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THE LIBRARY

THE UNIVERSITY

OF CALIFORNIA
LOS ANGELES

MUSIC

uiRARr

CELEBRATED MUSICIANS

lii

NICOLO PAGANINI i

A BIOGRAPHY

J. G. PROD'HOMME

Translated from the original
French Edition

ALICE MATTU

J>-^R1CE $1.00

Music
Library

vn u

VI.

CONTENTS

Paganini's youth and early travels in Italy

(1784-1828) 5

The Man and the Artist |7

Travels abroad. (1) Austria, Poland, Germany

(1828-1830) 30

Travels abroad. (II) Paris, London, etc. (1831-

1834) 43

Return to Italy ; last stay in France ; death of
Paganini ( 1 834- 1 840) ; his posthumous ad-
ventures (1840-1896) 56

Paganini as a composer 71

His works 76

Books of reference 78

TABLE OF ILLUSTRATIONS

Nicolo Paganini (Engraved by Calmatta, from a

drawing by Ingres, 1818) 7

House at Genoa where Paganini w^ais born .... 13

Nicolo Paganini (Portrait by Isola in the Municipal

Gallery at Genoa) 21

Paganini encored at the close of a concert (A Paganini

recital in 1804, from the painting by Gatti) 27

Caricature of Paganini (Lithograph by Mantoux) 31

Caricature of Paganini (Lithograph by Granville,

from the terra cotta figure by Dantan) 31

Cast of Paganini's hand (Instrumental collection of

the Conservatoire) 4!

Paganini in prison (Lithograph by Louis Boulanger,

1832) 45

Paganini's violin (Municipal Museum at Genoa) . . 51

Paganini Casino at Paris, Chausee d'Antin (1837)

(Lithograph by G. Laviron) 55

Letter from Paganini to Berlioz (Furnished by Mon-
sieur Charles Malherbe) 60

Musical Autograph by Paganini (Extract from Le
Streghe) (violin part) (Furnished by
Monsieur Charles Malherbe) 65

Paganini Playing on his Stradivarius (From a water
color by Peterlct called "The Violin of
Cremona" (A. Morel d'Arleux collection) 69

.'57'95B<S

I HERE are certain names in history which attain universal
popularity and have the rare distinction of symbolizing a
particular art or an entire epoch. Even the ignorant
know them and use them to express a definite train of
thought. What name more popular than Raphael's? Does it not
typify perfection in the art of painting? Mozart's name in music
has an equal standing. As to the name of Paganini — more even
than that of Liszt, whose fame as a virtuoso for so long over-
shadowed that of the composer, — it has become almost mythical.
"To play like Paganini," like this Paganini whose memory lives for-
ever, is to the masses the highest praise which can be bestowed upon
an executant musician.

It is difificult to determine just when this widespread fame
originated, especially in the absence of authentic documents ; how-
ever, it can be positively stated that up to 1828 Paganini's glory
was entirely of Italian making, his first foreign appearance, at
Vienna, being the flash which lit the fire of enthusiasm in all Europe.
Furthermore, it is difiicult to retrace in detail the first thirty years
of the artist's eventful life, which, even before he left his native
country, had been embellished by anecdotes of more or less
authenticity.

SIC SfC !fC SfC 3fS ^

Born at Genoa, February i8th, 1784, Nicolo Paganini was the
.son of Antonio Paganini and Teresa Bocciardi, "both amateur mu-
sicians," as he states in a brief autobiography ; "when I was five and
a half years of age, I was taught to ])lay the mandolin by my
father, a broker. ( ^ )

"About this time the Saviour appeared to my mother in a dream
and told her that a prayer should be fulfilled to her; she requested
that her son should become a great violinist and this was granted
her. W lull I attained my seventh year, my father, whose ear was
unmusical, but who was nevertheless passionately fond of music,
gave me my elementary lessons on the violin ; in a very few months
I was able to play all manner of coinpositions at sight."

(1) F^tia says he wa.«« a Innp.Hlioreman, hut thl.s is exagg-crated (Revue
Mu.sicale, Feb. iri, 18.30, p. 33). Arrording Ut Ksc-udler he was a small shipping
agent.

NICOLO PAGANINI

Nicole's first teachers were Giovanni Servetto, a man of little
merit, says Fetis, with whom he did not remain long, and afterward
Giacomo Costa, Musical Director and first violin of some of the
prominent churches at Genoa, from whom he took thirty lessons in
six months. At the early age of eight Paganini composed a violin
sonata, and at eight and a-half years of age he played a concerto
by Pleyel in a church. From that time on until he was eleven years
old, he had regular engagements to perform works of this kind at
religious ceremonies. Paganini looked upon this as of much
moment, since the church services forced him to constant practice
on his instrument. He also mentions with grateful recognition one
of his countrymen, Francesco Gnecco — according to Conestabile, a
writer of popular drama, who strongly influenced his musical
development.

When young Nicolo was about eleven and a-half years old — or
perhaps two years earlier — he gave his first concert at the San
Agostino Theatre, assisted by the singer, Teresa Bertinotti, and the
male soprano, Marchesi. As for him, he played to his townspeople
among other things, variations on the Carmagnole, which was very
popular in Genoa at that time, and his success was enormous. The
Marquis Di Negro (at whose house Kreutzer heard him about 1795.)
became much interested in the youthful virtuoso, and it was prob-
ably at his instigation that Antonio Paganini began "a search for
good masters." In 1796 he took his son to Parma, bearing letters
of recommendation to Court officials, to Rolla and the famous Paer.
At Florence he was presented to Salvator Tinti, who was astonished
on hearing him play the variations on the Carmagnole. At Parma,
he tells us "I found in Rolla's room a new concerto composed by
him, which I played at sight; Rolla was much astonished and in-
stead of giving me instruction on the violin, advised me to study
counterpoint under Maestro Ghiretti, a Neapolitan court-musician
and noted composer, who had also been Paer's teacher." Thus
states Paganini, but it appears, according to Gervasoni, that the
young artist actually took lessons from Alessandro Rolla during
several months.

As to Paer, who in 1792 to 1797 spent a part of each year at
Parma, he gave him "three lessons a week during six months."
Paganini, under his direction, composed twenty-four figures for four
hands, and his teacher was highly pleased with a duet which he had
^iven him to set to music. "Ghiretti," says Paganini. "who had

A BIOGRAPHY

taken a fancy to me, overwhelmed me with favors and lessons in
composition, and under his guidance I composed a great deal of
instrumental music. About this time I played two violin con-
certos at a concert in the leading theatre, after having played at the
country seat of the sovereigns, at Colorno, and at Sala, on which
occasion I was most generously compensated. The owner of a
Guarnerius violin said to me: 'If you can read this violin concerto
at sight, I will give you this instrument,' and I won it." After this
first tour, during which young Paganini gave twelve concerts, at
Parma, Milan, Bologna, Florence, Pisa and Leghorn, he returned
to Genoa, — probably during the winter of 1797-1798; there he com-
posed his first etudes, certain technical difficulties of which he is said
to have practiced for up to ten hours a day. When he had mastered
them, he wrote other concertos and some variations, according to
his account. His father presumably forced him to rigorous applica-
tion to his studies, locking him up for entire days and guarding him
closely. Thus he spent the time during the memorable siege of
Genoa. However, this severity awakened the desire in the youth
to escape the parental surveillance. With his extraordinary mas-
tery of his instrument and having studied the works of all the great
masters, Corelli, Vivaldi, Tartini, Pugnani and Viotti, he did not
lack resources for making his living. "At twenty-seven years of
age," continues the autobiography, "he made a tour of northern
Italy; and it was at this time that he left his home and came to the
town of Lucca. Here he met with great success at a festival which
took place in Nov., 1800, on St. Martin's day. Later he won much
favor in several Tuscan towns — especially at Pisa, and remained
some time at Leghorn "to write some compositions for bassoon, for
the use of a .Swedish amateur who complained that he could find
nothing sufficiently difficult." The Scandinavian amateur expressed
himself more than delighted with the young maestro's work.

The latter, intoxicated by the triumphs with which he met
everywhere upon his way, led anything but an exemplary life. No
longer uuflcr the paternal eye, his leisure hours were sjjcnt with
gambling and women, and one fine day, having lost everything he
possessed at the gaming table, including his instrument, an amateur
— whr)se name he has recorded — a Monsieur Livron, — loaned him
a magnificent Guarnerius for his next api)carancc in |)iib!ic. After
the concert the enthusiastic amateur gave the violin to Paganini as
a gift. This instrument was left by Paganini to his native city, and

NICOLO PAGANINI

the Guarnerius is to this day kept at the Municipal Palace, at
Genoa. (^)

After this period — the exact duration of which is not known,
but which was doubtless quite lengthy, Paganini informs us that
"four years before the coronation of Napoleon, at Milan" — there-
fore in 1801, he went to Lucca for the festival of St. Croix (Sep-
tember 14th). "Everybody stared at me and made fun of my long
bow and heavy strings (he used 'cello strings on his violin) but after
the rehearsal, I was so wildly applauded that the other candidates
did not venture to be heard. At a grand evening service in a
church, my concerto created such a furor that the worshippers
rushed out to keep the crowd outside the church quiet."

At this point all the biographies of the artist show a lapse of
three or four years which it is impossible to reconcile. Where was
he between the months of September and October, 1801, and the
year 1805, — the date of another sojourn at Genoa? The autobiog-
raphy briefly states that its author "devoted himself to agriculture
and took to playing the guitar." We can merely add that from time
to time he lived at the chateau of a great lady who played this
instrument. Several compositions, his Opus 2 and 3, comprising
six sonatas for violin and guitar, date from this period. Returning
to Genoa, he once more took up his violin studies with much zeal,
especially Locatelli's "Arte di nuova modulazione" and composed
six quartets for violin, viola, guitar and 'cello. Opus 4 and 5, — as
well as some brilliant variations — all with guitar accompaniment.

Following his trip to Lucca in i8oi(^) came his appointment in
1805 at the court of Lucca, where Felix Bacciochi and Eliza Bona-
parte ruled since May, and Paganini continues : "The Republic of
Lucca made me first court violinist and I remained there three
years, giving instruction to Bacciochi. My duties required me to
play in two concerts each week, and I always improvised, with piano
accompaniment. I wrote these accompaniments in advance and
worked out my theme in the course of the improvisation. One day
at noon, the court requested a concerto for violin and English-horn
that evening ; the Musical Director refused on the ground that there

(1) To quote the autobiography — "In my concert announcements, I always
volunteered to execute any piece of music which might be presented to me.
One day at Leghorn, wishing to pass time and having no violin, I was loaned
one by a M. Livron, to play one of Viotti's concertos; and afterward he made
me a present of the instrument. "

(2) Niggli gives the time as 1805 and this seems more probable.

A BIOGRAPHY

was not sufficient time, whereupon I was asked to write it. In two
hours I had composed an orchestral accompaniment, and that even-
ing I performed it with Professor CalH, making a great hit.

"Looking for variety in the programs I executed at court, one
evening — after having removed two strings from my violin (the
2d and 3d), I improvised a sonata entitled 'Scena amorosa,' the 4th
string representing the man (Adonis) and the treble string the
woman (Venus). This was the beginning of my habit of playing
on one string, as this sonata was much admired, and I was asked if
I could play on a single string. I replied : 'Certainly,' and forthwith
wrote a sonata with variations, which was performed in a grand
concert on Saint Napoleon's day (Aug. I5thj. Subsequently I
wrote several sonatas in the same style. (i)

"The Princess Eliza, who sometimes had fainting spells when
listening to me, often retired so as not to deprive the others of the
pleasure of hearing me play. I also conducted an entire opera at
Lucca, with a violin mounted with two strings, and this won a wager
involving a luncheon for twenty-five people. Though still attached
to the court, I travelled in Tuscany ; during a concert given at Leg-
horn, a nail pierced my heel so that I came on the stage limping
Slaughter in the audience) ; the moment I began to play the lights
on my music-stand fell down (more laughter) ; at the very be-
ginning of the concerto the treble string snapped, and amid the
laughter of the audience I went on playing my concerto on three
strings, and my success was enormous." Conestabile puts this in-
cident down as happening in 1806 at tlie time of the second concert
given in that town, where Paganini had gone with letters of intro-
duction to the British Consul.^-'

When Princess Eliza became Grand Duchess of Tuscany, in
1809, Paganini followed her to Florence, where he became an
object of fanatical admiration. "His talent," says l-'etis, "showed
new develnpment every clay"; however, he had not yet learned to
control it perfectly. In 1810 he performed for the first time at a
court concert his variations for the 4th string, having extended its
range to three octaves, bv means of barmonics. Tlii^ novelty met

(1) PnKiinini rtporl.s thf.'if incident.s in a letter pulili.slud by tho Mu.sical
Gazette of Milan, Oct. 18th, ]X4fi. The .scene of Venus and AdonLs i.s dedicated
to a lady of the court, of whom he waH enamored.

(2) Shortly afterward he appeared at Turin, before Pauline Borghese.

10 NICOLO PAGANINI

with enormous success, especially when he played it publicly at a
concert which he gave at Parma on August i6th, 1811."

During this period Paganini visited Lombardy and Romagna. He
appeared at Cesena, at Rimini (Jan. 22, 1810), at Ravenna, Forli,
Imola, Faenza, etc. It is almost impossible to follow his migrations,
and a number of the earlier biographers hold that from 1808 to
181 3 there is another noticeable lapse of five years in his life. The
entire ignorance which for a long time existed as to his achieve-
ments and exploits, caused a thousand absurdities to be related about
him, which later on he had much difficulty to refute. He was
accused of being associated with the Carbonari, of having assassi-
nated one of his mistresses, and that it was during a three or four
years' term of imprisonment that he acquired his stupendous dexter-
ity in playing on one string, the jailer of the prison, fearing that he
would hang himself, having permitted him to play on his violin on
condition that he use but a single string. The facts are that Paga-
nini was accredited with an adventure of the Polish violinist Dura-
nowski, or Durand, who as Aide-de-Camp to a French general, was
imprisoned some time at Milan up to about 1814. Paganini, more-
over, had often heard and admired the Polish violinist.

It is safer to ascribe our lack of knowledge as to Paganini's
precise doings during these four or five years to his ill health, due
to youthful excesses which brought on a nervous trouble, necessitat-
ing an enforced rest of several months. However, he was still at-
tached to the Court at Florence, and his severing of this connection
was the result of a rather amusing incident. At Lucca, the Princess
Bonaparte had appointed him Captain of Gendarmes, a rank which
he still held in the Tuscan capital, and which gave him the right to
wear a uniform. Accordingly, he appeared one evening at a court-
concert in all his military splendor. The Princess immediately
ordered him to resume his black evening clothes ; Paganini refused,
saying that the title of Captain which had been conferred upon him
authorized him to wear a uniform — without restriction or stipula-
tion. After this conversation the bold Captain of Gendarmes
actually dared to promenade in the ball-room where the court had
assembled after the concert. However, he thought it wise to leave
Florence, taking his departure that very night, and in spite of all
the efforts made by the Princess to recall him, Paganini never again
consented to appear at the court of Eliza Bonaparte.

A BIOGRAPHY n

A theme from a ballet which was being performed at that time
(1813) at Milan, "Le Noyer de Benevent," by Vigano, gave him the
suggestion for his variations "le Streghe," with which he toured all
Italy before the remainder of Europe was permitted to applaud
them. In this one city, where up to 1828 he had given thirty-seven
concerts, he made his debut at the La Scala Theatre, Oct. 29th,
and gave some ten concerts in six weeks. From that time on he
was considered the foremost violinist of Europe, more than a
hundred concerts in all parts of Italy confirming this reputation.
"Every five years I changed my style of playing," says he ; "at
Bologna (in 1814), I improvised with Rossini at the piano in the
house of the Pegnalver family. At Rome I was not permitted to
give concerts on Friday during the Carnival, but the Vicar, who
later became Pope Leo XII (1829-1830) authorized a single concert,
as a special concession. In view of the enthusiasm which I created,
he sent me of his own accord, a most flattering edict which author-
ized me to give a concert every Friday. I was also heard at a
concert given at the palace of Prince Kaunitz, the Austrian Am-
bassador. Prince Metternich, who was then at Rome, could not
attend this concert owing to an indisposition, but came to the palace
the next morning. To oblige him I took the first violin that came
to hand and played something for him, which pleased him so much
that he came again that same evening. The wife of the ambassador
said to me: 'You are the whole attraction,' and it was on this
occasion that Prince Metternich invited me to come to Vienna. I
promised to visit that city first after leaving Italy. This tour
through Austria was postponed on account of an illness which 1
contracted and which was unknown to all the medical profession."

March 24th. 18 14, he was again heard at Milan, at the Re
Theatre with his pupil, Catarina Carcagno; he was still there in
May and in September ; later he was at Bologna, at the Communal
Theatre, and rluring this period he met Rossini. Tn 1815 he toured
Romagna and was detained for several months at Ancona by a
nervous disease. In March, 1816, he had the encounter with the
famous Lafont, of whom he had heard at Genoa. Paganini, eager
to meet him, came to Milan, and after a i)ublic "tournament," — both
virtuosi playing the Rode concerto, a uni.sono duet by Kreutzer, and
some soli — (Paganini played le Streghe as his final inmiber) —
Lafont was declared his ec|ual for singing tone, but I'aganini was
incomparably superir)r in tcchni'|Uf. brilliancy of tone and style.

