+of idiots, and compare them to asses. Hence, any resident
+of the suburb, if questioned from whence he came, never admits
+it is from Ferrara, but vociferates a vigorous hee-haw. The audience
+present at Paganini’s concert considered this a personal allusion
+to themselves; the result was, that the authorities withdrew their
+permission and prohibited the continuation of his concerts. Since
+then, Paganini was never heard again at Ferrara.</p>
+
+<p>Gervasoni relates<a id="FNanchor_H" href="#Footnote_H" class="fnanchor">H</a> that on the 16th of August, 1811, Paganini
+gave a concert at Parma, at which he produced an immense sensation,
+both upon artists and amateurs, particularly in his variations
+on the fourth string. It would appear that from Parma he
+returned to his duties at the Court of Florence. Here he
+probably remained during the year 1812, for no information of
+him in other places, during this period, is met with. He was,
+there can be little doubt, obliged to return occasionally to
+the capital of Tuscany to fulfil his duties. Here, about the end
+of 1812, or the commencement of 1813, occurred the adventure
+which obliged him suddenly to quit the service of the Grand
+Duchess, and leave the town. This adventure had been certified
+to M. Conestabile by ocular witnesses, in nearly the following
+terms:—At a grand Court gala, where a concert preceded a ball,
+Paganini, who directed the former, and was to have performed,
+appeared in the orchestra in his uniform of captain of the royal
+gendarmerie. The Princess, as soon as she perceived this, sent<span class="pagenum" id="Page_38">38</span>
+her commands that the uniform was to be replaced by evening
+dress. He replied that his commission allowed him to wear the
+uniform, and refused to change it. The command was repeated
+during the concert and again met with refusal; and to prove that
+he defied the orders of the Grand Duchess, he appeared at the
+ball in his uniform. Moreover, in order to show that he did not
+care what might be thought of the insult proffered to him, he
+walked up and down the room after the ball had commenced.
+Nevertheless, convinced that although reason and right were
+both in his favour, absolutism prevailed at Court, and his defiance
+might endanger his liberty, he quitted Florence during the night,
+and directed his steps towards Lombardy. The most tempting
+offers, and the promise of the Grand Duchess’s leniency, proved
+unavailing to induce him to return.<a id="FNanchor_I" href="#Footnote_I" class="fnanchor">I</a> Delighted at finding
+himself his own master, he determined never again to accept a
+fixed position, however tempting the offer.</p>
+
+<p>Being at Milan in the spring of 1813, he witnessed, at the
+Theatre La Scala, the ballet of “Il Noce di Benevento” by
+Virgano, the music of which was by Süssmayer.<a id="FNanchor_J" href="#Footnote_J" class="fnanchor">J</a> It was from
+this ballet that Paganini took the theme of his celebrated variations
+“le Streghe,” (the Witches), from the air being that to
+which the witches appeared. While busied with these variations,
+and making arrangements for his concerts, he was again seized
+with a return of his former malady, and several months elapsed
+before he could appear in public. It was only on the 29th of
+October following he was enabled to give his first concert, when
+he excited a sensation which the journals of Italy and Germany
+made known to the whole world.</p>
+
+<p>Paganini always evinced an extraordinary predilection for
+Milan, to which city he was much attached. Not only did he<span class="pagenum" id="Page_39">39</span>
+reside there the greater part of 1813, with the exception of his
+visit to Genoa, but also, until the month of September, 1814,
+visiting it three times during five years, residing there for a long
+period, and giving thirty-seven concerts. In 1813 he gave eleven,
+some at La Scala, and others at the Theatre Carcano; and, after
+a repose of some months, another series at the Theatre Rè, in
+1814. In the month of October of that year he went to Bologna,
+where he saw Rossini for the first time, and commenced a friendship
+which became strengthened at Rome, in 1817, and at Paris
+in 1831. Rossini produced his “Aureliano in Palmira,” in
+December, 1813, at Milan, at which period Paganini was at
+Genoa, so that these artists had never yet met each other until
+Rossini was about leaving Bologna, to write his “Turco in Italia,”
+at Milan.</p>
+
+<p>Up to the year 1828, Paganini had made three times the
+round of Italy. In 1815 he returned to Romagna, and having
+given some concerts there, stopped at Ancona. Here his malady
+returned to him for several months, and he then proceeded to
+Genoa, about the commencement of 1816, while Lafont was
+giving concerts at Milan. Anxious to hear the French violinist,
+he repaired thither, where a rivalry ensued, which was much
+spoken of, and appreciated in various ways, according to the bias
+of school and nationality. Lafont, who frequently related to me
+the circumstances of this meeting, was perfectly convinced that he
+was the victor. It is interesting to hear Paganini’s relation of this
+circumstance of his life:—“Being at Genoa, in March, 1816, I
+heard that Lafont was giving concerts at Milan, for which city I
+immediately started, for the purpose of hearing him. His performance
+pleased me exceedingly. A week afterwards I gave a
+concert at the Theatre La Scala, to make myself known to him.
+The next day Lafont proposed we should both perform on the
+same evening. I excused myself by saying that such experiments
+were always impolitic, as the public invariably looked upon such
+matters as duels, in which there was always a victim, and that it
+would be so in this case; for as he was acknowledged the best
+violinist in France, so the public indulgently considered me as the<span class="pagenum" id="Page_40">40</span>
+best of Italian violinists. Lafont not looking at it in this light, I
+was obliged to accept the challenge. I allowed him to regulate
+the programme, which he did in the following manner:—We each
+in turn played one of our own compositions, after which we
+played together the “Symphonie concertante” of Kreutzer, for two
+Violins. In this I did not deviate in the least from the author’s
+text, while we both were playing our own parts; but in the solos
+I yielded to my own imagination, and introduced several novelties,
+which seemed to annoy my adversary. Then followed a Russian
+air, with variations, by Lafont, and I finished the concert with my
+variations on “le Streghe.” Lafont probably surpassed me in tone,
+but the applause which followed my efforts convinced me I did
+not suffer by comparison.” Lafont, it cannot be denied, acted
+imprudently under the circumstances, for although it may be admitted
+he possessed more purely classical qualities, and was more
+in accordance with French taste than Paganini, although his tone
+was fuller, and more equal, yet, in original fancy, poetry of execution,
+and mastery of difficulties, he could not place himself in
+juxtaposition with his antagonist. In a concert, at the Conservatory
+of Paris, in 1816, the palm would have been awarded to
+him, but, with an Italian public, athirst for novelty and originality,
+his failure was certain.</p>
+
+<div id="i_violin" class="figcenter" style="max-width: 27.375em;">
+  <img src="images/i047.jpg" width="438" height="600" alt="" />
+  <div class="caption"><p>PAGANINI’S VIOLIN,<br />
+    <span class="smaller">IN THE MUNICIPAL PALACE AT GENOA.</span></p>
+    <p class="smaller"><i>From “The Violin: its Famous Makers and their Imitators.” (By kind permission of
+      Mr. G. Hart.)</i></p>
+  </div>
+</div>
+
+<p>A similar circumstance occurred two years later, when Paganini
+had returned to Placentia to give concerts. The Polish violinist,
+Lipinski,<a id="FNanchor_K" href="#Footnote_K" class="fnanchor">K</a> was then there (1818). He had sought Paganini without
+success at Venice, Verona, and Milan, and had abandoned all
+hopes of meeting him, when a concert bill was put into his hands,
+which announced that they were then together in the same town.
+Paganini gave six concerts in this town; and, at the sixth, played
+a concerted symphony with Lipinski, which was much applauded.
+They frequently met at each other’s residence and
+improvised together. Some time after, Lipinski dedicated to him
+one of his works<a id="FNanchor_L" href="#Footnote_L" class="fnanchor">L</a> as a tribute of respect; but when they again<span class="pagenum" id="Page_41">41</span>
+met at Warsaw, in 1829, a journal, speaking of a concert which
+the Polish violinist had just given, and lauding his talent, took
+occasion to depreciate the ability of Paganini, and to accuse the
+virtuoso of charlatanism. Other journals defended the Genoese
+violinist, and undervalued the merit of Lipinski, who deemed
+it a duty publicly to exculpate himself from the suspicion of
+having been connected with the discourteous attack directed
+towards his illustrious competitor. Paganini did not seem at
+all concerned about the matter, but the intimacy of the two
+artists ceased.</p>
+
+<p>From Milan, Paganini repaired to Venice, in the summer of
+1816, where he remained for upwards of a year, to restore his
+health, which had for some time been in a declining state; he
+also gave some concerts. This protracted sojourn at Venice
+is mentioned in the “Leipziger Musikalische Zeitung,” of July
+the 23rd, 1817, by a correspondent, who thus alludes to the
+<span class="locked">subject:—</span></p>
+
+<blockquote>
+<p>“The celebrated violinist, Paganini, has at last quitted Venice,
+where he has been sojourning for more than twelve months, and
+has returned to Genoa, his native town, taking Milan in his
+route.”</p>
+</blockquote>
+
+<p>In the same year (1817) he arrived at Rome, and found Rossini
+there busy in producing his “Cenerentola.” Several concerts which
+he gave there during the Carnival excited the greatest enthusiasm.
+He also frequently played at the palace of the Count de Kaunitz,
+ambassador of Austria, where he met Count Metternich, who
+urgently pressed him to visit Vienna. From this time Paganini
+formed the project of leaving Italy to visit the principal cities of
+Germany and France; however, the uncertain state of his health,
+which, at times, placed his life in danger, prevented him from
+realising his project at this period. Besides, he had not yet
+visited Naples and Sicily—and he had long entertained a strong
+desire of doing so; however, it does not seem that he visited, at
+this time, that portion of the Peninsula, for we hear of him in
+Upper Italy, giving concerts at Verona, at Placentia, at Turin,
+at Florence, and throughout Tuscany, during 1818, and a portion<span class="pagenum" id="Page_42">42</span>
+of 1819.<a id="FNanchor_M" href="#Footnote_M" class="fnanchor">M</a> It was only in the latter year that he arrived at Naples.
+It is a very remarkable circumstance that he appeared there in a
+manner unworthy of his great name; for, instead of giving his
+first concerts at the San Carlo, he modestly commenced at the
+theatre Il Fondo. It is true that, at the period he arrived—namely
+in the middle of the summer, the theatrical performances
+are more frequently given at the Fondo than at San Carlo.</p>
+
+<p>On his arrival at Naples, Paganini found several artists indisposed
+towards him. They doubted the reality of the prodigies
+attributed to him, and awaited a failure. To put his talent to the
+test, the young composer, Danna, recently from the Conservatory,
+was engaged to write a quartett, containing every species of
+difficulty, convinced that the great violinist would not vanquish
+them. He was, therefore, invited to a musical re-union, where
+he met the violinist Onorio de Vito, the composer Danna, the
+violinist and director of music Festa, and the violoncellist
+Ciandelli. The piece was immediately given to him to play at
+first sight. Understanding the snare that was laid for him, he
+merely glanced at it, and played it as if he had been familiar with
+it. Amazed and confounded at what they had heard, the highest
+approbation was awarded to him, and he was proclaimed a
+miracle.</p>
+
+<p>It was during this sojourn at Naples, that Paganini met with
+one of the most singular adventures of his extraordinary life. An
+alarming relapse of his malady took place; and, thinking that any
+current of air was injurious to him, he took an apartment in a part
+of the town called Petrajo, below Sant Elmo; but meeting here that<span class="pagenum" id="Page_43">43</span>
+which he most sought to avoid, and his health daily becoming
+worse, it was reported that he was consumptive. At Naples, the
+opinion prevailed that consumption is contagious. His landlord,
+alarmed at having in his house one who was supposed to be dying
+of this malady, had the inhumanity to turn him out into the street,
+with all he possessed. Fortunately, the violoncellist Ciandelli,
+the friend of Paganini, happened to be passing, and, incensed at
+this act of cruelty, which might have proved fatal to the great
+artist, belaboured the barbarian unmercifully with a stick he
+carried, and then had his friend conveyed to a comfortable
+lodging, where every attention was paid to him. Paganini recovered
+sufficiently to give concerts.</p>
+
+<p>Having returned to Milan, in March, 1820, Paganini took
+part in founding a society of musical amateurs, which adopted the
+name of “Gli Orfei,” for the performance of the classical works
+of the old masters. He conducted several of this society’s
+concerts who, in testimony of gratitude and admiration, presented
+him with medals and crowns. Paganini’s predilection
+for the capital of Lombardy detained him there until December.
+He then went to Rome, and arrived while Rossini was producing
+his “Matilda di Sabran,” at the Apollo Theatre. On the
+day of the general rehearsal, the leader of the orchestra was
+seized with apoplexy. This unexpected event was a source of
+great embarrassment to the composer, inasmuch as the talent of
+the musicians was below mediocrity. As soon as this circumstance
+reached Paganini, he flew to his friend’s assistance,
+attended the general rehearsal, and led the three first representations
+with an energy that struck the band with amazement.</p>
+
+<p>In May, 1821, Paganini left Rome to return to Naples.
+Kandler met him here during the summer. He gave concerts at
+the Fondo, and at the Teatro Nuovo. This literary musician has
+given an account in the “Morgenblatt” (1821, No. 290) of the
+extraordinary impression this “Hercules of Violinists,” as he
+called him, made upon him. The account is filled with expressions
+of unbounded admiration.</p>
+
+<p>From Naples Paganini went to Palermo, and gave concerts,<span class="pagenum" id="Page_44">44</span>
+which were but poorly attended, attributed by the correspondent
+of the “Leipziger Musikalische Zeitung” to the indifference of
+the Sicilians for instrumental music. His stay here was of short
+duration, for we find him at Venice, then at Placentia, at the
+commencement of 1822. In April of the same year he gave
+concerts at Milan, his return being hailed with the warmest tokens
+of delight, and with a success surpassing all his former visits. He
+was now seriously preoccupied with his visit to Germany, as
+projected by Count Metternich; but during an excursion to Pavia,
+he again fell seriously ill, in January, 1823, and his life was
+despaired of. He had scarcely recovered when he proceeded to
+Turin, where a similar welcome and success awaited him. His
+health was, however, extremely delicate, and the necessity of
+repose so manifest, that he was obliged to return to his native air.
