In the summer of 1834, Paganini, after an absence of six years, returned
to his native land. He was now a rich man, and he invested part of his
fortune in landed property, purchasing, among others, the Villa Gajona,
near Parma, which he made his home--the first he could really call his
own, and he was in his fifty-second year! His health was irretrievably
broken down; he suffered from consumption of the larynx, and was losing
the power of speech. He now sought peace and quiet, and thought of
preparing for publication a complete edition of his compositions, which,
if he had accomplished it, might have led to the explanation of his
alleged secret. In November, or December, Paganini gave a concert at
Piacenza--on the very same boards where he almost began his brilliant
career--for the benefit of the poor; this was the first time he had been
heard in Italy since 1828. The year 1835, Paganini passed alternately at
Genoa, Milan, and his villa near Parma. The cholera then raging at Genoa
was the cause of the rumour of Paganini's death. The dread scourge had
claimed him for a victim, it was said, and the Continental journals
devoted columns to him in the form of obituary notices.
The only English contribution to the necrology of Paganini known to me
was written by Chorley in the _Athenaeum_. It is both interesting and
curious: for Chorley manages to squeeze in his account of Paganini at
the Dublin festival, which the editor evidently cut out in 1831. That
scarcely concerns us now, though it relates that the _furore_ caused by
Paganini's performance could not be appeased until he had mounted the
grand pianoforte, in order that the audience might obtain a better view
of his lank proportions! An extract from his notice must be given. It
begins thus:--"_E Morto!_--the words which the silent and absorbed man
murmured to himself, in a tone of deep feeling, after listening to one
of Beethoven's magnificent symphonies, are now--alas!--to be uttered
sadly for their speaker--Paganini is dead!
"We would fain believe that the newspaper reports are in error....
Let us hope that the intelligence from Genoa, received this week
[September], that the artist had been carried off by the sudden and
fearful death of cholera, may, by some happy chance, prove one of those
'mistakes which it gives them pleasure to contradict.' But, should it
not then, indeed, may Music put on sackcloth and sit in ashes for her
High Priest!" Then follows an "appreciation," to use a modern
expression, to which reference may be made later.
Chorley was an impressionable young man, in his twenty-third year, when
he attended the Dublin festival, and so excited did he become over
Paganini's performances, that he gave vent to his feelings in verse.
That poem he now inserted in the _Athenaeum_, "as a farewell to one
whose like we shall never hear again!" There are really fine thoughts in
the poem, and, though too long to quote in its entirety, a few stanzas
may well be rescued from the periodical in which they are buried.
O Paganini!--most undoubted king
Of St. Cecilia's flock, alive or dead,
Whether their pasture be of pipe, or string,
Or mighty organ, which doth overspread
Ancient Cathedral aisles with flood of sound,--
In all the wizard craft, matured by labour,
That doth the spirit move, delight, astound,
Thou hast no peer--thou hast not even a neighbour,
In the long lapse of years from Tubal Cain to Weber.
Sages have said, who read the book of night,
That once each hundred years some meteor flares
Across the startled heavens with brilliant flight,
Making strange tumults in the land of stars;
And, 'mid the realm of constellations vast,
In steady splendour ever rolling on,
Sweeps far and wide with fierce and furious haste,
Rushing from pole to distant pole anon;
And, like the monarch's ghost--"'Tis here--'tis there--'tis gone!"
Thou dost to these, the meteor-born, belong,
O mighty monarch of the strings and bow!
And though it were to do sweet Cupid wrong
To call thee else like him--yet on thy brow,
And in thy curved lips and flashing eyes,
His clearest seal hath god-like Genius set,
Who bade thee from the common herd arise
And win thyself a crown--nor ever yet
Hath Art her votary graced with brighter coronet.
O that a stately temple might be reared
On some wide plain--and open to the sky--
Where all the great, the gifted, the revered
Side close to side, ensepulchred might lie!
And there, where many a breeze at evening's close
In solemn dirge around their tomb should sweep,
Should all the sons of melody repose,
That pilgrims from afar might come and weep,
And by their sainted dust a silent vigil keep!