12 NICOLO PAGANINI

In August, at Parma, he played for the first time a series of
variations on the 4th string; later he appeared at Ferrara, with
Gandi-Giani of Bologna and Marcolini. While there he came within
an inch of being lynched by the crowd on account of a witticism at
the expense of the citizens of that place.

In October. Spohr, who was traveling in Italy, met him at
Venice.

"Yesterday," he writes under date of October 17th, "Paganini
returned from Trieste, and it seems that he suddenly gave up his
plan of going to Vienna. This morning he came to see me, and
I finally met this wonderful man of whom I had been told
every day since my arrival in Italy. No performing musician
has ever enthused the Italians to this extent; and although
they do not care much for instrumental recitals, he has given more
than a dozen at Milan and five here. It is difficult to determine
exactly wherein lies the charm which holds his audiences ; there are
stories afloat about him which in no-wise concern the musician ; he
is lauded to the skies, he is called a wizard who draws from his
violin mystic sounds never before heard by human ear. The critics,
on the other hand, although admitting that he shows a marvelous
dexterity of the left hand in double stopping and passages of all
kinds, consider those qualities which fascinate the general public as
inartistic, lowering him to the level of a juggler, and not atoning for
his faults, viz. : a loud tone, faulty bowing, and phrasing which was
not always in the best of taste."(i)

After spending a year at Venice, Paganini returned to Milan
and Genoa; shortly afterward, he again met Rossini at Rome, who
was bringing out La Cenerentola. It was then that he met Prince
Metternich and not in 1814, as the autobiography states. Later he
visited Tuscany, touching at Piacenza, Turin, Florence and Verona.
In the latter city an amusing episode occurred : Paganini was to play
some variations by Valdobrani, the conductor of the orchestra at
Verona, and at the rehearsal he took such liberties with the com-
position that Valdobrani scarcely recognized his work. "You need
have no uneasiness," he was reassured by the artist, "to-morrow you
will recognize them as your own." The last number of the concert
program being the variations by Valdobrini, Paganini actually ap-
peared with his violin in one hand and a light bamboo cane in the

<lj Spohr— Selbst Biographie 1. p. 304.

HOUSIC AT GENOA, WllKKK HAGANIM WAS B(JKN

A BIOGRAPHY ^3

Other, which he wielded as a bow, to the great edification and delight
of the amused audience.

At Florence he took up with Lipinski, his Polish rival, the
struggle for supremacy in which he had engaged with Lafont (17th
to 23d of April). In December, 1818, and January, 1819, he ap-
peared at the Carignano in Turin, and in February at Florence. He
spent the summer in Naples, giving concerts at the Del Fondo Thea-
tre. While there his condition was again critical, as regards his
health. The proprietor of the rooms which he occupied in the Petraio
quarter, fearing the plague, had him brought out into the street in
his bed ! There he was discovered by his pupil, the 'cellist Ciandelli,
who found more comfortable and sanitary quarters for him, nor did
he neglect administering to the barbarous Neapolitan the punishment
he well deserved. Having recovered rapidly, Paganini gave a new
series of concerts. In March, 1820, he was again at Milan, which
had grown as dear to him as his own native city. While there he
directed the Gli Orfei concerts, which l)rought him a medal. At
Rome, in December, he conducted the premiere of Rossini's "Ma-
tilda di Shabra," the leader of the orchestra, Bello, having died sud-
denly at one of the last rehearsals. After having appeared in sev-
eral concerts at the Argentina (in the spring of 1821) and having
shown his mastery of the guitar at various soirees, before a circle
of admiring friends, he left once more for Naples, where he played
at the Del Fondo and Nuovo Theatres. "At last," writes Candler
to the Morgenblatt, "1 heard and admired at the Del Fondo Theatre,
Italy's greatest violinist, Ercole^^^ Paganini. The Hercules among
Italian violinists has given two concerts here, the first on July 20th,
and the second on .September ist; he also gave a third about the
middle of this month at the Nuovo Theatre. — Paganini is certainly
an artist with a style all his own. who follows no jiarticular method
but is guided by rules of his own making, even though tliey might
not all have been approved by Apollo."

After spending the winter of 1821-1822 at Palermo, "where,"
says Niggli, "he found hut few admirers," Paganini returned to
Rome about the time of the Carnival, which he spent gayly with
Rossini. Massimino d'Azcglio and Liparini. Later, by way of
Venice and I^iacenza, he returned to Milan (March-April, 1822).

(1) The author of Ihl.M .iiticle fiToncoualy gave the celebrated artist the
surname of Ercole, which happened to be that of another Italian violinist of
the same name.

14 NICOLO PAGANINI

It was then that he laid plans to tour Germany, which, however,
were not reaHzed until six years later. In January, 1823, just at a
time when he was preparing to give another series of concerts
throughout the peninsula, he was detained at Parma through illness.
Eventually he gave several concerts at Turin and then went to
Genoa to recuperate. In May, 1824, he appeared at San Agostino
before his compatriots, who received him with enthusiastic demon-
strations. He took leave for some time to reap more laurels at the
La Scala Theatre on June 12th, and then returned to Genoa to give
two concerts (June 30th and July 7th). In the fall he again went
to Venice by way of Milan, and there he met Signora Antonia
Bianchi, a native of Como, who for several years accompanied him
everywhere; a son, Achillino, was born to them at Palermo July
23d, 1825. A sojourn in Sicily had now become actually imperative
to fortify his ever delicate constitution; he remained there in 1825
and 1826, appearing in Rome, however (three concerts in 1825),
and in Naples (April 15th — concert at Del Fondo Theatre, with La
Tosi, Novelli, Fioravanti and Lablache). At Palermo he was
coldly received.

Subsequently he went to northern Italy, passing through Trieste,
Venice (in the summer of 1826), Rome (spring of 1827), Florence,
Perugia, and Bologna, where he was forced to remain eight months,
suffering with a trouble with one of his legs; finally, after a fare-
well trip to Genoa, he returned to Milan toward the close of 1827
before undertaking his trip through central Europe.

A BIOGRAPHY 15

II.

N the course of his career the echoes of his fame resounded
throughout Germany, France and England, and myths
were woven about the artist, showing him as the weird,
phantastic creature which posterity insists on seeing in
him. This "magician of the South," this "sorcerer," as the Ger-
mans call him, this "king of the violin," as he was christened by all
Europe, was then about forty years of age. Doubtless his features
were not cast in that sad, misanthropic, almost wretched expression
which the portraits of Paganini, engraved toward 1830, show.
However, the bizarre appearance which so many writers have de-
scribed and whose characteristics have been preserved for us in so
many drawings and caricatures, had already formed.

"Five feet five inches in height, built on long sinuous lines, a
long, pale face, with strong lineaments, a protruding nose, an eagle
eye, and curly hair flowing to his shoulders, hiding an extremely
thin neck; two lines, one might say were graven on his cheeks by
his profession, for they resembled the // of a violin or double-bass.
Bright with the fire of genius, his pupils roll in the orbits of his eyes
and turn toward those of his accompanists of whom he does not feel
quite sure. His wrist is so loose and supple that I would compare
the play of his hands to the movement of a handkerchief tied to the
end of a stick, and floating in the breeze." Such is the description
of Paganini by Castil-Blaze, in 1831.

"He is as thin as anyone can possibly be," writes his biographer
Schottky, before Castil-Blaze ; "with this a sallow complexion, a
pointed aquiline nose, and long bony fingers. He seems barely able
to support the weight of his clothes, and when he bows, his body is
so strangely contorted that one fears any moment the feet will part
company with the re.st of him, and the whole frame fall suddenly
to the ground, a heap of bones. When he plays, his right foot is
advanced and in brilliant passages marks the time with ludicrous
rapidity, the face, however, not losing its stony impassiveness except
for the shadow of a smile when thunders of applause greeted him ;
then his lips moved and his eyes, full of expression, but without
kindliness, flashed in all directions. In repose, his body forms a
sort of triangle, bending in an absolutely uni([ue manner, while the
head and the right foot are held forward."

16 NICOLO PAGANINI

A "Physiological notice" juiblished at this period by Dr. Ben-
nati/i) enables us better than any more "learned" essay, to solve the
"mystery" of this almost phenomenal organism ; these pathological
and scientific observations show this man in a more human guise,
about whom the wildest stories were told, circulated by his enemies
and envious rivals.

"I will not analyze the features of his face," says Dr. Bennati,
"nor speak of the bump of melody, which is strongly developed at
the outer angle of his forehead ; I will merely show him in his en-
tirety as an organism made expressly, one might say, for attaining
the highest perfection as an executant musician, which he has
reached, and based on this I hope to demonstrate the truth of an
opinion which I have given, namely, that the superiority of the cele-
brated violinist is less a result of continued practice, as has been
averred, but rather of special physical fitness. Doubtless many
stages of development were required to create this new and wonder-
ful mechanism by which he has been able to put himself beyond
comparison ; unquestionably his genius pre-existed. Paganini, to be
what he is, had to unite perfect musical intelligence with organs of
the most delicate sensitiveness to exercise it. His head alone should
have made Paganini a distinguished composer, a musician of the
highest standing ; but without his delicate sense of rhythm, the build
of his body, his shoulders, arms and hands, he could never have
been the incomparable virtuoso whom we all admire.

"Paganini is pale, thin and of middle stature. Although he is
only forty-seven, his thin frame and the loss of his teeth make his
lips look drawn, while his chin protrudes, giving him a far more
aged look. The large head on a long, scrawny neck, together with
his lanky limbs, at first gives a strong impression of disproportion.
A high forehead, broad and massive, an aquiline and very character-
istic nose, beautifully arched eyebrows, a mobile, malicious mouth,
slightly resembling Voltaire's, large protruding ears, standing well
off from the head, long black hair falling carelessly to his shoulders
and contrasting with his pale skin, gave Paganini's appearance an
extraordinary cast, and to a certain degree testified to his undeniable
genius.

"It has been erroneously stated that an expression of physical
pain gave to Paganini's features a stamp of wild melancholy, attrib-

(1) Revue de Paris, May, 1831, pages 52-60. I owe this interesting article
to Mr. Adolph Boschot.

A BIOGRAPHY ij

uted to weariness of living. I can say that in my intercourse with
Paganini 1 never obtained anything like this impression in regard
to his character. I always saw him gay, brilliant, even full of fun
when among friends, while with his charming little Achille he was
as playful as a child, and I am in a better position than anyone else
to form an opinion of Paganini. For more than ten years I was on
an intimate footing with him, and had countless opportunities to
observe him, first in Italy, and particularly at Vienna, where I had
occasion to render him my professional services during several
months, and thus no physiological condition during his life is un-
known to me. I am inclined to believe that no one but a friend
could have obtained the details as to his health or his former illness,
necessary to judge of his physiological condition; as he would have
given no opportunity to others to examine the various organs and
the build of his body and limbs, and they would have had no clue to
the phenomenon presented by the wonderful physical mechanism
underlying his art. However, before going further into this
mechanism, which I believe to be a great part of the secret which
Paganini is supposed to possess, I will touch on more important
questions."

Paganini was no consumptive, as was at first feared. Bennati,
with Dr. JNIiquel, at Paris, convinced himself of this point;
"he is thin," says the doctor, "not on account of tuberculosis,
but because it is his nature to be so. The left shoulder is
higher than the other, which when he stands erect, with his
arms hanging, makes the right one seem much longer. l*ar-
ticularly noticeable is the extensibility of the capsular ligaments
at the shoulders, and the slackness of the ligament uniting the hand
and fore-arm, also the carpals and meta-carpals and the phalanges
with each other. Tlie Jiand.is iio-4arger. than normal, htit he can
double its reach by the flexibility of all his joints. Thus, for in-
stance, he gives to the first phalanges of the fingers of his left hand,
on the strings, a remarkable flexion which, while his han<l remains
motionless, moves them laterally to their natural fiexion, and this
with ease, precision and rapidity." I'aganini's art is simply a result
of practice and of his physical fitness. "I lis cerebellum is enormous.
His sense of hearing is wonderfully developed : he hears what is
said, even in a whisper, at a great distance, anfl the sensitiveness of
his tympanum is such that it positively pains him to have anyone

jg ■ NICOLO PAGANINI

close beside him speak in a loud tone of voice. He is then obliged
to turn and face the interlocutor. This sensation is far more pro-
nounced on the left ear, which is the one corresponding to the posi-
tion of the violin. His ears are admirably adapted for receiving
sound waves, the cavity being wide and deep; the shell is strongly
marked, and all its lines are deeply graven. It is impossible to find
a better, more perfectly proportioned ear in all its parts, and one
more strongly defined."

"The delicacy of Paganini's hearing surpasses anything imagin-
able," continues Bennati. "While the largest orchestra is playing
with the full strength of its wind instruments he needs but a slight
touch with one finger to tune his violin ; he instantly detects under
all circumstances an instrument which is out of tune, even the less
noticeable ones, and this at an incredible distance. On several
occasions, he has shown the absolute perfection of his musical
hearing by playing 'true' on a violin which was not in tune.

"Paganini is permeated with music ; at the age of five the chimes,
which are quite frequent in Italy, sometimes made him radiantly
happy, and sometimes strangely melancholy. At church he could
not listen to the organ without being moved to tears. No matter
how weak and ill he may be, the first sound of the bow is like an
electric spark which gives him new life, all his nerves vibrate like
the strings of his violin, and his brain has no other faculty than to
express the transports of his musical soul. His instrument and he
are one. For two hours he lives through his violin; his soul is
carried far beyond us ; calls to us from there, commands us as a
sovereign, and it is then that Paganini's body obeys the irresistible
power ; nature is forced to respond to the demands made, and bring
forth the ravishing harmonies which fill his soul."

This is Paganini from a physiological point of view. Others
intimately associated with him, for instance his secretary, George
Harrys, have aided in studying him psychologically. Morally
Paganini's actions were often quite dififerent from the interpreta-
tions given them by his contemporaries, who were deceived by
appearances. He was often accused of avarice; his stinginess be-
came proverbial, and his fortune, at one time, was estimated at 7
millions. ^i> In reality it exceeded this sum, although, without cor-
roborative documents, it is difficult to estimate the fortune to which,

(1) J. Janin, article in the Journal des Debats on the death (falsely re-
ported) of Paganini (Feb. 14th, 18.35).

A BIOGRAPHY

in 1840, Achille Paganini fell heir. However, the stories of his
wealth were not unfounded. Paganini always demanded a very
high price from the public who crowded to hear him. In Austria
and in Germany the cheapest seat was 2 thaler (7 fr. 50). Every-
where he doubled and tripled the price of seats ; in London alone he
had to be satisfied with the usual prices, which, however, were far
better than the prices in vogue on the continent. "It must not be
forgotten that Paganini was an Italian," says Dr. Kohut, "and that
most Italians, with few exceptions, if not avaricious, are at least
very economical. Why should Paganini be otherwise? He lived
in the best hotels of the towns where he gave his concerts, took the
choicest rooms, drank wine, gave generous tips and spent much on
charity. "(^^ His illness, or rather his infirmity, forbade his eating
much, and he seemed to live sparingly. "II poco mangiar e il poco
ber hanno mai fatto male (little eating and drinking have never
done harm)," said he.

Although he charged big prices for his concerts, he readily gave
free tickets to young musicians and poor amateurs who wished to
hear him, and many artists borrowed considerable sums from him
which he never reclaimed.

We know how Paganini stood with his family ; after the death
of his father in 1817 or 1818 (about 1825 according to Niggli), he
supported his mother and one of his sisters, who lived at home with
her; he also loaned 5,000 francs to another sister (which went to
pay the gambling debts of her husband, and were never returned).
When he parted with Antonia Rianchi, at Vienna, he gave a concert
for her benefit, and left her 2,000 ecus (3,731 florins currency).
Me testated to her a revenue of 1,2(10 francs after his death. Of
course these are not enormous sums, but it would seem that Paga-
nini's much talked of penuriousncss was nothing but strict economy,
and a careful management of the fortune he accjuired, after having
dissipated so much in his youth.

On having separated from Antonia. after having livcfl togetlur
for four years, Paganini continuefl his travels with his little son ;
he never parted from him and rarely consented to have him out of
his sight even for a short time.

Contemporaries have spoken of little Achille-Cyrus-AUxander
Paganini as a very beautiful child, with black eyes, long brown hair.

(1) Ad. Kohut, Auk dfm Zauberlandc I'dlyhymnla'n. p. 215-23S, Ncuch Uber
Nicolo Paganini.

2Q NICOLO PAGANINI

and a charming, intelligent face; he inherited from his mother a
fine voice and at the age of two already gave evidence of an extra-
ordinarily true and sensitive ear. When seven years of age he
spoke Italian fluently and also French and German sufficiently well
to serve as interpreter to his father, who could not express himself
in other than the Italian and French languages. One day Paganini
was asked whether he would have his son study music: "And why
not?" said he, "if it gives him pleasure, I myself will teach him. I
love him dearly and am actually jealous of him. If I should lose
him I would be lost myself, because I simply cannot do without him.
Day and night he is my only thought."

