There remains the consideration of Paganini as a composer. It is a
truism to say that a composition has primarily to be judged from the
standpoint of the age in which it was written. A Genius, we are told, is
not only before his own age, but before all ages. All the same, the
great Geniuses come into the world precisely at the right moment. To
some music one may fitly apply the epithet "Immortal"; for it seems to
be written, "not for an age, but for all time." That title is not
claimed for the music of Paganini, but, in view of what has been written
for the violin, it is necessary to take into consideration the date of
Paganini's compositions. Take the two greatest surviving forms--the
symphony and the concerto--and compare works in those forms, belonging
to different periods. Mendelssohn and Schumann were innovators, so it
was said, in regard to symphonic form. Both wrote symphonies of which
the movements were connected, and Schumann by the recurrence of themes
anticipated the "organic whole" of the symphonic poem. But in 1776, Carl
Philipp Emanuel Bach composed symphonies in the modern one-movement
style. This is not the time to discuss them, but just taking the first,
in D, I may point to the coda of the opening movement, which effects a
modulation to E flat, the key of the slow movement. In this the subject
enters, for the second time, in B flat; and a deceptive cadence is
followed by a passage ending on the dominant of D, and so returning to
the primary key for the last movement. The score is for flutes, oboes,
one bassoon, horns, first and second violins, viola, violoncello,
violone, and cembalo. Now, here is a work quite modern in its disregard
of key relationship, and in the linking together of the different
movements. Yet it would not be right to judge it by comparison with the
symphonies of the last half century.
With regard to the concerto, take that form for the violin only. To go
no further back than the works of the great Leipzig Cantor, Johann
Sebastian Bach, we find his two concertos, in A minor, and E major, are
scored only for strings, though the "continuo" implies the harpsichord.
The concerto in D minor for two violins is scored in the same manner;
and in all there is evidence that the soloist took part in the _tutti_
sections. Then there is the Symphony movement, from an unknown church
cantata, for violin concertante, with accompaniment of two oboes, three
trumpets, drums, two violins, viola and continuo. In all these the basic
principle is the contrasting of the _tutti_ and _solo_ sections, which
sustain a kind of dialogue. Much the same form is observed in Mozart's
violin concertos, which, with one exception, are scored for oboes, horns
and strings. The exception is the sixth, in E flat, which is scored for
one flute, two oboes, bassoons, and horns. In this the form approaches
that of the sonata, though the _tutti_ and _solo_ contrasts still
remain, and evidently the soloist played in the _tutti_ sections. To
Viotti, born in 1753, three years before Mozart, must be assigned the
honour of giving the violin concerto its fullest classical form. His
orchestral background was rich in colour, he having adopted the complete
Haydn Combination; and his solo parts were of prime importance.
Beethoven's concerto (1806), and Mendelssohn's (finished in 1844),
employ the same orchestra. Beethoven links the slow movement to the
Finale, and Mendelssohn connects the whole. The latest concerto form is
in part a reversion to the earliest type. The solo part is but a more
elaborate line in the orchestral column, and the soloist is scarcely
distinguishable from his orchestral colleagues.
In view of the question I wish to raise, I hope the reader will pardon
this digression. Paganini sometimes played pieces by Kreutzer and Rode,
but I have not been able to find evidence of his acquaintance with the
concertos of Viotti. The reason may not be far to seek. Paganini
remained in Italy until 1828; Viotti, born in Italy, left his country,
and only once returned to it--in 1783, and that for a very short time.
His long residence in Paris led to his being identified with the French
School of violinists. His works were played by other performers during
his life-time, but it is questionable whether they were known to
Paganini. What I want to ask is simply this:--upon what work, or whose
work, was Paganini's first concerto modelled? It was written in 1811,
according to the _Musical World_ (Vol. for 1851, p. 822), or in 1820
according to the "Oxford History of Music" (Vol. VI., p. 225). The form
of the work will be dealt with later; here the question is one of
instrumentation. Berlioz wrote: "It was said of Weber, 'He is a meteor!'
With equal justice it may be said of Paganini, 'He is a comet!'" I would
paraphrase Berlioz and say Paganini's First Concerto came upon the world
as a comet--a comet with a most portentous tail! Paganini was the
Richard Strauss of his day. Fancy, in the scoring of a concerto,
trombones, double-bassoon, cymbals, and bass-drum! and that in the year
1811, possibly. Why, it only requires a few more horns and trumpets,
some tubas, a rattle and other percussion instruments, to come up to the
latest twentieth century scoring. But a truce to badinage. A big score,
of itself, is not necessarily a thing to be praised; however, Paganini's
full scoring never obscured the solo part, and that is more than can be
said of some violin concertos of later date. I do not pretend to a
knowledge of the whole of the literature for the violin, but I have
heard much of it; yet I can recall no violin concerto going beyond the
orchestral resources adopted by Beethoven in his work, of earlier date
than Paganini's first concerto. I have further to confess that I have
never seen an original score of any of Paganini's works, but I have
written out a score from what I believe to be authentic band parts. I
have heard the First Concerto, "reduced to one act," with the exordium
cut out; and however much such a rendering may be in accordance with
modern taste, I can only regard it as unjust to the composer. In the
present day Paganini's music is looked upon with pity not far removed
from scorn; how did his contemporaries esteem it?
Rossini is reported to have said: "Truly, it is fortunate that Paganini
did not devote himself exclusively to lyric composition; he would have
become a very dangerous rival."[52] Moscheles wrote: "His concertos are
beautiful, and have even their grand moments; but they remind me of a
brilliant firework on a summer's eve, one flash succeeding the
other--effective, admirable--but always the same. His 'Sonate
Militaire,' and other pieces, have a southern glow about them, but this
hero of the violin cannot dispense with the roll of the drum; and
completely as he may annihilate his less showy colleagues, I long for a
little of Spohr's earnestness, Baillot's power, and even Mayseder's
piquancy."
Very little was said of Paganini's compositions--I mean by way of
description, orchestration, or even criticism--when the composer was in
England. The writers seemed always engrossed and absorbed by the
performance and personality of the man.
Schumann repeats what was said of Paganini; that he, himself, rated his
merit as a composer more highly than his talent as a _virtuoso_. We know
that Rubinstein desired to have his name handed down to posterity as a
composer rather than as a pianist. The fates have been unkind to both.
To return to Schumann. He remarks that "if general opinion has not,
until now, agreed with him (Paganini), it must at least be allowed
that his compositions contain many pure and precious qualities,
worthy of being firmly fixed in the richer setting required by the
pianoforte." This of course referred to the caprices, Op. 1, but the
observation is a curious illustration of the way in which individual
minds regard things from their own standpoint.
Paganini's music appealed to Liszt as a means of creating a new school
of pianoforte technique, as well as composition; very little can be
gleaned from Liszt as to his aesthetic views regarding it. Fetis says
great worth is revealed in the compositions of Paganini, as much by the
novelty of the ideas as by the elegance of the form, the richness of the
harmony, and the effects of the instrumentation. These qualities shine
above all in the concertos; but, he adds, these works require the magic
of his talent to produce the effect he intended. Berlioz was, perhaps,
the most appreciative of Paganini's contemporaries. In his _Soirees de
l'Orchestre_ he says: "A volume might be written in telling all
that Paganini has created in his works of novel effect, ingenious
contrivances, noble and grandiose forms, and orchestral combinations
unknown before his time. His melodies are broad Italian melodies, but
full of a passionate ardour seldom found in the best pages of dramatic
composers of his country. His harmonics are always clear, simple, and of
extraordinary sonorousness. His orchestration is brilliant and
energetic, without being noisy. He often introduces the bass drum into
his _tutti_ with unusual intelligence."
