CHAPTER XII._Nicolo Paganini: His Life and Work

This may have been the concert at which, according to a lithograph,[58]

Paganini received "the homage of five thousand persons after having

pocketed L2,000 for two hours' performance." While the great world

showed their appreciation of his playing in this way, and Royal patrons

delighted to invest him with noble orders, the more humble admirers of

Paganini caused medals to be struck in his honour. One of these, a

tribute from the city of Vienna, has already been referred to; another

very fine medal, struck in Paris during Paganini's first visit there in

1831 is reproduced here. The inscription round Paganini's head fills one

with a strangely ironical feeling, when one remembers that the fame of

Paganini did but survive to lead to the homage of exhumation.

[Illustration: _Plate 27.--See Appendix._

MEDAL STRUCK IN PAGANINI'S HONOUR IN 1831.]

True, the world has remembered him sufficiently to place memorial

tablets on the houses where he was born and died. Fifty years after his

death a tablet was affixed to the house wherein he breathed his last,

and at the centenary celebration of his birth the following inscription

was placed on the house wherein he first saw the light: "A great honour

fell to the lot of this modest house, in which, on the 27th October,

1782, Nicolo Paganini, unsurpassed in the divine art of tone, was born,

to the glory of Genoa and to the delight of the world." At present one

may enquire in vain of most Genoese people as to the position of

Paganini's birthplace, and chance alone will direct one, who trusts to

them for the information, to the slum quarter and the narrow street

where the building stands. Difficult though it may be, however, to find

this spot, it is an easy task to find the Palazzo Municipale where

reposes the famous Guarnerius violin of Paganini.

This superb instrument, bequeathed to the city of Genoa by Paganini

himself, has been most carefully preserved by the civic authorities.

It has only twice been heard in public--once at the 1882

celebrations--since Paganini's death, and on both occasions it was

played by his favourite pupil Sivori. It was carefully examined and

photographed by Mr. Edward Heron-Allen in 1885, and a very interesting

account was given by him[59] of the manner in which the violin was worn

away by Paganini's peculiar method of playing. After describing its

general condition he says, "The patch by the side of the tailpiece and

the large wear on the back tell of the force with which he held the

instrument in those high and pizzicato passages, which account for the

long groove down the side of the fingerboard and the broad patch at the

side of the neck, on the table of the instrument. The wearing away of

the edges in the curves of the instrument bear a striking testimony to

the force with which he sawed the gut in his bravura passages on the

first and fourth strings." In the same glass case as the violin is

placed the medal presented to Paganini by the Decurional Council of

Genoa in 1834. On the reverse it bears this inscription:--

Nic. Paganino, Fidicini, cui nemo par fuit civique bene mecrenti

A.D. MDCCCXXXIIII.

Such outward honours as the world gives to its dead have indeed been

offered to the memory of Paganini; but it is doubtful whether the higher

honour of a frank recognition by the musical world of the work that

he did for it, has ever been his. Unlike the great composer the

instrumentalist leaves behind him no visible proof of the part he has

played in the development of his art. And the world has easily forgotten

that from the day of Paganini not only was the violin transformed into a

new instrument, not only were its capabilities, previously undreamt of,

newly revealed, but also in other branches of musical art, in orchestral

music especially, a fresh field was opened up before the composer. It is

scarcely too much to say that the scores of Tchaikovsky and Richard

Strauss could not have been written, had Paganini never lived. We do not

desire to see another Paganini, so complete a slave to his instrument,

albeit its master; we do not desire to see another such life, with

bodily health and moral vigour sacrificed to so absorbing a devotion to

one single end. We would fain believe that Nicolo Paganini did not live

in vain, that like a real artist he had and fulfilled his mission, that

the evil he did died with him and that the good lives on to benefit the

world.

THE END.

FOOTNOTES:

[58] Reproduced on page 144.

[59] _The Musical Times_, May 1st, 1886.

APPENDIX.

NOTES ON THE ILLUSTRATIONS IN THIS VOLUME.

_Plate 1_--Frontispiece.

Portrait of NICOLO PAGANINI, by Maurin, a French Artist. Free from

caricature, it is probably the most authentic picture of the great

virtuoso. It appeared in the seventh volume of the "Revue Musicale."