On entering Paganini's room, one could always find Achillino
playing with a wealth of toys, lavished upon him by an indulgent
father. Sometimes the child amused himself with a violin, on
which he played very pretty little melodies. One could die laugh-
ing, says an eye witness, to see Paganini in slippers, playing with
his boy, who scarcely reached to his knee. Sometimes the child
brandished his terrible broadsword before his father, and Paga-
nini in mock fright drew back laughing. "Angelo mio, I am already
wounded," he groaned, but the youngster was not satisfied until the
giant staggered and fell to the floor.

When Achillino was four years old, he became capricious and
unmanageable ; above all he had a horror of washing his hands.
His father, far from losing patience, did not scold him, but begged
and pleaded, overwhelmed him with tenderness and kindness and in
this way obtained obedience and submission. He was never im-
patient or angry with him, but let him do as he pleased. When
some one called his attention to the "bad bringing up" of Achillino,
Paganini answered : "The poor child is lonesome ; I don't know
what to do ; I have exhausted every kind of game and toy. I have
carried him about, I have made him some chocolate ; I am at my
wits end !" He would leave the care of dressing him to no one else.
One morning, before going to a concert which began early, Paganini
had forgotten the time while at play with Achillino. When he
wanted to dress hurriedly, he could not find his things, which he
had laid out the night before; his coat, his tie, everything had
disappeared. The child was greatly amused to see his father vainly
searching in all the corners, and his expression finally gave Paga-
nini a clue: "Where are my things, angelo mio?" he asked in dulcet
tones. The little one feigned astonishment, shrugged his shoulders

NICOI.O I'A<iANlNI
(Portrait by Isola, in the Municipal (iallery at Genoa.)

A BIOGRAPHY

and intimated that he did not understand. After an elaborate
search the father finally found his boots, hidden behind some
cushions, then the coat tucked away in a trunk, the vest in a drawer.
Paganini waved each article, when found, triumphantly in the air,
took a pinch of snuflf and continued his investigations, followed by
Achillino, who was delighted at the proceedings.

While traveling through Europe with his young companion and
a secretary(i) Paganini insisted on having his car hermetically
closed, and even when the thermometer registered 20 degrees C, he
wrapped himself up in his furs, to which he clung as he did to his
child. In his rooms, on the contrary, he immediately opened all the
doors and windows, which he called taking an air-bath. The
violin cases which were not used to hold his Guarnerius were trans-
formed into kit-bags in which he packed his linen and valuables.
His accounts were kept in a red note book, receipts and disburse-
ments being noted therein in hieroglyphics which no one but him-
self could decipher. His rooms were always in the most chaotic
state, says his secretary, sheet music, clothes, boots, everything
topsy-turvy ; he had much trouble in getting the child dressed and
putting on his clothes for public appearance.

At rehearsals with orchestra he was extremely severe, going
back to the beginning of a solo or tutti a number of times for
the slightest error ; he looked daggers at the terrified musicians,
and if the orchestra had the misfortune to start in too soon,
before he had finished his cadenza, he broke into a Hood of
invective; whereas, if all went well, he expressed his satisfaction
emphatically: "Bravissimo!" he would cry in llic middle of a
concerto, "sietc tutti virtuosi"; on other occasions he was satisfied
after giving a few tempi, and turning to the orchestra, would say:
"Et catera, messieurs."

Any number of these anecdotes are told, but these will suffice to
show us the character of the man whose physif>logy Dr. iiennati
has described. Some of the stories show us Paganini as an ex-
tremely nervous, impressionable being, having good traits and fine
sentiments in spite of appearances to the cfmtrary. To study Paga-
nini we fortunately have a number of notes made by a careful

(1) One of these, Gforge Harry.s, attached to U»- ManoviTian KmlniHHy. but
of EnKllsh origin, says NIggll, served him In 1S30 uk manajfi-r and Interpreter
during the tour of northern Oermnny. Fmm hl» pamphlet. "PaKanlnln
Tra%'el.s," the biographers have taken the above anecdolcH.

NICOLO PAGANINI

observer, Karl Guhr, himself a distinguished violinist, and musical
conductor and manager of the theatre at Frankfort, v^rho published
in 1829 the result of his observations and personal experiences. <^>

"I was fortunate enough," says Guhr, "during my stay at Paris,
several years ago, to hear the greatest masters of the French school :
Baillot, Lafont, Beriot, Boucher, and several others, and shall never
forget the profound impression which their wonderful art made
upon me; still, their playing did not differ much from that of other
great masters whom I had heard, and although each one's style
was more or less distinct, they were much alike in their manner of
bowing, production of sound and execution, and the differences
were not really perceptible. With Paganini it is different ; every-
thing about him is new — unique — he obtains sounds and effects
with his instrument which no one ever dreamed of, and which mere
words cannot describe. Rode, Kreutzer, Baillot, Spohr, these stars
among violinists, seemed to have exhausted the possibilities of this
instrument. They had extended the mechanism, evolved countless
ways of handling the bow to make it respond to the most delicate
shading; by the magic of this tone, which rivaled the human voice,
they succeeded in expressing all the passions — every feeling that
stirs the heart. Finally, following along the paths shown by Corelli,
Tartini and Viotti, they lifted the violin to the rank which gives it
power to sway the human soul. In their way they are and ever
will be great and unsurpassed.

"On hearing Paganini, however, and comparing him with other
masters, it must be admitted that he surpasses every standard here-
tofore established. His ways are all his own and distinguish him
from those other great artists. Whoever hears him for the first
time is astounded, carried away by all he hears that is new and
surprising; astonished by the demoniacal power with which he
wields the bow ; enchanted by the facility of a technique which is
adequate to every requirement, at the same time lifting the spirit
to unknown heights, and giving to the violin the breath of the
human voice divine, which stirs the soul to its very depths."

Guhr goes on to say that he often had occasion to hear Paga-
nini and chat with him, during eight months which he spent at
Frankfort, but avoiding any explanation, Paganini invariably said,

(1) L'Art de jouer du violon, by Paganini (Paris, 1830). Ai. arUcle hy
Guhr, on the same subject, appeared in la Caecilia (No. 14 or 4J, analyzed by
Fetis, Revue Musicale, December, 1829, p. 505-512).

A BIOGRAPHY 23

when questioned in regard to his methods and the exercises which
he practiced : "Ogniin'a suoi segreti." These "secrets" the German
Kapellmeister resolved to discover. By watching the master's per-
formances attentively, he succeeded in finding a key to several of
these, which at first hearing seemed like so many puzzles even to
professionals. Guhr concludes :

"Paganini is distinguished from other artists: ist. By his manner
of tuning his instrument. 2nd. By his handling of his bow — which
is peculiar to him. 3rd. By the mingling and uniting of sounds
produced with the bow and the pizzicato of the left hand. 4th. By
his use of harmonics, double or single. 5th. By his playing on the
G string alone. ^^^ 6th. By his seemingly impossible feats.

"Paganini's style of playing re(|uires fine strings for the following
reasons: ist. Because he frequently plays the shrillest tones, which
other violinists very rarely use. 2nd. Because the harmonic sounds,
especially the artificial ones, carry better on the fine strings in the
high positions. 3rd. Because if the strings were heavier, the
strength of the second, third and fourth fingers would not be ade-
quate to master them in the pizzicato for the left hand. 4th. He
sometimes tunes the four strings half a tone higher, and someti:nes
the G string a minor third higher, and for this reason the whole
mounting must be fine, since heavy strings would not bear the strain
without growing harsh and shrill, which would detract from the
performance (it is therefore a fact that the fine strings are less
sonorous).'-)

(1) Paganlni mnuntcd tliis famous fourth .string beside the treble string, In
place of the A .strln;?, esin'oially for playing th<r \rirlations on "MoKes' Prayer";
the celebrated violinist, Camllk- Sivori, a piiidl of I'aganini, followed the example
of his teacher and used this same trick In playing these variations.

(2) "IJesldes giving less t^ne than a violin mounted with lii-avy strings, the
fine strings have another liinwback, esi)ecinlly In wet weather, when the E
string is very apt to slip. This accident happened to Paganlni quite freciuently,
and Invariably detracted from the assurance with which b«' ordinarily played.

"An Important factor which enters Into his way of mounting the strlngfr,
with a view I0 playing h;iinionlcs. Is that the strings must be well attuned to
each other, or In other words, the fifths must be absolutely true, otherwise
a sequence of double harmonics would be Impossible."

Ouhr states that Paganlni carefully selected the fourth string before having
It drawn, choosing one of medium thickness if it was to be tuned to G and
finer if he infc-nded to tune It to A flat, or B flat.

"After what I have told of him, continues the German author, it is easy to
conceive that Paganlni, when he plays In put>llc, changes hiw (I as deslreil, and
thanks to the precaution above mentioned, the string remains absolutely In
tune. His skill In tuning In the middle of a number seems really quite Incredible.

I t'ttfttnnte rttntlnufd an page 24)

24 NICOLO PAGANINI

"Paganini's bowing is above all remarkable for the bounding
movement which he uses in certain passages. His staccato is en-
tirely different from what is usually heard. He throws the bow on
the strings and runs up and down the scales with marvellous rapid-
ity, the cadences rippling out from beneath his fingers like so many
strings of pearls. The variety of his bowing is wonderful ; I never
heard such nicety, such precision, in marking time and sounding the
lightest beat in the most rapid movement; and yet what power he
can develop in slow passages ; with what deep feeling he breathes
the sigh of a heart torn with grief."

Guhr states in regard to Paganini's mingling of sounds pro-
duced by the bow and the pizzicato of the left hand, that this effect
was often used by the old Italian school, especially in Mestrino's
time; however, the French and German schools had condemned it
and it had fallen into disuse. "Paganini in reviving it added new
features, as he did in all branches of his art, and also added to the
difficulties. These latter consisted in sharply sounding the D and
G strings ; the flexibility of Paganini's strings permits him to do in
this respect what would be difficult to execute on a violin which was
more tensely strung." Besides, Paganini's bridge was less convex
than that of other violinists, particularly towards the treble string,
which permitted him to take three strings at once in the high
positions.

The use of harmonics was one of the most remarkable features
of his playing; he employed them with "wonderful skill"; chromatic
scales up and down, double and single trills, entire passages in
double stops, he rendered all these in harmonics with the greatest
ease.^^)

( Footnote contintiedfrom page 23)

"He has his G finely but tightly wound — he never twists them, as it would
be detrimental, but after the string is covered, he draws it tightly between the
first finger and thumb, so that the thumb nail lightly scrapes the string cover-
ing, which brings out the sound more readily, and takes away that harshness
which new strings have."

(l> "A long time ago," says Fetis, "harmonics were discovered and used by
violinists, but the leaders In the art, like Tartini, Pugnani, Viotti, Gavinifes, Rode
and Balllot, did not practice them because they considered them tricks and
cheap expedients for obtaining effects, rather than legitimate means worthy of
the highest art. Tliey could not reconcile breadth of style and lofty ideas with
effects, which as* they were then practiced, required only a certain amount of
skill and strings of good quality. Paganini, however, did not look at the art
of violin playing in this way. He preferred variety of effects on his instrument
to using the usual means for acquiring a grand imposing style, and as he

(Footnote continued on page 25)

A BIOGRAPHY

Referring to his playing on the G string, which did so much for
his reputation, Guhr writes: "Paganini, in order to play entire
numbers on the G string, raises it a minor third, (as has already
been stated), to B flat, or even B natural, using a very much finer
string. The compositions written for this purpose are usually in
the form of potpourris ; they begin with a recitative, followed by
various themes, and end in variations." (i)

In closing Guhr explains a few "seeming impossibilities" exe-
cuted by the great virtuoso, and rectifies an error which was quite
generally made, viz. : that people thought that Paganini's hand was
unusually large : "Paganini's hand," says he, "is anything but large,
but like the pianists who from childhood have exercised their hands
to develop reach, he learned to stretch it over three octaves." (2)
And the German violinist cites examples of this marvellous reach,
which enabled Paganini to strike four Cs in octaves, or four Ds,
or four B flats, using the four strings, on which he placed the first,
second, third and fourth fingers.

Resuming his biography we shall see how the public received
Paeanini in the numerous towns which he visited in Austria, Ger-
many, England and France.

I Footnote continued from page 24)

played harmonics, tlioy were no longer the easy trick used by the third class
violinists to hide the deficiencies of their performances; he exhausted them to
their utmost ran^o and introduced difficulties which would have appall. -d any-
one but him, for he was not satisfied with simple harmouifs playfd iti the usual
way: he introduced double harmonics, combinations of one or the otli«-r with
natural tones, effects by picking the strings, and by all these variations he
obtained novel effects which were no less remarkable as discoveries, than for
the .skill with which hf cx.cuted them."— (Revue Musicale, No. 27. 1,S30, p. 73.
rt. Nov. 20, 1830, and December, 1829).

<1) Of course it takes much practice to play this kind of <(.mpfisitlnn; how-
ever, the study is not nearly as difllcult as one mi(,'ht iniaKlu". and well within
the possibilities of every violinist. Paganini was celebrat.<l amnn;,' proffsslunals
and the general public for his playing rm the G string. Was this deserved? I
leave the answer to my rea/lers. after they have practiced It for some time; for
It cannot be .hnled that I'aganini .^-eeks to surprise the ear with apparent dlfll-
cultle.s, which after analysis, .an be played by any fairly good v|..llnlHt " (Onhr,
Iv'Art de Jouer dii violon de Paganini).

(2) Paganini put the thumb of his left hand In Ih.- middl.- ..f th- n.-rk of
the violin, and, thanks to his gnat str.-tch. cmld play < .pially well In th.^ three
first positions without "shifting."

NICOLO PAGAN INI

III.

REAVING Milan the first of the month, Paganini, with
Signora Bianchi and his son, arrived at Vienna, March
1 6, 1828. A week later, on the 23rd, the first concert was
given in "Redoute Hall," and the Viennese were in a
frenzy of enthusiasm which has never since been equalled. ^^^ The
price of seats was five to ten florins ; the receipts rose to 12,000 flor-
ins (from 25,000 to 26,000 francs). After the first note from Paga-
nini's Guarnerio the frenzied plaudits of the crowd never ceased.
Fetis says in the Revue Musicale, "he played his first concerto in
B minor, a military sonata which was written entirely for the fourth
string, and which was so full of difficulties that it seemed to require
at least four strings ; also a larghetto, followed by variations on *La
Cenerentola' rendered on a single string. The orchestra went wild
with the audience, and overwhelmed the artist with enthusiastic
demonstrations of all kinds. "^2)

The Viennese press unanimously ratified the opinion of the pub-
lic and the musicians.

"What we have heard is past all belief, and words can not de-
scribe it." says the Musiker Zeitung, May 7 ; "suffice it to say that
his fellow artists are racking their brains to solve the mystery. His
is a sublime majesty, together with faultless purity of tone; his
octave passages and also those in tenths fly like arrows from the
bow, series of demi-semi-quavers, of which one pizzicato is imme-
diately followed by another coU'arco. and all this with absolute pre-
cision and nicety, so that the slightest shading is not lost to the
listener; strings mounted and unmounted without interruptions in
the most difficult and brilliant numbers. Ordinarily all this would
seem on the verge of charlatanism, but the execution is so inimitably
beautiful that words fail and we listen in mute delight."

On April 13th the second concert of the "Magician of the South"
was given, with the assistance of his companion Antonia Bianchi.
Three hours before the beginning of the concert the Redoute Hall
was crowded; more than three thousand people were there, and
seats sold at 5 silver florins. All the members of the imperial

(1) Kohut loc. cit.

(2) Revue Musicale, May, 1828, p. 354, Viennese Letters.

I'AdANINI KNXOKKIJ Al' TIIK CI.(^SK OK A CONCKRT
(•'A I'avjanini recital in 1804," from the pMintinK by Gattt.)

A BIOGRAPHY

family who were at the capital attended, which made a brilliant
assemblage.

On May nth Paganini was giving his sixth concert. "We hear
from Vienna (from Fetis' Revue) that Paganini is creating the
wildest enthusiasm and has become the idol of the fashionable
world, having, says the 'Austrian Observer,' temporarily dethroned
the giraffe recently sent by the Pasha of Egypt, and which hereto-
fore had been the object of much attention. All the society lead-
ers are vieing with each other for the honor of having him grace
their entertainments with his presence. So far as is known only
Prince Metternich has been favored. Be that as it may, he gave
his sixth concert on the eleventh of May, which was to be the
last, and the program was as follows: i. Overture from Lodoiska,
by Cherubini; 2. Concerto by Rode, consisting of an Allegro
Maestoso, an Adagio Cantabile in double chords, specially com-
posed for this concert, and interj^olated by the artist, and
a Polacca played by Paganiiii ; 3. Last air from "I'Ultimo
giorno di Pompeia," sung by Signora Bianchi ; 4. Sonata on
"Moses' Prayer" (by request) played on the fourth string by
Paganini; 5. Variations on a theme from "Armide," by Rossini,
sung by Signora Bianchi ; 6. Capriccio on the theme "La ci
darcm la mano," composed for violin, ami played by Paganini.
This concert, which was to be a matinee, had drawn a big crowd
which, as soon as the doors were opened, filled every seat two hours
before the beginning of the concert. Only a limited number of
seats had been reserved for Her Imperial Majesty, the Arch-Dukes
and Duchesses and other members of the Court. The artist re-
newed the triumphs of former occasions. It was understood that
he would leave for Munich." ^^^

The enthusiasm of the amateurs spread like wild-fire. \'iennese
fashions were all "a la Paganini." In the restaurants, when olTer-
ing what was best and most expensive, the waiters asked the
patrons if they wished to dine a la Pagam'ni ; there were chops a
la Paganini ; rolls a la Paganini, .shaped like a violin ; women wore
ribbons, sashes, buttons a la Paganini; men smoked pipes and
cigars a la Paganini ; snufT was taken from snuff-boxes a la
Paganini ; people played on billiard tables a la Paganini, etc., etc.