During Paganini's lifetime no one else seems to have played his music,
although one of his imitators is said to have reproduced some pieces
from memory. After Paganini's death, the propagandist of his works was
his nephew and pupil, Ernesto Camillo Sivori. He made his debut at the
Leipzig Gewandhaus Concerts, October 3, 1841, and a week later
introduced there Paganini's Variations on the Prayer from _Mose in
Egitto_. In all, some dozen pieces by Paganini were given at those
famous concerts from 1841 to 1876. Sivori also introduced Paganini to
the then very conservative concerts of the Philharmonic Society, London,
in 1844. But they did strange things in those days. The first movement
of the Concerto in B minor was included in the first part of the concert
on April 29, 1844; the Adagio and Rondo coming in the middle of the
second part! Poor Sivori had to submit to similar treatment of his own
concerto at the Society's concerts in 1845. It would be interesting
to know how Paganini's music fared at the concerts of the Paris
Conservatoire, but I have not been able to procure any reliable data
relating to the subject.
Rumour was long busy with the project entertained by Paganini's son, the
Baron Achilles, of publishing a complete edition of the compositions of
the great violinist; and in 1887 a paragraph in the _Athenaeum_ announced
on apparently good authority that the Baron was preparing for immediate
publication the whole of the works of his father which still remained in
manuscript. Several of those were named, but nothing more has been heard
of the undertaking. I have scrutinised the musical press from that date
to the present time, and have failed to gather any further information
on the subject.
From every available source I have compiled the following list of
Paganini's compositions:--
Op. 1. Twenty-four Capriccios, for violin alone.
Op. 2. Six Sonatas, for violin and guitar.
Op. 3. Six Sonatas, for violin and guitar.
Op. 4. Three Grand Quartets, for violin, viola, violoncello and
guitar.
Op. 5. Three Grand Quartets, for the same.
Op. 6. Concerto, No. 1, in E flat (D), for violin and orchestra.
Op. 7. Concerto, No. 2, in B minor, for the same.
Op. 8. "Le Streghe." Introduction and Variations.
Op. 9. "God Save the King." Variations.
Op. 10. "Carnaval de Venise." Variations.
Op. 11. "Allegro de Concert." "Moto Perpetuo."
Op. 12. "Non piu mesta." Introduction and Variations.
Op. 13. "Di tanti palpiti." Introduction and Variations.
_All for violin and orchestra._
Op. 14. Sixty Studies in Variation form, on the Air "Barucaba," for
violin alone.
_Works without Opus number._
Sonata in A, for violin, with accompaniment of violin and
violoncello.
Bravura Variations on a theme from Rossini's "Moses in Egypt," for
violin and string quartet, or pianoforte.
Bravura Variations on an Original Theme, for violin and guitar, or
pianoforte.
Introduction and Variations on the Theme, "Nel cor piu non mi
sento," for violin alone.
Duo in C major, for one violin. Solo.
Recitative and Variations, on Three Airs, for the fourth string.
"Le Charme de Padua," Divertissement, for violin and pianoforte.
_Works that are unpublished, or that have been lost._
Concertos in D minor, E minor, E major.
Concerto in two movements. Violin and orchestra.
Four Concertos, the scoring unfinished.
Concerto, for bassoon, with string trio accompaniment.
Nine Quartets, for violin, viola, violoncello and guitar.
Fantasia. Violin and orchestra.
Dramatic Sonata, "The Storm," for the same.
Military Sonata on Mozart's "Non piu andrai."
Napoleon Sonata for the fourth string.
Sonata on a Theme by Haydn. Ditto.
Sonata di un Canto Appassionata, e variazioni sopra un Tema
Marziale. Ditto.
Sonata with variations on a Theme from Jos. Weigl's "L'Amor
Marinaro."
Sonata Amorosa Galante, e Tema con variazioni.
Sonata for viola and orchestra.
Sonata Sentimentale.
Sonata, "Varsovie."
Sonata for violin alone.
Preludio e Rondo brilliant, violin and orchestra.
Chant of the Monks of the Monastery of St. Bernard.
"La Primavera," Sonata for violin alone.
Preludio e Fandango, con Variazioni.
"La ci darem la Mano," Variations.
Cantabile, violin and pianoforte.
Polonaise avec variations.
Cantabile e Valse.
Cantabile, for two strings.
Three duos, violin and violoncello.
Duets and small pieces for guitar.
Variations sur un theme comique.
"The Vagaries of a Farm Yard."
Romance pour le Chant. Fantasie Vocale.
WORKS WITH OPUS NUMBER.
Op. 1. The full title reads:--_Ventiquattro Caprici per Violino solo,
dedicati agli artisti; Opera prima._ It is not necessary to refer to
these pieces in detail; they are in the repertory of the leading
violinists, and have been played by Joachim and many others. They
embrace almost every kind of violin technique, and have merits apart
from that standpoint. Schumann in his _Etudes d'apres les Caprices de
Paganini_, Op. 3, has transcribed for the pianoforte six numbers. They
are, No. 5, Agitato, in A minor, without the alteration of a single
note; No. 9, Allegretto in E, quite as closely; the Andante of No. 11,
in C; No. 13, Allegro, in B flat, beautifully harmonized; No. 19, Lento,
Allegro assai, in E flat, more freely treated; and No. 16, Presto, in G
minor, the melody assigned to the left hand, and written two octaves
lower. These studies were the result of Schumann's hearing Paganini at
Frankfort in 1830. The impression the great violinist made on the
susceptible youth was so deep, that Wasielewski stated that it was more
than probable Schumann's decision to devote himself to music dated from
that experience. So here is another debt the musical world owes to
Paganini. Schumann's Op. 3 bears the date of 1832. The next year he
returned to the Italian master, and his Six Studies, Op. 10, are further
transcriptions of the Capriccios. The first is a very free arrangement
of No. 12, Allegro molto, in A flat; next is a paraphrase of No. 6,
Adagio, in G minor, in which different figuration was absolutely
necessary for the keyboard instrument. In No. 10, Vivace, in G minor, he
divides the melody for the two hands, and accompanies with bold
harmonies. The transcription of No. 4, Maestoso, in C, is almost
literal, but there are "cuts," as also in No. 12. No. 2, Moderato, in B
minor, with its "leaps and bounds," is altered to bring the intervals
more within reach of the hand. The bare octaves which form the opening
of No. 3, have been filled in with rich harmonies, and to the Presto
movement a counterpoint in semiquavers has been added, making it a very
attractive piece of the Tocatta order. It will be remembered that one
short movement of Schumann's "Carnival" is entitled Paganini, but it is
a reflexion of his style rather than an adaptation of his music. Liszt
has borrowed much, in regard to form and melodic outline, from the
Capriccios, in his _Etudes d'execution transcendante_. Of his _Grandes
Etudes de Paganini_ notice will be taken later. Brahms has written two
sets of variations on the theme of the Capriccio, No. 24, Quasi presto,
in A minor. These are extraordinarily difficult and brilliant. They were
published in 1866, and Carl Tausig was fond of playing them. Paganini's
Op. 1, was published by Ricordi about the year 1820.