_Plate 2_--Facing page 4.

THE BIRTHPLACE OF THE CELEBRATED PAGANINI in the Passo di Gatto Moro,

Genoa, Italy. The house is in a squalid neighbourhood--a dirty, narrow

alley now occupied by the poorest of the city. Probably no worse than at

the time of Paganini's birth. There is a tablet which reads as

follows:--

Alta ventura sortita ad umile luogo

in questa casa

il giorno XXVII di Ottobre dell' anno

MDCCLXXXII

Nacque

a decoro di Genova a delizia del mondo

Nicolo Paganini

nella divina arte dei suoni insuperato maestro.

The date 1782 given here confirms the latest research that Paganini was

born in that year and not in 1784 so usually quoted.

_Plate 3_--Facing page 14.

PAGANINI'S VIOLIN, BOW, CASE, ETC., in the Municipal Museum at Genoa.

This is the celebrated Joseph Guarnerius on which the great virtuoso

invariably performed. The instrument is under a glass shade, and with

other relics of Paganini, preserved in a strong safe. It is stated that

L5,000 has, in vain, been offered for the violin.

_Plate 4_--Facing page 20.

THIS IS ANOTHER CARICATURE--Paganini performing on a tight rope--under

which is printed "Exercices sur une seule corde,"--in reference to his

one string solos. This was published by Mori and Lavenu, London, circa

1831.

_Plate 5_--Facing page 40.

This is, we believe, from a contemporary German picture.

_Plate 6_--Facing page 50.

This humorous picture is on the title-page of a comic song, "The

wonderful Paganini, or London fiddling mad." The poetry by W. T.

Moncrieff, Esq., and the melody by one of the first composers of the

day! London, published by Leoni Lee, circa 1831. The "poetry" is not of

a classical standard.

"What a hubbub! what a fuss! all London sure are frantic Sirs,

The Prince of Fiddlers has arriv'd, great Paganini has come.

So wonderful, exorbitant, so frightful, so romantic, Sirs, the

world of Music at his mighty presence are struck dumb.

So firm his touch, so fine his stop, everyone must own his sway,

Great King King of Catgut! Agitato! presto! Who but he Sirs,

Mori, Spagnoletti, now must second fiddle play, Sirs--

Glory be to Tweedle dum! Success to Tweedle dee! Sirs--

Such golden sounds, he from one string can draw, no sum can pay

him, Sirs,

Germany, France, Italy, combined his fame to puff

The prices must be doubled, all the world crowd to survey him, Sirs,

Four thousand pounds a night to pay him is not half enough,

Sixpences, none, after this, must dare call fiddlers' money Sirs.

Thousands, tens of thousands, must the wondrous man reward,"

etc., etc.,

and so on for five verses!

_Plate 7_--Facing page 54.

SIGR. PAGANINI. During one of his performances at the King's Theatre,

June, 1831. From a contemporary lithograph of the celebrated sketch by

D. Maclise, R.A., now in the Foster Collection, South Kensington Museum.

In the background are J. B. Cramer, Lindley, Dragonetti, Mori, etc. This

is, perhaps, the most interesting print of the great violinist. It was

published on July 12th, 1831, by W. Spooner, 259, Regent Street, London.

_Plate 8_--Facing page 60.

Reproduction of the celebrated Statuette (caricature), by Dainton.

_Plate 9_--Facing page 66.

PAGANINI WITH THE VIOLIN, Rossini at the pianoforte and the celebrated

prima-donna Pasta. (Jos. McGuire, delt., printed by Englemann & Co.),

circa 1832.

_Plate 10_--Facing page 76.

A COPY OF THE ORIGINAL OIL PAINTING OF PAGANINI in the Municipal Museum

at Genoa. The face full of intellect, shows the ravages of the disease

which was so soon to terminate his existence.

_Plate 11_--Facing page 80.

THE HOUSE AT NICE IN WHICH PAGANINI DIED on the 27th May, 1840. It was

formerly the residence of the Count de Sessol. The lower part has been

converted into shops.

_Plate 12_--Facing page 80.