Sonnets and acrostics to Nicolo Paganini were written by Italian
and German admirers, and Friedrich August Kanne wrote a poem

n) Revue Musicale. .lime 1S28, p. 452.

NICOLO PAGANINI

consisting of twelve stanzas in his honor. The poet Castelli wrote
his Paganiniana, a dialogue on the "god of the violin." He invaded
even the realm of parody, and the "Theater an der Wien" on May
22, gave "The false artist, or the concerto on the G string," a
farce in two acts, by Meisel, music by Kapellmeister Glaser.

Finally Paganini was made "Kammervirtuos" by the Emperor,
and the city of Vienna presented him with a medal engraved
by Joseph Lang, which bore this inscription: VIENNA,
MDCCCXXVIII; the other side shows the master's violin and
bow, surrounded by a wreath of oak leaves resting upon a sheet
of music, bearing the first ten bars of "La Clochette." There is
also an inscription reading: "Perituris sonis non peritura gloria."
Up to the 24th of July Paganini was heard no less than twenty
times at Vienna. (i) His programs consisted exclusively of his own
compositions ; those which were most applauded and oftenest re-
peated were the variations on "Le Streghe," on "Moses' Prayer," on
"Nel cor piu non mi sento" and the rondo from "la Clochette."
"None of the Viennese violinists, Mayseder, Janka, Leon de Saint-
Lubin, Strebinger, Bohm, etc., could compare with him," says
Kohut ; "only one or two stars like Treichler, of the Imperial Opera,
tried to imitate his methods." On Dec. 26th he gave a concert "a la
Paganini" with great success.

The virtuoso's health was never robust, and he had to put him-
self under the care of the celebrated military surgeon Marenzeller,
who gave him the Hahnemann homeopathic treatment and advised
him to take the baths at Carlsbad. Paganini left Vienna for Bo-
hemia during the first part of August.

On returning to Vienna towards the end of November, after his
sojourn in Bohemia, Paganini, "loaded with laurels and tlorins"
(according to Kohut), repaired to Prague, where he had been in-
vited to come. In three weeks, on the ist, 4th, 9th, 13th, i6th and 20th
of December, he gave a series of six concerts. His reception in
this musical city, which takes just pride in the saying with which
Mozart distinguished it: "The people of Prague understood me,"
was no less enthusiastic than at Vienna. However, Paganini there
met with severe attacks from the critics, who compared his playing
with that of the classical masters, and adversely criticised him for

(1) On June 12th, a concert wa.s given at the KJlrnthnerthortheater for the
benefit of Signora Bianchl, who had sung at all the preceding ones. The re-
ceipts were 3,000 florins. She also sang on June 24th, 27th and 30th.

A BIOGRAPHY 29

often using startling sounds, sometimes exaggerated and harsh;
they also called his cadenzas old-fashioned and denounced his play-
ing on the G string as charlatanism, and his frequent use of har-
monics as in bad taste. Among Paganini's most bitter adversaries
was the correspondent of the "Hamburger Boersenhalle," who
wrote to his paper: "I heard one of his concerts, but will never go
there again. He has a great agility of the left hand, which can be
acquired by practice, without talent or genius, or even brains and
intelligence — it is nothing but mechanical dexterity. What he
incessantly repeats is an indescribable combination of sounds on
the bridge which is in no sense legitimate, but resembles the chirp-
ing of sparrows, and at the end of each variation, a quick pizzicato
of six notes, with the left hand. His bowing is execrable. Not a
single violinist here felt like breaking his violin, as is said to have
happened in Vienna, but they are ridiculing him and the Viennese.
Of course there are people here also who are dazzled by his reputa-
tion and imagine his playing must be fine; no doubt some senti-
mental lady wept, but as no one besides her melted in tears, there
is nothing to corroborate the tale."

This criticism made no impression on the general public. In
spite of the fivefold prices of seats, everybody crowded to Paga-
nini's concerts. The la*st, on Dec. 20th, 1828, was announced as
follows by a Prague newspaper :

"The Chevalier Paganini, Virtuoso to his Majesty the Eni])cror
of Austria, on Saturday, Dec. 20th, by universal recjuest, will have
the honor to give another concert, which will be his last, and in
which will be performed among other things, 'The Tempest,' a
dramatic sonata for orchestra, with soli and variations for violin,
by Paganini, on the fourth string: i. The coming of the storm;
2. Rising of the tempest; 3. Prayer; 4. The fury of the sea; 5.
The hurricane; 6. The height of the storm; 7. Calm after tlu-
storm; 8. General rejoicing."(i>

On the same day Prof. Miillcr wrote in the "Prague Unterhal-
tungsblattcr" :

"Anyone who can comj^arc sounds of such remarkable purity
as Paganini's, to chirping of sparrows, doubtless considers ce-ha.
ee-ha, the sweetest harmony." Professor Afax Julius Schottky, taking
advantage of tlie artist's prolonged .stay at Prague, gathered ma-

(1) Revue Mu.slcale. June 1829, p. 594-595.

NICOLO PAGANINI

terial for his celebrated biography of the king of the violin, a
bulky volume which appeared in 1830. Paganini remained in Bo-
hemia longer than was first intended. An unsuccessful operation had
caused an injury to his lower jaw, and he was obliged to undergo
treatment at Prague; the extraction of his lower teeth was deemed
necessary, and was followed by an inflammation of the larynx.
About Jan. 15th, 1829, Paganini was finally able to leave Prague.
The six concerts which he had given there, netted him 3,650 florins.

He went first to the kingdom of Saxony and played at Dresden,
Jan. 23rd. with a success which can be estimated at 1,250 thalers
(about 4,700 francs) and was presented with a gold snuflf box by
the King of Saxony.

On Feb. 12th he was in Leipzig, where he was to play on the
i6th; however, owing to difliculties of a financial nature which
arose, the concert could not take place. Paganini demanded that
the orchestra be reduced by half, and would not accept the singer
provided by the management ; the price of seats having been tripled,
he nevertheless refused to comply with a very praiseworthy custom,
which prevailed for the benefit of the orchestra, their pay being
doubled whenever the ordinary price for seats was raised. As he
could obtain no exception to this rule, Paganini left Leipzig with
the reputation of being avaricious and soon after arrived at Berlin.

Always in ill health, and suffering from the effects of the Ger-
man climate besides, he, although having arrived on Feb. i8th,
did not give his first concert until March 4th. This was followed
by four others in one month, besides concerts and "demi-concerts"
at the Royal Opera.

After his first appearance, at the Schauspiclhaus, Paganini over-
came all prejudice against himself in Berlin. When he had barely
finished the first movement of a concerto, composed by himself, the
audience gave him a most enthusiastic ovation.

"Paganini accomplishes the incredible," writes Ludwig Rellstab
in the Vossische Zeiting. "He does not overcome difficulties —
they do not exist for him. He does not surpass other violinists ; he
has created an entirely new instrument which he alone masters ;
double chords are child's-play to him, he uses them to rest himself ;
to play two or three parts at a time is another matter. Playing
pieces for two parts, pizzicato, at the same time carrying a melody
with the bow — that is one of the little wonders that this grand-

(')

(J)

TWO CARICATURES OF PAGANISM
(I. Lithograph by Mantoux.) (.•. Lithograph by (irnnvilli-, from the icrra-cotia

figure- by Oantan.)

A BIOGRAPHY

master of 'Streghe' (sorcery) shows us. What are mere words?
Listen ! Listen ! That is the only answer to this riddle. Come,
open your ears, and pay attention, for Paganini solves and creates
difficulties which no one has ever dared to undertake. His phenome-
nal triumphs, such as no artist has ever yet met with, showed to the
incomparable virtuoso that the public tried, at least in a measure,
to show their appreciation of his achievements."

At the second concert, on March 13th, when no less than 2,000
seats were sold at two thalers, the audience was as enthusiastic as
at the first.

In April, the "Magician of the South" gave two charity concerts,
on the 6th and 29th, at the Opera House, half the receipts going to
the victims of the floods in Prussia. He played a concerto by Rode,
and had hardly begun when the E string of his violin broke ; he
continued playing on the three others without the slightest sign of
discomfiture. At the eighth concert, he played "Le Streghe" and
"Heil dir im Siegerkranz" fCod save the King), on which he had
composed variations while at Berlin.

As at Vienna, Paganini inspired the poets ; in March a cer-
tain Karl Holtei published a poem in his honor. Inirthermorc.
he had the distinction of being the object of various witticisms by
the humorist Saphir, who, indignant at not having received compli-
mentary tickets for Paganini's concerts, ironically com])lain<.(l about
this in an article in the "Schnellpost": "Paganini. two dollars and
I," at the conclusion of which he said: "We arc both ri};ht. he on
a single string (Saitc) and I on several pages (Seitcn)."

(This word-play cannot be translated. )

From Berlin, Paganini left, towards the niicMle of May, for
Warsaw; in passing through Frankfort-on-the-Odcr, he gave a
concert there, "a great deal better rendered than was to be ex-
pected." says the Gazette musicale, "as the artist arrived the night
before at eleven o'clock. He excited the greatest enthusiasm. "<*>
At I'>ankff)rt Pajranini was the guest of funeral /.i<lyn^ki's wife.

Suffering physically, he reached the Polish capital on Friday,
May 22nd. and on the following day gave his first concert, for
which the receipts were 1,833 Prussian thalers, f about 6,900 francs).
Chopin was present. At Warsaw Paganini again met his former
rival of 1818. T,ipinski. This time, the struggle lacked the courtesy

(1) Revue Musicale, .June 1829. p. 430. Berlin letter. May 19th.

32 NICOLO PAGANINI

which had marked it in Turin; Lipinski was openly put up against
Paganini ; the Pole and the Genoese each had his followers, and
the rivalry finally resulted in an open broil. (i)

After his last concert, July 14th, a banquet was given on the
19th, at the end of which Eisner, the director of the Conservatory,
presented him with a gold snufif box in the name of a number of
amateurs ; the box bore the following inscription : "To Chevalier
Paganini, from admirers of his talent, July 19th, 1829."

Negotiations were begun with Paganini to extend his tour to
Russia, but his health absolutely forbade his complying with the
urgent requests to visit St. Petersburg and Moscow. He intended
rather to visit the springs at Ems, by way of Breslau and Berlin.
He returned once more to Germany, where he traveled for two
months before settling in Frankfort-on-the-Main for a more pro-
tracted stay. Towards the end of July, we find him at Breslau,
where he writes under date of July 31st to the Maestro Onorio
De-Vito, at Naples, that he "has just come back from Warsaw
where he was called for the coronation of Emperor Nicholas as
King of Poland, and where he gave six concerts. He is returning to
Berlin, having promised the public to do so." (2)

He arrived about the 15th of August and on that day wrote a
letter to Giacomo Trivelli, recommending one of his pupils, Gaetano
Ciandelli, a very talented 'cellist. Ten days later the first of his four
concerts was given at Frankfort-on-the-Main, for which he received
two-thirds of the receipts, which were 9,500 florins. In September
he was at Darmstadt, Mainz and Mannheim.

In the three months following, Paganini toured southern Ger-
many, visiting successively more than twenty cities : Leipzig, Halle,
Magdeburg, Halberstad, Dessau, Erfurt, Weimar, Gotha, Wurz-
burg, Rudolstadt, Coburg, Bamberg, Nuremberg, Regensburg, Mu-
nich, Augsburg, Stuttgart, Mannheim, Mainz and DiJsseldorf.(3)

(1) Someone had asked Paganini who was the first and foremost violinist
of his time, and the artist, after a moment's reflection, replied: "The first — I
really cannot say, but the second Is undoubtedly Lipinski."

(2) Taken from an autograph letter, furnished by M. Charnvay.

(3) A delightful letter from Paganini to Donizetti is dated Leipzig, Oct.
8th. "AchiUe, my darling- Achille," he writes, "is all my delight; he grows
In beauty and talent; he speaks German fluently and serves as my interpreter.
He loves me dearly, and I simply adore him. To-morrow I give my second
concert at the theatre in this city; the third will be next Monday. I shall
leave the day after to give a concert at the neighboring town, Halle, then
at Magdeburg, Weimar, Erfurt, Nuremberg, Stuttgart, Carlsruhe, Mannheim — "
In the letter he mentions several persons, and among others Count Dietrich-
stein. (Outline of letter furnished by M. Charavay).

A BIOGRAPHY 33

His appearance at Leipzig was the subject of a long article in
the "Allgemeine Musikalische Zeitung" : "Paganini is here," says
one of the editors, "and has given us the pleasure of three concerts
at the theatre." He goes on to review Paganini's life from his
own accounts and those of his manager, Lieutenant Couriol, en-
deavoring to show that the Italian virtuoso's playing was not dia-
bolical in the least, but that, on the contrary, he was very human.
On Oct. 9th, 1 2th and 21st, Paganini was heard at Leipzig. Among
other things he played his Sonata Militaire on the G string, his
concerto in B-flat minor, a sonata by Rode, the variations on Moses'
Prayer, and the "La ci darem," from Don Juan, which were most ap-
preciated by the amateurs. At Weimar, on the 31st of the same month,
he played at the Court Theatre, assisted by Hiimmel ; at Nurem-
berg, his two concerts, on the 9th and 12th respectively, created
great enthusiasm, (his variations on the Neapolitan song, "Oh!
mamma" (1) and also on Le Streghe met with the most success).
The editor of the Allgemeine notes with some pride that Paga-
nini expressed himself pleased with the work of the orchestra at
the theatre (he who was so very particular in this respect), and
also at the three entertainments which he gave at Munich on Nov.
17th and 25th.

Before leaving the Bavarian capital, on the 27th, the queen in-
vited him to the castle at Tegernsce. "The moment the concert
was to begin there was a great tumult outside, and the queen in-
quired as to the cause of the uproar. She was informed that about
sixty peasants from the environs, having heard of the arrival of
the celebrated Italian violinist, had come in the hope of hearing
him and now demanded that the windows be left ojicn so tli.it
they could have the benefit of his playing. The good queen, al-
ways ready to please them, did more than grant their request, for
she gave orders to admit them to the concert-hall, where they were
noticeable not only for the judgment which they showed in ap-
plauding, but by their genteel behavior. "(- )

Leaving Munich, where his receipts amounted to 5,500 llorins,
on the 27th, Paganini came to Augsburg the next day. On Dec.
3rd and 7th he played at Stuttgart, where be received a picMut
of a hundred louis d'or from the King of Wurtcmbnrg. After a
la.st stop at Karlsruhe he returned to Frankfort toward the middle

(1) These are the varlatlonH on the Carnlvfil of Venice.

(2) Revue Mu.ilcale, Jan. 1830, p. 551-552.

NICOLO PAGANINI

of December. From the i8th on he was heard at the Museum, of
which he was made a honorary member; however, he did not play
before the general public until much later, if we can rely on the
authenticity of a notice addressed to the musical journal of Leip-
zig- (/)

Still he appeared at the theatre shortly after, the orchestra be-
ing conducted by Guhr, the careful observer who dissected the
master's playing so minutely during his long stay on the banks
of the Main;(2) he made this city his headquarters in Germany,
for his campaign in 1830, before deciding to cross over into
France.

All the papers were full of him. It is said that after his first
departure from Frankfort, that is, in less than three months, he had
made more than 3,000 florins, and had deposited 44,000 Prussian
thalers in an English bank. "He is said to be after the money,"
says the Revue Musicale, "for which he can easily be forgiven,
when it is remembered that he is amassing a fortune for a son four
years of age, whom he seems to love devotedly." (^)

Through the illness of Achille, Paganini was detained at Frank-
fort during the winter of 1829 to 1830, and busied himself with
writing, among other things a composition "in which he used themes
by Spohr, and which he intended to play in Paris only," says the
Revue Musicale. On Feb. 14th, he began a series of concerts, be-
fore going on his journey; the last of these was given on April
26th. According to the Revue Musicale this concert drew only a
small audience, and he realized only 600 florins as compared to an
average receipt of 3,000 at previous concerts. At this time it was
repeatedly reported that he would soon leave for Holland, where
he was to stay until the end of the year, and go to Paris about the
middle of December, remaining there four months. The papers

(1) Allg. Musik. Zeit., Jan. 27. 1830. col. 57.

(2) According to Conestabile, Paganini netted 8,000 florins at Frankfort.
It mu.st be understood that this figure includes the concerts of 1829 and 1830,
which we will mention later.