And there together in renown should rest,
The Italian minstrel of the broken heart![29]
And he whose Requiem for a spirit blest
Was his own dirge--too early lost Mozart!
And he of the Messiah--and the flight
Of Israel's children from their bonds abhorred,
When God was cloud by day, and fire by night!
And he, who sung of darkness, at one word
Bursting to light--and Earth created by its Lord!
And many more--with whom ungentle Time
Forbids my weak and wandering verse to say;
Save one great master-spirit, whom my rhyme
_Must_ pause to honour--for the meteor ray
Burnt with intensest radiance o'er his head;
Albeit too soon within his eager ear
The realm of sound deep silence overspread,
Whom yet the world is learning to revere--
Beethoven! he should sleep with thee--the Wizard--near!
There's left a space, beside his hallowed dust,
For thee with whom began my feeble song;
But be it long before the encroaching rust
Of Time wear out thy energies--and long
Ere the grim Tyrant with resistless call
Beckon thee hence--before thy bow be hung
In some gray chapel--and thy brethren all
Strive for thy magic instruments unstrung;
If Heaven were kind to man, thou shouldst be ever young!
A fortnight later, Chorley was able to reassure his readers by
contradicting the report. It seems that the rumour was started through
the death of Dr. Paganini (referred to at the beginning of this essay),
and there seems little doubt but that he was the brother of the
violinist.
[Illustration: _Plate X.--See Appendix._
COPY OF OIL PAINTING OF PAGANINI IN THE MUNICIPAL MUSEUM AT GENOA.]
In 1836, some speculators applied to Paganini to give the support of his
name and his talent to the founding of a Casino in Paris, of which the
ostensible object was music, the real end, gambling. It has been
suggested that the project appealed to Paganini's avarice, which caused
him to lend himself to the accomplishment of the undertaking. On the
other hand, it is fair to assume that the artist was in ignorance of the
true motive of the promoters of the scheme; and the fact that certain
instructions to the trustees of the fortune settled on his son had been
made public some four years earlier lends countenance to the impression
that he was disgusted with gambling, and had long ceased to indulge in
the vicious pastime.
In the early summer of 1837, Paganini's health having improved, he gave
several concerts in Turin, both for the benefit of the poor, and on his
own behalf. Later in the year, however, he was in Paris, living in the
greatest seclusion. The CASINO PAGANINI was opened, apparently in
October, 1837. The building was situated in the Rue Mont Blanc, and was
supposed to be a kind of Club of Art and Literature. An orchestra of
some fifty performers was engaged for concerts, which were open to
subscribers only. In the grounds a brass band played to those
assembled, and admission there apparently was free to the public. The
object of the undertaking was not made known. A French paper stated by
way of a joke that Paganini's part in the proceedings was to walk round
the garden when the weather was fine. The Government refused to license
the place as a gambling-house, and the management had to rely upon the
concerts alone. It would appear that Paganini had signed a contract to
play at the concerts, but the wretched state of his health was the
excuse for his not doing so. He had been in Paris off and on from 1837
to some time in 1839. In 1838, certainly before April, he was there, and
went to hear a newly invented instrument termed the Harmoniphone. This
was the work of an ingenious musician, Jacques Reine Paris. It was a
small key-board instrument designed to imitate the oboe, and intended as
a substitute for it, in places where oboe players were not available. A
distinguished company was invited to meet Paganini, who was greatly
interested and pleased with the invention. Then, in December, Paganini
witnessed what Berlioz described as the massacre of his "Benvenuto
Cellini" at the opera. In the same month was inaugurated a society for
the production of classical compositions, and for the encouragement of
musical artists, and at this brilliant function, held in the Salle
Erard, Paganini was present, with Meyerbeer, Auber, De Beriot,
Donizetti, and a host of other celebrities. On the 16th of the month
Paganini attended the concert given by Berlioz at the Conservatoire,
when the symphony, "Harold," was performed. Paganini heard it for the
first time, and at the close of the concert occurred the affecting
incident of Paganini kneeling on the stage and kissing the hand of
Berlioz, the demonstration being followed by a magnificent donation of
20,000 francs. Paganini seems to have had a transient recovery, for the
papers spoke of his becoming corpulent.