THE TABLET, with inscription, fixed on the front of the house, Rue de la

Prefecture, Nice, France.

_Plate 13_--Facing page 84.

THE TOMB OF PAGANINI AT PARMA. Neither religious nor political martyr

ever had so many objections made to his obsequies. To the cemetery, near

Parma, in November, 1876, the embalmed remains of Paganini were

transposed from the family villa at Gaione, by order of his son, the

Baron Achille (who died in December, 1895). The funeral was held at

night by torchlight. A nephew, the Baron Attila Paganini, followed, and

crowds of curious sightseers joined the procession. In 1893 there was

erected the beautiful mausoleum which is now depicted from the only

known photograph, taken expressly for THE STRAD. It bears this

inscription:--

Qui riposano le ceneri

di Nicolo Paganini

Che traendo dal violino armonie divine

Scosse genio insuperabile tutta Europa

e cinse all'Italia,

Nuova sfolgorante corona.

Mente elettissima

Compose stupendamente in musica

Ammirato dai piu illustri maestri.

Cuore oltremodo generoso

dono largamente

ai parenti, agli artisti ai poveri.

Beneath this cupola of white marble, with its granite columns, may the

ashes of Paganini rest in peace. His true remains--his reputation, his

influence, his music, are with us for ever.

_Plate 14_--Facing page 90.

PAGANINI IN PRISON. One of the many scandals which is contradicted in

the text. (See page 90.) There is another prison story that during

Paganini's incarceration, he was reduced to the G, in consequence of the

other strings having broken--hence his wonderful development of the

fourth. This is again apocryphal. Paganini has greater claim to a

scientific knowledge of the acoustical property of strings.

_Plates 15, 16, and 17_, see pages 101, 102, and 103,

are reproductions of Paganini's MSS. in the British Museum. No. 15, a

letter (dated April 16th, 1832, and in French) thanking the person

addressed, for kindness shown to his "cher fils Achille," Nos. 16 (dated

February 19th, 1835) and 17 (dated May 5th, 1838); short notes (in

Italian) are interesting autographs. Paganini was proverbially a "silent

man"--his epistles are very rare.

_Plates 18, 19, 20, 21, and 22_--Pages 129-133.

These reproductions of rare programmes tell their own tales--they are

interesting, because there are seen the items and the arrangement of

concerts, also the prices, for admission, etc.--in those years.

_Plate 23_--Facing page 136.

FACSIMILE OF A LETTER BY PAGANINI, dated 1829. It was formerly in the

possession of the late Mr. Carrodus, the great English violinist.

_Plate 24_--Facing page 144.

A SEMI-CARICATURE OF PAGANINI with the inscription.

The Modern Apollo (not Belvedere)

Receiving the homage of 5,000 persons, after having pocketed

L2,000 for two hours' performance.

Sketched at his last Concert at the King's Theatre. Published by G.

Madeley, Wellington Street, Strand, 1831.

_Plates 25 and 26_, see pages 176 and 177.

Reproductions of music MS. in British Museum. A Theme, with variations

for violin, with accompaniment, is a curious example of the great

master's compositions.

_Plate 27_--Facing page 190.

COPY OF A RARE COPPER MEDAL struck in Paganini's honor in 1831.

BIBLIOGRAPHY.

The extraordinary career of Paganini has received more attention than

the life of any other instrumentalist. Of these biographies, it is

impossible to give a complete list.

The following may, however, be commended.

"Paganini in seinem Reisewagen und Zimmer, in seinen redseligen

Stunden, in gesellsschaftlichen Kirkeln, und seinen Concerten."

Brunswick, Vieweg, 1830. Mr. George Harris, the writer of this

pamphlet, was an Englishman, who in order to study Paganini, became

the Violinist's secretary and interpreter.

"Leben, Charakter und Kunst N. Paganini's--Eine Skizze,"--by M. F.

Shuetz, a Professor at Halle. Leipzig, 1830.

"Paganini's Leben und Treiben als Kuenstler und als Mensch." Prague,

1830. Written by Professor Schottky.

"Paganini's Leben und Charakter," by M. L. Vinela. Hamburg, 1830.