(3) Revue Musicale, Jan. 1830, p. 551. According to Harrys, Paganini
had deposited, In the summer of 1830, the sum of 169,000 fTorins in a Viennese
bank. His last concerts (in Northern Germany) had brought him from 9,000 to
10,000 thalers (37,000 francs). The report that he had deposited 40,000 ducats
in London, was false. From Paganini's own statement his receipts in 1828
had been as follows: 11,500 florins at Milan, 12,000 at Bologna, 10,000 at
Genoa, 30,000 at Vienna, and 5,300 at Prague, making a total of 68.300 florins
or about 140,000 francs.

A BIOGRAPHY

stated that he had gone by way of Northern Germany, where he
visited the small principalities and the "free" cities.

As a matter of fact, after leaving Cologne and Dusseldorf, he
was in Cassel during May, having been invited by Spohr. The
result of the first concert, however, did not seem to satisfy him.
for he wrote Spohr a letter in Italian on the 26th, the contents of
which were as follows : "The proceeds of the concert yesterday,"
he told his colleague, "did not amount to even half of the 1,500
thalcrs which had been guaranteed to him in the letter of invita-
tion, which he had received while at Frankfort. He asks him,
therefore, to cancel the second concert on Sunday, as it seems that
foreign artists are little regarded there. He would very much like
to have a souvenir of .S. A. R., if she would honor him .so far, and
he will always be indebted to Spohr for giving him the pleasure
of letting his violin be heard at Cassel." (^ )

Nevertheless the second concert took place, on the 30th, as ap-
pears in an abstract from Spohr's Autobiography :

"In June, 1830, Paganini came to Cassel and gave two concerts
at the theatre, which were of the highest interest to me. His left
hand work, as well as his intonation, are marvellous in my estima-
tion. In his compositions as well as in his playing, however, I
found a certain mixture of childlike lack of taste and the stamp of
genius, so that the total impression, after hearing him repeatedly,
did not entirely satisfy me. He was there at the time of the Pente-
cost holidays, and I invited him to a luncheon on the second day,
at Wilhelmshoehc; he was very gay and positively merry. "(2)

On June 3rd anrl 6th he appeared at the Hoftlicatcr at Han-
over.

On the 13th he arrived at Hamburg and gave two or three con-
certs there, the first being on the 25th, and the second on the 28th;
his variations on Moses' Prayer and the Neapolitan song "Oh !
mammal" were mo.st applauded. The Grand Duke of Oldenburg
was present. On the 27th Paganini assisted at the St. Peter's
church at the religious festivals at .Augsburg. (•' ) About this time
he visited I'.remen, where the i)eople crowded to the .*^chauspiclhau>.
for the two concerts he gave in this city.

(1) Spohr. Selbstblographle. II, p. 180.

(2) Synopsis of an autogrraph letter fumlshed by M. Charavny.
(8) Allg. Muslk. Zelt., Nov. 10th. 1830. col. IZH-IZO.

36 NICOLO PAGANINI

After this tour in Northern Germany, Paganini returned to
Frankfort for a rest, where he again joined his dear little Achillino,
whom he had left for two or three months in the care of his land-
lady. It may have been at this time, rather than the preceding year,
that he appeared at Karlsruhe.

The Revue Musicale of Aug. 14th tells of his visiting "lately
at the different therm.al springs in the principality of Nassau, and
the Grand-Duchy of Baden. He was there as a patient and did not
let himself be heard. Nevertheless, he excited so much curiosity
that in Ems a travelling artist, who gave a concert, and announced
that Paganini would assist, had excellent box-office results."

Several months later he left Frankfort and started for France.
Several times a rumor of his being in Paris incognito had been
spread, and malevolent stories were added to the wonderful ad-
ventures told with Paganini as the hero; a letter from one of his
countrymen, Fontano Pino, urging him to put an end to these ab-
surdities, which would surely cause trouble for him, prompted him
to leave at once for Paris.

He stopped only once on the way, long enough to give two
concerts at the theatre in Strassburg, Feb. 14th and 17th, 1831.

On Saturday the 19th he finally arrived in Paris, and that same
evening he went to the "Italiens" to "rapturously applaud Mme.
Malibran's wonderful art" in Othello. (i)

(1) Revue Musicale, Feb. 26th, 1831.

A BIOGRAPHY ^y

IV.

CARCELY six months after the Revohition whicli had
put Louis Phillippe on the throne, Paganini arrived in
Paris, on the day following the sacking of Saint-Germain
I'Auxerrois and the Archbishopric. Politics were very
much unsettled, and inspired violent and lengthy tirades in the press.
The literary and artistic world was beginning to boil with the ro-
mantic fever; "Notre-Dame de Paris" was to come out on March
15th; and on the 9th Paganini gave his first concert.

Previously, on March 2nd, he was to be presented at the court
in the Palais-Royal, which was occupied by the citizen-king. "Sig-
ner Paganini," says the Courrier des Theatres of the 3rd, "had
been invited by M. Paer to play before the king yesterday ; a sudden
indisposition deprived the virtuoso of this honor." On the day of
the audience Paganini had asked his former teacher to make his
excuses to the king, as "his cough prevented him, just then, from
appearing before his majesty."(^ )

The concert on Wednesday, March 9th, was his first appearance
before the Parisians. After having spent several days looking for
a hall (he had not yet chosen on the 5th), he found he could have
the "Opera," of which Dr. \'eron had just taken charge (March
1st).

"The conditions," says Boerne, "were two concerts a week,
on Wednesdays and Sundays ; Paganini was to receive two-thirds
of the receipts for the Wednesday concerts and, aside from a sum
of 3,000 francs, the whole of the Sunday receipts."

In the meantime the artist had attended several performances at
the "Oj)era des Italiens" and the Conservatory concert. I'eh. 27th. at
which he was said to have been perfectly astounded (among other
things the C minor symphony of Beethoven had been played).
I-'inally, on tlie 8th the Cowricr des Theatres announced : "To-
morrow the celebrated Paganini will be heard. There will be a
special program in honor of the occasion. A ballet will conclude
the performance, and it will be a gala night in every way."

It was an evening never to be forgotten in the annals of the
Royal Academy of Music. The hall was crowded with celebrities
and notables of all kinds; the court, the aristocracy, politics, litcra-

(1) Contents of autograph letter, fumlahed by M. Charavay. March 7lh.
1881; to Paer.

NICOLO PAGANINI

ture and fine arts were all represented. The wild enthusiasm of the

assemblage might be estimated by the receipts, which amounted to
19,069 francs.

"The violin in Paganini's hands," says Fetis, "is no longer the
instrument of Tartini or Viotti, it is something widely different,
a thing apart. A body specially suited for this marvellous playing
is not sufficient to obtain such results; it requires earnest, deep and
persevering study; a happy instinct in solving the problems of his
art and his indomitable will, help him to surmount all obstacles." (i)

Castil-Blaze (XXX to the readers of the Journal des Debats)
reported as follows, on the third concert :

"Paganini is doubtless very learned; his compositions, his dis-
coveries, which are the result of thought seemingly beyond the
flight of the hum.an mind, prove it. He has paid homage to our
musical world by writing a concerto especially for France, and
which is not to be produced anywhere except in Paris. It seems
another evidence of his wonderful intuition which led him to feel
that our taste runs decidedly to noble music, elegant, passionate and
graceful, to compositions treated with all the vigor of coloring that
harmony can give, and all the charm of dreamy, playful, and heroic
moods in turn, and the wildest daring of which melody is capable.
This concerto, in D minor, has a m.ost original form and includes
some very picturesque effects. The first violin, in the highest regis-
ter, replies to the trombones, which roar in hollow tones ; it takes
up the strain where the trumpets have just left it and renders it
in harmonics, in such a way that it seems as though the same in-
strument were still playing; the sound is identical. The skill, the
magic of Paganini's playing astonishes me more every day." (2)

On the first night Paganini had played his concerto in E minor;
at the second concert (Sunday, March 13th), he played a concerto
which he had reserved for the Parisians : "Lo voglio sverginare a
Parigi," he said. On the same evening he played "La Clochette"
and the variations on Moses' Prayer. Nourrit, Levasseur, Dabadie
and Mile. Dorus appeared with him. Fetis asserted that Baillot
"puts more passion, more delicate sentiment into an adagio by Mo-
zart or Beethoven, than Paganini has in his entire system." (")

(1) "Revue MuslcaJe." March 1831.

(2) Journal des Dfebats," musical criticisms, Paganini's 2nd and 3rd con-
aerts.

(3) "Revue Musicale," March 1831.

A BIOGRAPHY 39

The third concert, postponed on account of a court function,
took place a week later, on the 20th ; the receipts for this reached
the highest figure of the eleven concerts given by Paganini, 21,895
francs. On Wednesday, the 23rd, the receipts were scarcely less
(20,869 francs). The artist asked the Duchess of Orleans to
assist at his concert on Sunday the 27th, and wrote to Veron : "I
want this concert to be more ornamental than useful," and to
this end he asked Her Majesty to do him the honor to assist; he
also asked the Director of the Opera to have Mme. Damoreau sing:
"I would ask, in your interest as well as for my satisfaction, that
you advertise her appearance in large letters on your announcements
for the week, and I would also like you to put on some pretty
ballet."(i^ The financial results for this evening were 16,014 francs.
The following concerts (April ist, 3d, 8th and 15th) brought 14.436.
14,113, 16,063 ^"cl 9,144 francs respectively. On Sunday, April
17th, an extra concert for the benefit of the poor brought the receipts
down to 6,105 francs (2), which did not rise above 11,502 francs at
the last concert (April 24th). The total for the eleven was 165,741
francs. Paganini had to give up the Opera on the loth on account
of a charity affair which was to be held there the next day. He
then gave concerts at the Theatre Italien. He was accused of hav-
ing refused to assist in this charitable work, and refuted this ac-
cusation in a letter, under date of April 9th, published by the papers.
It meant a loss to him, he said, to give up his concert on the loth,
and it was, moreover, his intention, before he left Paris, to give a
concert for charity, as he had done in all the foreign cities which he
had visited.

Paganini left Paris about the enrl of A])ril, on his way to Eng-
land. On the 27th he wrote a farewell letter to Paer, signing him-
self "his grateful pupil." On the 6th he had written to a Mon.sicur
Guillain that he wouUl be heard at Douai and at Pille.^'^ We

(1) Contents of autograph letter furnl.'?hed by M. Charavny.

(2) Besides? thl3 sum, says "I-e Monlfour." Papanlnl himsolf donated 3,000
franos to n charity organization and to a niimhor of noody famlllPH. Tlio ex-
penses to the management of the Opera were 3,3?.B francs BO rmtlmes, so that
thorn still remained 2,768 francs M centimes, to be dl3trlbut»>d by the PiiMIc
Charities Institutions. "Messrs. Nourrit, Dahadle. Al. Dupont and Mllo Donis.
wishing to assist Paganini In his charitable deed, did not rl.ilm their remunera-
tion, which totaled 290 francs" (May r!d). "Thin time." says the "Courrler dc»
Thentres," "the Italian langunRc was not exclusively used, and n few French
words were heard, like an oasis In the desert. TTnfortunately. the liall seemed
to be this desert. Only 4,000 francs were realized" (May 12th).

(?,) Anto;,';aril-s transmitted by M. Charnvay.

40 NICOLO PAGANINI

do not know whether he kept this promise ; at any rate, "he received
for two concerts, given at Calais and at Boulogne, nearly 10,000
francs, according to a London paper," says the Moniteur of May
20th, having refused to play at Dover, making an average of £200
(5,000 francs). (1)

On arriving at London Paganini signed a contract whereby he
was bound to give six concerts at the King's Theatre. (^j The Lon-
don public, like the Parisians, impatiently awaited the arrival of the
great violinist. Several days before the first concert the hall was
sold out, although the price of seats was one, two, and even three
guineas; it was said that Paganini would receive £2,000 (50,000
francs) per evening.

He was engaged by Laporte to appear for the first time. May
2ist, on the stage of the Royal Theatre, but the day before, being
indisposed, he was forced to postpone his debut.

The musical journal. The Harmonic on, reports all the contro-
versies in the daily papers which arose upon Paganini's arrival,
and the reports of his exorbitant demands. In general, aside from
the artistic question, the English press could scarcely be called favor-
ably disposed toward him. All this noise, these discussions explain
better than any indisposition (which may, however, have been real),
why the first concert was postponed for two weeks. The Revue
Musicale echoed the sentiment. "The papers report Paganini as
insolent, impertinent," writes a London correspondent; "Leporte,
the manager of the Italian Opera, has doubled the price of seats.
Never before has the price of the cheap seats been raised in Lon-
don." Several days after the Revue announces that Paganini was
compelled to lower the price of seats for his concert. This explains
the letter in which he excuses himself for having demanded the
raising of prices.

Finally, the first concert took place, on Friday, June 3d, for
which the receipts were £yoo. The concerto in E-flat and the Mili-

(1) "Revue Musicale," May 21st, 1831.

(2) The substance of a letter, written in French, under date of June 1st,
to the "Courrier" and the "Globe," and which is part of the collection of
Fillon and Bovet, has been given by M. Charavay as follows: "Being in the
habit of doubling the ordinary price of seats in all the towns In which he had
played on the Continent, he wanted to do the same in London; however, when he
learned that ordinary prices were already far higher than on the other side
of the Channel, he readily conformed to the English customs." This letter,
consisting of two four-page sheets, Is signed twice, and was offered for sale
March 7th, 1907, by Llepmannsohn. at Berlin.

A BIOGRAPHY 4J

tary Sonata on the fourth string found much favor. A week later
the second concert brought ii200. Paganini played a new concerto
in B-flat minor, the Carneval of X'enice, and Moses' IVaycr. On
Monday he reappeared with a new concerto ; the receipts were £900.
On the 1 6th he played a Cantabile which he had composed for two
strings, a Rondo Scherzoso by Kreutzer and variations on La Cene-
rentola; at the fifth concert, which was announced to be the last, the
hall was filled to overflowing; but this last concert was followed by
ten further ones, announced as "the very last, positively the last,
irrevocably the last," etc., (June 27th and 30th, July 4th, 15th, 25th,
27th, at the Opera, etc.) Finally, on August 20th, at his last appear-
ance before the London public, he was "rapturously encored." The
receipts for the fifteen concerts were £9000. two-thirds of which
went to Paganini.

In the meantime he had appeared at London Tavern (July 13th
and 1 6th), and in several drawing rooms of the highest aristocracy
(June 2ist at Lord Holland's, etc.), and, moreover, he was not too
proud to give special lessons, at enormous prices, to several ladies
who were anxious to see him face to face, whom the Athenaeum
had called "truly a Zamiel in appearance, and without doubt a demon
in performance."

Having an engagement at Norwich for assize week. Paganini
left London for a few days toward the end of July. His manager.
Pellet, "lost money," says the Harmnnicon; "Signor Paganini pock-
eted about £800 sterling!" The receipts for the three concerts were
£867, according to the same paper.^^^

It is '^aid that King r.corgr TV. wisht-d him to dedtict 50 \wx
cent, of the price of £100 which he asked for an appearance at Court,
but Paganini replied that His Majesty could hear him cheaper by
attending one of his concerts at the theatre, and he did not care to
be bargained with.

At the end of August Paganini was engaged for the festival at
Dublin, from where he seems to have vi.sited various towns in Ire-
land. He first appeared on Scptcnilur ist at the festival ( tlie re-
ceipts were £182 IDS.) anfl sul)sef|uently gave several concerts at the
theatre, the first of which brought £700. On October ist he was at

(1) The "Harmonlcon," Sept.-mber, 1R31. pp. 217 and 22(5: Pnjranlnl also
played at Cheltfiihnm on Anpust fith; rlrrnmPt.nncpfl fnrr».<1 him to lo.ivo pre-
cipitately to avoid the anger of the crowd ("Revue MiiBlrjile." November Gth,
p. 816.)

42 NICOLO PAGANINI

York, and several days later he wrote from Limerick to his caro
Pacini, "Questa sera daro il secondo concerto e domani partiro per
Dublin©." He remained at the Irish capital until the middle of the

month, and on Monday the 17th "at i o'clock the splendid coach of
the modern Orpheus stopped at his rooms in Fleet Street, to take
the Signer away from the metropolis through the south of Ire-
land."(i)

He then returned to the larger isle, which he toured extensively
before crossing to the Continent again. Toward the end of Novem-
ber he played at Brighton (he had been paid 200 guineas in ad-
vance to come there). On December ist, in London, he had to
undergo an operation at St. Bartholomew's Hospital, regarding
which the Harmonicon gives us no actual details, but of which it
speaks with unmerciful sarcasm: "Paganini in the surgical The-
atre." On December 17th the Court Journal announced the reap-
pearance of the artist ; Ecce iterum Crispinus, writes the Harmoni-
con, which states that Paganini refused 1,800 guineas from a man-
ager at Liverpool, for six evenings. He demanded ii6,ooo for fif-
teen evenings at Vauxhall Gardens.

