recollection of his name, and the prodigies he effected were the
subject of serious conversation. Insensibly the fact of his success
became patent--the journals confirmed it, and the name of the artist
gradually acquired popularity. However, fame blazoned forth his name
as a violinist only--not as a composer. The twenty-four studies of the
first work were only known in France, more than twenty years after it
was published. It was only after he had enchanted all Paris, and had
traversed France, gaining triumphs wherever he played, that the value
of his compositions attracted some attention. They were then sought
after. Italy and Germany were written to for copies of his concertos,
his fantasias, and his airs with variations, but none of them had been
published. The list of this artist’s works which appeared, comprised
the following only:--
1. “Ventiquattro Capricci per Violino solo, dedicati agli artisti,
Op. 1.” These studies or capriccios, in various keys, consist of
arpeggi, staccati, trills in octaves, and scales in octaves, tenths,
combinations of double, triple, and quadruple chords, etc.
2. “Sei Sonate per Violino e Chitarra, dedicati al Signor delle Piane.”
Op. 2.
3. “Sei Sonati per Violino e Chitarra, dedicati alla Ragazza Eleonora.”
Op. 3.
4. “Tre gran Quartetti a Violino, Viola, Chitarra e Violoncello,
dedicati alle amatrici.” Op. 4, Idem. Op. 5, Ibid. Paganini said of
this work to Mr. Harrys, that it was not his, but was formed from some
of his themes badly arranged.
These are the only positive productions of Paganini published up to
the present day (June, 1851); all that has appeared since must be
considered as commercial trickeries, as extracts from the preceding
works, or simply as fugitive recollections of some artists. Such are
the following:--
“Variazioni di bravura per Violino sopra un tema originale, con
accompagnamento di Chitarra o Piano.” These variations are those which
form the twenty-fourth capriccio (in A minor) of the first work.
“Trois airs variés pour le Violon, pour être exécutés sur la quatrième
corde seulement, avec accompagnement de Piano, par Gustave Carulli.”
These are recollections arranged by the author of the accompaniment.
“Introduzione e variazioni in sol sul tema, ‘Nel cor più non mi sento’
per Violino solo.” This piece, published in the work of Guhr, upon the
art of Paganini[P] is noted nearly from memory.
“Merveille de Paganini, ou duo pour le Violon seul en ut.” This is also
from Guhr.
Ghys published at Paris and at Berlin the “Carnaval de Venise, tel
que le jouait Paganini.” Ernst and Sivori have also given, as exact
traditions of this musical pleasantry, versions differing more or less,
which gave rise to discussions in the newspapers. The publication of
the veritable “Carnaval de Venise” of the illustrious violinist will
remove all uncertainty in this respect.
Paganini was aware that the interest which his concerts created would
diminish materially, if he published the compositions he performed.
He resolved therefore upon not publishing them until after he had
ceased to travel, and had retired from his career of executive artist.
He only carried with him the orchestral parts of those pieces he
habitually played; and no one ever saw the Violin solo parts of these
compositions, for he dreaded the indiscretion of all who sought to gain
access to him. He seldom spoke of his works, even to his most intimate
friends, consequently an indistinct notion of the nature and number of
these works could alone exist. M. Conestabile, who made every effort
to acquire the truth of all that concerned the person, the talent, and
the success of Paganini, has published in his book the catalogue which
was sent to him of all the manuscript and original works of Paganini
preserved by his son.
The titles of the works are as follows:--
1. Four Concertos for the Violin, with accompaniments.
2. Four other concertos, the orchestral parts unwritten. The last was
written a short time prior to his death, at Nice.
3. Variations upon a comic theme continued for the orchestra.
4. Sonata for the large Viol, with orchestral parts.
5. “God save the King,” varied for the Violin, with orchestral parts.
6. “Le Streghe,” variations on a ballet air, with orchestral parts.
7. Variations upon “Non più mesta,” theme from “Cenerentola.”
8. Grand Sentimental Sonata.
9. Sonata, with variations.
10. “La Primavera,” (Spring), Sonata, without accompaniments.
11. “Varsovie,” Sonata.