Op. 2, and Op. 3. The house of Ricordi publish the Twelve Sonatas for
violin and guitar, and Breitkopf and Haertel publish an edition for
violin and pianoforte, edited by Ferdinand David. There is no clue as to
the arranger of the pianoforte part, but it may be the work of
Moscheles, who, it will be remembered, was induced "to make a pianoforte
accompaniment for twelve small violin pieces," but who refused to have
his name affixed to the title-page. Anyway, the pianoforte accompaniment
is the work of a good musician. The title page of Op. 2 runs thus: _Sei
Sonate per Violino e chitarra, Composte e Dedicate Al Signor Dellepiane,
Da Nicolo Paganini_. The pieces are sonatas in the primitive sense of
the term. Each contains two movements only. No. 1, Minuetto, Adagio in
A, three-four, the violin part in the nature of a florid _cadenza_ but
very clear in rhythm, the guitar accompaniment in semiquaver groups of
broken chords. Second movement, Polonese, Quasi allegro, A major,
three-four, tuneful, all derived from a short motive, not difficult. No.
2, Larghetto expressivo, C major, six-eight, lyrical, melody highly
embellished after the first phrase, varied bowing. Allegro spiritoso,
same key and measure, in the style of a _Canto popolare_. No. 3, Adagio
maestoso, D minor, two-four, principal motive of a dramatic kind, with
brilliant passages intervening. Andantino gallantement, a crisp,
staccato melody, with middle section in D major. No. 4, Andante
calcando, A major, four-two, theme, in sixths, thirds and octaves. The
movement is entitled _La Sinagoga_, but I can trace no Jewish melody
corresponding to its subject. The second movement, Andantino con brio,
in two-four measure is as bright and sparkling as the corresponding
movement in No. 3. No. 5, Andante moderato, D major, two-four, two
strains of eight bars, with a lyrical theme. The second movement in
six-eight rhythm, is another specimen of the Italian _Cantilena_. No. 6,
Largo, A minor, six-eight, a combination of recitative and Cadenza
passages. Tempo di Valse, in three-eight measure, a tripping, fluent
theme, for light bowing. The music altogether is light and pleasing,
abounding in showy passages, and with the real Italian gift of melody.
The accompaniments are in no way difficult.
The Six Sonatas, Op. 3, have rather a curious dedication: _Alla Ragazza
Eleonora_. "Ragazza" is a familiar term for a girl, and may be
translated as "lass," or even "wench." The Eleonora it may be impossible
now to identify, though the lady possibly was connected with the period
of Paganini's disappearance when Napoleon invaded Italy. Sonata, No. 1,
is in two movements, as are all the others. The first, Larghetto, A
major, six-eight measure, has a theme resembling a popular melody, the
close of each strain being highly embellished. Ricordi's edition gives
an alternative reading of the penultimate bar, in the style of a
cadenza. The second movement, Presto variato, in two-four rhythm, has a
dance-like theme, with one variation. The two bars preceding the final
cadence have semiquaver groups to be played pizzicato, each note with
right and left hand alternately. No. 2, Adagio, con dolcezza, G major,
three-eight, theme, pure Italian cantilena, in thirds or sixths
throughout. Andantino scherzoso, two-four, crisp, tripping melody,
chiefly for staccato bowing, ending with arpeggios extending to four
octaves. No. 3, Andante sostenuto, D major, two-four, theme for six bars
to be played on the second string. Rondo, Molto allegro, six-eight,
bright and spirited; the opening might have been inspired by the Irish
air "Garyone"--the lilt is so much the same. The movement ends with a
rapid descending chromatic scale of three octaves. No. 4, Andante largo,
A minor, two-two, the opening bars of the theme for the third string,
declamatory, sad. Allegretto mottegiando, two-four, light, tripping
melody, to be delivered in a spirit of banter. No. 5, Adagio amorosa, A
major, two-four, theme, Italian melody embellished, in thirds
throughout, with some semi-staccato bowing. Allegretto energicamente,
two-four, a merry, quick-step movement of two eight-bar periods. The
second part, in the tonic minor, has the theme divided equally for
guitar and violin, in each strain. A coda of four bars, major, is added
by way of close. In the arrangement for pianoforte, the violin has the
theme throughout. No. 6, Andante innocentemente, E minor, four-four, a
pathetic melody, simple, but touching. Allegro vivo e spiritoso,
six-eight. One could imagine an Italian peasant singing this melody; it
has all the characteristics of a folk-song. It is written throughout in
double-notes, mostly thirds. The second part, in the minor, is in a
different manner to the first part, which is repeated after it. The
guitar accompaniments, with the exception named, are all in chords or
arpeggios. The pianoforte part has more variety. It may be observed that
the movements in two-four measure have much of the spirit of Haydn's
Allegros.
Op. 4, Three Quartets for violin, viola, violoncello and guitar. These
were once in the Circulating Music Libraries of the firms of Novello and
Augener, but are no longer to be met with. I have failed to obtain
copies elsewhere.
Op. 5, _Tre Quartetti a Violino, Viola, Chitarra e Violoncello. Composti
e Dedicati Alle Amatrici Da Nicolo Paganini. Milano. Presso Gio.
Ricordi._ By the courtesy of the firm of Novello, I have been enabled to
examine this set, the title page of which I quote. The copy I examined
is evidently of the original edition. Each quartet is in four
movements. No. 1, Presto, D major, sixteen-eight, a peculiar signature,
but apparently adopted by reason of the "figures" in quavers. This
movement is very much in Rossini Overture form. Andante sotto voce e
staccato, D minor, three-four, Canone a tre. The violin begins, the
viola answers one bar later, an octave lower, and the violoncello
follows in like manner. The guitar is silent. The Canon is kept up
strictly to the end. The Trio--not in Canon--is in B flat major, and the
guitar supports the strings with full chords. Tema con variazioni,
Cantabile quasi Larghetto, D major, two-four, two strains of eight bars,
the theme in each begun by the viola, and repeated by the violoncello.
Three variations follow, the theme being allotted to each instrument in
turn, the guitar included. Finale, Prestissimo, D major, three-eight, a
brilliant, showy movement.
No. 2, Allegro, C major, four-four measure, in binary form, the subjects
given to the violin and violoncello. Minuetto, Allegretto, A minor,
three-four, with Trio in two sections, F major and D minor. The violin
has the theme, the others accompany with chords. Cantabile, Larghetto, A
major, six-eight, the melody, floridly embellished, for violin, the
other instruments accompanying. Polacca, Quasi presto, C major,
six-four. The violin has the chief melody, subordinate parts being given
to the viola and violoncello. The guitar has full chords throughout.