+Some months of inaction and calm, passed at Genoa, renewed his
+health and strength sufficiently to enable him to give concerts at
+the Theatre Saint Augustin, to which his fellow-townsfolk flocked
+in crowds. These concerts took place in the month of May,
+1824, after which he repaired to Milan. Here he played at
+La Scala, on the 12th of June of the same year, and was received
+with acclamations which denoted the intense interest his health
+had excited. Some days after, he returned to Genoa, and gave
+two concerts, the first on the 30th of June, the second on the 7th
+of July following.</p>
+
+<p>Paganini seemed to have recovered all his pristine health and
+strength, for in the month of November in the same year his
+talent seemed to be greater than ever at the concerts he gave at
+Venice. The title of “Filarmonico,” which then followed his
+name on his concert bills, gave rise to polemical discussions.
+Enemies, which great talent invariably creates, pretended that the
+Genoese violinist sought to induce the belief that he was a
+member of the Academy of Philharmonics of Bologna; although
+such was not the case, his admirers replied that the Academy
+would be honoured if Paganini condescended to become one.
+He terminated the discussion by declaring that his assuming the
+addition to his name was merely a declaration of his love for the art.</p>
+
+<p><span class="pagenum" id="Page_45">45</span>
+In January, 1825, Paganini gave two concerts at Trieste;
+thence he proceeded to Naples, for the third time, and met with a
+renewal of his former triumphs. In the summer he returned to
+Palermo, and this time his success was unparalleled. The
+delicious climate of Sicily was so agreeable to him that he
+remained here a year, giving here and there occasional concerts,
+but enjoying long intervals of repose. This lengthened sojourn in
+such a favourable climate restored him to better health than he
+had experienced for a long period, and he returned to his project
+of quitting Italy. However, before doing so, he wished to return
+to several towns of which he retained so many delightful reminiscences,
+and went to Trieste in the summer of 1826, then to
+Venice, and finally to Rome, where he gave five concerts at the
+Theatre Argentina, each of which was a separate ovation. On
+the 5th of April, 1827, Pope Leo the Twelfth decorated him with
+the Order of the Golden Spur, in token of his admiration of his
+great talent. From Rome he went to Florence, where he was
+detained by a disease in one of his legs, which remained uncured
+for a very long period. He went to Milan, where he was warmly
+received by his friends, and on the 2nd of March, 1828, he
+quitted this town and proceeded to Vienna, where he arrived the
+16th of the same month.</p>
+
+<p>On the 29th of March, the first concert of this great artist
+threw the Viennese population into an indescribable paroxysm of
+enthusiasm. “The first note he played on his Guarnerius (says M.
+Schilling, in poetical style, in his “Universal-Lexicon der Musik”)—indeed,
+from his first step into the room—his reputation was
+decided in Germany. Acted upon as by an electric spark, a brilliant
+halo of glory appeared to invest his whole person; he stood
+before us like a miraculous apparition in the domain of art.” The
+Vienna journals were unlimited in hyperbolical expressions of admiration;
+and the immense crowd whom he had enchanted at this
+concert, unceasingly poured forth hymns of praise to the glory of
+the enchanter, for two months. The most eminent artists of the
+Austrian capital, Mayseder, Jansa, Slawich, Léon de St. Lubin,
+Strebinger, Böhm, and others, all admitted his performance to be<span class="pagenum" id="Page_46">46</span>
+incomparable. Other concerts given on the 13th, 16th, 18th, of
+April, etc., created universal intoxication. Verses appeared in
+every publication—medals were struck—the name of Paganini
+engrossing all; and, as M. Schottky remarks, everything was à la
+Paganini. Fashion assumed his name. Hats, dresses, gloves,
+shoes, etc., bore his name. Cooks designated certain productions
+after him; and any extraordinary stroke at billiards was compared
+to a bow movement of the artist. His portrait appeared on snuff-boxes
+and cigar-cases; in fact, his bust surmounted the walking-sticks
+of fashionable men. After a concert given for the benefit
+of the poor, the magistrate of Vienna presented to Paganini the
+large gold medal of St. Salvador, and the Emperor conferred upon
+him the title of virtuoso of his private band.</p>
+
+<p>A lengthened sojourn in the capital of Austria, and numerous
+concerts, did not in the least diminish the impression Paganini
+had created on his arrival. The same ovations were showered
+upon him in every town of Germany. Prague, from certain
+traditionary opposition to the musical opinions of Vienna, alone
+received him coldly; but Berlin so amply avenged this indifference,
+that he exclaimed at his first concert, “Here is my Vienna
+public!” After an uninterrupted series of triumphs, during three
+years, in Austria, Bohemia, Saxony, Poland, Bavaria, Prussia, and
+in the Rhenish provinces, after unceasing ovations of Vienna,
+Dresden, Berlin, and Frankfort, the celebrated artist arrived at
+Paris, and gave his first concert at the Opera, the 9th of March,
+1831. His studies for the Violin, which had been published there
+for some time—a species of enigma which had perplexed every
+violinist; the European fame of the artist, his travels and
+triumphs, raised the curiosity of the artists and the public. It is
+impossible to describe the enthusiasm his first concert created—it
+was universal frenzy. Tumultuous applause preceded and followed
+all his performances, the audience rose <i>en masse</i> to recall him
+after each, and nothing was heard but general approbation and
+amazement. The same enthusiasm prevailed during his entire
+stay in Paris.</p>
+
+<p>Towards the middle of May he left this city, and proceeded to<span class="pagenum" id="Page_47">47</span>
+London, where he was expected with the utmost impatience, but
+not with that artistic and perceptive interest with which he had
+been received at Paris. The high prices of admission charged
+for his concerts drew down the reprobation of the English
+journals, as if the artist was not privileged to put what price he
+pleased upon his talent, or that they were perforce obliged to go
+and hear him. The concerts at London, at which Paganini performed,
+and his professional tour through England, Scotland, and
+Ireland, produced an immense amount of money; this was a
+large fortune, to which he added considerably afterwards, during
+his visits to France and Belgium. He has been reproached with
+having sold himself to an English speculator for a certain time
+and a definite sum: a system which many artists have since
+adopted, though it is repugnant both to art and the dignity of the
+artist. Yet the great care necessary for the organisation of concerts,
+the difficulties encountered by an artist in England, certainly
+offer some apology for its adoption. The scandalous manner in
+which the managements plunder the artists—the toll claimed
+by the band, charitable institutions, printers, advertisements,
+lighting, servants, &amp;c., &amp;c., &amp;c., offer so many interruptions to the
+calm serenity necessary for the display of talent, that the artist
+can scarcely be blamed for ridding himself of these annoyances
+by concluding a compact by which he is assured a specific sum.<a id="FNanchor_N" href="#Footnote_N" class="fnanchor">N</a></p>
+
+<p>After an absence of six years, Paganini again set foot on his
+native soil. The wealth he had amassed in his European tour,
+placed him in a position of great independence. He sought
+to place this to advantage, yet was undecided what part of the
+Peninsula he would select as his place of abode. His former
+predilection was for Tuscany; but, among the various properties
+he purchased, was a charming country house in the environs of<span class="pagenum" id="Page_48">48</span>
+Parma, called la Villa Gajona—here he decided on residing.
+Various projects occupied him at this period, the most important
+of which was the publication of his compositions—a publication
+which was ardently desired by all violinists, under the impression
+that they would arrive at the secret of his marvellous talent.
+During his stay in London, M. Troupenas, one of the most
+eminent publishers in Paris at that time, arrived there for the
+purpose of purchasing the copyright of his manuscripts; yet,
+although M. Troupenas was accustomed to pay large sums to
+celebrated authors, whose works he published, particularly Rossini
+and Auber, he could not come to terms with the great violinist.
+M. Troupenas has frequently told me that the sum asked by
+Paganini for his manuscripts was so considerable, that a continuous
+sale during ten years would not have reimbursed him.
+Afterwards, at Brussels, Paganini told me he contemplated
+publishing his works himself; but, not having yet abandoned
+giving concerts, he conceived the singular idea of arranging his
+music for the Pianoforte.</p>
+
+<p>On returning to Italy, where he was almost worshipped by his
+countrymen, from the great triumphs he had obtained, and the
+honours conferred on him by foreign potentates, he was received
+with the most marked degree of respect. On the 14th of
+November, 1834, he gave a concert at Placentia, for the benefit
+of the poor. The following 12th of December, he played at the
+Court of Maria Louisa, Duchess of Parma, from whom he
+received the imperial Order of St. George. During the year
+1835, Paganini alternately resided at Genoa, Milan, and at his
+retreat near Parma. The cholera, which was then raging at
+Genoa, gave rise to the rumour that he had fallen a victim to the
+infection. This event was announced in the public papers, in
+which there appeared necrological notices; but, although his
+health was lamentably bad, he escaped the cholera.</p>
+
+<p>In 1836, some speculators induced him to lend the aid of his
+name and talent to establish a casino, of which music was the
+pretext, but gambling the real object. This establishment, which
+was situated in the most fashionable locality of Paris, was opened<span class="pagenum" id="Page_49">49</span>
+with considerable splendour at the end of November, 1837, under
+the name of Casino Paganini; but the Government refused to
+authorize its opening as a gambling house, and the speculators
+were reduced to give concerts, the proceeds of which were far
+exceeded by the expenses of the undertaking. Under the
+necessity of meeting the engagement entered into for this purpose,
+the great artist withdrew from his country house near Parma,
+and proceeded by way of Piedmont. At Turin, together with the
+guitarist Legnani, he gave a concert on the 9th of June, for the
+benefit of the poor; and he then proceeded by way of Lyons,
+notwithstanding his ill state of health, and arrived at Paris
+oppressed with fatigue and suffering. The decline of his health
+was manifest; and his wasted strength precluded the possibility of
+his playing at the Casino. As the price of his painful journey to
+Paris, and the loss of his health, a law suit was commenced against
+him, which he lost; the judges, without having heard his defence,
+condemned him to pay 50,000f. to the creditors of the speculation,
+and he was to be deprived of his liberty until that amount was
+paid.</p>
+
+<p>When this decision was pronounced, Paganini was dying—his
+malady, which was phthisis of the larynx, had increased since the
+commencement of 1839. The medical men advised him to
+proceed to Marseilles, the climate of which they considered
+favourable to his health. He followed their advice, and travelled
+by slow stages to the south. His great energy struggled against
+the illness. In retirement at the house of a friend, near the gates
+of the city, he still occupied himself with his art, and alternated
+between the Violin and the Guitar. One day he seemed to
+revive, and performed a quartett of Beethoven, his particular
+favourite, with the greatest energy. Despite his extreme weakness,
+he went, some few days after, to hear a requiem for
+male voices, by Cherubini, finally, on the 21st of June, he
+attended in one of the churches at Marseilles, to take part in
+a solemn mass by Beethoven. However, the love of change,
+inherent in all valetudinarians, induced him to return to Genoa by
+sea, fully impressed that the voyage would recruit his health.<span class="pagenum" id="Page_50">50</span>
+Vain hope! In the commencement of October of the same year,
+he wrote from his native city to M. Galafre, a painter, and an
+esteemed friend of his: “Being in much worse health than I was
+at Marseilles, I have resolved on passing the winter at Nice.”
+Thus he believed he was flying from death, and death was pursuing
+him. Nice was destined to be his last abode. The progress of his
+malady was rapid—his voice became almost extinct, and dreadful
+fits of coughing, which daily became more frequent, finally
+reduced him to a shadow. The sinking of the features, a certain
+token of approaching death, was visible in his face. An Italian
+writer has furnished us with a most touching description of his
+last moments in the following <span class="locked">terms:—</span></p>
+
+<blockquote>
+<p>“On the last night of his existence, he appeared unusually
+tranquil. He had slept a little; when he awoke, he requested that
+the curtains of his bed should be drawn aside to contemplate the
+moon, which, at its full, was advancing calmly in the immensity of
+the pure heavens. While steadily gazing at this luminous orb, he
+again became drowsy, but the murmuring of the neighbouring
+trees awakened in his breast that sweet agitation which is the
+reality of the beautiful. At this solemn hour, he seemed desirous
+to return to Nature all the soft sensations which he was then
+possessed of; stretching forth his hands towards his enchanted
+Violin—to the faithful companion of his travels—to the magician
+which had robbed care of its stings—he sent to heaven, with its
+last sounds, the last sigh of a life which had been all melody.”</p>
+</blockquote>
+
+<p>The great artist expired the 27th of May, 1840, at the age of
+56, leaving to his only son, Achille—the fruit of his liaison with the
+cantatrice, Antonia Bianchi, of Como—an immense fortune, and
+the title of Baron, which had been conceded to him in Germany.
+All had not ended with the man whose life was as extraordinary
+as his talent. Whether from the effect of certain popular rumours,
+of which mention will be made hereafter, or whether, from the
+fact of Paganini having died without receiving the last rites of
+the Church, he had left doubts as to his religion, his remains
+were refused interment in consecrated ground by the Bishop of
+Nice, Monsignor Antonio Galvano. Vainly did his son, his<span class="pagenum" id="Page_51">51</span>
+friends, and most of the artists of the city, solicit permission to
+celebrate a solemn service for his eternal rest, on the plea that,
+as in all cases of phthisis, the sufferer never believed his end was
+approaching, but had died suddenly; the Bishop remained
+inexorable, but proffered an authentic act of decease, with permission
+to remove the body wheresoever they pleased. This was
+not accepted, and the matter was brought before the tribunals.