"It has been proposed to give him the title of Marchese de Cre-
mona ; others claim he should be made Duca d'Inghilterra-Stolta."(2)
Finally, the Courier shows us Paganini at Winchester about Febru-
ary loth, 1832, earning £200 in twenty-eight minutes, or at the rate
of ii2 IDS. per second, "while in certain countries a laborer gets
only 4s. 6d. per week !"

Three months later, when the concert given at the Paris Opera
House, for the benefit of the poor, was reported, the English musical
papers complained, with some reason, it must be admitted, that
Signor Paganini had acquired i20,ooo in England and had not given
a single charity concert there. (3)

Before leaving London Paganini closed a contract, undoubtedly
advantageous, with a manager who, for a certain percentage, or
a fixed commission, undertook all the business details of the tours
in Belgium and Northern France which he was about to undertake.
Paganini was the first, it seems, to thus "hire himself out" to a man-
ager. The matter nearly caused a scandal at the time ; it seemed
unworthy of an artist to sell his talent to a third party, who under-

(1) The "Harmonicon," November, 1881, p. 382.

(2) The "Harmonicon," January, 1832, p. 21.

(3) Ibid., May, 1S32, p. 119.

A BIOGRAPHY

took to exploit it at his own risk and responsibility. However, in
view of the good results, the practical side of this proceeding had
to be recognized, which, moreover, was absolutely legitimate, and
soon others followed his example.

"Paganini," says Grove, "aroused more curiosity than en-
thusiasm." He himself, in a manuscript letter dated London,
August loth, 183 1, complains of the clamorous and ob.strusive
attentions with which he was annoyed while in London. "Although
the curiosity to see me had long been satisfied, although I had
played in public more than thirty times, and although my portrait
has been published in every conceivable style and pose, I cannot
leave my rooms without collecting a crowd, which is content to
follow or accompany me ; they walk beside me, ahead of me, they
speak to me in English, of which I do not understand a word, they
touch me as though to make sure that I am flesh and blood. And
this does not apply merely to the ordinary crowd, but to the better
class of people."

Be that as it may, he had created a great sensation in England,
and although he had antagonized the press, if not the public, by
his exorbitant demands and the fabulous sums paid to hear him,
the papers recognized his wonderful genius and endeavored to dis-
cover the "secret" of his art.

About March loth, Paganini returned to Paris, where he was
more assured of success/^' After a concert given at tlic "Italions."
his first public appearance was a charity concert, with which an
English paper was soon to reproach him so bitterly. Paganini ar-
rived in a city decimated by the ravages of cholera.

"Deeply grieved by the sorrow which afflicts all humanity," he
writes on April 8th, "I should like to give a concert, the receijUs
from which shall be devoted to the victims of the cruel scoiirge
which has come over the capital."^^) "The Minister of Commerce
and Public Works has accepted this offer," says the MoniUur on
the 13th, "and on next Wednesday intends to place one of the
large theatres of Paris at the disposal of the distinguished musi-
cian." The concert took place at the Opera amid the wildest en-
thusiasm and applause, "which he acknowledged modestly and sym-

(IP'At last I shall hear a little munlc a«nln." he Is snld to hii%<' romnrkcd
on leaving the atpamer at Havre (OallgTJanufl-Mpsnenger). He gave a concert
at Havre on March 8th or 9th.

(J) Letter with poatscrlpt. contents given by M. Charavay. The addrM»«e
wa» doubtless the Minister of the Int»;rlor

NICOLO PAGANINI

pathetically," says the official paper of the 23d. The box office re-
ceipts were 9,728 francs 40 centimes, leaving, after deducting ex-
penses, 9,154 francs 20 centimes for "the poor people afflicted by the
cholera."

Other concerts soon followed that at the Opera, on April
27th, Fridays and Mondays, May 4th, 7th, 14th, 21st, 25th and
June 1st, for which the receipts are not mentioned in the files of
the Opera, but which were probably less than those of the pre-
ceding year. Some time later, he was again in London, where
he gave a series of concerts of which the four "positively the last"
took place in August at Covent Garden. The slight attention
which the press pretended to pay to Paganini at this time is
noticeable, although his popularity with the public was fully as
great as the year before.

Paganini finished in France in the year 1833. He was dan-
gerously ill about the month of December, but, as the Gazette
Musicale reports on January 5th, "he is better and will soon be re-
stored to his art and to his admirers." His illness was doubt-
less of short duration, for Paganini had assisted, on Dec. 22nd,
at a concert given by Berlioz, who, about this time, was to write
him a symphony with a solo for viola. "Paganini, whose health
improved from day to day," again reports the Gazette of the i6th,
"has asked Berlioz to write him a new composition in the style of the
'Symphonic Fantastique,' which the celebrated violinist intends
to produce on his return from England. This work will be en-
titled 'The Last Moments of Mary Stuart,' dramatic phantasy for
orchestra, chorus and viola solo. Paganini will take the viola part
for the first time in public." It is known from Berlioz' memoirs
that Paganini was not satisfied with the first composition which
the composer submitted, and Mary Stuart was changed to Harold
and played the following year.

In the beginning of March, without having been heard in
Paris during the winter, the virtuoso left for Amiens, Lille, Valen-
ciennes and Brussels.

At Brussels, where he appeared three times, beginning March
15th, after having played at the house of Fetis, Paganini encoun-
tered one of the rare defeats of his career. Here and there he had
met with hostility, but nowhere had there been the indifference
shown at the "Theatre de la Monnaie." As soon as he appeared
on the stage a burst of laughter greeted him from the audience;

A BIOGRAPHY 45

this big, black skeleton-like man provoked the mirth of the crowd
before he had touched his instrument, and his playing merely
increased the boorish hilarity. At Bruges, which then had 33,000
inhabitants, a subscription for a concert showed only fourteen
signatures. It was therefore better to cross the Channel as soon
as possible. In London, a series of ten concert'? drew the crowds
as in the preceding years.

A peculiar incident, of which more than one happened to him
in his life, drew attention to Paganini in a scandalous way, on his
return to London. He was at Boulogne-sur-IMer in July, when
a Mr. Watson, with whom he had boarded while in London, Cal-
thorpe Street, Gray's Inn Lane, imagined that he had carried off
his daughter and pursued Paganini, whom he joined first at Dover
and then at Boulogne. Watson claimed that Paganini had prom-
ised to marry his daughter on the continent, with a dowry of
£4,000, and that he had given her in London a tiara worth
50 guineas, and diamonds estimated at 300 guineas. Paganini re-
plied in the Annotatetir of Boulogne, and his letter made the rounds
of the entire Parisian press, about March 15th, 1834. Far from
having carried off Miss Watson, said he, she had sought refuge with
him, having been ill-treated by her father and step-mother; .she
had followed him, much against his will, from London to Dover,
from Dover to Calais, from Calais to Boulogne. Paganini having
proved "not guilty," Watson finally returned to London with his
daughter. Meanwhile the musical papers reported that Paganini
had invented, some said a contra-viola, others said "a new in-
strument, which he was trying in London, and on which he claims
to imitate the human voice more nearly than has heretofore been
done with any other instrument. "^^^

Returning to Paris, Paganini had to (|uict some dissensions
of the press. The previous year, the "luirope Litterairc," a paper
for which Berlioz wrote, had denounced him violently for having
refused to "play even a little air" at the benefit given to Miss
Smithson.^2) j^,ies janin attacked him on Sept. 15th of that year,
in an article in the Debat, and a week later he returned to the
charge with half a dozen columns, an entire editorial: "Paganmi
and the sufferers from the flood at .Saint-Lticnne." "Paganini." said

(1) "Gazette Muslcale," July 6th. 1834; "McnfHtrcl." May 26lh.

(2) "Feullletons des Dehats." Sept. IBth and 22nd; Figaro." Sept. 22nd
Pagrantnl's annwer appeared In "I.e Monltfiir" of the 24fh

46 NICOLO PAGANINI

the Figaro of the same date, "has not responded to the direct ap-
peal made by J. Janin in a very clever article in the Dcbat. It
is an actual fact that the celebrated artist has refused to play for
a quarter of an hour, for the benefit of the victims of the flood at
Saint-Etienne. Paganini can announce, if he likes, a concert for
his own benefit ; no one will attend." It was a cross fire of open
attacks and attempts at coercion which seemed to justify, or at
least to explain, the reputation for avarice which the artist had.
A letter from him replying to the attacks, set these facts straight.
The substance of the letter was about as follows : "In two or three
months I have given but one concert in France. I am returning to
Genoa. I have already given two concerts in Paris for the benefit
of the poor."(i)

(1) "L'Europe Litteraire," April 19th, 1833.

A BIOGRAPHY 47

ETURNING to his country about October, 1834, Paganini
selected the Villa Gaiona. near Parma, as his favorite
residence among the properties which his immense for-
tune had enabled him to acquire. For some time he had
been planning important projects of various kinds; first the publi-
cation of his works ; during his last stay at London, the Parisian
editor, Troupenas, had made him an offer, but Paganini had stipu-
lated a price so high that, under the most favorable conditions, the
sales of several years would not have covered the sum ; according
to Fetis, however, Paganini wanted to be his own publisher, but
since he was not yet ready to end his career as a virtuoso entirely.
he conceived the queer fancy to arrange his concertos for the piano.
Another of his pet schemes was the founding of a conservatory, or
rather a school for violin, in which he would teach the "secrets" of
his art.

Meanwhile he gave his countrymen an opportunity to hear
him once more. On November 14th he gave a concert at Pla-
centia, for the benefit of the poor, and the following month he
went to Parma, at the request of Marie Louise; on December 12th
he appeared at the court of the ex-empress, and on this occasion
she presented him with a ring, bearing the royal crown and his
initials in diamonds. She also appointed him Director of the Court
Theatre, which prompted Fetis, Reviic Mtisicalc. to remark: "With
much regret we see this king of artists stoop to the level of a
courtier."(i) Later, on January 3rd. 1836. Marie Louise nia<le liun
Chevalier de Saint-Georges.

lie spent the year 1835 ])artly at Genoa or at Milan, jtartly at
his Villa Gaiona. On July 28 Marquis Giancarlo Di Negro, one
of his warmest admirers, gave a grand entertainment in honor of
Paganini, at his villa on the outskirts of Genoa, which he had named
"Earthly Paradise." A marble bust of the arti.st was solemnly un-
veiled ; there were poetic and enthusiastic speeches, inspired by
his recent triumphs in all Europe.

About six weeks after this ovation, in which the best Genoese
society took part, a report of Pagaiiini's deatii wa>^ circulated m
Paris. As in the case of Liszt in 1825, and, ten years later, of

O) "Revue Musicale." Jan. 25th. IS."?:,.

48 NICOLO PAGANINI

Madame Malibran,(i) it was a false report. The cholera raging just
then, at Genoa, gave credence to the "sad event."

On June 9th, he himself gave a charity concert at Turin, in
the Carignano Theatre, with the guitarist Luigi Legnani ; and the
poet Romani wrote a ballad in his honor.

A month later he was at Paris, where troubles of a different
nature awaited him. Two speculators, Tardif de Petitville and
Rousseau-Desmelotries, had planned to open a casino on the Chaus-
see d'Antin, just off the Boulevard. "It is the object of the Com-
pany," said the prospectus, "to establish a musical and literary
centre, under the name of Casino. In this establishment will be
concentrated all the pleasure which music, dancing, conversation,
reading and promenades can give the Parisian public and the many
strangers who flock there, and it will also enable them to enjoy
conveniences and privileges of all kinds."

For the installation of this one might say encyclopediacal es-
tablishment, Petitville had bought the residence of La Guinard,(2)
which, during the Revolution, had gone over to the financier Perre-
gaux, and, after the establishment of the Empire, belonged to Ar-
righi, Duke of Padua, and was occupied by the Lafitte Bank.

In the enormous grounds, which extended almost to the Rue
Mathurins, that is, about the entire length of the actual Rue Meyer-
beer, a pavilion was erected, of which a lithograph of the times
shows us the general aspect. This pavilion, the old salons and the
grounds were to constitute the Casino-Paganini, which was opened
to the public for the first time on Saturday, November 25th, 1837.
Paganini not only owned a large part of the stock in the Casino,
to which he, who was usually so cautious, so lightly gave his name,
but he was to be heard there and never played. "The state of his
health does not permit him as yet to appear before the public."
says the Gazette Musicale.(^) Berlioz, in the Chronique de Paris,
announcing the approaching opening of the Casino, wrote, on
October 8th, 1837, as follows : "The part which the famous vio-
linist will personally take in the musical program is to walk about
the grounds three times a day, if the weather is fine."

(1) "The Revue Musicale," of Jan. 25th, 1835, had reported her murdered
at Milan.

(2) This was Chaussfee D'Antin No. 9, the actual location being Meyerbeer
street. Escudier gives the numbers 7, 9, and 11. It seems probable, however,
that the Casino occupied only the lot numbered 9 or 11 at difterent times.
It was afterwards occupied by the offices of the Orleans Company.

(3) "Gazette Musicale," Dec. 3rd, 1837, p. 529.

A BIOGRAPHY ^g

The brief existence of the Casino, its principal attraction gone,
brought Paganini only law-suits and debts.

The columns of the Gazette des Tribunaux, on March i6th,
show Paganini sued for failure "to play twice weekly in the drawing
rooms of the Casino, to the amount of 6,000 francs damages for each
non-appearance," and a warrant was issued.

Paganini immediately appealed. Meanwhile de Petitville and
another party named Fleury, formerly an insurance agent, were
fined 300 francs for attempting, in November of the preceding
year, to bribe the Secretary-General of the Police Department
Malleval, and the Chief of Department Simonet. Fleury had sent
each of them about ten shares of stock in the Casino, with a view
to winning the good will of the administration, who had delayed
in granting authority to open the establishment. On March 7th,
at the Civil Court, there was some controversy between Petitville
and his administrator, Rousseau-Desmelotries. A certain Fuma-
galli seized and sold all the furniture, for which Rousseau claimed
payment. The workmen claimed 200,000 francs for wages due
them.

Paganini was forced to appear once more as defendant. He
explained that only 64 shares had been issued by the managers of
the Casino, de Petitville and Fumagalli ; he himself had bought
60 of these, for an amount of 60,000 francs. Action was later
brought by one of the attorneys to keep the "Paganini Ca.se" out
of the Supreme Court, on March 30th.

The Casino, .still bearing the name of the great artist, became
a dance-hall under the next lessee. A singer, Mme. San Felice, who
had been engaged by the founders, tried to seize the receipts on
the evening of the Mardi-Gras. Finally, on August 31st, Paganini
was subpoenaed by Mr. Escudicr (the same who later brought out
the France Musicale and wrote two biographies of tin- .irtist).
who clainicfl a sum of 2,000 francs for services rendered "as
manager of the Maestro's various business undertakings, especially
those concerning the defunct Casino. According to M. Coutard,
the attorney for Kscudier, Paganini had made hi;n wf-ndcrful |.roni-
ises, and afterwards refused to consider the numerous services of
his manager as anything but voluntary favors. Nevertheless he
had made him an actual offer of 400 francs." Finally the court

50 NICOLO PAGANINI

fixed the amount due as 6cx) francs, from which a deduction of
486 francs would be made. <-^)

Of music there was no thought, after the announcement, in
June, of a concert which never took place, and a trip to London
which was never carried out. The papers mentioned Paganini's
name only to narrate his financial misfortunes. Moreover, the
artist's health was in a very precarious condition; his larynx was
affected so as to make him almost voiceless, and he was taking
treatment at an establishment known as "Les Neothermes," in the
Rue Victoire, which was very popular at the time. An absurd story
was added to the controversy which the founding of the Casino
had stirred up. The Gazette Musicale of June 24th published a
letter addressed by Paganini to a Mr. Douglas Loveday, father of
a young pianiste who had played at the opening concert of the
Casino. In this letter, whose "contents and motive" could well
look strange to the Gazette, Paganini charged Mr. Loveday with
a sum of 26,400 francs, for instruction given his daughter. Six
weeks after this publication, Paganini explained the story, and ad-
dressing Loveday, he said :

"Sir, you have chosen to publish a letter which you took seri-
ously, and which I wrote to you with the sole aim of showing you
how easy it is to cause annoyance to others. My letter was merely
a little revenge for the account which you had opened for your

friend, Mr. Cr , 'the celebrated physician,' as you call him. As

a matter of fact, in order to let him earn some money at any cost,
you have very cleverly transformed into professional visits, a few
how-are-you's, which your friend, 'the celebrated physician,' asked
me while I lived at your house; a courtesy to which I immediately
put an end by closing my door to 'the celebrated physician,' as soon
as I noticed that his greetings were becoming serious, and that he
was preparing to reinforce them with medical advice which, for the
sake of my health, I did not care to follow." ^^^

Loveday claimed 37,800 francs for having boarded Paganini
during ninety-nine days, and 18,000 francs for piano lessons given
by Miss Loveday to Paganini's son. Paganini in his reply ridiculed
his adversary's French in a very witty manner, and finally had the
laugh on his side.

Still, all these incidents, which dealt with money and law-

(1) "Gazette des Tribunaux," Oct. 1st, 1838.

(2) "Gazette Musicale," June 24th and Aug. 12th, 1838.