No. 3, Allegro, D minor, four-four rhythm, Coda in D major, principal
themes for the violin, the viola and violoncello taking up portions here
and there with chords and arpeggios for the guitar. Allegro moderato, D
minor, three-four, Canone a tre, theme for violin, answered by viola and
violoncello at one bar interval, an octave below, as in No. 1. Guitar
tacet. Tema Cantabile, Quasi adagio, B flat major, two-four. The
movement consists of two periods, the theme for viola and violin
alternately, in each. Variation I., florid, violoncello and violin in
response; II., in G minor, more elaborate, theme for violoncello and
violin, rapid arpeggios for guitar; III., in B flat major, theme for
viola and violin, alternately, and finally for guitar. Polacchetta,
Allegro con brio, D minor, three-four, a brilliant movement, with themes
for the violin; the viola and violoncello share in the figurated
passages, and the guitar has an accompaniment in chords and arpeggios.
Paganini is said to have repudiated this work, although according to
Fetis, the quartets were published at Genoa under his very eyes. I
should rather say that the Milan edition was the first, and perhaps the
only one. Paganini's assertion was that some one had taken a few of his
themes, and badly arranged them. Fetis further states that various
pieces published before, and up to, 1851, must be considered as
"commercial frauds." Some of them are named, and will be referred to in
due course. The music of Op. 5 cannot be regarded as in any way great,
but there are graceful melodies, and the movements in Canon form are
ingeniously worked out.
Op. 6, _Premier Concerto (Mi Bemol), pour le violin avec accomp. de
l'orchestre._ This was the first of the posthumous works, published
by the firm of Schott and Co., Paris, in 1851. It is scored for
two flutes, oboes, clarinets, bassoon, double bassoon, two horns,
trumpets, three trombones, kettle drums, bass drum, cymbals, and the
usual quintet of strings. The solo violin is tuned a semitone higher,
and the part is in D, while the orchestra plays in E flat. Breitkopf
and Haertel publish the orchestral parts in the key of D. There is an
arrangement of the first movement, by August Wilhelmj, but with that I
have nothing to do here. First movement, Allegro maestoso, E flat,
four-four. The orchestral exordium extends to ninety-four bars,
six more than in the introduction of Beethoven's Concerto. The
movement--so it may be termed--is symphonic in form, with second
subject in the dominant, and it is richly scored. The exception I take
to it is the persistent employment of the cymbals with the bass drum.
There is a delightful little touch in the canonic imitation for
first violins and violoncellos. The solo has a principal theme scarcely
indicated in the introduction, and also several important episodes.
The slow movement, Adagio, C minor, four-four, was inspired, as already
mentioned, by the Italian tragedian, Demarini. Paganini witnessed
his performance in a prison scene, where, after recapitulating his
misfortunes, he supplicated Providence to relieve him of the burden of
his life. Paganini retired to rest still under the influence of the
emotions excited by the actor. He could not sleep: he rose and sought
through his violin a means of expression by which he could pour out the
feelings that consumed his soul. Thus, genius tortures and produces. It
must have been this movement in which William Gardiner heard "tones
more than human, which seemed to be wrung from the deepest anguish of a
broken heart." Observe, especially, the recitative passages that close
the movement. Finale, Rondo, Allegro spiritoso, E flat, two-four. This
is the longest concerto movement known to me, running on to four hundred
and eighty-three bars, but the "measure" is short. The concerto is not
so long as that of Beethoven, the first and second movements containing
fewer bars. It may be noted that in the first and last movements
Paganini introduces harmonics, and passages in tenths, most probably for
the first time in a concerto. In the slow movement there is no double
stopping. The Cadenzas were improvised, and Paganini, like Beethoven, in
his improvisations surpassed anything he ever committed to paper.
Op. 7, Concerto No. 2, in B minor. Allegro maestoso, B minor,
twelve-eight. Adagio, D major, two-two. Rondo, Andantino allegretto
moderato, B minor, six-eight. This is not so long as the first concerto
by some two hundred bars, and is not so fine a work, but it is a piece
worthy of being occasionally heard. In the principal theme of the Rondo
occur the passages where the silver bell three times echoes the violin
note--the top F sharp of the pianoforte keyboard. Failing the bell, the
violinist produces the sound by an artificial harmonic. It is this Rondo
that Liszt has included in his _Grosse Etueden von Paganini_. His
treatment of Paganini must be briefly described. There are six
"studies," the first a transcription of Paganini's Caprice, No. 6,
Adagio, G minor. To this Liszt adds a prefix, the arpeggio prelude of
No. 5. The Caprice itself is very literally copied, the whole being an
octave lower, and at first assigned to the left hand alone. After the
sixteenth bar the treatment becomes more free, while the figuration is
much the same. The study ends with the arpeggio passage as at the
beginning. The second takes for subject No. 17, Andante, E flat.
Scarcely a note is omitted, but the passages are placed higher or lower,
and the runs given to either hand. This is a marvel of ingenuity,
forming a most brilliant pianoforte solo. It is followed, as by a second
sonata movement, by the "Campanella" Rondo, the two being intended to be
performed in succession. For this purpose the Rondo from the Concerto is
transposed to G sharp minor, the closing E flat of the previous movement
changing enharmonically to D sharp.
The first exposition of the subject follows Paganini very closely, but
in the development and further progress of the movement Liszt follows
his own bent, repeating the principal theme again and again with ever
varying treatment. This is a piece for the _virtuoso_, and one of the
most showy in the pianist's repertory. The fourth study is an extremely
clever transcription of the Caprice No. 1, Andante, E major. Not a note
of Paganini's piece is left out, and the arpeggios are ingeniously set
out for interwoven fingering, causing the performance to be something to
look at as well as to hear. It is nearly all cross-handed work. The
fifth study is an arrangement of the Caprice No. 9, Allegretto, E major.
On paper it appears easier than the setting by Schumann, but it is more
difficult to play. Here, again, the phrases are divided for both hands.
The _glissando_ passages in sixths are impossible on modern instruments.
The sixth and last study, on the Caprice, No. 24, Tema, con variazioni,
A minor, is the most ingenious of all. The theme is simply harmonised at
first, then used as a counterpoint to the arpeggios in the first
variation. The next is more simply treated, and in the third variation
Paganini's theme forms the bass upon which the figuration of the initial
motive is superposed. To the end Liszt shows what possibilities in
keyboard execution were latent in Paganini's violin figures; and if the
latter had written only these Capriccios he would survive as the cause
of the most original inventions in pianoforte technique that have yet
seen the light.
Op. 8, _Le Streghe._ Variations on the "Witches' Dance," theme from the
Ballet, "Le Nozze di Benevento," by Vigano, music by Suessmayer. It has
already been stated that Paganini witnessed a performance of this
ballet, at La Scala, Milan, in 1813. He took the theme from a fantastic
scene where the witches appear. In his London programmes Paganini thus
described the piece; "Variations on the Country Dance Della Streghe alla
Noce di Benevento (or the comic dances of the Witches under the walnut
tree of Benevento), composed and performed by Signor Paganini." The
piece is in the key of E flat, and the violin is to be tuned a semitone
higher, the soloist playing in D. There is an orchestral prelude of
eighteen bars, Maestoso, followed by a solo, Larghetto, a beautiful
Italian melody, embellished, in two short strains. The theme is simply
set forth, and the variations serve for the display of bravura playing
with pizzicato and harmonics in the second movement, fourth string
melody, and double harmonics in the third, and with the Finale
resembling a Galopade. Orchestral parts are published, as well as the
arrangement with pianoforte.