Still, he did not play at the Casino Concerts, and a crisis soon arose.
Early in 1839, the directors of the Casino brought an action against
Paganini for breach of contract, and he was decreed to pay damages to
the amount of 20,000 francs. This decision so much displeased both
plaintiffs and defendant that they appealed against it. The case did not
come on again for some time, and Paganini sought rest and change in the
south of France. He stayed for some time at Marseilles, where, at the
house of a friend, he once more abandoned himself to his art, devoting
his time alternately to his violin and his guitar. Fetis states that
notwithstanding his feeble health, Paganini attended a performance of
Cherubini's _Requiem_ for men's voices; and on June 21st went to one of
the churches to take part in the performance of Beethoven's Mass in C.
But his malady could only be alleviated by frequent change of clime.
Accordingly, in October we find him at Genoa, in the vain hope that his
native air would prove beneficial; but he was prostrated by a violent
nervous attack almost immediately following his arrival. He must, soon
after, have left for Nice, which he never quitted alive. Nice, though a
pleasant place, was not regarded as at all a favourable retreat for
persons suffering from pulmonary or bronchial affections, and it proved
fatal to the great artist. But we must, for the moment, return to Paris.
The rehearing of the Casino case came before the _Cour Royale_, Paris,
on January 3rd, 1840. Paganini could not, of course, attend in person,
but he was represented by Counsel, and it may be of interest to name the
man who was entrusted with his defence. It was a certain Mons.
Chaix-d'Est-Ange. From accounts of the proceedings, this legal luminary
addressed the Court at great length. He described the prayers and
entreaties of the proprietors of what he termed "this catchpenny
establishment" to induce the grand _Maestro_ to lend his mighty arm and
name to their speculation. He had promised, in writing, to play nowhere
but at their concerts; but as he had played nowhere else, the
proprietors could have no legal right to such excessive damages. The
counsel for the plaintiff, Mons. Barillon, declared that as Paganini's
defection had ruined the speculation, the damages ought to be
proportionate to his transcendent talent. Going into details, he stated
that Paganini was installed in a splendid suite of apartments at the
Casino, one boudoir being lined with flannel expressly for him; and that
when he was complaining of his wretched health, he accepted a dinner
offered him by the musicians of the orchestra, and gave toasts in both
French and Italian. After that, he allowed bills to be printed,
announcing that he would play at the Casino concert. Hundreds of tickets
were eagerly bought at twenty francs each, when suddenly Paganini
refused to play. Entreaties were in vain; Paganini, in his own room,
with closed doors, would practise, but would not play at the concert.
Recourse was had to the musicians of the Grand Opera, so as not to
disappoint the audience, but the prefect of police would not allow the
_employes_ of the opera to be taken from their theatre, and ordered the
Casino to be closed. Ruin stared the proprietors in the face, and 20,000
francs was no adequate compensation. The former decision was reversed,
and Paganini was condemned by the Court in 50,000 francs[30] damages,
and ten years imprisonment in default of payment.
[Illustration: _Plate XI.--See Appendix._
THE HOUSE IN WHICH PAGANINI DIED.]
Whether the fine was actually paid, I have found no evidence to prove,
but the imprisonment was certainly not enforced. In a few months' time,
the gaoler whom none can deny, touched Paganini with his icy hand, and
the troubled spirit left its frail earthly tenement on May 27th, 1840.
[Illustration: _Plate XII.--See Appendix._ TABLET ON HOUSE IN WHICH
PAGANINI DIED.]
But not to rest were the mortal remains consigned. No peaceful grave for
the wandering, restless being whose fitful fever of life was over at
last. Paganini died without receiving the last Sacrament of the Church.