I'AdANlNI'S VIOLIN
(Municipal MuHeuin ut Uenoii.i

A BIOGRAPHY

suits, only served to confirm the stories of the Maestro's avarice.
At this time something occurred which silenced all the ill-natured
remarks of the interested and covetous hangers-on of the millionaire
artist. On December i6th, Berlioz gave a concert at the Conserva-
tory. The composer of the ill-fated "Benvenuto Cellini," which
had been ignominiously hissed at the Opera, reappeared at the
head of his "old guard," that day. At the close of the concert,
when "Harold en Italic," written at his instigation, had been ren-
dered, Paganini threw himself at the feet of the young composer
and cried, with all the voice which was left him : "He is a wonder!"

"After the concert," Berlioz writes to his father, "Paganini,
this grand and noble artist, came upon the stage and told me that
he was so deeply moved and profoundly impressed that he felt like
kneeling at my feet ; when I protested against such an exaggerated
demonstration, he drew me to the centre of the stage, and there,
in the presence of some of the members of my orchestra who had
not yet departed, and in spite of my efforts to restrain him, he
knelt at my feet, declaring that I had gone farther than Beethoven.

"And this is not all. Five minutes ago, little Achille, a charm-
ing child of twelve, came to see me and gave nic the following
letter from his father, with a gift of 20,000 francs." — Merc is
the translation of this letter:

"My dear friend.
With Beethoven dead, only Berlioz could make him arise once
more, and I, who have heard your divine composition, worthy of
a genius such as yours, think it my duty to ask you to accc])t. as
a token of homage on my part, the sum of twenty thousand francs,
which will be remitted to you by Baron de Rothschild, on presenta-
tion of the enclosed.

"Believe me to be always

Your afTectionatc friend,

NicoLo Paganini.""*

"i am stating the facts, that is all," says Berlioz in his Memoirs.
This is the occurrence which astoundcfl the entire press, and was
the subject of an editorial by Jules Janin, taking back all the abuse
which he had but lately hurled at Paganini. and a letter to lierlioz,
which was printed, together with Paganini's, in the Gazette Musi-

(1) Letter written by Berlioz to his father. "Dec. IRth. 1888." See Italian
facsimile.

52 NICOLO PAGANINI

cale and later in the Allemeine Musikalische Zeitung of Leipzig,
and finally made the round of all Europe.

This princely gift was the subject of long and frequent dis-
cussions during the lifetime of Berlioz. It was said that be-
cause Paganini had refused to play in a concert for the benefit
of the poor, by the advice of Jules Janin he had made this present
to conciliate the public, as he was about to give four concerts him-
self ; still, Paganini no longer played in public and there is nothing
to prove that he intended doing so ; his chronic ill-health drove him
away from Paris continually. According to another version, he
was merely acting in the name of a generous patroness of art, an
admirer of the composer, who wished to show her appreciation ;
the name of Bertin was mentioned, proprietor of the Debats, whose
daughter had caused the production of "La Esmeralda" at the
Opera, brought out by Berlioz in 1836. Moreover, in his note to
Rothschild, giving the order to the cashier, Tuesday, the i8th, to
"remit to bearer, M. Hector Berlioz, the 20,000 francs which
I deposited with you yesterday," does not this word "yesterday"
indicate that during the day of the 17th of July, Jules Janin, Bertin
and Paganini had planned the sensation of the following day?
Grammatici certant. — Let us add that the first version is by Liszt,
whose word it would be difficult to refute, and who had a very good
memory besides. The second, which is plausible and more economi-
cal for Paganini, was voiced in the very beginning and circulated
joyfully by the enemies of the Debats and of Berlioz, who vigor-
ously denied it.(i) Be that as it may, these 20,000 francs secured
for the composer "three years of rest, light work, liberty and happi-
ness" (J. Janin), and enabled him to create another master-piece,
"Romeo and Juliet." As to Paganini himself, he explained his
generous act in this way :

"I did it for Berlioz and for myself. For Berlioz, because I
saw a young man full of genius, whose strength and courage might
have failed in this struggle, in which he was engaged every day
against envious mediocrity or indifferent ignorance, and I told
myself 'I must come to his aid.' For myself, because in years to
come I will be vindicated in this affair, and when my claims to
musical glory are counted, it will not be one of the least to have

(1) See "L'lllustration," March 4th, 1854. July 26th, 1856; "Les Debats," Dec.
8th, 1894, and the works of Conestabile, "Paganini"; Ad. JuUien, J. Tiersot and
J. G. Prod'homme on Berlioz.

A BIOGRAPHY

been the first to recognize a genius, and to have held him up to the
admiration of all."(^)

Thursday following the concert, Berlioz, being able to leave
his room, where he had been confined for two days, went to thank
his benefactor. "I found him alone in a large room at the Neo-
thermes, where he lives," writes Berlioz to his sister that same
evening. "You know that since about a year he has completely
lost his voice, and without the help of his son it is very difficult
to understand him. When he saw me, the tears came to his eyes
(I confess that I was very nearly crying myself) ; he wept, this
ferocious man-eater, this seducer of women, this escaped convict,
as he has so often been called; he wept hot tears as he embraced
me. 'Don't mention another word about it,' he said, 'I deserve
no credit ; it was the greatest joy, the deepest satisfaction I ever
felt in my life; you have caused me emotions of which I never
dreamed ; you have gone a step farther in the great art of Beet-
hoven.' Then, drying his eyes and hitting the table with a strange
little laugh, he began to talk volubly, but as I could not understand
him, he went to call his son, to serve as interpreter. With the
help of little Achille I understood that he said: 'Oh! I am so
glad; I am overjoyed to think that all this vermin who scribbled
and talked against you, will not be so bold now because they all
realize that I, Paganini, know what I am about — I who have the
reputation of being hard to please.' "

Shortly after this event, which busied the press for several
weeks, Paganini left Paris, which he was not to see again, and
went to the South, his health demanding a sojourn in a sunny
clime.

He stopped at Marseilles for some time. In a ktlcr from there,
dated April 26th, he wrote one of his friends, Aliani, leader of the
orchestra at V'inccnzia, regarding his poor health, and asked him
to .secure two violins for him. one a Giuseppe Guarncri del Gcsu,
the other a Stradivarius.(2 ) During the following month, in corre-
spondence addressed to the Monitcur, he said he would have liked
to have taken part in the benefit given to the sufferers at Mar-
tinique. (•'; In July, he passed through Montpellicr. coming from
the Baths at Balaruc; "it seems he must be continually under way,"

(1) "Journal de Parl.-^." Jan. 18th. IS.-.O. nn article by Anjc. Morel.

(2) From an autoKraph (?lvpn by M. Charavay.

(3) ■•Monlteur," May 22nd. 1839, letter of the 16th.

54 NICOLO PAGAN INI

writes a correspondent to the Moniteur.C^) '"The celebrated artist
absolutely refuses to comply with the importunities of the fore-
most amateurs of our town, to give a concert. This refusal is
based on the strict injunctions of the medical faculty." Paganini,
as a matter of fact, was never again heard in public. However,
at Marseilles he consented to play in some Beethoven quartets,
among friends, but that was all.

On August 22nd, 1839, the same paper announced his arrival
at Vernet-les-Bains, accompanied by Dr. Lallemand. "Paganini is
nothing but a shadow, he is so emaciated ; he has lost his voice
and only his glowing eyes and angular gestures speak for him.
His violin, which led him to fame and glory, was taken from the
carriage with him. The patient is to take the baths at the Elisa
Spring at 22 degrees heat." (2)

It is doubtful if these stops at the various watering-places in the
Pyrenees benefited him. Returning to Marseilles, toward the end
of September, it seems that no improvement was noticeable in his
condition. (^) About this time he wrote a last letter "before leaving
France," {■*) to Dr. Lallemand. The first of October he was at
Genoa; he had a nervous attack soon after his arrival which gave
much concern to his "numerous friends." (^) With the approach of
winter, Paganini returned to Nice. "I see M. Paganini here nearly
every day," writes a correspondent of the Gazette Musicale, on
January nth. "The decision of the courts in the Casino affair
has not put him in a very good humor. (^) However, he is still
quite vigorous and I often hear him playing, all alone, using the
sourdine. He always speaks of a new method for the violin, which
he intends to publish, and which would simplify the study a great
deal, as far as technique goes, and would ensure more perfect in-
tonation to those using it. Well, it is up to the publishers now
to discover his secrets, and I think it would be well worth while." C^)

(1) "Moniteur," July 2Sth, 1839.

(2) "Moniteur," Augu.st 22nd, 1839.

(3) Moniteur," October 11th, 1839.

(4) "Autograph Catalog XXVII," Halle, Munich, 1906; the date of this
letter is erroneously given as August 29th, 1839.

(5) "Moniteur," October 21st, 1839.

(6) "Paganini had been sentenced to pay damages amounting to 20,000
francs for failure to carry out the contract which he had signed to give a
certain number of concerts at the Casino, which bore his name. To-day,
however, on appeal by the creditors of the Casino managers, the higher court
increased the fine to 50,000 francs and lengthened the habeas corpus period
to ten years." ("Gazette Musicale," Jan. 5th, 1840, p. 27-28.)

(7) "Gazette Mu.sicale," Jan. 23rd, 1840, p. 68.

TllK I'AGANINI CASINO A'l' I'AKIS, CHAlJSKi: UAMlN (i837)
(LithoKraph by G. Laviron.)

A BIOGRAPHY ^^

The next occasion when the Gazette, which published this corre-
spondence, printed Paganini's name, was to announce his death,

"Paganini died at Nice, May 27th, 1840, leaving a great name
and a large fortune to his only son, a young and handsome boy of
fourteen years. His body has been embalmed and will be sent
to his birthplace, Genoa. We hope that the report of his death
will happily prove, like so many before this, a false one."(i )

This time the report proved true, and it was Liszt who under-
took to write for the readers of the Gazette Mnsicale, the funeral
oration of the great artist, whose disciple he was, with countless
others.

"May the artist of the future renounce with all his heart," con-
cluded Liszt, "the vain and self-worshipful manner of which Paga-
nini was, we believe, a last and shining example; let him see his
goal, not in himself but far beyond ; let the mastery of his art be
a means — not an end ; let him always remember that not only
'noblesse,' but even more so :

'Genie Oblige,'

V. Liszi.'"(-)

When on June ist, 1840, Paganini's will, dated April 271)1, 1837,
was opened, it was found that his fortune amounted to 1,700,000
francs, partly in real estate and partly in government bonds of
I'Vance, England and the two Sicilies. Among the Ixiicficiaric.s
were his older sister, who received an income of 75,000 francs;
his younger sister one of 50,000 francs ; a lady living at Lucca re-
ceived an annuity of 6.200 francs; the mother of his son, Antonia
P>ianchi, one of 1,200 francs. Achillc Paganini was his sole heir.
Marquis Lorenzo Parento, his tutor, Giambattista Giordani, Laz-
zaro Rebizzo and Pietro Torrigliani, of Genoa, were named as hi-
executors. A little later the Gacetfe Mnsicale, of Paris, came out
with "one of the fantastic reports for which Paganini so often
furnished the pretext" and which is repeated "merely to compli-tc
the round of absurdities. It is said that Paganini left his eight
violins to eight violinists of the first rank, >aicl to be Bcriot, Ernst,
Lipinski, May seder, Moliquc, Die Bull, .Spojir an<l Viciixtenips."(3)

However, Paganini's history did not cease with his death, and

(1) "Gazftte MuKlc.ile," Jurif "th. MiiO. p. ?.:\i.

(2) "Oazftte MuHlral*-," Auk. 2?,rf1, p. 4?A-r.;'2: About pHRJinlnl nn lli«- ocoi-
slon of his death.

(3) "Gazette Mu.slcnle," ()c\(,\i(r 2.'.th. is^fi, p. BOO.

55 NICOLO PAGANINI

it seemed as if fate had decreed that everything about this man
should be strange and fantastic, for the great Genoese artist was
doomed to post-mortem tribulations which did not end until 1896,
more than half a century after his death.

This posthumus history of Paganini, like his earthly existence,
caused numerous and frequent discussions by the press; the earlier
ones are dated about 1854, and the most recent in 1905.

Paganini having died at Nice, his son naturally wished to have
his father's body taken to Genoa. A letter dated from Nice, June
5th, to the Moniteur, stated that the final resting place for Paga-
nini's remains had not yet been decided upon.(i) The trouble
was actually begun on the day following his demise, by the Bishop
of Nice, and a contemporary paper, the Journal Historique et
Litteraire, of Liege, speaks of it as follows:

"Paganini died at Nice last year; he was noted for the laxity
of his morals and for his irreligion. Not only had he ignored his
duties to the Church, but he had refused the holy sacraments on
his death bed. These facts caused the Bishop of Nice to refuse
him a resting place in consecrated ground. Upon the protestations
of Paganini's executors, the prelate inaugurated an investigation,
whereupon the refusal of a consecrated grave was confirmed by
sentence. The executors persisted, and carried the matter to his
Eminence the Cardinal-Archbishop of Genoa, who last August,
fully corroborated the decision of the Bishop of Nice. Paginini's
body, after having rested a long time, embalmed and open to view,
in his apartment, was, by order of the Government, consigned to
the cellar, and from there to the pest-house at Villefranche, on
account of the fetid odors it exhaled. It will now be interred
outside of the cemetery, and Paganini's name will be crossed from
the Church register, where a marginal note indicates the cause of
the erasure." (^)

The facts are, that Paganini, "brutally called upon to make a
last confession, answered that he did not think himself so near
death as yet to require spiritual aid, but that when the time came
he would not fail in this supreme duty." (2) Christian burial having
been refused, in spite of the efforts of Count de Cessole, Count de
Maistre, then Governor of the province, and of Achille Paganini,

(1) "Moniteur Universel," June 16th, 1840, p. 1436.

(2) "Journal Historique et Litteraire," December 1st, 1841.

(3) "L'lllustration," March, 1854, article by Frederic Lacroix.

A BIOGRAPHY

the body was embalmed and exhibited on a platform before which
the curious defiled ; the head had been dressed in rather a grotesque
fashion, with a high stock over which was an enormous tie; he
wore a kind of cotton cap trimmed with blue ribbons, ending in
a huge rosette, as is shown by a lithograph of the times. After
a few days, when the body was put into a coffin, a glass had to be
inserted, leaving the face open to view, to satisfy the curiosity of
the tourists who flocked to Nice. The public continued to crowd
for a glimpse of the great dead, until the Church gave orders to
have the body removed, and it was taken to the pest-house at Ville-
franche a la pointe de Saint-Hospice ;(i) this transfer was made at
night under military escort. At this time a Jewish broker offered
Count de Cessole about 30,000 francs for permission to take the
body to England and exhibit it there.

Another version is that the body was taken by boat from the
hospital at Nice to that of Genoa, but as the vessel was refused en-
try at the port of Genoa, on account of the epidemic of cholera
which had just broken out at Marseilles, it went to anchor at the
Lerins Islands. The captain of this ship had Paganini's coffin
landed on the islet of Saint-Ferreol, where it was interred. Six
years later, another vessel landed there to get the remains of Paga-
nini and take them to Italy. It is said that an open grave in the
centre of the islet Saint-Ferreol still marks the place where Paga-
nini was buried, as it had never been filled in. The amateur fisher-
men who frequent these latitudes say that the excavation in the
middle of the island is universally known, for short, as Paganini's
ditch. (2)

This legend seems rather improbable, although it emanates from
a reliable source. If we go by the account of L' Illustration, pub-
lished some ten or twelve years after the events themselves, and
confirmed by a contemporary, one of the sailors on the ship,(3)
Paganini's body was removed from the pest-house at Villefranche
during the night of August 15th, 1843, and not in 1846, to W trans-
ported to Genoa in a sailing barque.

Nevertheless, Achille Paganini continued his efforts to have his
father's remains buried in consecrated ground. In October. 1841,

(1) some have confused the name of Salnt-HoHplrc wltl. tl.e h.mi.ltal at

Nico.

(2) "Int.rmf-diaire de» Chercheurs," June 10th. 1905. col. R71.

(3) Id., April 30th, 1905. col. 645-646.

58 NICOLO PAGANINI

he arrived at Rome with a lawyer, to obtain a recall from the Pope

of the decision handed down by the Archbishop of Genoa. (i) The
Pope annulled the episcopal decision, and ordered an inquiry by
the Archbishop of Turin and two clerical Genoese, as to the Catholic
sentiments of the deceased. The result of this inquiry seems never
to have been made public. Thereupon, during the night of August
15th, 1843 — in May, 1844, according to others, — a man bearing a
paper signed by the Gk>vernor of the province, and accompanied by
two boatmen and two porters, came to the pest-house at Villef ranche.
The coffin was removed and put on board a vessel which sailed
to Genoa, making stops at Bordighera, San Remo, Port-Maurice,
Savone, etc. The body was taken to the villa Polevra, one of Paga-
nini's possessions near Genoa, where the Pope authorized a pro-
visory burial. Again it was exhumed in 1853, whereupon the re-
mains were transported to his villa Gaiona, in the Duchy of Parma.
Achille Paganini then had a simple religious service held in memory
of his father, who was a knight of Saint-Georges, in the church of
la Steccata, which belonged to this order of knighthood. Finally,
in 1876, the third exhumation took place from the villa Gaiona,
followed by re-interment in the cemetery at Parma. But here again
Paganini was not to find untroubled rest, for in 1893 his coffin was
opened once more in the presence of his son and the Hungarian
violinist, Ondriczek; and three years later, in August, 1896, a
last exhumation was necessary owing to the laying out of a new
cemetery at Parma. Was this indeed the last? It is to be hoped,
though we can not be sure, for it seems as though a pitiless fate de-
nied earthly rest, though well deserved, to him who had been Paga-
nini.