"Notice sur le celebre violoniste Nicolo Paganini," by M. J. Imbert

de Laphaleque. Paris.

"Paganini et de Beriot, ou Avis aux artistes qui se destinent a

l'enseignement du Violon," by F. Fayolle. Paris, 1831.

"Paganini, his life, his person, and a few words upon his secret,"

by J. L. Anders. Paris, 1831.

"Vita di Nicolo Paganini di Genova, scritta ed illustrata da

Giancarlo Conestabile, socio di varie Academie." Perugia, 1831.

"Nicolo Paganini," by F. J. Fetis. Published by Schott and Co.

"L'Album." "Paganini." Rome, 1840.

"Good Words." Three articles by Rev. H. R. Haweis, M.A.

"Musical Gem." "Paganini." Portrait by R. J. Hamerton. London,

1832.

"The Violin," with some account of that leading instrument and its

most eminent professors, by George Dubourg, 1836 and 1878. This

interesting book contains a long account of Paganini (illustrated.)

"Life of Moscheles." Two vols. 1873. In Vol. I., chapters 13 and

14, "Paganini."

"Louis Spohr's Autobiography," _vide_ "Paganini," Vol. I., page

279, and Vol. II., page 168. Spohr says: "His (Paganini's) left

hand and his constantly pure intonation were to me astonishing."

"Dictionary of Music and Musicians," by Sir George Grove, D.C.L.,

_vide_ article Paganini.

"Encyclopaedie der gesammten musicalischen Wissenschaften," by Dr.

Gustav Schilling. Article Paganini.

Dr. Riemann's "Dictionary of Music," article Paganini.

"The Strad," various articles and paragraphs in the series of this

journal.

"The Violin," by George Hart. Engravings of Paganini's Violin.

"Old Violins and their Makers," by James M. Fleming.

"Ole Bull," by Sara C. Bull. Various notices of Paganini.

"Musical Opinion," July, August, and September, 1888. A renowned

fiddler (Paganini.) Three articles by Richard Harrison.

"Musical News," 1903.

"A Wooden Shoe" (Story of Paganini) by M. P. Audebrand.

"Paganiniana," (circa 1865.)

"Troubadour," August, 1899. Paganini, by Richard Harrison.

"The Athenaeum," 1831. Critiques on Paganini.

"The Tatler," 1831.

"An account of Paganini's debut in London," June 3rd, 1831, by Mr.

Gardner of Leicester, appears in Dubourg's "Violin."

"Paganini's Concerts in Paris." A clever description was published

in "Le Globe."

"Foreign Quarterly Review" (circa 1832).

"Catalogue of Paganini's compositions," by M. Conestabile.

Paganini's works are published by Ricordi and Co., of Milan, and

Schott and Co., of Mayence and London.

"Revue et Gazette Musicale de Paris," December 23rd, 1840. Article

Paganini.

"Story of the Violin," by Paul Stoeving.

"The Quarterly Musical Magazine and Review," Vol. X.

"Ueber Paganini's Kunst, die Violine zu spielen," by Carl F. W.

Guhr, original edition 1831. Modern. Schott and Co.

"Biographical Sketches of Celebrated Violinists." London: Bentley,

publisher.

"Celebrated Violinists, Past and Present." Translated from the

German of A. Ehrlich, and edited with notes and additions by Robin

H. Legge (eighteen pages devoted to Paganini). Portraits. STRAD

Office, London.

"Notice of Antony Stradivari," by F. J. Fetis. Translated by John

Bishop. London, 1864.

"The Harmonicon." An excellent musical journal. Published in London

(contemporary with Paganini).

"The Life of Rossini," by Sutherland Edwards.

"History of Music," by Emil Naumann. 2 vols. Cassell and Co.,

London, 1886.

"Life and Letters of Sir Charles Halle." Paganini is mentioned by a

musical amateur (Count de Stendhal), 1814 and 1817.

"Diary of an Invalid," by Mathews, 1818.

"History of the Violin," by William Sandys and S. A. Forster, 1864.

"Old Violins," by Rev. H. R. Haweis, M.A. 1898.

"Researches into the History of the Violin Family," by Carl Engel.

1883.

"Musical World." 1836.