12. La ci darem la mano.
13. “Le Carnaval de Venise.”
14. “Di tanti palpiti.”
15. “Marie Louise.”
16. Romance pour le chant.
17. Cantabile for Violin and Piano.
18. Polonaise, with variations.
19. Fantaisie Vocale.
20. Sonata, for Violin Solo.
21. Nine Quartetts, for Violin, Alto, Violoncello, and Guitar.
22. Cantabile and Waltz.
23. Three Duetts, for Violin and Violoncello.
24. Other Duetts and small Pieces for Violin and Guitar.
Unfortunately many of these compositions are incomplete. The original
scores, without omissions, which have been found, are the two concertos
in E flat and in B minor (it is in this latter the celebrated rondo
of “La Clochette” is found); the allegro of a sonata, entitled
“Movimento perpetuo”; the famous variations “Le Streghe” (the Witches)
with orchestral parts; the variations upon “God save the King,” with
parts; variations upon “Di tanti palpiti,” with parts; variations
upon “Non più mesta, accanto al fuoco,” with parts; the “Carnaval de
Venise,” twenty-four variations upon a popular Venetian air; and sixty
variations, in three series, with accompaniment for Piano or Guitar,
upon the popular air known at Genoa under the name of “Barucaba.” The
theme is very short; the variations are studies of various kind of
difficulties. These were written by Paganini, at Genoa, in February,
1835, and were among his latest works; he dedicated them to his friend
the advocate, M. L. G. Germi. By some singular circumstance these
variations are not included in the list furnished by M. Conestabile.
It will be seen the complete works of Paganini, which have been
found, are only nine in number. It is to be deplored that among these
high-class productions, the magnificent concerto that the great artist
wrote for Paris, and which he played at his third concert at the opera,
the 25th of March 1831, should be wanting; also the grand military
sonata upon the fourth string in which he displayed such marvellous
ability, in a compass of three octaves with harmonic sounds; and,
finally, his variations upon “Nel cor più non mi sento.”
The compositions of Paganini are redolent with merit--novelty in ideas,
elegance of form, richness of harmony, and variety in the effects of
instrumentation. These qualities are especially found in his concertos,
which have exercised great influence on compositions of this nature
that have subsequently been published. They differ in form in many
points from the classic form of Viotti’s concertos. There is the
merit of uniformity and increasing interest, which it were well all
violinists would meditate upon. In general, without diverting attention
from the solo by over-elaborated passages, the instrumentation
possessed an interest which cannot be separated from the principal
design. The _entrées_ are neither cold nor symmetrical--the effects new
and varied.
The first concerto is in E flat, set for the orchestra, but the Violin
is written in D; the four strings of the instrument are consequently
tuned a semitone higher. The tutti, admirably written, is bold and
flowing, and very effective. The forms remind one generally of those
of the old concerto, more than of those Paganini wrote since, this
being his first. I have an indistinct recollection of his having
composed this one in 1811. There is little originality in the style
of the tutti and the solos; but in the details, and above all, in the
brilliant passages, there are certain points which render this concerto
a work of the greatest interest; there is frequent employment of double
notes and harmonics. The second solo presents effects on the fourth
string, of which effects Paganini is the inventor. It terminates with
the last passage of the first solo transposed into the original key.
The adagio (in C minor) is a dialogue between the fourth string and the
other three. The conception of this dialogue appears to have absorbed
all the artist’s attention, for the melody has little novelty. This is
not the case with the rondo--the theme of which is peculiarly original.
There is an extraordinary staccato passage, which Paganini executed in
a novel manner, peculiar to himself. It is necessary to understand the
method to give this passage its original character. It is in this rondo
that Paganini employed, for the first time, tenths, combined in various
ways, producing wonderful effects, by the unerring and marvellous
certainty of his mechanism. The character of the piece is bold: the
second solo, nearly all on the fourth string and in harmonics, produced
an extraordinary sensation, nothing similar having been heard prior to
its introduction.