+At Nice, a verdict was returned in favour of the Bishop.
+Recourse was then had to Rome, which remitted the Bishop’s
+decision, and charged the Bishop of Turin, conjointly with two
+Canons of the Cathedral of Genoa, to institute an inquiry with
+reference to the catholicity of Paganini. All this time the body
+was lying in one of the rooms of the hospital at Nice; it was
+afterwards removed by sea from the lazaretto of Villa Franca,
+near the city, to a country spot named Polcevera, near Genoa,
+which belonged to the family of the illustrious artist. It was
+rumoured that piteous and extraordinary tones were heard there
+at night. To end these popular reports, the young Baron
+Paganini resolved on defraying the expense of a solemn service to
+the memory of his father, as Chevalier de St. George, which was
+celebrated at Parma in the church of the Steccata, belonging
+to that chivalrous order. After this ceremony, the friends of the
+deceased obtained permission from the Bishop of Parma to bring
+the body into the Duchy, to remove it to the Villa Gajona, and to
+inter it in the village church. This funeral homage was rendered
+to the remains of the celebrated man, in the month of May, 1845,
+but without pomp, in conformity with the orders which had
+emanated from the Government.</p>
+
+<p>By his will, made on the 27th of April, 1837, and opened on
+the 1st of June, 1840, Paganini left to his son, legitimized by
+deeds of law, a fortune estimated at two millions (£80,000
+sterling), out of which two legacies were to be paid, of fifty and
+sixty thousand francs, to his two sisters, leaving to the mother of
+his son Achille an annuity of 1,200 francs. Independently of
+his wealth, Paganini possessed a collection of valuable instruments,
+among which was an incomparable Stradiuari, estimated at<span class="pagenum" id="Page_52">52</span>
+upwards of 8,000 Austrian florins, a charming Guarnieri of the
+smaller pattern, an excellent Amati, a Stradiuari Bass, equally
+prized with his Violin of this master, and his large Guarnieri, the
+only instrument which accompanied him in his travels, and which
+he bequeathed to the town of Genoa, not being desirous that any
+artist should possess it after him.</p>
+
+<p>The frenzied admiration which Paganini’s prodigious talent
+excited wherever he went, and the wealth he amassed, were painfully
+compensated for, by the distressing state of his health during
+the greater part of his life. His biographers attribute this
+delicate state to the excesses of a stormy youth; but the immoderate
+use, during more than twenty years, of the quack medicine
+of Le Roy, exerted an equally fatal influence over his physical
+constitution. He rarely consulted the faculty, and less frequently
+followed their advice. His confidence in this favourite panacea
+was unshaken; he resorted to it on every occasion, convinced
+that no ill with which humanity is afflicted, could resist its action.
+The powerful agitation it excited was looked upon as a salutary
+crisis. Its frequent use subjected the intestinal functions to
+frequent disturbance, induced irritation, which became chronic,
+and produced nervous attacks, which often almost deprived
+him of the power of speech.</p>
+
+<p>It was not only by his almost constant indisposition that
+Paganini expiated his glory and his success, for the malignity of his
+enemies pursued him for more than fifteen years with calumnious
+imputations, which everywhere left their traces, and compromised
+his honour. Crime was even imputed to him. The versions
+varied, as regards the deeds laid to his charge; according to one,
+his liaisons, unworthy of his talent, led him in his youth to the
+commission of highway robbery; others attributed to him a
+maddening and vindictive jealousy in love affairs, which
+frequently brought him to the verge of murder. Now his
+mistress, now his rival, had fallen victims to his irrepressible fury.
+It was even said, a long incarceration in prison had expiated his
+crime. The long intervals which took place between his
+concerts, either for the re-establishment of his health or for<span class="pagenum" id="Page_53">53</span>
+repose and meditation, favoured these calumnious reports. The
+qualities even of his talent were but weapons for his enemies,
+and it was said that the solitude of a prison, and the impossibility
+of replacing the strings of his Violin which had broken, led to his
+marvellous performance on the fourth, the only one that remained
+upon his instrument. When Paganini visited Germany,
+France, and England, envy pursued him, greedy of collecting
+odious calumny, to oppose his success, as if it were decreed that
+genius and talent should ever expiate the advantages which nature
+and study had endowed them with. Paganini was frequently
+driven to defend himself in the columns of the press; vainly had
+he appealed to the testimony of the ambassadors of the foreign
+powers; vainly did he call upon his enemies to cite, with precision,
+the facts and dates which they had vaguely propagated;
+but no advantageous results were derived from this. Paris,
+especially, was hostile to him, although that city contributed
+principally to his fame. Apart from the real public, who entertain
+neither hatred nor prejudice, and who yield to the pleasure which
+talent provides for them, there is, in that city, a hunger-starved
+population, which exists on the ill it does and the good it
+prevents. This contemptible world speculated upon the celebrity
+of the artist, and persuaded itself that he would purchase their
+silence. Lithographic prints presented him a prisoner; journals
+attacked his morals, his humanity, his integrity. These reiterated
+attacks—this pillory to which he saw himself attached, as actor
+and as spectator—affected him deeply. He confided his sorrows
+to me, and took counsel from me, satisfying me perfectly of their
+unjust malice. I requested him to furnish me with some notes
+to enable me to write a letter, which I published with his
+signature, and was copied into most of the Paris journals. The
+facts, related in that letter, possess so much interest for the
+history of the most extraordinary man of our age, that I deem it
+important to give it a place here. I conceive it, besides, a duty to
+omit nothing that may avenge the calumnies which attached to
+one of the most dazzling glories of the musical <span class="locked">art:—</span></p>
+
+<blockquote>
+<p>“<span class="smcap">Sir</span>,—So many proofs of kindness have been showered<span class="pagenum" id="Page_54">54</span>
+upon me by the French public, so much encouraging approbation
+has been bestowed upon me, that I cannot avoid believing
+in the fame which it is said preceded me in Paris, and that
+I fell not short of my reputation at my concerts. But, if any
+doubt of that kind existed in my bosom, it would be removed
+by the eagerness evinced by your artists to produce my likeness,
+and by the great number of portraits of Paganini—faithful
+resemblances or not—which cover the walls of your city; but, sir,
+it is not only simple portraits that speculators of that nature stop
+at—for, while walking yesterday on the Boulevard des Italiens,
+I saw in a shop, where engravings are sold, a lithograph representing
+Paganini in prison. ‘Oh!’ I exclaimed, ‘here are some honest
+folks who, after the fashion of Basile, make a profit out of certain
+calumnies which have pursued me for the last fifteen years.’
+However, I examined laughingly this mystification, with all the
+details that the imagination of the artist had conjured up, when I
+perceived that a large number of persons had congregated around
+me, each of whom, confronting my face with that of the young
+man represented in the lithograph, verified the change that had
+taken place in my person since my detention. I then saw that
+it was looked on in a serious light by those you call, I believe,
+louts, and that the speculation was a good one. It struck me
+that, as everybody must live, I might furnish the artists, who are
+kind enough to consider me worthy of their attention, with some
+anecdotes—anecdotes from which they could derive subjects
+of similar facetiæ to the subject in question. It is to give them
+publicity, that I claim from your kindness the insertion of this
+letter in the ‘Revue Musicale.’</p>
+
+<p>“They have represented me in prison; but they are ignorant
+of the cause of my incarceration; however, they know as much
+of that as I do myself, and those who concocted the anecdote.
+There are many stories in reference to this, which would supply
+them with as many subjects for their pencils; for example, it is
+stated that, having found a rival in my mistress’ apartment,
+I stabbed him honourably in the back, while he was unable to
+defend himself. Others assert, that, in the madness of jealousy,<span class="pagenum" id="Page_55">55</span>
+I slew my mistress; but they do not state how I effected my
+bloody purpose. Some assert I used a dagger—others that,
+desirous of witnessing her agony, I used poison. Each has
+settled it in accordance with his own fancy. Why should not
+lithographers have the same privilege? I will relate what
+occurred to me at Padua, nearly fifteen years since. I had played
+at a concert with great success. The next day, seated at the
+table d’hôte (I was the sixtieth) my entrance in the room passed
+unobserved. One of the guests spoke of the great effect I had
+produced the previous evening. His neighbour concurred in all
+that was said, and added, ‘There is nothing surprising in
+Paganini’s performance—he acquired his talent while confined
+in a dungeon during eight years, having only his Violin to soften
+the rigours of his confinement. He was condemned for having,
+coward-like, stabbed one of my friends, who was his rival.’ As
+you may imagine, every one was shocked by the enormity of my
+crime. I then addressed myself to the person who was so well
+acquainted with my history, and requested to know when and
+where this had taken place. Every eye was directed towards me.
+Judge the surprise when they recognised the principal actor
+in this tragical history! The narrator was embarrassed. It was
+no longer his friend who had been assassinated. He heard—it
+had been affirmed—he believed; but it was not improbable
+he had been deceived. This is how an artist’s reputation
+is trifled with, because indolent people will never comprehend
+that one may study at liberty as well as under lock and key.</p>
+
+<p>“A still more ridiculous report, at Vienna, tested the credulity
+of some enthusiasts. I had played the variations entitled “Le
+Streghe” (the Witches), and they produced some effect. One
+individual, who was represented to me as of a sallow complexion,
+melancholy air, and bright eye, affirmed that he saw nothing
+surprising in my performance, for he had distinctly seen, while
+I was playing my variations, the devil at my elbow directing my
+arm and guiding my bow. My resemblance to him was a proof
+of my origin. He was clothed in red—had horns on his head—and
+carried his tail between his legs. After so minute a description,<span class="pagenum" id="Page_56">56</span>
+you will understand, sir, it was impossible to doubt the
+fact; hence, many concluded they had discovered the secret
+of what they termed my wonderful feats.</p>
+
+<p>“My mind was disturbed for a long time by these reports,
+and I sought every means to prove their absurdity. I remarked
+that from the age of fourteen, I had continued to give concerts,
+consequently was always before the public; that I had been
+engaged as leader of the orchestra, and musical director to the
+Court of Lucca; that if it were true, I had been detained
+eight years in prison, for having assassinated my mistress or
+my rival, it must have taken place before my appearance in
+public; that I must have had a mistress and a rival at seven
+years of age. At Vienna I appealed to the ambassador of my
+country, who declared he had known me for upwards of twenty
+years as an honest man, and I succeeded in setting the calumny
+aside temporarily; but there are always some remains, and I
+was not surprised to find them here. How am I to act, sir?
+I see nothing but resignation, and submit to the malignity which
+exerts itself at my expense. I deem it, however, a duty, before
+I conclude, to communicate to you an anecdote, which gave rise
+to the injurious reports propagated against me. A violinist, of
+the name of Duranowski, who was at Milan in 1798, connected
+himself with two persons of disreputable character, and was
+induced to accompany them to a village, where they purposed
+assassinating the priest, who was reported to be very rich.
+Fortunately, the heart of one failed him at the moment of the
+dreadful deed, and he immediately denounced his accomplices.
+The gendarmerie soon arrived on the spot, and took Duranowski
+and his companion prisoners at the moment they arrived at the
+priest’s house. They were condemned to the galleys for twenty
+years, and thrown into a dungeon; but General Menou, after he
+became Governor of Milan, restored Duranowski to liberty, after
+two years’ detention. Will you credit it?—upon this groundwork
+they have constructed my history. It was necessary that the
+violinist should end in <i>i</i>, it was Paganini; the assassination
+became that of my mistress or my rival; and I it was who was<span class="pagenum" id="Page_57">57</span>
+sent to prison,—with this exception, that I was to discover there
+a new school for the Violin: the irons were not adjudged against
+me, in order that my arms might be at perfect liberty. Since
+these reports are persisted in, against all probability, I must
+necessarily bear them with resignation. One hope remains: it
+is, that after my death, calumny will abandon its prey, and that
+those who have so cruelly avenged my triumphs, will leave my
+ashes at rest.—Receive, &amp;c.,</p>
+
+<p class="p0 sigright">“<span class="smcap">Paganini.</span>”</p>
+</blockquote>
+
+<p>As just stated, Paganini was deeply mortified by these
+reports which affected his honour. He wrote to the editors of
+the journals in Vienna; and when Mr. Schottky, of Prague,
+formed the project of writing his biography, to crush his calumniators,
+Paganini, who rejoiced at the idea of such a publication,
+urged his friend to hasten his labours. He wrote to him from
+Berlin:—“It is high time I should write to you. I have no bad
+news to communicate, though I suffer slightly with my eyes,
+which inconveniences me a good deal. You have probably seen
+the Dresden journals. I met with all kinds of gratifications
+at Dresden, which the extreme kindness of the royal family
+completed. It is true, I learned that you had in one of your
+contributions promised my biography, but I have not heard
+anything since. My curiosity is at its utmost pitch. My relation,
+of whom I spoke to you, joined me at Dresden; he is also
+extremely anxious. Do let us see some portion of your work.
+My honour is in your keeping. How fortunate to have found an
+avenger, whose name alone suffices to crush the basest calumnies!
+Your integrity and your talents will drive my enemies to despair,
+and to you will remain the gratification of having done a generous
+action.”</p>
+
+<p>Nothing can be more honourable or more natural than the
+indignation felt by Paganini at the calumnies which his success
+engendered; but it would seem that he was deceived as to the
+means of silencing them: for the publication of the chronological
+order of his life would easily have demonstrated the absurdity
+of the reports propagated against him. It is a fact, that until<span class="pagenum" id="Page_58">58</span>
+he was nearly fifteen years of age, he remained under the
+paternal roof. Hence he proceeded to Lucca, where he unfortunately
+formed an acquaintance with some disreputable persons,
+who, taking advantage of his inexperience, robbed him of the
+fruits of his industry, and drove him to Pisa, Arezzo, and
+Leghorn, where he gave concerts to repair the inroads his losses
+had made, and improve his pecuniary position. He was at this
+latter place in 1801, and was then only seventeen years of age.