Op. 9, Variations on "God save the King." Theme, Andante, G major, with
Six Variations. One principal feature is the intermingling of left hand
staccato with bowed notes. At the close there are sustained open notes
on the G and D strings, bowed, with double pizzicato, in sixths, above.
Op. 10, Variations on "The Carnival of Venice." For this the violin
is tuned a semitone higher, the solo being played in A, and the
accompaniment in B flat. The theme is a popular Venetian air, "O Mamma!"
Paganini heard it when in Venice in 1816, but whether he then composed
the variations is not certain. It was not long, however, before Paganini
made the air a favourite everywhere he went, and it is to him the melody
owes its world-wide popularity. The composer of the air remains unknown.
Joseph Ghys published, at Paris and Berlin, what purported to be
Paganini's variations; Ernst and Sivori played versions more or less
exactly in accordance with the original; but the text was finally
settled by the publication of the piece in 1851. There are twenty
variations. The 9th and 14th are for the fourth string; the 11th has
alternate bowed and pizzicato notes; the 15th and 18th are pizzicato
throughout; the 19th is in tenths and thirds; and the piece ends with a
short brilliant coda.
Op. 11, _Moto Perpetuo._ Allegro vivace, C major. Fetis terms this piece
a movement from a Sonata for violin and orchestra. It is in the
repertory for all violinists, and its running passages of staccato
semiquavers need no description.
Op. 12, Introduction and Variations on the air "Non piu mesta accanto al
fuoco." The theme is from Rossini's opera "La Cenerentola" (Cinderella),
produced at Rome during the Carnival season of 1817, and forms the
concluding number of the work. Paganini again directs the violin
to be tuned a semitone higher, writing the solo part in D, and the
accompaniment in E flat. The Introduction, Adagio Cantabile, is another
example of Paganini's pure Italian style of melody. The theme seems to
have appealed to him--doubtless he witnessed the _premiere_ of the
opera--for the variations have a spontaneity and brilliance of their
own. There are four variations, and a Finale full of dashing _bravura_.
Op. 13, Introduction and Variations on the air "Di tanti palpiti," from
Rossini's first serious opera, "Tancredi," produced at Venice in 1813.
Rossini is said to have taken the theme from a Greek Litany he heard
sung in a church on one of the Islets of the Laguna, near Venice. A
Signora Righetti, a singer, writing in 1823 (?), stated that there was
no truth in the assertion. Be that as it may, "Di tanti palpiti" made
the opera, and Paganini's variations extended its popularity. The
introduction is an elaborate movement, the violin tuned a semitone
higher, and the part written in A, with accompaniment in B flat. There
are three variations, the second being almost throughout in harmonics,
single and double, and excessively difficult. This piece is very rarely
played.
Op. 14, Sixty Studies in Variation form, on the air known at Genoa as
"Barucaba," for violin alone. This is one of the composer's latest
works, and was written at Genoa in February 1835, and dedicated to
Paganini's friend the Advocate, L. G. Germi. The theme is short, in
simple ternary form, the opening sentence of four bars being repeated
after the middle period of eight bars. The theme is in A major,
Maestoso. The variations are studies upon various species of
difficulties, and a special feature is the order of keys. Of the
fifteen possible major keys, Paganini employs thirteen, and he is
quite modern in the way in which he causes the one to succeed the
other. Thus the second variation is in D, the third in B flat, the
fourth in F sharp, and the fifth in D--in each case the drop of a
major third or its enharmonic equivalent. Then he starts a new series,
from D to B, thence to G, E, C, A flat, F, D flat, back to A. In 1835
such a sequence was very uncommon; even Beethoven, in his Variations,
only has one such, in the Variations in F, Op. 34. The Variation form
is again in full vogue; at this distance we can afford to be just in
our estimate of Paganini's achievements. He was not a Beethoven, but
his Variations are not to be despised.
WORKS WITHOUT OPUS NUMBER.
Sonata in A major. As published in the collection of posthumous
compositions, this Sonata is for violin, with pianoforte accompaniment.
The piece consists of an Introduction, Theme, Three Variations and Coda,
the term "Sonata" being employed quite in its primitive sense:--a piece
to be played. The Introduction is only eight bars in length, ending with
a short cadenza leading to the theme, Andantino, A major, two-four
measure. The first part consists of two four-bar phrases, repeated; the
second has a phrase extended, by a Codetta, to six bars, and ends with a
repetition of the first phrase, with close in A. The first variation has
a more florid version, in triplets, of the melody; the second begins
with a simple form of the theme for the fourth string, and introduces
harmonics; the third is a bravura movement, chiefly for staccato bowing
in demisemiquaver passages. The coda, termed Finale, is made up of
cadences, on a tonic pedal for eight bars. The accompaniment is easy.
Messrs. Schott also publish the Sonata for violin, with accompaniment of
violin and violoncello, very easy parts for these last.
_Variazioni di bravura sopra Temi del Mose di G. Rossini, per Violino
sulla quanta corda, di Nicolo Paganini._ This was originally for violin
and orchestra. Berlioz has a reference to this piece, in which he states
that Paganini employed the bass-drum with better effect than did Rossini
himself in the accompaniment to the prayer, "Del tuo stellato soglio."
Paganini placed the stroke of the drum on the syncopated beat to which
the verbal accent was assigned, whereas Rossini gave the drum stroke on
the first beat of the bar. Some one, complimenting Paganini upon his
composition, added; "It must be confessed that Rossini furnished you a
very beautiful theme." "That's very true," replied Paganini, "but he
didn't invent my bang of the big drum." It is said that in this piece
Paganini produced a tone that dominated the whole orchestra even in
fortissimo passages.
The firm of Ricordi publish an arrangement, for string quintet, and for
pianoforte accompaniment. The G string of the solo violin is raised to B
flat, and the Adagio is played in C minor and major, while the
accompaniment is in E flat minor and major. The strain in the minor key
is played three times. The second time, the first eight bars are to be
played an octave higher then the first time; the third in harmonics. The
Introductory Adagio is the celebrated Prayer. Then follows a Tema, Tempo
alla Marcia, E flat, four-four, the violin part in C. This is a
different theme, and appears to be a paraphrase of part of the March and
Chorus (in the Oratorio), "Hail, happy day!" There are three variations,
and a short coda. Harmonics are sparingly introduced. Rossini's opera,
"Mose in Egitto," was produced at Naples in 1818, and was remodelled by
the composer some years later, for performance at the Grand Opera, Paris
(1827). It is not known when Paganini wrote his variations, but his
themes were most probably taken from the first version of the opera.
_Variazioni di Bravura per Violino sopra un tema originale con
accompagnamento di Piano o Chitarra._ The theme is that of the
Twenty-fourth Caprice, from Op. 1, and the variations are the same, only
the notation of the eighth is different. The accompaniment, for either
guitar or pianoforte, is extremely simple. There is a short interlude
(called _Tutti_ in Ricordi's edition) of six bars to be played between
the variations.