The second concerto is in B minor. The commencement of the first
piece is broad and impassioned; the harmony often interesting in its
successions; the instrumentation intelligent and rich in effects. The
tutti are weak in development, and serve only to connect together the
various solo parts. The phrase of the commencement of the first solo
is very grand, and largely developed, followed by a modulation in D,
where much boldness is displayed in a novel passage of double notes.
The melody which follows is somewhat poor--the four first bars being
repeated without any change--which is a fault; but the passage which
follows is particularly effective. Paganini in this has evinced much
daring in the combination of difficulties, both for the bow and the
left hand. He has introduced a double shake, descending in thirds--in
the execution of which he was incomparable, both in brilliancy and the
irreproachable perfection of his intonation.
The second tutti, which recalls the subject of the first, is rather
short, but interesting; it modulates in E minor, and terminates with
an unusual form of suspension. The subject of the second solo differs
totally from the first; the melody is expressive and combines effects
of staccato, to which Paganini imparted a character quite peculiar.
The passage which follows this subject, all in double notes, is very
effective: its combinations present immense difficulties, which to the
great artist were but mere trifles. The second solo ends in B major,
finishes with the passage of the first, transposed into this new key,
and consequently rendered much more difficult.
Throughout this first piece, the double-note passages and jumping
bowing are quite novel, and depart entirely from the ordinary form of
the concerto. Two things are equally remarkable in the manner Paganini
played them. The first was his perfect intonation of the double notes
in this shoal of difficulties, particularly in the excessive rapidity
in the passages; the second was the marvellous skill with which
he managed the bow, however great the distances of the intervals.
There was in this part alone of the artist’s talent an evident
predestination, and the study of an entire life. It is impossible to
give any idea of all the combinations which are met in the fingering
of the chords strewn among these immensely difficult passages; they
embrace occasionally such extraordinary intervals, that violinists
are at a loss to discover the artifices by which the hand reaches
them. Besides, in this labyrinth of unheard-of difficulties, neither a
doubtful note nor uncertain intonation ever occurred.
The adagio (in D) is a cantabile of the finest character. More simple
than the rest of Paganini’s compositions, it produced but little
effect, finishing as it does without the exhibition of extraordinary
difficulties, which the public were wont to expect from him;
nevertheless, the forms of the melody are elegant, expressive, and full
of charms. Good taste prevails throughout this piece. The rondo with
the obbligato bell accompaniment is delightfully fanciful; the most
incomprehensible feats of skill are here combined with exquisite taste.
The first subject is remarkable for its elegance and novelty, both
in its details and its general formation. Some charming bow effects
are introduced, which Paganini executed with marvellous brilliancy
and dexterity. The bow fluttered so nimbly over the strings, and the
fingers moved so briskly and lightly, that the performance seemed
one of easy accomplishment. The rondo of the “Clochette” obtained
enthusiastic success throughout Europe.
The allegro of the sonata for Violin and orchestra, entitled “Movimento
perpetuo,” is only remarkable as a study for detached bowing of
exceedingly rapid movement, which continues until the last bar. This
species of difficulty exacts great suppleness of arm to avoid fatigue,
and a perfect _ensemble_ of the left hand and the bow. In this piece
there are no less than 170 bars without a single rest. Considered as a
composition, it is unimportant, but interesting as a study.
Few musical compositions ever obtained such universal fame as the
“Streghe” (the Witches), either from the prodigious execution of the
great violinist, or perhaps because some superstition attached to the
title. The original manuscript indicates that the introduction and the
variations are composed upon an original air; however, if tradition is
to be depended upon, the air was taken from the ballet of “Il Noce di
Benevento.” The introduction is short. The first variation, in double
and triple notes, is extremely difficult. It may be regarded as a
valuable study for playing in tune. In the second there is a mixture
of harmonics and pizzicato which produces a very original effect. The
third is a dialogue between the fourth string and the double harmonics;
a novel effect which never failed to draw down the loudest acclamations
of the auditory. The finale, which joins this variation, terminates
with rapid passages upon the fourth string, and in harmonics of extreme
difficulty.