+This date is authentically established by Gervasoni, who was his
+contemporary. Some months after, his predilection for the Violin
+changed, and he took up the Guitar, acquired a mastery over
+that instrument nearly equal to the Violin, and wrote for it
+several distinguished compositions, which are still sought for
+in Italy. In 1804, we find him at Genoa, giving instructions
+to the young Catarina Calcagno, who became a most worthy
+pupil. The following year, he enters the service at the Court
+of Lucca, remains in that town until 1808, then undertakes a professional
+tour, arrives at Leghorn, and plays at several concerts.
+In 1809, Blangini meets him at Turin. In the same year he
+returns to Florence, where Bartolini executes his bust. In 1810, he
+travels through the Romagna, and performs particularly at Rimini,
+an inhabitant of which furnished an account to M. Conestabile.
+It is afterwards that his adventure at Ferrara occurs; and the 16th
+of August of the following year he gives concerts at Parma, as
+confirmed by M. Gervasoni. Returning to Florence, he remains
+there during 1812, where, at the beginning of 1813, the affair
+takes place which drives him from Court. In the same year he
+gives thirteen concerts at Milan. In 1814 he is at Genoa, his
+native place. He then returns to Milan, gives eleven concerts
+there, and proceeds to Bologna, where he meets Rossini. In
+1815, he makes his second professional tour in Romagna, and
+plays at Ancona, returning again to his native place. In March,
+1816, he goes to hear Lafont at Milan, receives the challenge,
+gives concerts, and proceeds to Venice in the summer of the
+same year. He remains there nearly a year, according to the
+report of a correspondent of the “Leipziger Musikalische Zeitung,”<span class="pagenum" id="Page_59">59</span>
+from which period until his death the public journals teem with
+accounts of his brilliant successes. It is manifest, and beyond
+contradiction, that during an existence constantly before the
+public, no period can be found where he could have suffered
+a detention of eight years, or even the time necessary for undergoing
+a criminal procedure. Paganini, with the design of
+confounding his vilifiers, should have collected the testimonies
+of those he had known previously to and during all this period,
+and have published the chronological table which has been thus
+sketched: the whole matter would then have been set at rest.</p>
+
+<p>Human credulity is prone to feed on outrageous absurdities.
+Not only was his dignity as a man attacked, for endeavours were
+ever made to deprive him of this, and to grant him only
+a fantastic existence. The almost insuperable difficulties he had
+overcome as a violinist, were not the only motives which gave
+birth to the reports circulated. The extraordinary expression
+of his face, his livid paleness, his dark and penetrating eye,
+together with the sardonic smile which occasionally played upon
+his lips, appeared to the vulgar, and to certain diseased minds,
+unmistakable evidences of satanic origin. It has been seen
+by his letter, which has been given <i>in extenso</i>, what he himself
+related on that subject. But these ridiculous ideas were not
+entertained in Germany only, for there are traces of them
+even in Italy, and they probably had some effect upon the
+difficulties which attended his obsequies. M. Amati, a distinguished
+writer, has furnished M. Schottky with an anecdote which
+has reference to his acquaintance with Paganini at Florence. It
+will be seen what impression the extraordinary aspect of this
+singular being had upon nervous temperaments. Thus speaks
+the narrator:—“Near the gate of Pitti, at Florence, there is
+a steep hill, on the summit of which stands the ancient Fiesole,
+formerly the rival of the capital of Tuscany, but divested of
+its former splendour. Here the purest air is inhaled, and the
+beauty of the prospect produces rather the effect of a dream than
+of reality. One beautiful May morning, when the flowers and
+verdure lay smiling, kissed by the sun’s rays, and all nature was<span class="pagenum" id="Page_60">60</span>
+beaming with youth, I ascended this hill by its most rugged path,
+from whence the most beautiful view is obtained. In front
+of me was a stranger, who, from time to time, stopped to recover
+his breath, and admire the enchanting landscape, which met his
+eye in every direction. Insensibly I approached him. Believing
+himself alone, he spoke aloud, and accompanied his monologue
+with rapid gesticulations and loud laughter. Suddenly he
+checked himself; his lynx-like eye had perceived in the distance
+a charming object, which soon after also attracted my attention.
+It was a young peasant girl, who was approaching towards us
+slowly, carrying a basket of flowers. She wore a straw hat;
+her hair, dark and lustrous as jet, played upon her forehead;
+and the regularity of her handsome features was softened by
+the mildness of her looks. With a beautifully formed hand
+she constantly replaced her shining ringlets, which the refreshing
+zephyr displaced. The stranger, astonished at so much beauty,
+fixed his ardent looks upon her; when she had got near to him,
+she seemed transfixed at the appearance of the individual who
+stood before her, grew pale, and trembled. Her basket seemed
+ready to fall from her hands. She, however, hurried on, and
+soon disappeared behind a projection. During this period,
+I contemplated the stranger, whose eyes were fixed in the
+direction the girl had taken. Never had I seen so extraordinary
+a face. He merely cast upon me a passing glance, accompanied
+by a most singular smile, and pursued his way.</p>
+
+<blockquote>
+<p>“The next day, dark clouds, driven by the winds, rolled
+along like the sea waves; scarcely was the sun visible, yet,
+despite the weather, I went out, and having traversed the bridge
+Delle Grazie, outside the gate which bears that name, I directed
+my steps to the right, towards the hill, on the summit of
+which I already perceived the ruined castle with its drawbridge.
+I approached the remains of this ancient edifice, through the
+dilapidated walls of which the wind was whistling. Here
+everything bore the impress of destruction. Here, contemplating
+the fearful ravages of time, and listening to the mournful
+melodies of the hurricane, the moanings of a human voice<span class="pagenum" id="Page_61">61</span>
+struck upon my ear, and made me shudder. It seemed as if
+the voice proceeded from a subterranean cavity near which
+I was standing. I rushed forward to its mouth, where I found
+a man—pale and with haggard looks, lying upon the moss.
+I recognised the stranger of the previous day; his searching
+look was fixed upon me; I recoiled from it, and perceiving the
+stranger was in no need of assistance, I withdrew.</p>
+
+<p>“On the following evening, I was walking by the side of the
+Arno, the moonlight flickering as it rose. The nightingale’s
+note, and the warbling of birds of every kind preparing to roost,
+were saluting the departing rays of day. Sounds of a totally
+different nature suddenly intermingled with these harmonized
+melodies of nature. Attracted by this exquisite and unknown
+music, I followed the direction from whence they seemed
+to proceed, and I again found myself near the singular being
+who had occupied all my thoughts for the last three days.
+Carelessly lying beneath a tree, his features were now as calm
+as they had appeared troubled the day previous, and as he
+listened with impassioned expression to the fury of the tempest
+in the old castle, so did he now seem to enjoy the concert
+of the feathered tribe, whose notes he was whistling with most
+astounding imitation. I could not explain the strange destiny
+that led me constantly into his presence.</p>
+
+<p>“My astonishment had not yet ceased, for, on returning the
+following evening from a long walk, just as the stars began their
+first scintillations, I sat down to repose myself under the Loggie
+degli Uffizi. A joyous party passed me, and sat down on a
+marble seat some distance from me; soon after, celestial sounds
+struck upon my ear, by turns joyful and plaintive, evidently
+produced by the hand of a superior artist. Silence succeeded
+to the hilarious shouts of the merry party, all of whom seemed
+as transfixed by the divine music as I was myself. They all rose,
+silently, to follow the artist, who continued walking while he
+played. I also followed, to discover what instrument it was
+I heard, and who the artist might be that discoursed so enchantingly
+upon it. Arrived at the square of the Palazzo Vecchio, the<span class="pagenum" id="Page_62">62</span>
+party entered a restaurant. I followed them. Here they regained
+their former merriment, and the leader, more than his companions,
+displayed extraordinary animation. To my great surprise, the
+instrument was a guitar (which seemed to have become magical),
+and the performer, I discovered to be the stranger I had so
+continuously met. He was no longer the suffering being he had
+seemed: his eyes beamed, his veins swelled with exultation, his
+coat and waistcoat were both unbuttoned, his cravat loosened,
+and his gesticulations those of a madman. I inquired his name.
+‘None of us knows it,’ replied the individual, one of the party,
+to whom I addressed myself; ‘I was in company with my friends,
+who were singing and dancing to my guitar, when this singular
+man pushed in among us, and snatching the guitar from my hands,
+commenced playing without saying a word. Annoyed at the
+intrusion, we were about to lay hands upon him, but without
+noticing us in the least, he continued playing, subjugating us
+by his exquisite performance. Each time we inquired his name,
+he resumed his playing without making any reply. He occasionally
+ceased for a while, to relate to us some extraordinary
+anecdote. In this manner he has brought us hither, without more
+knowledge of him than you possess.’</p>
+
+<p>“Some days after, Paganini was announced to give a concert.
+Eager to hear the incomparable artist, whose fame was so
+universal, and whom I had not yet heard, I went to the theatre,
+which was literally crowded to suffocation. The utmost impatience
+was manifested until the concert commenced with
+a symphony, which, although by a composer of eminence, was
+listened to with indifference. At last the artist appeared. I was
+astonished at recognising in him the stranger who had so
+mystified me for some days, whom I had met at Fiesole, etc.
+I will not attempt to describe the effect his performance produced—the
+transports of frenzy his incomparable talent excited.
+Let it suffice to say, that on that one evening, he seemed to
+conjoin all the delightful impressions of the graceful appearance
+of the peasant girl of the mountain, the hurricane in the
+ruins, the warbling of the feathered songsters on the banks<span class="pagenum" id="Page_63">63</span>
+of the Arno, and the inspiring delirium of the evening at the
+Loggie.”</p>
+</blockquote>
+
+<p>With a people so imaginative as the Italians, so extraordinary
+a looking person as Paganini, his wondrous talent, and the
+eccentricity of his mode of life, naturally conduced to superstitious
+ideas, and the belief in the supernatural. Many believed
+he had entered into a compact with the devil. In Germany these
+prejudices were greater even than among the Italians. It has
+been seen in his letter already given what was said of him at
+Vienna, when he played his variations on the “Witches’ Dance.”
+At Leipzig, the “Zeitung für die elegant Welt” gave the following
+account of one of his concerts:—“In the Hotel de Pologne,
+resided a lady of exceeding beauty, whose tresses were the object
+of much admiration, but whose features wore an aspect of deep
+melancholy, though a sweet yet sad smile was ever playing on
+her lips. I had seen her once: this sufficed to imprint her
+features upon my memory, and I sought every means to see her
+at all times. The evening Paganini gave his last concert, I was
+near the stage, and although my eyes wandered all over the
+theatre, I did not discover her I sought so anxiously. Paganini
+appeared. Can I describe the magic of his bow? The marvellous
+tones he extracted from the melancholy and plaintive G
+string touched every heart; and upon this occasion more so than
+I ever remember. At this moment, the sound of a sigh, such as
+proceeds from some person dying, struck upon my ear. I looked
+around, and I saw my <i>incognita</i>, white as marble, unconscious,
+apparently, of the tears which fell in showers down her cheeks.
+I uttered a cry of surprise, which was heard throughout the
+theatre; every voice being at the time hushed into silence.
+Paganini, who was only a few paces from me, turned round
+and looked at me. An extraordinary smile, such as I had never
+before seen, played upon his face; but it did not seem either
+intended for me or the lady. I watched its direction, and perceived,
+not without emotion, dressed in the English fashion, and seated
+next the lady, my not very reputable acquaintance of Elbingerode,
+who returned the smile with one no less extraordinary. They were<span class="pagenum" id="Page_64">64</span>
+then intimate? I understand that smile now. In reality, it had
+been generally observed, and for a long time surmised, that
+Paganini and Satan were most intimately connected, or that they
+were one and the same person. My discovery made me forget
+my lady; but judge of my horror, when upon turning round I saw
+her neighbour take her hand, squeeze it with affection, and
+the lady grow paler than before. I was thunderstruck; but at
+this moment the applause increased. Paganini had finished playing.
+The audience rose, as did the lady and her friend. I followed
+them to the door, before which stood a carriage with two black
+horses. The lady got in, followed by her cavalier, when the
+carriage flew off, bright flashes of lightning bursting forth from
+the horses’ eyes. Greatly agitated, I returned to the theatre; but
+Paganini’s marvels no longer astounded me. The concert
+concluded, I left by the same door through which the mysterious
+lady had passed, and then found there was no place where a
+carriage could stand.”</p>
+
+<p>Paganini was deeply affected by these rumours, which not
+only detracted from his position, but tended to render his talent
+valueless. It is not improbable that in his youth he had himself
+contributed to the propagation of such fabrications by his eccentricities.