_Introduzione e Variazioni sul Tema nel cor piu mi sento per Violino
solo di Nicolo Paganini._ So runs the title in the edition published by
Ricordi and Co. The theme is the duet in Paisiello's opera, _La
Molinara_, which Beethoven also took as a subject for variations (in
1795). Ricordi's publication agrees in every particular with the version
to be found in Guhr's treatise on Paganini's "Art of Playing the
Violin," published in 1831--preface dated Frankfurt, November, 1829.
Guhr[53] heard Paganini many times, closely watched his playing, and
frequently conversed with him on the subject. This piece was written
from memory, and is certainly a great accomplishment; but it can
scarcely be regarded as an authentic version. The introduction is
brilliant, the theme, Andante, G major, six-eight measure, is profusely
ornamented, and each of the seven variations--No. 6 is in G minor, the
others in G major--has some special form of virtuosity. In the third
there are double shakes in harmonics, which Guhr explains. The last is
in widespread ascending and descending arpeggios throughout. The theme
and third variation are written on two staves, one for bowed melody, the
other for left hand pizzicato.
That Paganini did not always play the piece in the form in which Guhr
wrote it down, is proved by the existence of another manuscript, which
is, perhaps, very little known. It was written by the late Mrs. Tom
Taylor, who gave it to Mr. Alfred Burnett many years ago, and that
gentleman has kindly permitted me to examine it. For this the violin is
tuned a whole tone higher. The Introduction is altogether different, and
the theme much less floridly embellished. The first variation
corresponds to Guhr's No. 2, but the harmonics are not quite the same.
In this the melody floats above tremolando chords. The second, in
outline, resembles Guhr's No. 4, but whereas the latter has alternate
natural notes and harmonics, Mrs. Taylor gives alternations of detached
bowed notes and pizzicati. The third is like Guhr's No. 3, in that it
has short figures in double notes, alternately for fundamental and
harmonic sounds. Guhr's variation consists of twenty-five bars; Mrs.
Taylor's of thirty-one, there being a short cadenza. The fourth
resembles Guhr's No. 7 in the wide-spread arpeggios, but the harmonics
are differently distributed, and the coda is not the same as in
Guhr.[54]
[Illustration: PLATE 25. (_See Appendix._)]
[Illustration: PLATE 26. (_See Appendix._)]
In the Imperial Library, Berlin, there is a manuscript by Paganini,
inscribed "Capriccio a Violino Solo di Nicolo Paganini In cor piu non mi
sento," in which the embellished theme differs from both those already
described. The first page is reproduced in facsimile in Paul Stoeving's
"Story of the Violin," p. 213. Then there is an autograph copy in the
British Museum with this inscription: "In cuor piu non mi sento, Thema
con variazioni per Violino, con Accompagnementi di Violino e Violoncello
Composta da Niccolo Paganini." The piece consists of an Introduction,
Theme and four Variations, and, so far, agrees with Mrs. Taylor's copy.
Finally, Paganini played the piece with the orchestra, as will be seen
from this extract from a programme: "Prelude and Variations on the Tema,
'Nel cor piu non missento,' with orchestral accompaniment, by Signor
Paganini." This was played at the concert of June 27th, 1831, at the
King's Theatre, and the programme from which this extract is taken is in
possession of Mr. Richard Harrison, of Brighton, who most obligingly
copied it for me.
Duo pour le violon seul. This begins with an Adagio, C major,
three-four measure, with a melody for the bow, and left hand pizzicato
accompaniment. A short Allegro molto follows, in square time, the
pizzicato accompaniment being chiefly in double notes, with occasional
chromatic harmonics. This little piece must have been on sale in London
a year before Paganini arrived, for the following anecdote was in print
in May, 1830. "A few days since, a footman went into Mori's music shop
to buy a fiddle string. While he was making his choice a gentleman
entered the shop, and began to examine various compositions for the
violin. Among the rest he found Paganini's celebrated _Merveille--duo
pour un seul Violon_ and, perceiving the difficulties in which it
abounded, asked the shopman if he thought that Mori himself could
play it. The young man, a little perplexed and unwilling to imply that
his master's powers had any limits, at length replied, that he had no
doubt he could perform it, provided he practised it for a week. Upon
which the footman, who stood intent upon the conversation, broke in on
the discourse and swore that Mori could do no such thing, for that he
himself had been practising the piece for three weeks and could not play
it yet."
Trois Airs Varies pour le Violon, pour etre executes sur la Quatrieme
Corda seulement, avec accompagnement de Piano par Gustavo Carulli. Fetis
says these are merely souvenirs arranged by the author of the
accompaniments.[55] Antonio Minasi includes them in the lists of works
performed by Paganini in England. The fourth string is to be raised to
A, for all three. The first is in C, with two easy variations; the
second, in G, resembles a folk song, and has three variations; the
third, in C, also has three variations. The first two are marked
Andante; the third, Andantino. The accompaniments are of the easiest
song kind.
Le Charme de Padua, Divertimento pour Violon et Piano concertant,
compose par Nicolo Paganini. This piece was published in London before
the date of Paganini's first concert, and possibly before the arrival of
that artist in England. It was issued by a firm of repute, Wessel and
Stodar, who were the first publishers in England of the works of Chopin.
The music was reviewed in _The Harmonicon_, June 1831, the notice
concluding thus: "It perhaps is a bagatelle on which he (Paganini) has
bestowed little time and less thought. It certainly is a flimsy affair,
and might have been produced by the dullest and most mechanical
_repieno_ in the band of a suburb (_sic_) theatre." The piece consists
of a Larghetto and Presto, in C major, the slow introduction being in
six-eight rhythm, the Presto in six-four. There is one principal theme
in the first part, given out by the violin and repeated by the
pianoforte, a simple melody, with embellishments. The Presto is in Rondo
form, with leading theme for pianoforte, continued by violin, and
relieved by an episode contrasted in character. The music is not great,
but unprejudiced musicians will scarcely endorse the captious remarks of
the reviewer. The firm of Edwin Ashdown (successor to Wessel) publish
the composition, also a version by S. Godbe for viola and pianoforte. In
this the themes are written an octave lower, and modifications occur in
double-stops, and so forth, to suit the viola. There is likewise an
arrangement for flute and pianoforte, by J. Sedlazek. It is not stated
by whom the pianoforte part was written, but it is very well done, and
is not a mere accompaniment.
WORKS UNPUBLISHED, OR LOST.
Concerto in D minor. Fetis terms this a magnificent concerto; it was
performed by Paganini at the first concert he gave in Paris, March 25th,
1831, and that seems to be all that is known about the piece. Concerto
in E minor. This was in three movements; Allegro maestoso; Adagio
flebile, con sentimento; Rondo, Andantino Gajo, "with a triangle
accompaniment." It was played by Paganini at the King's Theatre, June
13th, 1831. Concerto in E major. The three movements of this piece were;
Allegro Marziale; Cantabile Spianato; and Polacca brillante. Paganini
played this concerto at his concert, July 4th, 1831. Concerto in two
movements. This was a medley. The one movement, Cantabile a doppie
corde, was by Paganini; the other, Ronda scherzoso, by Rodolphe
Kreutzer. Played, August 17th, 1831.
Four Concertos, of which the instrumentation was not written. Of these
nothing seems now to be known. Fetis says that the last of the four was
composed at Nice a short time before the death of Paganini.