"Musical and Personal Recollections," by Henry Phillips, 1864.

"Music and Manners in France and Germany," by Henry F. Chorley.

1841.

"The Student's History of Music," by F. L. Ritter. 1880.

Collectors will be interested in the Medals and Busts of Paganini.

The English and Continental contemporary Press notices, etc., would

alone make a Paganini volume.

Of Paganini, there are many portraits, though too generally caricatures.

M. Fetis, in his Life of Paganini, gives a short but incomplete

catalogue. Those included in this volume have been carefully selected

from contemporary prints, etc.

ADVERTISEMENTS

"THE STRAD" LIBRARY No. I.

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_"THE STRAD" LIBRARY EDITION is the only Authorised Edition of_

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JOACHIM'S METHOD

CARL COURVOISIER,

With Folding Plates, containing Fifteen Illustrations.

LETTER FROM DR. JOACHIM.

[COPY.]

MY DEAR MR. COURVOISIER: I have read the book on Violin Playing you have

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JOSEPH JOACHIM.

Berlin, November 3rd, 1894.

The New and Revised Edition of "Technics of Violin Playing," issued by

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"THE STRAD" LIBRARY, No. II.

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HOW TO STUDY THE VIOLIN

By J. T. CARRODUS.

CONTENTS.

Strings and Tuning. The Bow and Bowing. Faults and their Correction.

Scales and their Importance. Course of Study. Advice on Elementary

Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some

Experiences as a Soloist. With full page portraits of Carrodus, Molique,

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photo-reproduction of Dr. Spohr's testimonial to Carrodus.

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"It is surely, hardly necessary to direct the attention of students to

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"THE STRAD" LIBRARY, No. III.

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THE BOW

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HENRY SAINT-GEORGE.

With Full Page Illustrations (exact size) by Photo Process.

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_"THE STRAD" LIBRARY, No. IV._

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CELEBRATED VIOLINISTS:

PAST AND PRESENT,

_Translated from the German of_

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_And Edited with Notes and Additions by_

ROBIN H. LEGGE.

_WITH EIGHTY-NINE PORTRAITS._

PRESS NOTICES.

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"THE STRAD" LIBRARY, No. V.

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TECHNICS OF

VIOLONCELLO PLAYING

E. VAN DER STRAETEN.

COPIOUSLY ILLUSTRATED.

_Copy of Letter received by the Author from the great 'cellist, SIGNOR

ALFRED PIATTI._

Cadenabbia, Lake of Como, March 9th, 1898.

DEAR SIR,--I received the book you kindly sent me on "The Technics of

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ALFRED PIATTI.

_Copy of Letter received by the Author from the eminent 'cellist, HERR

DAVID POPPER._

Budapest, February 22nd, 1898.

DEAR SIR,--In sending me your book on "The Technics of Violoncello

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"THE STRAD" LIBRARY, No. VI.

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VIOLIN PLAYING

JOHN DUNN.

CONTENTS

INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints on

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ON THE CHOICE OF A VIOLIN AND BOW--Advice regarding general adjustment

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ON THE CHOICE OF STRINGS--Stringing the Instrument and keeping the Pegs

in Order.

ON THE GENERAL POSTURE--The manner of holding the Violin and Bow as

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ON FINGERING GENERALLY--The various positions--Scales recommended--The

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ON GLIDING--Special Characteristics of some of the most Eminent Players.

DOUBLE STOPPING--The main difficulty in Double Stopping--How to gain

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BOWINGS--Smooth Bowings--Solid Staccato--Spiccato--Spring Bow--Mixed

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TONE PRODUCTION--Character of Tone--Rules and Conditions necessary to

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"THE STRAD" LIBRARY, No. VII.

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Chats to 'Cello Students

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HORACE PETHERICK.

_Of the Music Jury, International Inventions Exhibition, South

Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in

Law Courts, 1891; President of the Cremona Society._

ILLUSTRATED BY THE AUTHOR.