+But when age crept on—when honours and successes had
+accumulated—he discovered that none, however great his fame,
+however favoured by fortune, could be great when general esteem
+is withheld. With the view of ending the ridiculous reports concerning
+his origin, he published at Prague the following letter,
+which his mother had written to him on the 21st of July, 1828:—</p>
+
+<blockquote>
+<p>“<span class="smcap">Dearest Son</span>,—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 realized.</p>
+
+<p><span class="pagenum" id="Page_65">65</span>
+“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 all 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 class="p0 sigright">
+<span class="l2">“Your ever affectionate mother,</span><br />
+“<span class="smcap">Teresa Paganini.</span>”
+</p>
+</blockquote>
+
+<p>This letter was not necessary to prove to reasoning mortals
+that the great artist was not a son of Satan. But the ignorant
+mass listens not to reason, nor are its superstitious beliefs
+easily removed. Opinion in France did justice to these follies,
+but they seemed to revive afterwards, and acquired renewed
+strength after the decease of him who had been so calumniated
+during his life.</p>
+
+<p>Nothing could be more variable than the moral dispositions
+of Paganini; at one time melancholy and taciturn, passing several
+hours seated, without uttering a word; at another, he would give
+himself entirely up to unrestrained gaiety, without any apparent
+motive for either the one or the other. He seldom spoke much;<span class="pagenum" id="Page_66">66</span>
+but while travelling, the movement of the carriage rendered him
+loquacious. Mr. George Harrys, who lived for some time on
+terms of intimacy with him, and who has published some
+curious details on his private life,<a id="FNanchor_O" href="#Footnote_O" class="fnanchor">O</a> states that his bad health
+rendered his speaking aloud extremely painful, but when the
+noise of the wheels rattling over the stones was almost deafening,
+he spoke loudly and rapidly. It was not, as with most persons,
+the beauty of the country through which he passed that made
+him communicative, for he paid no attention to the lovely landscapes
+which met his eye in every direction; rapid transit seemed
+to be his only aim; but there was something in the rolling of
+the coach which made conversation a necessity. His constant
+suffering did not permit him to enjoy a beautiful country, where
+others dwelt who were blessed with health. Besides, he was
+always cold, and even at a summer heat of twenty-two degrees
+he wrapped his large cloak around him, and ensconced himself
+in a corner of a carriage, with the windows hermetically closed.
+By a singular contradiction, he invariably kept all the windows of
+his apartments wide open, to take, as he called it, an air bath.
+He cursed the climate of Germany, of France, and above all
+of England, saying there was no living but in Italy. Travelling
+was exceedingly painful to him, suffering, as he constantly did,
+from pain in the abdomen; hence his wish to travel quickly.
+In the agony he experienced, his habitual paleness was replaced
+by a livid and greenish hue. Sleep to him was a source of great
+delight, and he would sleep uninterruptedly for two or three
+hours consecutively, and awake full of cheerfulness. When
+the horses were being changed, he either remained in the carriage,
+or walked about until the fresh horses were put to; but he never
+entered an inn or post-house until he arrived at the end of his
+journey. Before starting, he neither took tea nor coffee, but
+a basin of soup, or a cup of chocolate. If he started early
+in the morning, he would do so fasting, and frequently remained<span class="pagenum" id="Page_67">67</span>
+nearly the whole day without taking any refreshment. His luggage
+caused no trouble, as it consisted only of a small dilapidated
+trunk, containing his precious Guarnieri Violin, his jewels, his
+money, and a few fine linen articles, a carpet bag, and a hat-case,
+which was placed in the interior of the carriage. Careless
+of all that related to the comforts of life, he was alike negligent
+in his toilet. A small napkin would contain his entire wardrobe;
+his papers, which were of paramount importance, representing
+immense value, he kept in a small red pocket-book, which
+also contained his accounts. None but himself could decipher
+these hieroglyphics of his Babel-like accounts, where pell-mell
+were mixed up Vienna and Carlsruhe, Berlin, Frankfort, and
+Leipzig, receipts and outlay for post-horses, etc., and concert
+tickets. All was clear to him; though extremely ignorant
+of arithmetic, he had devised certain means of arriving at an
+exact account of all his affairs.</p>
+
+<p>In the inns on the road, Paganini was never dissatisfied. It
+was a matter of indifference to him, whether he was shown into
+a garret or an elegantly-furnished chamber, whether the bed was
+good or bad, as long as he was removed from all noise. “I have
+enough noise in large towns,” he would say, “I wish to rest on
+the road.” His supper was always extremely light; frequently
+he would take nothing but a cupful of camomile tea, after which he
+would sleep soundly till the morning. However, when, about fifteen
+years before his death, he was attacked with the phthisis which
+ultimately proved fatal, a convulsive cough frequently interrupted
+his sleep; but as soon as the crisis was over, he was asleep again.</p>
+
+<p>The most securely-guarded state prisoner never experienced
+so monotonous a course of existence as that to which Paganini
+condemned himself at home; he left his room with regret, and
+only seemed happy in perfect solitude. Many have thought his
+Violin occupied him constantly. Never was error greater—he
+never touched it except to tune it previously to going to a
+rehearsal or a concert. “I have laboured enough to acquire
+my talent,” he would say, “it is time I should rest myself.” The
+anecdote is perhaps known, of an Englishman, a passionate<span class="pagenum" id="Page_68">68</span>
+admirer and amateur of the Violin, who, intent on discovering
+the secret of the great artist’s study, followed in his steps for
+more than six months, staying at the same hotels, and always
+when possible in the next room. Vainly, however, did he seek
+to hear him study some of his difficulties—the most profound
+silence reigned in the artist’s apartment. It occurred, however,
+that on one occasion the rooms of the amateur and the artist
+were only separated by a door which was not used. Peeping
+through the keyhole, the curiosity of the amateur was, as it
+appeared, about to be gratified. He saw Paganini, seated on
+a sofa, taking from its case the precious Violin, which, on being
+raised to his shoulder, assured him his long-sought happiness
+was about to be realized; but not a note was heard, for Paganini
+merely moved his left hand up and down the finger-board, to
+calculate certain positions, without using the bow. This done,
+the Violin was replaced in its case. In utter despair, the Englishman
+gave up the fruitless pursuit, and returned to England.</p>
+
+<p>Paganini did not seek to conceal that his constant study of
+the instrument in his early years precluded his attending to his
+education, and that his mind was but ill-stored with literary
+instruction. He never looked into a book, not even to wile
+away any portion of time by reading a romance. History and
+the sciences were sealed books to him. M. Schottky, notwithstanding,
+found among the documents which were furnished to
+him by M. Amati, an anecdote which indicates that the great
+violinist’s memory retained certain smatterings of history, mythology,
+and poetry, which he would apply occasionally most
+oppositely. Dining one day with the celebrated poets, Monti
+and Ugo Foscolo, at the residence of the beautiful, rich, and
+witty Comtesse F——’s, Foscolo, who was captivated with the
+charms of the Comtesse, arrived the last, and finding Monti, his
+rival, addressing her in terms of gallantry, he abruptly quitted
+the apartment, and hastened to allay his fierceness on the garden
+terrace. Here he met Paganini, and his passion subsided. Approaching
+him with great warmth, and seizing his hand, he said
+to him, “When I heard you at the concert yesterday, Homer<span class="pagenum" id="Page_69">69</span>
+stood before me in all his sublimity. The grandeur of the first
+movement of your concerto brought to my mind the arrival of
+the Greek ships before Troy. The exquisite loveliness of the
+Adagio pictured to me the tender love-talk of Achilles and Briséis.
+When will you let me hear the despair and wailings of the
+hero over the body of Patroclus?” Paganini replied, without
+hesitation, “When Achilles Paganini finds his Patroclus among
+violinists.”</p>
+
+<p>Political events had no interest for him; he consequently
+never read a newspaper unless it contained something concerning
+himself. His whole thoughts were occupied on projects for the
+future. Among these were the founding of a musical conservatory
+in Italy, the publication of his compositions, the writing
+of operas, and abandoning his professional tours. While
+dwelling on these subjects, he would pace his room with great
+rapidity, arrange his stray pieces of music, or number his red
+diary, dress himself and go to dinner, or have it brought to his
+room, which he preferred to the <i>table d’hôte</i>. He spent a great
+portion of the day reclining on his bed, and left his room only
+in the evening, to walk for about an hour. He would pass the
+entire evening without light in his apartment, and rarely went
+to bed later than half-past ten. He frequently remained for hours
+absorbed in deep thought, almost motionless. Mistrustful, like
+most Italians, he complained of the treachery of some of his
+most intimate friends, which necessarily rendered him the more
+so; hence his dislike to society—he did not believe he could
+repose the slightest confidence in any one.</p>
+
+<p>Notwithstanding his extreme repugnance to receiving visits,
+his world-wide fame brought sometimes from sixty to eighty
+visitors, anxious to see and speak with him; many of these
+he would refer to his secretary, but others he could not avoid
+receiving. Circumspect with those who came on business,
+he was more so with artists who came to discover the secret
+of his talent; he listened to these patiently. His fatigue was
+so great after receiving these visits, that he would bolt his door,
+and not answer anyone who knocked.</p>
+
+<p><span class="pagenum" id="Page_70">70</span>
+The invitations he received for dinners and suppers were very
+numerous in all the towns he visited, or remained in to give
+concerts; they annoyed him, and he refused most of them,
+aware of his habit of partaking of everything that was placed
+on the table. He could eat and drink largely without feeling
+any ill effects at the time, but in a day or two his intestinal pains
+would come on with redoubled force. He would invariably,
+if he could do so without being observed, retire to rest as soon
+as he left the table. He was infinitely gayer previous to dinner
+than after. One would be inclined to suppose he was desirous
+of impressing upon his host the sacrifice he made in accepting
+the invitation: it was so, in fact.</p>
+
+<p>At evening parties he was extremely cheerful, if no mention
+was made of music; but if, with the ill-judged view of affording
+him amusement, it was proposed or spoken of, his spirits immediately
+left him. If to gather his opinions upon other violinists,
+or to question him upon his talent, he only replied monosyllabically,
+and endeavoured to avoid the inquisition by stealing away
+to another part of the room, or to interrupt the conversation
+by observations on other subjects. In the large cities of Germany,
+vocal and instrumental societies deemed it a homage to his talent
+to perform before him some musical compositions; but, although
+he would appear to listen with attention, his mind was pre-occupied
+on other subjects, and he rarely knew what he listened to.
+He occasionally avowed, with great sincerity, that the obligation
+of identifying his public existence with music made him feel
+an imperious desire to forget the art when he entered into
+ordinary life. Nor can it be dissimulated that this idiosyncracy
+pertains to almost every artist who has obtained great celebrity,
+and who has acquired popular fame. With these, all their
+faculties are concentrated in the feeling of their personality.
+Art, separated from their own glorification, does not exist.
+Gluck and Grétry recognized no music but their own, nor
+believed any other to be worthy of being performed. How many
+composers have been imbued with the same feeling, differing
+with those great men only in dissimulation! With those whose<span class="pagenum" id="Page_71">71</span>
+executive talents bring them in contact with the public, it is
+worse still; without personal ovations, it is not only indifference
+for the art, it is hatred. Hence, when, having returned to the
+ordinary conditions of life, and withdrawn from the manifestations
+of enthusiasm they have for so long a period excited, artists who
+come into this category decline rapidly, and present in their
+old age a spectacle of moral degradation, unless, by an extraordinary
+exception, great intellectual faculties have been united
+to their extraordinary talent.</p>
+
+<p>Paganini felt great pleasure in a small circle of friends, and
+in quiet conversation. The amusements of society delighted him;
+and he would remain until a late hour, where he did not appear
+to be an object of attention. He did not like the glare of light—his
+sight having been affected by stage lights—hence his habit
+of playing with his back to the lights, and of remaining in the dark
+when at home. His memory was excellent, despite his habitual
+abstraction. When once persons had been introduced to him,
+their features and names were never forgotten; but, by some
+inexplicable singularity, he never remembered the name of
+a town in which he gave concerts the moment he left it.</p>
+
+<p>Notwithstanding the enormous number of concerts he gave,
+Paganini was pre-occupied the day on which one was given. He
+would remain idle the whole morning, lying on a sofa. Before
+going to a rehearsal, he would open his Violin-case to examine
+the state of his strings, tune it, and prepare the orchestral parts
+of the pieces he intended playing. During these operations
+he took large quantities of snuff—a certain token with him
+of great mental excitement and disquietude. On arriving at
+rehearsal, his first care was to see that no person was in the
+room or theatre. Should any one be there, he merely indicated
+to the band what he desired by almost an imperceptible sound,
+or slight pizzicato. He was extremely severe with the band;
+and would have a solo or a tutti repeated for the slightest error.
+If this continued, he would pace to and fro before the orchestra,
+and dart the most furious looks at the musicians; but when
+a tutti came in too soon, before the termination of a cadenza,<span class="pagenum" id="Page_72">72</span>
+he burst forth into a tempest of rage which would cause the
+boldest to tremble. When, however, the accompaniment was
+satisfactory, he would smile, and express his approbation aloud,
+in these words, “Bravissimo! Siete tutti virtuosi!” When he
+came to a pause for the introduction of a cadenza, the musicians
+all rose, eager to observe what he was about to play, but Paganini
+would merely play a few notes—stop suddenly—and, turning
+towards them, would laughingly add, “Et cætera, Messieurs!” It
+was only in the evening he would put forth all his strength. After
+the rehearsal, he would converse for a few moments with the
+leader, to thank him for the attention that had been paid, and
+sought out especial passages for his particular observation.
+He invariably carried away himself the orchestral parts, of which
+he was particularly careful. The principal part was never seen,
+as he played from memory, to avoid his pieces being copied.
+When he returned home he partook of a light repast, threw
+himself upon his bed, and remained there until the carriage
+came to take him to the theatre. A few minutes sufficed for
+his toilet, and he proceeded at once to the concert. When he
+arrived he evinced as much gaiety, as he had displayed gravity
+during the day. His first question was “is there a large
+audience?” If answered in the affirmative, he would say, “good—good!
+excellent people!” if, on the contrary, he was told the
+audience was small, he expressed a fear that the effect of the
+music would be lost in the empty boxes.</p>
+
+<p>Paganini was not always alike disposed for his concerts. He
+had doubts of himself; and, trying several difficult passages, if he
+failed in executing them with his usual facility, he became angry,
+and exclaimed, “If I were in Paris, I would not play to-day.”