Concerto for bassoon, with string trio accompaniment. This was
discovered at Stockholm in 1890, and the manuscript was said to be in
the composer's hand-writing. The announcement of the discovery will be
found in _The Musical Times_, of November, 1890, page 681. I have found
no further reference to the subject.
Nine Quartets for Violin, Viola, Violoncello and Guitar. These are in
the list drawn up by Constabile as being among the manuscripts preserved
by the son of the composer. It is impossible now to say where these
manuscripts are; the first three seem completely lost. A copy, probably
unique, of the Quartets, Nos. 10 to 15, is among the treasures in the
possession of Mr. Alfred Burnett, and by his kindness I am enabled to
give a description of the music. Five of the Quartets, Nos. 10 to 14,
were composed and dedicated "Al suo Amico Il Sig. Avvocato Luigi
Guglielmo Germi." No. 14 was composed "expressly" for that friend. The
Quartets dedicated to Germi might be designated "house music," for
though they are difficult, they do not seem to have been written for the
"great public." They contain the most lovely music Paganini ever penned.
If only the guitar were once more in fashion, these pieces might be
heard, and I feel certain they would charm lovers of pure melody.[56]
But this is to anticipate.
Quartet, No. 10, in A major, in four movements (as indeed are five out
of the six). Allegro, A major, four-four rhythm, in free sonata form,
with first and second subject--both lyrical--middle modulatory section,
and recapitulation. The violin has the melody, the other instruments
accompanying. Minuetto Scherzo, Allegretto, A major, three-four measure,
with first short strain on a figure in triplets. Trio in D major,
Cantabile theme for violin, doubled by the viola in the octave below.
Adagio Cantabile, D major, two-four rhythm. A melody that might be
signed Haydn or Mozart, but embellished with a grace peculiar to Italian
art. Here the violin is the solo instrument, the others supporting with
rich harmonies, the 'cello emphasising the rhythm with frequent
pizzicato notes. Rondo Andantino con brio, A major, two-four measure, a
bright, sparkling principal theme, staccato, with contrasting episodes,
one in D, with fourth string phrases, also with brilliant passages in
thirds for the violin, which again has all the thematic work. This is a
well developed movement.
Quartet, No. 11, in B major. For this the guitar is tuned a tone higher,
the _capo tasto_ raising the E strings to F sharp, and the guitar part
is written in the open key of A. The first movement, Allegro moderato, B
major, four-four rhythm is free in form, with repeat of the first part.
The thematic material is assigned chiefly to the violin, but in the
second part there is an episode, a sort of folk-tune, given to the
violoncello. Minuetto, Allegretto, B major, three-four, with Trio in G
major. The melodies are fresh, and move step-wise, very much like those
in the Minuet of Beethoven's first Symphony. They are in scale
formation, up and down, and there is only one skip of a third in the
first sixteen bars. Again the violin takes all the themes. Larghetto con
passione, F sharp minor, six-eight measure, a Lament, a fine expressive
theme, opening nobly, but with the elevated style not maintained
throughout. The viola and violoncello parts are in keeping with the
pathetic feeling of the movement, but the rhythmic figure of the guitar
part detracts from its dignity. Polacca, Andantino mosso, B major,
three-four measure, a well-written movement, with three clearly defined
subjects, two of which are taken up by the viola and violoncello. The
violin part in this quartet is brilliant, but not particularly
difficult; there is no double-stopping, excepting in chords of
accompaniment.
Quartet, No. 12, in A minor. This number is in three movements only.
The first, Allegro giusto, A minor, four-four rhythm, is quite
orchestral in character, and opens with a theme of symphonic breadth.
There is science displayed in the development of this movement. In the
first part the second subject is in C major, and in the recapitulation
in A major. The slow movement, Adagio tenuto, con precisione, C major,
three-four measure, has at first a very broad and declamatory theme for
the violin. The writing becomes very elaborate, and the rhythmic
figuration complex, passages with four and five-stroke notes occurring.
The Finale, Minuetto, Allegretto mosso, is a fully developed movement
quite in sonata form, with first part repeated. The exposition has a
first subject of two extended members, the second in the major mode. The
second subject, in E, is well contrasted. There is a long working out
section, with episodial matter, and the recapitulation is very happily
led up to. The music has a lilt that is irresistible, and the writing is
interesting for each instrument.
Quartet, No. 13, in F. The first movement, Allegro con brio, F major,
four-four time, opens with a theme of a declamatory type, and the
expression is dramatic. The second subject in C, is in the style of the
Italian _aria_, concluding with the lively _Cabaletta_ strain. A short
_Coda_ ends the first part. In the working out section there is an
important episodial theme for the violoncello, and in the recapitulation
the second subject, now in F, is allotted to the viola, the violin
taking up the _Cabaletta_. Both parts are marked for repetition.
Minuetto, Allegretto, F major, three-four measure. The violin has the
theme of the first strain of eight bars repeated; the violoncello
responds with the subject of the next strain of twenty-five bars, one
phrase lengthened to five bars. The Trio in B flat has a tripping theme
for the viola, legato and staccato bowing in the same "figure." Later
the phrases are broken into dialogue for violin and viola. In the Minuet
the guitar has a "second" to the violin melody. Larghetto tenuto, con
anima, D flat major, six-eight rhythm, a broad, cantabile theme for the
violin, with spare embellishment. The movement must be slow, for there
are arpeggios of eight notes to the quaver beat in the guitar part.
Finale, Prestissimo, F major, two-two measure. The theme for the violin
resembles very much some of those merry "tributary" motives found
in Mozart's symphonies towards the close of the first part of a
movement--the "Jupiter," first movement for instance. The second subject
affords contrast. The whole is most spirited and light-hearted. Paganini
must have been in a happy mood when he wrote this quartet.
Quartet, No. 14, in A major. The first movement, Allegro maestoso, A
major, four-four measure, is very brilliant, opening with a theme in
which arpeggio and scale figures abound. This closes in B, and the
second subject begins in E. Here occurs some very free chromatic
writing, suggestive of Richard Strauss, as, for instance, D sharp for
violoncello against E flat for guitar and viola; and C natural opposed
to B sharp. But it is a mere matter of spelling. The first part ends in
E, and is marked for repetition. Then, with a single prefatory chord of
E minor, the working out section begins in C, with a new motive, which
passes through a number of keys, the primary returning with the second
subject. Minuetto, Scherzo affettuoso, A major, three-four. The subject
is based on a three-note figure, giving, by cross accents, to the
four-bar phrase the effect of a six-bar phrase in duple measure--Tempo
rubato. The Trio, in D, has a theme in triple measure, but the middle
sentence has the displaced accents of the Minuet. Largo, con sentimento,
G flat major, four-four measure. For this the pitch of the guitar is
raised a tone, and the part written in E major. The movement is in song
form, the melody opening in stately fashion, but the writing soon
becomes florid. At the second entry the theme begins in A major, the
return to G flat being ingeniously effected. There are some rapid
pizzicato passages for the violoncello. Finale, Allegro vivace, A major,
four-four rhythm. This is a moto perpetuo, sempre staccato, for the
violin. The theme is quite unlike that of the movement known as Op. 11.