(1) "Gazette Musicale," November 7th, 1841, letter from Rome, October 12th,

A BIOGRAPHY ^g

VI.

AGANINI wrote about fifty compositions, according to the
catalogue compiled by Conestabile. about ten years after
the death of the great artist. However, only a few of
these are extant. (i)

All violinists know the importance of the twenty-four Caprices,
some of which were transcribed for piano by Liszt and Schu-
mann. (2) No. I is an etude in arpeggios (Locatelli's Caprices be-
gin in the same way.) In this Paganini modulates frequently,
as in almost all his etudes. Several passages ( for instance, measures
14, 15, 16, 25, 26, etc., p. 2, edition Peters) show that Paganmi was
a guitar player, as the groups of chords which he uses are charac-
teristic of that instrument.

Guhr says that Paganini played full, clear arpeggios, using less
than half of his bow for their execution.

No. 2 is characterized by groups of thirds, sixths and tenths,
and wide intervals, necessitating quick changes from string to string.

We know how boldly Paganini modulated, for his times. In
the presto of No. 3 some of these modulations are to be found,
which were then considered to be very audacious.

Guhr states that in No. 7 Paganini played all the staccato pas-
sages in letting the bow dance on the strings with a rebound ; he
always played his staccato with the middle of the bow, rarely be-
ginning with the tip, as other great masters did.

In No. 8 there are innumerable difficulties of intonation.

The original rhythm of the presto in No. 1 1 nuist be mentioned,
the first half of the measure 2-4 often consisting of .syncopa-
tions and the other half of triplets.

This presto is not included in the transcription by Schumann,
who considered it unsuitable for the piano and perhaps just a little
vulgar.

In No. 15 the melody, in octaves, serves as a theme for a varia-
tion in broken chords, as it might be written for the piano.

(1) Sco list of pompoHltlonB.

(J) S.lmm.mn i.iihIlHh<<l. In IS.'!.'! .-m.l 1S.35. In two voMimoH. I w.-iit v-fnnr
transcriptions of the Caprices by PaRnnlnl; nl«o h\x Ktufl.-« rto Concort. nftor
the Caprlrea by Pn^anlnl. Op 10. "The BravoiirBtn.llon Nnoh rnKanlnl>
Caprlcen flJr das Pianoforte bearbeltet." by lAmt, appeared In 184>. Bee
Srhumnnn's "Gesammeltn Rchrlftf-n,- edition Rrklnm, II. p. 11 12. and III.
p. 98-100. The French violinist, Plerro Hode. hnd already written twenty-four
Caprices In the form of etudes.

50 NICOLO PAGANINI

No. 24 contains in one of its variations an example of a re-
markable manner of employing the pizzicato.

"It is certainly strange that the characteristic effect, which in
part made Paganini's great success, his harmonics, does not appear
in these Caprices."(i)

Paganini's most important concert pieces are beyond doubt his
concertos. There were eight of these; besides the four for which
he wrote the orchestra parts, two only remain, which were published
by Schonenberger, at Paris, in 185 1, one in E flat (D),(2) and
one in B minor, op. 6 and 7.

His variations are no less celebrated ; the same publisher brought
out the variations on "Di tanti palpiti" (Tancrede), "Non piu
mesta" (Cenerentola), "God save the King" (or "Heil Dir im
Siegerkranz"), the "Carnaval de Venise" ("Oh! Mamma!") as well
as the "Moto perpetuo," which comprises 3,040 sixteenth notes
without a pause.

Before the time when Schonenberger undertook to publish Paga-
nini's works, his Caprices, op. i ; Sei Sonate, op. 2 ; Sei Sonate,
op. 3; Tre gran Ouartetti, op. 4; and Tre gran Quartetti, op. 5,
were the only ones which had been printed.

"Paganini's compositions have great merit," says Fetis,
"novelty of ideas, elegant form, rich harmonies, and variety of
effects in instrumentation. These qualities are particularly notice-
able in his concertos. These concertos influenced, in a measure,
what was written later in this line. Their form differs in a num-
ber of points from the classic form of Viotti's concerto. We
find the merit of unity and a growing interest which deserves con-
sideration by other violin composers.

"In general, without detracting the attention from the solo part
by too much complicated work, the instrumentation still has enough
of interest to combine agreeably with the principal theme, and the
attacks are not forced and conventional ; in short, the effects are new
and varied."

The first concerto, in E flat, of which the violin solo is written
in D, is more like the old concertos. "I think I remember," says
Fetis, "that he wrote it in 181 1." It contains little that is new;

(1) C. Witting, "Geschichte des Violinsplels," p. 43-49.

(2) Paganini wrote the accompaniment for orchestra in E flat, and the
violin part in D, the solo instrument being tuned half a tone higher than
ordinarily.

'>^-.

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LKTTKR IROM PAdANIM TO BKRUOZ
(Furnished by Monsieur CharlcH MiilhrrbiM

A BIOGRAPHY ^^

the details, however, stamp this work as one of the highest interest.
Paganini therein employs the fourth string in the second solo.

The Adagio (C minor) is a dialogue between the fourth string
and the three others. The Rondo, with its bounding staccato, is
original. It is noticeable also for the passages in tenths, for the
first time used in various combinations, whereby Paganini obtained
remarkable effects, through the marvelous accuracy of his execu-
tion.

The second concerto, in B minor, begins with a broad, passionate
movement; the harmonies are often interesting in their sequence,
the instrumentation is bright and effective. The tutti are little de-
veloped, and merely serve to join the different soli. The phrase
at the beginning of the first solo is grand and broadly treated.

In this Paganini shows great boldness of conception, by the diffi-
culties it involves in bowing and also for the left hand. There is a
double trill, descending in thirds, which showed the artist's in-
comparable execution, his brilliancy as well as his absolutely fault-
less intonation. The theme of the second solo is entirely different
from the first; the melody is expressive and mingled with staccato
effects to which Paganini gave an individual character. The pas-
sage following this theme is entirely in double chords and very
effective ; these combinations were of the greatest difficulty, but the
wonderful artist rendered them as so much child's play.(^)

The Adagio (in D) is a cantabile of the highest order. Being
more simple than his other compositions, it was not very effective,
because in Paganini one always looked for tlie sensational ; neverthe-
less the form of the themes is noble, expressive and full of charm.
The instrumentation is in very good taste. The Rondo, with obli-
gato accompaniment of bells, is a delightful phantasy which com-
prises the most incredible flifficulties in comhiiiatioiis of the most
exquisite taste. The principal motive is remarkably elegant. Every-
thing about this composition is new, as well in detail as in the general
outline.

The Allegro of the .sonata for violin and orche.stra, entitled Moto

(1) "In all his early compoHltlons," says Fotla. "the paxsagea In double
chords anfl with a boundlnK how are new Jinfl not In thi- iimiihI form of con-
rertos. ragiinini'H px<-<'iition wjih ri-miirkiihh' In two pulnlH; (Irnt, lh«- abBoliitc
trurnc-^s of tone in th<- donhlf rlinrds, thf .«t\imhllnK blork of tho monl nklllfnl
violinists, especially In the rapid passages, and wcond. the marvcIlouH nrcurncy
with which his bow hit.f the strings, no matter how grrnt tho IntorvalH. Thin
evidence of his talent alone would tend to show hlR prrdcstlnatlon for his
career, iind a lif<--time of .'-•ludy."

62 NICOLO PAGANINI

Perpetuo, is only noticeable as a study for bowing, having a very
rapid movement without pause to the last measure. This kind of
difficulty requires a wonderfully strong and flexible wrist, that will
not tire before the end, and perfect unison of the left hand and the
bow. This work as a composition is of no importance, but as an
etude it is interesting.

The introduction to the "Streghe" is brief; the first variation,
all in double and triple chords, is very difficult; it is an excellent
study for correct intonation. The second is a mixture of harmonics
and pizzicati, resulting in original effects. The third is a dialogue
between the fourth string and double harmonic sounds, "a novelty
which always met with applause from the public." The finale which
follows this variation ends with rapid passages on the fourth string,
and harmonics of the utmost difficulty.

The "God Save the King" includes all the new effects discovered
by Paganini. The theme is written in three and four parts ; the
bow sounds the melody and the accompanying parts are picked.
The first variation, all in double chords, is a sequence of thirds
and tenths. Paganini played it very quickly and lightly, which
added to the difficulties. The second variation is in rapid triplets
mingled with passages in double chords and a bounding staccato.
In the third the canto is sustained by a very slow movement while
the accompaniment indulges in a veritable fireworks of brilliancy
on the third and fourth strings. The fourth consists of rapid
runs of picked notes in the upper register, while the accompaniment
is played staccato on the lower strings, with the bow. The fifth
variation, written in double chords, has an echo effect, an octave
higher ; the bass is picked on the low strings. Finally, the sixth and
last is all in bounding staccato arpeggios, which are extremely diffi-
cult to play on account of the complicated positions of the left hand.

The variations on "Di tanti palpiti" are written in B flat; the solo
part is written in A, the violin being tuned to B. In the second
variation the fourth string is lowered to low B flat. Paganini
made this change of tuning with such skill and nicety that none
noticed it in his concerts.^^> The introduction to this composition
is a larghetto followed by a recitatif. The theme is played simply,
without any combination of effects. In the second variation the
passages in double chords present great difficulties in bowing; the

(1) We have already reported the different opinion held by Guhr.

A BIOGRAPHY ^3

third is the strangest and the most difficult with its sequences of
thirds in harmonics, which bring out the theme in runs and ar-
peggios.

In the variation on "la Cenerentola" (Non piu mesta), in E flat,
the solo violin is tuned as before, and is played in D, the same as
in the first concerto. The second variation recalls efltects already
used in the other works of the master. The third, in minor, is
almost entirely written in octaves. The fourth is an echo, the echo
effect being produced by double harmonics. It is followed by a
finale in thirds and octaves, which is very difficult to perform.

The twenty variations on the "Carnival of Venice," on the
popular song "Oh! Mamma!" are partly not in the very best taste.
Those on the "Air de Barucaba" each represent a special etude for
the various kinds of bowing. They are nearly all in different keys.

This is a brief resume by Fetis,(^) written about half a century
ago. when the celebrated musical writer presented the French public
with an edition of Paganini's works. To-day, no doubt, since violin
technique has made more progress, thanks chiefly to the great
Genoese artist, the wonderment of our fathers at these composi-
tions would seem uncalled for. Besides, musical taste has become
more serious, and we see nothing but show pieces in compositions
which, in their time, excited much admiration and enthusiasm.
Nevertheless it must be acknowledged that I'aganini. whose works
are far more numerous than those that are, so far, known to us
under his name, was not only a great virtuoso, but also a composer
whose style, if not superior to that of his Italian contemporaries,
was certainly not inferior, especially in regard to orchestration.

Paganini did not actually found a school; wc know of only one
pupil who studied under him, Camillo Sivori, a Genoese like him-
.self, who followed his methods nearly to the present day.

n) F^tls, PfiRnnlni (Ptirl?, S<'h<>n<nl>.iu:or, IS.'.D.

54 NICOLO PAGANINI

COMPOSITIONS OF PAGANINI.

Conestabile was the first to compile a list of Paganini's works,

as follows:

1. Four concertos for violin, with accompaniment.

2. Four concertos for which the orchestral parts were never

written ; the last was composed by Paganini shortly before
his death.

3. V^ariations on a comic theme, carried on by the orchestra.

4. Sonata for viola and orchestra.

5. "God Save the King," with variations, for violin and or-

chestra.

6. "Le Streghe," variations for violin, with orchestra.

7. Variations on "Non piu mesta," from "la Cenerentola."

8. "Grande Sonate Sentimentale."

9. Sonata with variations.

10. "La Primavera," Sonate without accompaniment.

11. Warsaw — Sonata.

12. "La ci darem la mano," — variations on an air by Mozart

("Don Juan").

13. The Carneval of Venice.

14. Variations on "Di tanti palpiti" (Rossini).

15. Marie-Louise, Sonata.

16. Romance (Song).

17. Cantabile, for violin and piano.

18. Polonaise, with variations.

19. Vocal Phantasy.

20. Sonata for violin solo.

21. Six quartets for violin, viola, 'cello and guitar (op. 4 and 5,

entitled "Gran quartetti a violino, viola, chitara and violon-
cello").

22. Cantabile and Waltz.

23. Three duets for violin and 'cello.

24. Other duets and little pieces for violin and guitar.

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A BIOGRAPHY 55

The following works only are complete and have been published :

The twenty-four ''Caprices" (op. i), not mentioned in the fore-
going list; two Concertos, in E flat (D major) and in B minor (op.
6 and 7) ; — in the latter is the famous "Clochette," or Campanella;
twelve sonatas, for violin and guitar (op. 2 and 3) ; six Quar-
tets (op. 4 and 5) ; an Allegro de Sonate, with orchestra, called
"Movimento Perpetuo" (op. 11); "Le Streghe." with orchestra
(op. 8) ; "God Save the King," with variations, for orchestra
(op. 9); "Di tanti palpiti," with orchestra (op. 13); "Non piu
mesta," with orchestra (op. 12) ; "The Carneval of Venice,"
twenty variations on a Venetian popular song: "Oh! Mamma!"
(op. 10).

Sixty variations in every key, in three suites, with piano or
guitar accompaniment, on the air "Barucaba." This is one of
Paganini's latest compositions, which was written at Genoa in 1835,
and was dedicated to the attorney, L. G. Germi.

NICOLO PAGANINI

BIBLIOGRAPHY.

Anders. — "Paganini" (Paris, 1831).

Anonymous. — "Biographic von Nicolo Paganini" (Zurich, 1846).

Anonymous. — "Paganini, Variations poetiques" (Lyon, 1831).

O. Bruni. — "Niccolo Paganini cclebre violinista genovese" (Firenzc,

1873)-
G. Conestabile. — "Vita di Niccolo Paganini" (Perugia, 1851).

Escudier. — "Mes Souvenirs. Les Virtuoses" (Paris, 1868).
Vie et aventures des Cantatrices celebres, suivies de la
vie anecdotique de Paganini (Paris, 1856).

Fayollc— "Paganini et Beriot" (Paris, 1831).

Fetis. — "Notice Biographique sur Nicolo Paganini" (Paris, 1851).

G. G. Paganini. — (Roma, 1840).

Gervasoni. — "Nouva teoria di musica" (Milan, 1812).

Guhr. — "L'Art de jouer du violin de Paganini" (Paris, Schott, 1831).
"Paganini a Francfort en 1839." — article copied in the
Mittheilungen, von C. F. Schmidt (Heilbronn, January,
1901).

George Harrys. — "Paganini in seinem Reisewagen und Zimmer";
in seinen redseligen vStuden, in gesellschaftlichen Zirkeln
und seinen Conzerten. Aus dem Reisejournal (Braun-
schweig, 1830).

Adolph Kohut. — "Aus dem Zauberlande Polyhymnia's, Neues iiber

Paganini" (Berlin, 1812).
Imbert de Laphaleque. — "Notice sur Nicolo Paganini" (Paris, 1830).
Gustav Nicolai. — "Arabesken fur Musikfreunde" (Leipzig, 1835).
A. Niggli.— "Nicolo Paganini," Musikal Vortrage, of Waldersee,

Nos. 44-45 (Leipzig, 1892).
Alfredo MandeUi.— "Carlo Bignamie Nicolo Paganini" (Milano,

1893)-
E. Ortlepp. — "Grosses Instrumental und Vocalconcert." Eine

musikalische Anthologie (Stuttgart, 1841).

Elisa Polko.— "Paganini und die Geigenbauer" (Leipzig, 1875).

A BIOGRAPHY

Maximilian Julius Schottky. — "Paganini's Leben und Treiben als
Kiinstler und Mensch" (Prag, J. G. Calve, 1830).

F. C. J. Schutz. — "Leben, Character und Kunst des Ritters Nicolo
Paganini" (Leipzig, 1830).

C. Witting. — "Geschichte des Violinspiels" (vom Ende's Verlag,
Leipzig vers igoo).

J. W. Wasielewski. — "Die Violine und ihre Meister" (3rd edition,
1893)-

Paganini was represented on the stage in Paris at least twice ; in
"an up-to-date occurrence in one act, with songs and music," by De-
vergers and Varin, entitled "Paganini en Allemangne," at the Nou-
veautes, April loth, 1831 ; and in "Rossini's Room," an Italian
-ketch, by Merle and Simonnin, at the Varietes, February, 1834. In
the latter play the actor Lherie took the part of the great virtuoso.

pa(;anini im.ayino on ins stkaijivakius viorjN

From a water-color by Peteilet entitUd 'The Violin of Creinonn.
(From the collection of A. Morel d'Arhux )

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