+He would frequently recover himself during the evening, and say
+ingeniously to his friends, “I have played better at the end than
+at the commencement of the concert.” He kept the public waiting
+a long time before he came on. His departure from the theatre
+resembled a triumph; a crowd formed an avenue to his carriage,
+and greeted him with loud acclamations; he was received similarly
+on his arrival at his hotel. Paganini seemed delighted with the<span class="pagenum" id="Page_73">73</span>
+homage, and frequently mixed with the crowds that surrounded
+the doors. He would join the company at the <i>table d’hôte</i> in
+the best possible spirits, and would sup heartily.</p>
+
+<p>There are few examples of such devotion to severe study as
+Paganini evinced in the accomplishment of his art. He created
+the difficulties he performed, with a view of varying the effects
+and augmenting the resources of his instrument—this, as it is seen,
+having been his object, so soon as he was capable of reflecting
+on his ultimate destiny. Having played the music of the old
+masters, particularly that of Pugnani, Viotti and Kreutzer,
+he felt he could never attain great fame if he followed in their
+path. Chance brought under his notice the ninth work of
+Locatelli, entitled, “l’Arte di Nuova Modulazione,” and he at once
+saw in it a new world of ideas and facts, though, on its first
+appearance it was unsuccessful from its excessive difficulty, and,
+perhaps, also, because it was in advance of the period when
+“classic” forms should be departed from. Circumstances were
+favourable to Paganini, for the necessity of innovation was at
+its zenith in his day. In adopting the ideas of his predecessors,
+in resuscitating forgotten effects, in superadding what his genius
+and perseverance gave birth to, he arrived at that distinctive
+character of performance and his ultimate greatness. The
+diversity of sounds—the different methods of tuning his instrument—the
+frequent employment of double and single harmonic
+notes—the simultaneous pizzicato and bow passages—the various
+staccati—the use of the double and even triple notes—a
+prodigious facility in executing wide intervals with unerring
+precision, joined to an extraordinary number of various styles
+of bowing—such were the principal features of Paganini’s talent—means
+which were rendered perfect by his execution—his
+exquisite nervous sensibility, and his enormous musical feeling.
+From the manner in which he placed himself, leaning, as it were,
+on his hip, from the position of his right arm, and the manner
+in which he held his bow, it would have been thought its movements
+would be nothing less than awkward, and the arm all
+stiffness; but it was soon observed that the bow and the arm<span class="pagenum" id="Page_74">74</span>
+moved with equal ease, and what appeared to be the result of
+some malformation, was the result of deep study of that which
+was most favourable to the effect the artist wished to produce.
+His bow was of ordinary dimensions; but was screwed up with
+more than usual tension. It is probable Paganini found it
+preferable for his bounding staccato, which differed from that of
+all other violinists. In the notice which he wrote at Lucca,
+he says great surprise was manifested at the length of his
+bow, and the thickness of his strings; but, some time after, he
+evidently discovered the difficulty of producing vibration in every
+part of the strings, and consequently, of obtaining a perfect
+tone, for he gradually diminished their dimensions—and when
+he played in Paris his strings were under the medium size.
+Paganini’s hands were large, dry, and nervous. His fingers, by
+dint of excessive practice, had acquired a suppleness and aptitude
+difficult to conceive. The thumb of the left hand fell easily upon
+the palm of his hand, when necessary for the execution of
+certain shifting passages.</p>
+
+<p>The quality of tone which Paganini brought from his instrument
+was clear and pure, without being excessively full, except
+in certain effects, when it was manifest he collected all his power
+to arrive at extraordinary results. But what most distinguished
+this portion of his talent was the variety of voices he drew from
+the strings, by means of his own, or which, after having been
+discovered by others, had been neglected, their full import having
+been misunderstood. Thus, the harmonic sounds, which before
+his time had only been considered as curious and limited effects,
+rather than as a positive benefit to a violinist, formed an important
+feature in Paganini’s performance. It was not only for an isolated
+effect that he employed them, but as an artificial means to reach
+certain intervals, which the largest hand could never embrace.
+It was from the harmonic sounds that he obtained on the fourth
+string a compass of three octaves. Before Paganini, none had
+imagined that beyond natural harmonics, it was possible to
+execute thirds, fifths, sixths; in fact, that at the octaves in
+diatonic succession, natural and harmonic sounds could be<span class="pagenum" id="Page_75">75</span>
+produced. All these Paganini executed in every position with
+the utmost facility. In singing he frequently produced a vibratory
+effect, which greatly resembled the human voice, but
+when, by sliding the hand, the voice became like that of an
+old woman, the effect was affected and exaggerated. Paganini’s
+intonation was perfect; this rare quality was not the least of
+the advantages he possessed over other violinists.</p>
+
+<p>After having spoken of the great qualities of Paganini’s talent,
+it is necessary to consider it from the general impression it
+produced upon the public. Many overleap the bounds of
+reason in expatiating on the poetry of his playing, particularly
+upon his singing. He was cited as the great Violin singer—as
+the creator of a pathetic and dramatic school, applied to the
+art of bowing. I confess that I do not look at his prodigious
+talent in this light. What I experienced in listening to him
+was astonishment—unbounded admiration; but I was seldom
+moved by that feeling which appears to me inseparable from the
+true expression of music. The poetry of the great violinist
+consisted, principally, in his brilliancy; and, if I may be allowed
+the expression, the mastery of his bow. There was fulness
+and grandeur in his phrasing—but there was no tenderness
+in his accents. In the prayer from “Mosè,” for example,
+he was great when the baritone voice was heard on the fourth
+string, from the elevated character he gave to it; but when
+he came to the part of Elcia, an octave higher on the same
+string, he fell into an affected strain of heavy, tremulous
+sounds, which good taste would have rejected. His triumph
+was in the last major strain; here he was sublime—and
+he then left an impression bordering on enthusiasm.</p>
+
+<p>To pronounce judgment upon Paganini, it was necessary
+to hear him in his own especial style—that which most characterized
+his talent. In his concerts in Paris, he thought it
+necessary to flatter the national feeling by playing a concerto
+by Kreutzer and one by Rode—but he scarcely rose above
+mediocrity in their performance. His secretary, Mr. Harrys, tells
+us the opinion Paganini formed of himself as regards these<span class="pagenum" id="Page_76">76</span>
+attempts. He said to him, “I have my own peculiar style;
+in accordance with this, I regulate my composition. To play
+those of other artists, I must arrange them accordingly: I had
+much rather write a piece in which I can trust myself entirely
+to my own musical impressions.” The unfavourable impression
+he made in Paris, with these two pieces, was a lesson to him;
+he never played from that time any music but his own.
+Paganini’s art did not apply to any species of composition—his
+was a specialty, of which he alone could be the interpreter—an
+art born with him, the secret of which he has carried with
+him to the grave.</p>
+
+<p>I have used a word he often repeated—for he frequently
+insisted that his talent resulted from a secret discovered by him—and
+which he would reveal before his death, in a “study
+for the Violin,” that should only contain a small number
+of pages, but that should cause the utmost consternation
+to all violinists. He cited, in support of the infallibility
+of his secret, the experiment that he had made at Naples,
+upon a violoncellist of little talent, named Gaetano Ciandelli,
+who, by the revelation of the mystery, became transformed
+in one morning into a <i>virtuoso</i>. Apart from the study
+of mechanism—for which there is no substitute—no secret
+can exist from talent, but that which nature implants in the
+heart of the artist; there is, however, something astounding
+and mysterious in the faculty which Paganini possessed, of
+invariably overcoming the almost unheard-of difficulties, without
+ever touching the Violin except at concerts and rehearsals.
+Mr. Harrys, who was his secretary, and did not leave him for
+more than a year, never saw him take his Violin from its case.
+Be it, however, as it may, death has not permitted the secret,
+of which Paganini spoke, to be divulged.</p>
+
+<p>Many notices of the life and talent of this great artist have
+been published, either in collections or separately; the most
+important are the <span class="locked">following:—</span></p>
+
+<blockquote>
+<p>1. “Paganini’s Leben und Treiben als Künstler und als
+Mensch,” (Life and Adventures of Paganini, as an Artist, and<span class="pagenum" id="Page_77">77</span>
+as a Man). Prague, Calve, 1830, in 8vo of 410 pages. This
+work, of which M. Schottky is the author, is but a compilation,
+without order, of correspondence, anecdotes, and German
+newspaper reports, as far as concerns the travels of the artist,
+from his first leaving Italy. An abridgment of this work, in
+which many doubtful facts and positive false accounts have
+been introduced, was published by M.&nbsp;L. Vinela, under the
+title of “Paganini’s Leben und Charakter,” (Life and Character
+of Paganini). Hamburg, Hoffmann and Campe, 1830, in 8vo.</p>
+
+<p>2. “Paganini in seinem Reisewagen und Zimmer, in seinen
+redseligen Stunden, in gesellschaftlichen Zirkeln, und seinen
+Concerten,” (Paganini in his Post-chaise, in his Room, in his
+hours of Privacy, in Society, and his Concerts). Brunswick,
+Vieweg, 1830, in 8vo of 68 pages. A work written in simplicity
+and good faith, indicating sound judgment. Mr. George
+Harrys, or Harris, the writer of this opusculum, was an Englishman,
+attached to the Court of Hanover. With a view of
+studying Paganini as a man and an artist, and to publish this
+notice, he became his interpreter and secretary, and remained
+with him an entire year.</p>
+
+<p>3. “Leben, Character und Kunst N. Paganini’s. Eine
+Skizze,” (Sketch of the Life, Character, and Talent of Paganini,
+by M.&nbsp;F.&nbsp;C.&nbsp;J. Schütz, Professor at Halle). Leipzig, Rein, 1830,
+in 8vo.</p>
+
+<p>4. “Notice sur le célèbre violoniste Nicolo Paganini,”
+by M.&nbsp;J. Imbert de la Phalèque. Paris, E. Guyot, in 8vo, of 66
+pages, with portrait.</p>
+
+<p>5. “Paganini, his Life, his Person, and a few Words upon
+his Secret,” by G.&nbsp;L. Anders. Paris, Delaunay, 1831, in 8vo.</p>
+
+<p>6. “Paganini et Bériot, ou Avis aux artistes qui se destinent
+à l’enseignement du Violon,” by Fr. Fayolle. Paris, Legouest,
+1831, in 8vo.</p>
+
+<p>7. “Vita di Nicolo Paganini di Genova, scritta ed illustrata
+da Giancarlo Conestabile, socio di varie Academie.” Perugia,
+tipografia di Vincenzo Bartelli, 1831, 1 vol. in 8vo, 317 pages.
+An excellent work, carefully edited, and in a good spirit<span class="pagenum" id="Page_78">78</span>
+of criticism, from documents chosen with discernment. The
+portrait of Paganini is given from M. Schottky’s, but softened
+and idealized.</p>
+</blockquote>
+
+<p>Independently of the portraits which accompany most of the
+above works, many were published in Italy, in Germany, and
+in France. The most sought for are the following:—1st. Portrait
+of Paganini, lithographed by Maurin, in the 7th volume of the
+Revue Musicale; 2nd, one lithographed by Mauzaise, in 4to,
+Paris, Bénard; 3rd, Milan, Ricordi; 4th, drawn and lithographed
+by Begas, Berlin, Sachse, in 4to; 5th, without name of author,
+in 4to, Berlin, Trautwein and Co.; 6th, drawn by Hahn, Munich,
+Falter; 7th, lithographed by Krätzschmar, Leipzig, Breitkopf
+and Härtel; 8th, without name of author, Vienna, Artaria,
+1828; 9th, ditto, Hamburg, Niemeyer; 10th, ditto, Leipzig,
+Pönicke; 11th, ditto, Mannheim, Heckel.</p>
+
+<div id="ip_78" class="figcenter" style="max-width: 15.125em;">
+  <img src="images/i086.jpg" width="242" height="151" alt="" /></div>
+
+<hr />
+
+<p><span class="pagenum" id="Page_79">79</span></p>
+
+<div id="ch_4" class="chapter">
+<div id="ip_79" class="figcenter" style="max-width: 29.1875em;">
+  <img src="images/i087.jpg" width="467" height="104" alt="" /></div>
+
+<h2 class="nobreak p2"><a id="Paganini_Appreciated_as_a_Composer"></a><img src="images/small_p.jpg" width="34" height="24" class="dc-small" alt="" /><span class="dc-small first">P</span>aganini <img src="images/small_a.jpg" width="38" height="24" class="dc-small" alt="" /><span class="dc-small first">A</span>ppreciated as a <img src="images/small_c.jpg" width="38" height="24" class="dc-small" alt="" /><span class="dc-small first">C</span>omposer.<br />
+
+<span class="subhead">ANALYSIS OF HIS WORKS.</span></h2>
+</div>
+
+<div><img class="drop-cap" src="images/dc_l.jpg" width="29" height="50" alt="" /></div>
+<p class="drop-cap"><span class="allcaps">Long</span> ere the talent of Paganini had acquired popularity
+beyond Italy, a collection of studies for the Violin, under
+his name, still unknown to French violinists, had been
+published, and created a deep impression; so many novelties
+were there accumulated, and the difficulties they presented were
+so problematical, and under forms so peculiar, that many professors
+doubted the possibility of their execution, and went so far as to
+look upon the publication of that work as a mystification. However,
+the composer, Andreozzi, who had brought to Paris the
+copy from which Pacini published his edition, attested that there
+was in Italy a man who executed those difficulties as though they
+were mere trifles, and who would astound the professors and
+pupils of the Conservatoire, if they heard him. This man was
+the author himself—it was Paganini.</p>
+
+<p>At the same time, Blangini, on his return from Italy, also
+spoke of this artist with enthusiasm, and likewise attested that
+his art bore no affinity with the manner of playing the Violin
+that all great masters had propagated until his day; that all was
+the invention of his talent, and that he was destined to
+revolutionize the style of playing the Violin. Some young artists,
+among whom was Habeneck, attempted to solve these musical
+enigmas, but finally abandoned them, as they could not discover
+the application of these novelties to the pure music of the
+great composers.</p>
+
+<p><span class="pagenum" id="Page_80">80</span>
+The struggle between Lafont and Paganini resuscitated the
+confused recollection of his name, and the prodigies he effected
+were the subject of serious conversation. Insensibly the fact
+of his success became patent—the journals confirmed it, and
+the name of the artist gradually acquired popularity. However,
+fame blazoned forth his name as a violinist only—not as a
+composer. The twenty-four studies of the first work were only
+known in France, more than twenty years after it was published.