In the variations upon “God save the King,” Paganini seems to have
intended concentrating all the new effects he had discovered, and all
the enormous difficulties over which he had triumphed. The subject
is written in three and in four parts; the melody is played with the
bow, and the other parts of the accompaniment is pizzicato. The
first variation, in double notes, presents successions of thirds and
tenths, which require a large hand and a great certainty of intonation.
Paganini played it in a light and rapid manner, which greatly increased
its difficulty. The second variation is a complication of rapid
triplets, intermingled with passages of double notes and bounding
staccatos. The execution of this variation requires extraordinary
dexterity. In the third the subject is sustained in a slow movement,
during which the accompaniment is going on in extremely rapid passages
on the third and fourth strings. The fourth is peculiarly quaint; it
consists in rapid passages pizzicato in the upper part, while the
accompaniment is played upon the lower, with the bow staccato. The
fifth, written in double notes, is an echo effect on the upper octave,
the bass is by pizzicato on the lower strings. The sixth and last
consists in staccato arpeggios, difficult of execution, arising from
the complex positions of the left hand.
In the fantasia with variations, on “Di tanti palpiti,” the orchestra
is written in B flat, the solo a semitone higher; in the second
variation the fourth string is lowered to B flat. Paganini effected
this change with so much address, that it was never perceived at his
concerts. The piece commences by an introductory larghetto, followed by
a recitative. The subject which follows is quite simple, and the first
variation without very remarkable difficulties, with the exception of
a very rapid descending scale in harmonics. In the second, where the
fourth string is lowered to B flat, passages occur in double notes
of great difficulty for the bow. The third is the most curious and
difficult; it consists of arpeggios with double notes in a presto
movement, and combinations of harmonics and ordinary notes in a new and
quaint style.
The air with variations, on “La Cenerentola” (Non più mesta), is
written in E flat for the Orchestra; the Violin is tuned a semitone
higher. The first variation contains nothing remarkable; the second,
a combination of bounding staccato harmonics and pizzicato, recalls
similar passages found in other works of the author. The third, in a
minor mood, is composed nearly of octaves. The fourth is an echo, the
effects are double harmonics. It is followed by a finale in thirds and
octaves, brilliantly effective, but fraught with difficulty.
The twenty variations upon the popular air “Oh, Mamma,” known as
the “Carnaval de Venise,” which has been so frequently imitated, are
remarkable for the distinct character given to each; all the bow and
finger effects imagined by Paganini are concentrated in it. Good taste
is sometimes departed from in a few of the variations, but it will
not be denied that some extraordinary effects are produced in those
strange freaks, to which the marvellous dexterity of the artist lent an
irresistible charm.
The last work to which I have to allude is the collection of sixty
variations, in the form of studies, upon the popular air “Barucaba.”
Paganini purposed in each of these studies to give every style of
bowing, all the difficulties of fingering, and all the combinations of
harmony, upon which his school is founded. By a singular notion, nearly
all these variations are written in different keys.
If the astonishing success of Paganini, the immense popularity of
his name, and the influence he exercised over the talent of some
of the violinists of the younger school, be considered, the high
interest attached to the publication of the works with which the great
artist astonished Europe, will be understood. At all events, these
considerations will afford but a very imperfect idea of the importance
of their long-withheld publication. Their value can only be understood
after a long and close examination. For more than twenty years every
violinist has looked forward to the production of these works with
anxiety and curiosity, under the impression of being able, with them,
to “do the Paganini,” and establish himself, if not in imitation,
at least as a pupil of that illustrious man. But few imagined the
great truths which would manifest themselves by the revelation of
the secret of his music--none could foresee how much this great man
would be elevated in their esteem when the prodigious difficulties he
executed while playing, were placed before them. Some of his effects,
the most easy of execution, were hastily copied, and the mystery of
his talent was supposed to have been discovered. How much illusion
will be dissipated by the examination and study of these anxiously
expected works! I will not speak of the simply curious effects by