He had indeed been visited by a priest, sent by the Bishop of Nice; but
not deeming his end so near, made no confession, nor prepared himself
for death according to the rite of the Church of Rome. The doubt as to
his faith caused the Bishop of Nice to refuse burial in consecrated
ground. The son, the friends of Paganini, and the principal artists of
the place solicited the authorisation of a solemn service for his
eternal repose, but in vain; all that was conceded was the offer of an
authentic record of death, with leave to transport the corpse whither
they might wish. This compromise was not accepted, and the matter came
before the Court of Justice, when the decision was in favour of the
Bishop. There was no alternative but to appeal to Rome, when the
Bishop's decree was annulled, and the Archbishop of Turin was charged,
conjointly with the Canons of the Cathedral of Genoa, to institute an
inquiry into the Catholicism of Paganini. Meanwhile the remains--stated
by the _Athenaeum_ to have been embalmed for interment at Genoa--were
subjected to shocking indignities. The landlord wanted to let the house
where the artist had died, and the corpse was laid in the cellar until a
more fitting resting-place was found. Then it is said to have been moved
to the hospital of Nice, thence by sea to the _Lazzaretto_ of Villa
Franca, and finally to a country house Polcevera, near Genoa, part of
the property of the heir of the illustrious artist. There the body
remained four years. Rumours spread abroad of piteous moans and other
lamentable noises being heard at night. To put a stop to these
unpleasant reports, the young Baron Achille made an application for
permission for a solemn service to be celebrated at Parma, in virtue of
Paganini having been a knight of St. George. This was not fruitless. The
service was celebrated in the church of _La Steccata_, appropriated to
that order of chivalry. After the solemnity the friends of the deceased
obtained the permission of the Bishop of Parma to bring the body within
the boundary of the Duchy, when it was transferred to the _Villa
Gajona_, for interment in the Communal cemetery. So, at last, in May,
1845, the mortal remains of the illustrious violinist were laid in the
grave; by order of the government, there was no display of any kind, no
outward symbol of homage. The mourners might, however, hope at least for
the repose of the casket that once enclosed the fiery, turbulent,
soaring spirit of one who knew no rest in life. But, alas! even that was
not the end. In the letter addressed by Paganini to the Editor of the
Paris _Revue Musicale_, the closing sentence breathed a prayer that,
however calumniated he might be in life, the world would at least allow
his ashes to repose in peace. That appeal was not granted. It has been
shown that five years elapsed between his death and his burial; fifty
years more, and the repose of the grave was broken. The _Athenaeum_ of
September 7th, 1895, contained this paragraph:--
"In the Communal Cemetery of Parma the mortal remains of the great
violin player, Paganini, have just been exhumed. The violinist was
buried there fifty-five years ago, nevertheless his face has been
found to be well preserved and easily recognizable. It is proposed
to show the body to the public before it is re-interred."
Horrible! But first note the mistake. The body was buried fifty, not
fifty-five, years before. Those terrible five years seem to have been
unnoticed in this country, and I have been unable to find any reference
to the mournful function of May, 1845.[31]
Now, what was the reason for exhuming the remains? For the purpose of
removal to a more prominent site! Thus is homage paid to genius! Such,
too, was the fate of Beethoven. His remains were removed in 1888 to the
Central Cemetery at Vienna, and lamentable incidents attended the
exhumation. Schubert, who, by his own desire, was buried by the side of
the great master, did not escape the doom; but Mozart was mercifully
spared; he was buried in a pauper's grave, and his body has remained
undiscovered. The story of the preservation of his skull may be
dismissed as apocryphal. But what are gorgeous monuments? Does the true
artist value the case more than the instrument? Why seek ye the living
among the dead? The artist does not die--he puts off the "muddy vesture
of decay"; he lives in his art-work.
[Illustration: _Plate XIII.--See Appendix._
THE TOMB OF PAGANINI AT PARMA.]
FOOTNOTES:
[29] Pergolesi.
[30] The _Athenaeum_ puts the amount at 52,000 francs.
[31] In the _Musical World_ of February 16th, 1843, there is a paragraph
stating that Paganini's remains were still unsepulchred, the corpse
lying in an uninhabited house.