+It was only after he had enchanted all Paris, and had traversed
+France, gaining triumphs wherever he played, that the value of
+his compositions attracted some attention. They were then
+sought after. Italy and Germany were written to for copies
+of his concertos, his fantasias, and his airs with variations, but
+none of them had been published. The list of this artist’s
+works which appeared, comprised the following <span class="locked">only:—</span></p>
+
+<blockquote>
+<p>1. “Ventiquattro Capricci per Violino solo, dedicati agli
+artisti, Op. 1.” These studies or capriccios, in various keys,
+consist of arpeggi, staccati, trills in octaves, and scales in octaves,
+tenths, combinations of double, triple, and quadruple chords, etc.</p>
+
+<p>2. “Sei Sonate per Violino e Chitarra, dedicati al Signor
+delle Piane.” Op. 2.</p>
+
+<p>3. “Sei Sonati per Violino e Chitarra, dedicati alla Ragazza
+Eleonora.” Op. 3.</p>
+
+<p>4. “Tre gran Quartetti a Violino, Viola, Chitarra e Violoncello,
+dedicati alle amatrici.” Op. 4, Idem. Op. 5, Ibid. Paganini
+said of this work to Mr. Harrys, that it was not his, but was
+formed from some of his themes badly arranged.</p>
+</blockquote>
+
+<p>These are the only positive productions of Paganini published
+up to the present day (June, 1851); all that has appeared
+since must be considered as commercial trickeries, as extracts
+from the preceding works, or simply as fugitive recollections of
+some artists. Such are the <span class="locked">following:—</span></p>
+
+<p>“Variazioni di bravura per Violino sopra un tema originale,
+con accompagnamento di Chitarra o Piano.” These variations
+are those which form the twenty-fourth capriccio (in A minor)
+of the first work.</p>
+
+<p><span class="pagenum" id="Page_81">81</span>
+“Trois airs variés pour le Violon, pour être exécutés sur la
+quatrième corde seulement, avec accompagnement de Piano, par
+Gustave Carulli.” These are recollections arranged by the author
+of the accompaniment.</p>
+
+<p>“Introduzione e variazioni in sol sul tema, ‘Nel cor più non
+mi sento’ per Violino solo.” This piece, published in the work
+of Guhr, upon the art of Paganini<a id="FNanchor_P" href="#Footnote_P" class="fnanchor">P</a> is noted nearly from memory.</p>
+
+<p>“Merveille de Paganini, ou duo pour le Violon seul en ut.”
+This is also from Guhr.</p>
+
+<p>Ghys published at Paris and at Berlin the “Carnaval de
+Venise, tel que le jouait Paganini.” Ernst and Sivori have also
+given, as exact traditions of this musical pleasantry, versions
+differing more or less, which gave rise to discussions in the newspapers.
+The publication of the veritable “Carnaval de Venise”
+of the illustrious violinist will remove all uncertainty in this
+respect.</p>
+
+<p>Paganini was aware that the interest which his concerts
+created would diminish materially, if he published the compositions
+he performed. He resolved therefore upon not publishing
+them until after he had ceased to travel, and had retired from his
+career of executive artist. He only carried with him the orchestral
+parts of those pieces he habitually played; and no one ever
+saw the Violin solo parts of these compositions, for he dreaded
+the indiscretion of all who sought to gain access to him. He
+seldom spoke of his works, even to his most intimate friends,
+consequently an indistinct notion of the nature and number
+of these works could alone exist. M. Conestabile, who made every
+effort to acquire the truth of all that concerned the person,
+the talent, and the success of Paganini, has published in his
+book the catalogue which was sent to him of all the manuscript
+and original works of Paganini preserved by his son.</p>
+
+<p>The titles of the works are as <span class="locked">follows:—</span></p>
+
+<blockquote>
+<p> 1. Four Concertos for the Violin, with accompaniments.</p>
+
+<p> 2. Four other concertos, the orchestral parts unwritten. The
+last was written a short time prior to his death, at Nice.</p>
+
+<p><span class="pagenum" id="Page_82">82</span>
+ 3. Variations upon a comic theme continued for the orchestra.</p>
+
+<p> 4. Sonata for the large Viol, with orchestral parts.</p>
+
+<p> 5. “God save the King,” varied for the Violin, with orchestral
+parts.</p>
+
+<p> 6. “Le Streghe,” variations on a ballet air, with orchestral
+parts.</p>
+
+<p> 7. Variations upon “Non più mesta,” theme from “Cenerentola.”</p>
+
+<p> 8. Grand Sentimental Sonata.</p>
+
+<p> 9. Sonata, with variations.</p>
+
+<p>10. “La Primavera,” (Spring), Sonata, without accompaniments.</p>
+
+<p>11. “Varsovie,” Sonata.</p>
+
+<p>12. La ci darem la mano.</p>
+
+<p>13. “Le Carnaval de Venise.”</p>
+
+<p>14. “Di tanti palpiti.”</p>
+
+<p>15. “Marie Louise.”</p>
+
+<p>16. Romance pour le chant.</p>
+
+<p>17. Cantabile for Violin and Piano.</p>
+
+<p>18. Polonaise, with variations.</p>
+
+<p>19. Fantaisie Vocale.</p>
+
+<p>20. Sonata, for Violin Solo.</p>
+
+<p>21. Nine Quartetts, for Violin, Alto, Violoncello, and Guitar.</p>
+
+<p>22. Cantabile and Waltz.</p>
+
+<p>23. Three Duetts, for Violin and Violoncello.</p>
+
+<p>24. Other Duetts and small Pieces for Violin and Guitar.</p>
+</blockquote>
+
+<p>Unfortunately many of these compositions are incomplete.
+The original scores, without omissions, which have been found,
+are the two concertos in E flat and in B minor (it is in this
+latter the celebrated rondo of “La Clochette” is found); the
+allegro of a sonata, entitled “Movimento perpetuo”; the famous
+variations “Le Streghe” (the Witches) with orchestral parts;
+the variations upon “God save the King,” with parts; variations
+upon “Di tanti palpiti,” with parts; variations upon “Non più
+mesta, accanto al fuoco,” with parts; the “Carnaval de Venise,”
+twenty-four variations upon a popular Venetian air; and sixty
+variations, in three series, with accompaniment for Piano or<span class="pagenum" id="Page_83">83</span>
+Guitar, upon the popular air known at Genoa under the name of
+“Barucaba.” The theme is very short; the variations are studies of
+various kind of difficulties. These were written by Paganini, at
+Genoa, in February, 1835, and were among his latest works; he
+dedicated them to his friend the advocate, M.&nbsp;L.&nbsp;G. Germi.
+By some singular circumstance these variations are not included
+in the list furnished by M. Conestabile.</p>
+
+<p>It will be seen the complete works of Paganini, which have
+been found, are only nine in number. It is to be deplored that
+among these high-class productions, the magnificent concerto
+that the great artist wrote for Paris, and which he played at his
+third concert at the opera, the 25th of March 1831, should
+be wanting; also the grand military sonata upon the fourth string
+in which he displayed such marvellous ability, in a compass of
+three octaves with harmonic sounds; and, finally, his variations
+upon “Nel cor più non mi sento.”</p>
+
+<p>The compositions of Paganini are redolent with merit—novelty
+in ideas, elegance of form, richness of harmony, and
+variety in the effects of instrumentation. These qualities are
+especially found in his concertos, which have exercised great
+influence on compositions of this nature that have subsequently
+been published. They differ in form in many points from the
+classic form of Viotti’s concertos. There is the merit of uniformity
+and increasing interest, which it were well all violinists
+would meditate upon. In general, without diverting attention
+from the solo by over-elaborated passages, the instrumentation
+possessed an interest which cannot be separated from the principal
+design. The <i>entrées</i> are neither cold nor symmetrical—the
+effects new and varied.</p>
+
+<p>The first concerto is in E flat, set for the orchestra, but the
+Violin is written in D; the four strings of the instrument are
+consequently tuned a semitone higher. The tutti, admirably
+written, is bold and flowing, and very effective. The forms
+remind one generally of those of the old concerto, more than of
+those Paganini wrote since, this being his first. I have an indistinct
+recollection of his having composed this one in 1811. There<span class="pagenum" id="Page_84">84</span>
+is little originality in the style of the tutti and the solos; but
+in the details, and above all, in the brilliant passages, there are
+certain points which render this concerto a work of the greatest
+interest; there is frequent employment of double notes and
+harmonics. The second solo presents effects on the fourth string,
+of which effects Paganini is the inventor. It terminates with the
+last passage of the first solo transposed into the original key.</p>
+
+<p>The adagio (in C minor) is a dialogue between the fourth string
+and the other three. The conception of this dialogue appears
+to have absorbed all the artist’s attention, for the melody has
+little novelty. This is not the case with the rondo—the theme
+of which is peculiarly original. There is an extraordinary
+staccato passage, which Paganini executed in a novel manner,
+peculiar to himself. It is necessary to understand the method
+to give this passage its original character. It is in this rondo
+that Paganini employed, for the first time, tenths, combined in
+various ways, producing wonderful effects, by the unerring and
+marvellous certainty of his mechanism. The character of the
+piece is bold: the second solo, nearly all on the fourth string and
+in harmonics, produced an extraordinary sensation, nothing
+similar having been heard prior to its introduction.</p>
+
+<p>The second concerto is in B minor. The commencement
+of the first piece is broad and impassioned; the harmony often
+interesting in its successions; the instrumentation intelligent and
+rich in effects. The tutti are weak in development, and serve
+only to connect together the various solo parts. The phrase of
+the commencement of the first solo is very grand, and largely
+developed, followed by a modulation in D, where much boldness
+is displayed in a novel passage of double notes. The melody
+which follows is somewhat poor—the four first bars being repeated
+without any change—which is a fault; but the passage which
+follows is particularly effective. Paganini in this has evinced
+much daring in the combination of difficulties, both for the bow
+and the left hand. He has introduced a double shake, descending
+in thirds—in the execution of which he was incomparable, both
+in brilliancy and the irreproachable perfection of his intonation.</p>
+
+<p><span class="pagenum" id="Page_85">85</span>
+The second tutti, which recalls the subject of the first, is
+rather short, but interesting; it modulates in E minor, and
+terminates with an unusual form of suspension. The subject
+of the second solo differs totally from the first; the melody is
+expressive and combines effects of staccato, to which Paganini
+imparted a character quite peculiar. The passage which follows
+this subject, all in double notes, is very effective: its combinations
+present immense difficulties, which to the great artist were
+but mere trifles. The second solo ends in B major, finishes with
+the passage of the first, transposed into this new key, and consequently
+rendered much more difficult.</p>
+
+<p>Throughout this first piece, the double-note passages and
+jumping bowing are quite novel, and depart entirely from the
+ordinary form of the concerto. Two things are equally remarkable
+in the manner Paganini played them. The first was his
+perfect intonation of the double notes in this shoal of difficulties,
+particularly in the excessive rapidity in the passages; the second
+was the marvellous skill with which he managed the bow, however
+great the distances of the intervals. There was in this part
+alone of the artist’s talent an evident predestination, and the
+study of an entire life. It is impossible to give any idea of
+all the combinations which are met in the fingering of the chords
+strewn among these immensely difficult passages; they embrace
+occasionally such extraordinary intervals, that violinists are
+at a loss to discover the artifices by which the hand reaches them.
+Besides, in this labyrinth of unheard-of difficulties, neither
+a doubtful note nor uncertain intonation ever occurred.</p>
+
+<p>The adagio (in D) is a cantabile of the finest character. More
+simple than the rest of Paganini’s compositions, it produced but
+little effect, finishing as it does without the exhibition of extraordinary
+difficulties, which the public were wont to expect from
+him; nevertheless, the forms of the melody are elegant, expressive,
+and full of charms. Good taste prevails throughout this
+piece. The rondo with the obbligato bell accompaniment is delightfully
+fanciful; the most incomprehensible feats of skill are
+here combined with exquisite taste. The first subject is remarkable<span class="pagenum" id="Page_86">86</span>
+for its elegance and novelty, both in its details and its
+general formation. Some charming bow effects are introduced,
+which Paganini executed with marvellous brilliancy and dexterity.
+The bow fluttered so nimbly over the strings, and the fingers
+moved so briskly and lightly, that the performance seemed one
+of easy accomplishment. The rondo of the “Clochette” obtained
+enthusiastic success throughout Europe.</p>
+
+<p>The allegro of the sonata for Violin and orchestra, entitled
+“Movimento perpetuo,” is only remarkable as a study for detached
+bowing of exceedingly rapid movement, which continues
+until the last bar. This species of difficulty exacts great suppleness
+of arm to avoid fatigue, and a perfect <i>ensemble</i> of the left
+hand and the bow. In this piece there are no less than 170
+bars without a single rest. Considered as a composition, it is
+unimportant, but interesting as a study.</p>
+
+<p>Few musical compositions ever obtained such universal fame
+as the “Streghe” (the Witches), either from the prodigious
+execution of the great violinist, or perhaps because some superstition
+attached to the title. The original manuscript indicates
+that the introduction and the variations are composed upon an
+original air; however, if tradition is to be depended upon, the
+air was taken from the ballet of “Il Noce di Benevento.” The
+introduction is short. The first variation, in double and triple
+notes, is extremely difficult. It may be regarded as a valuable
+study for playing in tune. In the second there is a mixture of
+harmonics and pizzicato which produces a very original effect.