"This is the history of the life-work of the great Italian stringed

musical instrument maker.... There is a most interesting analysis of

Stradivari's method of mechanical construction which again is

illustrated by original drawings from the many Strads which it has been

Mr. Petherick's privilege to examine. All lovers of the king of

instruments will read this delightful little volume."--_Reynolds._

"Among makers of violins Stradivari perhaps occupies the premier

position, and this account of his work, designs, and variations in

finish of details will afford pleasure to many readers."--_Morning

Post._

"This is a monograph which all students of the violin will be happy to

possess. The author is a connoisseur and expert, and his account of the

great Cremonese master and his life-work, is singularly well and clearly

told, whilst the technical descriptions and diagrams cannot fail to

interest everyone who has fallen under the spell of the violin.... Mr.

Petherick traces the career of Stradivari from his earliest insight into

the mysteries of the craft to his highest achievements. Numerous

illustrations lend attraction to the volume, not the least being a view

of Stradivari's atelier, from a painting by Rinaldi, the sketch of which

was made on the premises."--_Music._

"Mr. Petherick is well known in the musical world as a violin expert

with a special knowledge of the instruments made by the Cremonese

master, whose biography he has here given us. He tells us how the master

worked, what his pupils did, and where their work differs from that of

their preceptor. In fact, the volume is as much a dissertation on the

violins of Stradivari as a biography of the master, and is full of

deeply interesting matter."--_Lloyds._

"THE STRAD" LIBRARY, No. IX.

_Crown 8vo., Cloth, 5/-, Post Free, 5/4._

VIOLIN MAKING

WALTER H. MAYSON,

With Thirty-one Full-page PHOTO ETCHINGS,

Illustrating the process of Violin-making in every stage--from the rough

slab of wood to the finished Instrument.

The text is written by an =Actual Violin Maker=, in a very clear and

lucid style.

"'Popular lecture' style, with photographic illustrations."--_The Times._

"A feature of the book is the clearness of the illustrations."--_Morning

Post._

"Describes a very fascinating art from start to finish."--_Morning

Leader._

"This new booklet, on how to make a violin, is an admirable exposition

of methods. Mr. Mayson avoids learned terminology. He uses the simplest

English, and goes straight to the point. He begins by showing the young

learner how to choose the best wood for the violin that is to be.

Throughout a whole chatty, perfectly simple chapter, he discourses on

the back. A separate chapter is devoted to the modelling of the back,

and a third to its 'working out.' The art of sound-holes, ribs, neck,

fingerboard, the scroll, the belly. Among the illustrations is one

showing the tools which the author himself uses in the making of his

instruments. To learners of the well-known Manchester maker's delicate

art we commend this little volume."--_Daily News._

"THE STRAD" LIBRARY, No. X.

_Crown 8vo., Cloth, 2/6, Post Free, 2/9._

(DEDICATED, BY PERMISSION, TO DR. JOSEPH JOACHIM)

THE VIOLIN MUSIC OF

BEETHOVEN,

Critically discussed, and Illustrated with over

FIFTY MUSICAL EXAMPLES,

J. MATTHEWS.

The book contains analytical and historical notes upon the Chamber

Music of Beethoven, in which the violin takes part as a solo instrument,

with some account of the various editions of the principal works;

Beethoven's method of working, as shown by his Sketch Books, etc. It is

dedicated to Dr. JOACHIM, who has furnished some notes respecting the

stringed instruments possessed by Beethoven.

_Extract from Author's Preface_:--

"Young students often suppose that they ought to admire every work which

proceeds from a great genius; an attempt therefore has been made to

convey some idea of the relative art-value and importance of the various

compositions discussed in these pages. For between the best work of any

man and his least inspired, there is a wide difference. Certainly

nothing annoyed the great master more than to hear his least mature

works praised, especially at a time when many of his greatest creations

were too little studied to be understood save by a few."

"Mr. John Matthews--dealing with Beethoven's music in pleasant fashion,

and at not too great length--gives an historical account, and in many

instances short analyses, with illustrations in music type of

Beethoven's works for this instrument, and particularly the sonatas (to

which considerable space is devoted), the trios, the quartets, and other

compositions in which the master employed the violin. The book will be

found by amateurs both interesting and instructive."--_Daily News._

LONDON:

"STRAD" OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C.

"THE STRAD" LIBRARY, No. I.

12MO., CLOTH, 1.00.