After the exposition of the subject, the violin has figure-playing of an
easy kind, while the violoncello has a Cantabile theme. This recurs, and
snatches of it are heard in the brief coda. The other instruments merely
accompany. This quartet has distinct character.
Quartet, No. 15. The title simply runs: "Composto da Nicola Paganini,"
without any dedication. Note the copyist's spelling of the Christian
name. In the first movement, Maestoso, A minor, four-four measure, the
first subject is given out by the viola. It begins with a mournful,
somewhat stern motive, bold, and with an embellished subordinate theme.
The second subject, also assigned to the viola, is an impassioned
lyrical theme in C major. In the working out section, the violin takes
the first subject, and joins the violoncello in an episodial theme, the
viola contributing a florid counterpoint. There are modifications in the
recapitulation, but the viola again has the second subject now in the
tonic major. The guitar is busy throughout the movement, with full
chords and extended arpeggios. Minuetto a Canone, Andantino, A major,
three-four measure. The Canon is confined to the violin and viola, the
latter starting with a theme in short, detached figures, the violin
following, an octave higher, one beat later. Guitar and violoncello give
supporting harmonies. In the Trio, in D major, the melody is given to
the guitar, with a pizzicato accompaniment for the other instruments. At
the seventeenth bar, there are again four bars of canon, this time in
the unison, staccato bowing. The Minuet, abbreviated, is then repeated.
The canon is not continuous, a cadence occurring at the end of each
eight bars. Next comes an Interlude, Recitative, Andante sostenuto, con
sentimento, D major. This is for the viola, and extends to twenty-one
bars, the expression being dramatic. The other instruments have a rather
elaborate accompaniment. The slow movement immediately ensues, Adagio
Cantabile, D major, two-four rhythm. The viola has the melody, in the
form of the Italian aria, embellished with prima donna fioriture. The
movement is short, only running to forty-six bars. Rondo, Allegretto, A
minor, two-four. The leading theme, marked by syncopations, is given to
the viola, the violin joining in the repetition. The tonality is
constantly changing from the minor to the major and back again. There is
a new theme in the middle section, and some elaboration before the first
subject returns. The close is abrupt. The viola has the chief part in
this quartet, which is quite different to the others.
I have only a few notes concerning some of the works yet to be
considered. Dramatic Sonata, "The Storm," for violin and orchestra.
This was evidently a piece of programme music, for it was thus
described:--Part I., the approach of the storm; II., the commencement of
the tempest; III., the prayer; IV., the fury of the sea; V., the
hurricane; VI., the tumult at its height; VII., the stilling of the
tempest; VIII., an outburst of the most lively joy. It was played at
Paganini's third and last concert at Prague, December 20th, 1828, and
one account refers to it as a "dramatic sonata for a full orchestra,
with analogous embellishments and solos and variations, by Paganini on
the fourth string."[57]
"Sonata Militaire," in G, for the fourth string, theme, the air "Non piu
andrai," from Mozart's opera "Le Nozze di Figaro." This piece was
composed expressly for the second of the two concerts Paganini gave in
Genoa in 1824, when the young singer, Antonia Bianchi, made her debut.
The Sonata was played by Paganini at his first concert in London. All
traces of it appear to have been lost.
"Napoleon Sonata," for the fourth string. Paganini gave an account of
the origin of this piece to his friend, Julius Schottky, and to what has
already been related in connection therewith may now be added the
further statement he made. Paganini sang to his friend the first
movement of this Sonata "in an animated though feeble tone," and said
that Rossini transferred the theme into one of his earlier operas. It
would be interesting to know the opera in question, but the early works
of Rossini would be searched in vain without the clue afforded by the
Sonata, which appears to have vanished completely.
"Sonata Maestosa Sentimentale," with variations on a theme by Haydn, for
the fourth string. It is probable that the theme for these variations
was the well-known Emperor's Hymn, and that this Sonata was performed by
Paganini before the Austrian Court in 1828.
Sonata with variations on a theme from the opera "L'Amor Marinaro."
Nothing is now known of this Sonata, nor of the particular theme chosen
from the opera. "L'Amor Marinaro" (the Corsair in Love) was one of the
early productions of Joseph Weigl, being written in 1798. An opera
buffa, it was distinguished by natural charm, freshness of colouring and
beauty of melody, and to the latter quality Paganini's choice of it must
doubtless be attributed.
"Chant of the Monks of the Monastery of St. Bernard." This was the title
given to a piece in the programme of a concert at Covent Garden Theatre.
It was performed on a darkened stage and the solemn character of its
music was emphasized by a beautiful scene representing a monastery with
stained glass windows. The introduction, a movement of some length of
the basses in unison, was followed by a chant "of lovely harmonies,
performed in harmonics (I believe, on the fourth strings) in combination
with the wood instruments." Minasi, who gives this account of the piece,
states that he believes it to be merely the second movement of the
Concerto in B minor, Op. 7.
Cantabile for two strings. This piece was performed at the King's
Theatre, on June 13th, 1831. Possibly it was the same as the musical
fantasia already referred to as played at Lucca under the title of "A
Love Scene." Of the remaining pieces, except the one mentioned below,
nothing seems now to be known save the names.
The one exception is the piece entitled "The Vagaries of a Farmyard,"
which contained a wonderful series of imitations of farmyard sounds. In
this connection the following anecdote, illustrating Paganini's
extraordinary power of portraying curious sounds on his violin, may
be worth repeating. One fine night, when staying at a little inn
just outside Frankfort, he was sitting at his window lost in the
contemplation of the glorious heavens. The striking of a clock broke
through his reverie and called back to his mind an occurrence of which
he had but recently been an ear-witness. He seized his violin, and there
arose on the stillness of the night the moans and cries of a mother and
her new-born babe. The landlord of the inn, awakened by the unusual
sounds and wondering how such visitors had found their way into his
house without his knowledge, called his son and hastened to the room
whence the plaintive cries proceeded; and he found Paganini, too deep in
thought to perceive his entrance, making his violin bring forth these
human sounds. It is stated of Paganini that he was wont to produce his
animal cries under the stress of special excitement or during an access
of fever, and that with his farmyard piece he electrified the audience
at one of the last of his concerts in London.
FOOTNOTES:
[52] Lapheleque, p. 45.
[53] Carl F. W. Guhr, born at Militsch, Silesia, October 30th, 1787,
violinist, pianist and composer, became Director of the Museum Concerts
and Conductor of the Opera at Frankfort-on-the-Main, in which city he
died July 22nd, 1848.
[54] Mrs. Tom Taylor (_nee_ Laura Wilson Barker) was a fine musician, a
composer, and almost phenomenal performer on the pianoforte and the
violin. She played with both Spohr and Paganini, and took down this set
of variations after hearing Paganini play them twice. She died at
Coleshill, Bucks, May 22nd, 1905, at the advanced age of eighty-six.
[55] Gustavo Carulli was the son of the celebrated guitarrist,
Ferdinando Carulli, and was born at Leghorn in 1801.
[56] They were performed at the private quartet concerts given by Mr.
Burnett in the Art Club, Blackheath, from about the year 1893 onward.
[57] _The Quarterly Musical Magazine and Review_, Vol. X., p. 205.