+The third is a dialogue between the fourth string and the double
+harmonics; a novel effect which never failed to draw down the
+loudest acclamations of the auditory. The finale, which joins
+this variation, terminates with rapid passages upon the fourth
+string, and in harmonics of extreme difficulty.</p>
+
+<p>In the variations upon “God save the King,” Paganini seems
+to have intended concentrating all the new effects he had discovered,
+and all the enormous difficulties over which he had
+triumphed. The subject is written in three and in four parts;
+the melody is played with the bow, and the other parts of the<span class="pagenum" id="Page_87">87</span>
+accompaniment is pizzicato. The first variation, in double notes,
+presents successions of thirds and tenths, which require a large
+hand and a great certainty of intonation. Paganini played
+it in a light and rapid manner, which greatly increased its
+difficulty. The second variation is a complication of rapid
+triplets, intermingled with passages of double notes and bounding
+staccatos. The execution of this variation requires extraordinary
+dexterity. In the third the subject is sustained in a slow movement,
+during which the accompaniment is going on in extremely
+rapid passages on the third and fourth strings. The fourth
+is peculiarly quaint; it consists in rapid passages pizzicato in the
+upper part, while the accompaniment is played upon the lower,
+with the bow staccato. The fifth, written in double notes, is an
+echo effect on the upper octave, the bass is by pizzicato on the
+lower strings. The sixth and last consists in staccato arpeggios,
+difficult of execution, arising from the complex positions of the
+left hand.</p>
+
+<p>In the fantasia with variations, on “Di tanti palpiti,” the
+orchestra is written in B flat, the solo a semitone higher; in the
+second variation the fourth string is lowered to B flat. Paganini
+effected this change with so much address, that it was never
+perceived at his concerts. The piece commences by an introductory
+larghetto, followed by a recitative. The subject which
+follows is quite simple, and the first variation without very
+remarkable difficulties, with the exception of a very rapid descending
+scale in harmonics. In the second, where the fourth string
+is lowered to B flat, passages occur in double notes of great
+difficulty for the bow. The third is the most curious and difficult;
+it consists of arpeggios with double notes in a presto movement,
+and combinations of harmonics and ordinary notes in a new and
+quaint style.</p>
+
+<p>The air with variations, on “La Cenerentola” (Non più
+mesta), is written in E flat for the Orchestra; the Violin is tuned
+a semitone higher. The first variation contains nothing remarkable;
+the second, a combination of bounding staccato harmonics
+and pizzicato, recalls similar passages found in other works of the<span class="pagenum" id="Page_88">88</span>
+author. The third, in a minor mood, is composed nearly of
+octaves. The fourth is an echo, the effects are double harmonics.
+It is followed by a finale in thirds and octaves, brilliantly effective,
+but fraught with difficulty.</p>
+
+<p>The twenty variations upon the popular air “Oh, Mamma,”
+known as the “Carnaval de Venise,” which has been so
+frequently imitated, are remarkable for the distinct character given
+to each; all the bow and finger effects imagined by Paganini are
+concentrated in it. Good taste is sometimes departed from in
+a few of the variations, but it will not be denied that some extraordinary
+effects are produced in those strange freaks, to which
+the marvellous dexterity of the artist lent an irresistible charm.</p>
+
+<p>The last work to which I have to allude is the collection
+of sixty variations, in the form of studies, upon the popular air
+“Barucaba.” Paganini purposed in each of these studies to give
+every style of bowing, all the difficulties of fingering, and all the
+combinations of harmony, upon which his school is founded.
+By a singular notion, nearly all these variations are written in
+different keys.</p>
+
+<p>If the astonishing success of Paganini, the immense popularity
+of his name, and the influence he exercised over the talent of
+some of the violinists of the younger school, be considered, the
+high interest attached to the publication of the works with which
+the great artist astonished Europe, will be understood. At all
+events, these considerations will afford but a very imperfect idea
+of the importance of their long-withheld publication. Their value
+can only be understood after a long and close examination. For
+more than twenty years every violinist has looked forward to the
+production of these works with anxiety and curiosity, under the
+impression of being able, with them, to “do the Paganini,” and
+establish himself, if not in imitation, at least as a pupil of that
+illustrious man. But few imagined the great truths which would
+manifest themselves by the revelation of the secret of his music—none
+could foresee how much this great man would be elevated
+in their esteem when the prodigious difficulties he executed while
+playing, were placed before them. Some of his effects, the most<span class="pagenum" id="Page_89">89</span>
+easy of execution, were hastily copied, and the mystery of his
+talent was supposed to have been discovered. How much illusion
+will be dissipated by the examination and study of these anxiously
+expected works! I will not speak of the simply curious effects
+by which Paganini dazzled the million—of his pizzicato
+and bow feats—of the modifications in tuning the instrument,
+and of the thousand combinations, the merit of which consisted
+principally in perfect execution. These will only have an
+exceptional existence, and will never hold a place in serious
+music. Besides, the sagacity of Guhr, a skilful violinist, and
+the able conductor of the Frankfort Theatre, has penetrated,
+to a certain extent, the secret of these things, and has cleverly
+exposed the theory in a work especially devoted to this purpose.<a id="FNanchor_Q" href="#Footnote_Q" class="fnanchor">Q</a>
+That which most struck me on reading the MSS. of Paganini,
+that which raised him immensely in my estimation, was the conviction
+that the mechanism of the art was never carried to the same
+extent—that he was never equalled in surmounting difficulties—and
+never was such infinite variety displayed in brilliant passages.
+The double notes for instance, always the test of great Violinists,
+as respects true intonation and precision—particularly when the
+left hand descends to its natural position—form a salient feature
+in the rapid passages of his compositions. The intervals are ever
+varying—sometimes in thirds, sometimes in sixths, eighths, and
+tenths—passing with rapidity from one kind of interval to another—jumping
+incredible distances—always in double notes—with
+unerring certainty and perfect intonation. His hand was a
+geometrical compass which divided the finger board with mathematical
+precision—his fingers falling exactly where the intonation
+of the intervals of the double notes was to be found. I do not
+speak of the varieties of bowing, by which he rendered these
+difficulties more complicated, I merely look at the double-note
+passages alone,—I therefore say, that these passages, which were
+trifles to Paganini, will be impracticable to any other violinist<span class="pagenum" id="Page_90">90</span>
+whomsoever he may be, if he would execute them with the same
+rapidity and with the perfect intonation of the author. As
+a study, it is a new world for the perseverance of young artists,
+the results of which will be the acquisition of certainty, which
+only a small number of performers possess, and the enlargement
+of the great resources of the instrument.</p>
+
+<p>It may be asked why new difficulties are introduced into art;
+and it may be remarked, with reason, that the aim of music is
+not to surprise with marvellous feats, but to delight the feelings.
+This principle I perfectly coincide with; yet I would observe,
+on the one hand, that certain artists will never be prevented from
+endeavouring to overcome difficulties, however apparently
+insurmountable, nor the public from applauding the happy result
+of their efforts: on the other hand, that the study of difficulties
+conduces to certainty in what is more simple. If any violinist
+can play, with perfect intonation, and in the prescribed time, the
+passages of Paganini’s concertos, he will necessarily attain imperturbable
+certainty in ordinary music.</p>
+
+<p>Is it imperative, I may ask, that these new and varied forms
+of passages in Violin concertos are to be excluded? Admirable
+in sentiment, as avowedly the concertos of Viotti are, their weakness
+consists in the monotony of the rapid passages—and the
+same may be said of nearly all other known concertos. Art
+is evidently limited in this species of composition, to things which
+cannot be considered as the last essay of the artist’s skill—more
+may be boldly attempted, and that by varied means. Let the
+happy darings of Paganini be studied, and it will be found that
+something is gained.</p>
+
+<div id="ip_90" class="figcenter" style="max-width: 11.6875em;">
+  <img src="images/i098.jpg" width="187" height="108" alt="" /></div>
+
+<div class="chapter"><div class="footnotes">
+<h2 class="nobreak p1"><a id="FOOTNOTES"></a>FOOTNOTES</h2>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_A" href="#FNanchor_A" class="fnanchor">A</a>“Osservazzioni su due Violini esposti nelle sale dell’ I.&nbsp;R. Palazzo di
+Brera uno de’ quali di forma non commune.” Milan, 1832, in 8vo.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_B" href="#FNanchor_B" class="fnanchor">B</a>“Mémoire sur la construction des instruments à cordes et à archet, lu à
+l’Academie des Sciences le 31 Mai, 1819.” Paris: Déterville. One vol. in 8vo.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_C" href="#FNanchor_C" class="fnanchor">C</a>“Nuova Teoria di Musica,” &amp;c. Parma, 1812. 1 vol., in 8vo (page
+214). Gervasoni adds that no teacher could have conducted such an artist
+to the sublime height Paganini attained, and that nature alone could have
+directed him.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_D" href="#FNanchor_D" class="fnanchor">D</a>This circumstance in the life of Paganini made very little impression
+upon me when he related it to me, as I was only interested in his artistic
+career: later, this anecdote appeared important to establish the chronological
+order of his life, as will be hereafter seen.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_E" href="#FNanchor_E" class="fnanchor">E</a>Gervasoni, “Nuova Teoria di Musica,” page 103.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_F" href="#FNanchor_F" class="fnanchor">F</a>Gervasoni, “Nuova Teoria di Musica,” page 214.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_G" href="#FNanchor_G" class="fnanchor">G</a>“Vita di Paganini di Genova, scritta ed illustrata da Giancarlo
+Conestabile. Perugia, Tipografia di Vincenzo Bartilli, 1851.” 1 vol., in
+8vo, 317 pages.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_H" href="#FNanchor_H" class="fnanchor">H</a>Loc. cit.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_I" href="#FNanchor_I" class="fnanchor">I</a>From the sentiments which induced the Grand Duchess to overlook his
+insubordination, and from certain innuendoes which have escaped the pen
+of M. Conestabile, inferences may be drawn, which delicacy dictates should
+not be mentioned unreservedly.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_J" href="#FNanchor_J" class="fnanchor">J</a>An artist of great merit, author of several operas, and who continued the
+Requiem of Mozart.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_K" href="#FNanchor_K" class="fnanchor">K</a>Who subsequently became principal Violin soloist at the Chapel of the
+King of Saxony.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_L" href="#FNanchor_L" class="fnanchor">L</a>Tre Capricci per il Violino, dedicati al esimio professore Nicolo Paganini,
+da Carlo Lipinski. Leipzig: Breitkopf und Härtel, 1827.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_M" href="#FNanchor_M" class="fnanchor">M</a>M. Conestabile places Paganini’s first visit to Naples and Sicily immediately
+after the concerts at Rome during the Carnival, but I have found no
+traces of his having done so in the musical journals, the Italian newspapers,
+and the almanacks, of that period (1818). It would be difficult to understand
+that, in a short time, Paganini could have given several concerts at the Theatre
+Fondo, others at San Carlo, at Naples, then at Palermo; and that he should
+have left Upper Italy, Piedmont, and Tuscany, to return to Naples and
+Sicily in 1819. I believe his first visit to Naples only took place in 1819. In
+the months of December, 1818, and January, 1819, he gave four concerts at
+the Theatre Carignano of Turin; in the February following he gave concerts
+at Florence, and in June and July some at Naples.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_N" href="#FNanchor_N" class="fnanchor">N</a>M. Fétis ought by this time to be aware that an artist suffers from any
+of these difficulties in a less degree in England than in any country of Europe;
+in no part of the world is the true merit or just talent of a musician sooner
+discerned, or more justly rewarded, than in England; yet, at the same time,
+it must be conceded that charlatanism, both native and foreign, has long been
+rampant and held a sway, as far as music is concerned, in this country, quite
+revolting to a true artist.—<i>Translator’s Note.</i></p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_O" href="#FNanchor_O" class="fnanchor">O</a>Paganini in seinem Reisewagen und Zimmer, etc. Aus einem Reisejournale.
+Brunswick, 1830. 12mo.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_P" href="#FNanchor_P" class="fnanchor">P</a>Published by Schott &amp; Co., Mayence and London.</p></div>
+
+<div class="footnote">
+
+<p class="fn1"><a id="Footnote_Q" href="#FNanchor_Q" class="fnanchor">Q</a>“Essai sur l’art de jouer du Violon, de Paganini.” Mayence e
+Londres, Schott &amp; Co.</p></div>
+</div></div>
+
+<div class="chapter"><div class="transnote">
+<h2 class="nobreak p1"><a id="Transcribers_Notes"></a>Transcriber’s Notes</h2>
+
+<p>Punctuation and spelling were made consistent when a predominant
+preference was found in this book; otherwise they were not changed.</p>
+
+<p>Simple typographical errors were corrected.</p>
+
+<p>Ambiguous hyphens at the ends of lines were retained; occurrences
+of inconsistent hyphenation have not been changed.</p>
+</div></div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Biographical notice of Nicolo Paganini, by 
+François-Joseph Fétis
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author	nfenwick <nfenwick@pglaf.org>	2025-02-08 12:06:07 -0800
committer	nfenwick <nfenwick@pglaf.org>	2025-02-08 12:06:07 -0800
commit	f728406582c56799277482bf526500a3bc341cfa (patch)
tree	ccf4ba4dba0230dc40d67e0bb92f68996d627165