which Paganini dazzled the million--of his pizzicato and bow feats--of
the modifications in tuning the instrument, and of the thousand
combinations, the merit of which consisted principally in perfect
execution. These will only have an exceptional existence, and will
never hold a place in serious music. Besides, the sagacity of Guhr, a
skilful violinist, and the able conductor of the Frankfort Theatre,
has penetrated, to a certain extent, the secret of these things,
and has cleverly exposed the theory in a work especially devoted to
this purpose.[Q] That which most struck me on reading the MSS. of
Paganini, that which raised him immensely in my estimation, was the
conviction that the mechanism of the art was never carried to the same
extent--that he was never equalled in surmounting difficulties--and
never was such infinite variety displayed in brilliant passages. The
double notes for instance, always the test of great Violinists, as
respects true intonation and precision--particularly when the left hand
descends to its natural position--form a salient feature in the rapid
passages of his compositions. The intervals are ever varying--sometimes
in thirds, sometimes in sixths, eighths, and tenths--passing with
rapidity from one kind of interval to another--jumping incredible
distances--always in double notes--with unerring certainty and perfect
intonation. His hand was a geometrical compass which divided the
finger board with mathematical precision--his fingers falling exactly
where the intonation of the intervals of the double notes was to be
found. I do not speak of the varieties of bowing, by which he rendered
these difficulties more complicated, I merely look at the double-note
passages alone,--I therefore say, that these passages, which were
trifles to Paganini, will be impracticable to any other violinist
whomsoever he may be, if he would execute them with the same rapidity
and with the perfect intonation of the author. As a study, it is a
new world for the perseverance of young artists, the results of which
will be the acquisition of certainty, which only a small number of
performers possess, and the enlargement of the great resources of the
instrument.
It may be asked why new difficulties are introduced into art; and it
may be remarked, with reason, that the aim of music is not to surprise
with marvellous feats, but to delight the feelings. This principle I
perfectly coincide with; yet I would observe, on the one hand, that
certain artists will never be prevented from endeavouring to overcome
difficulties, however apparently insurmountable, nor the public from
applauding the happy result of their efforts: on the other hand,
that the study of difficulties conduces to certainty in what is more
simple. If any violinist can play, with perfect intonation, and in
the prescribed time, the passages of Paganini’s concertos, he will
necessarily attain imperturbable certainty in ordinary music.
Is it imperative, I may ask, that these new and varied forms of
passages in Violin concertos are to be excluded? Admirable in
sentiment, as avowedly the concertos of Viotti are, their weakness
consists in the monotony of the rapid passages--and the same may be
said of nearly all other known concertos. Art is evidently limited in
this species of composition, to things which cannot be considered as
the last essay of the artist’s skill--more may be boldly attempted, and
that by varied means. Let the happy darings of Paganini be studied, and
it will be found that something is gained.
[Illustration]
FOOTNOTES
[A] “Osservazzioni su due Violini esposti nelle sale dell’ I. R.
Palazzo di Brera uno de’ quali di forma non commune.” Milan, 1832, in
8vo.
[B] “Mémoire sur la construction des instruments à cordes et à archet,
lu à l’Academie des Sciences le 31 Mai, 1819.” Paris: Déterville. One
vol. in 8vo.
[C] “Nuova Teoria di Musica,” &c. Parma, 1812. 1 vol., in 8vo (page
214). Gervasoni adds that no teacher could have conducted such an
artist to the sublime height Paganini attained, and that nature alone
could have directed him.
[D] This circumstance in the life of Paganini made very little
impression upon me when he related it to me, as I was only interested
in his artistic career: later, this anecdote appeared important to
establish the chronological order of his life, as will be hereafter
seen.
[E] Gervasoni, “Nuova Teoria di Musica,” page 103.
[F] Gervasoni, “Nuova Teoria di Musica,” page 214.
[G] “Vita di Paganini di Genova, scritta ed illustrata da Giancarlo
Conestabile. Perugia, Tipografia di Vincenzo Bartilli, 1851.” 1 vol.,
in 8vo, 317 pages.
[H] Loc. cit.
[I] From the sentiments which induced the Grand Duchess to overlook his
insubordination, and from certain innuendoes which have escaped the pen
of M. Conestabile, inferences may be drawn, which delicacy dictates
should not be mentioned unreservedly.
[J] An artist of great merit, author of several operas, and who
continued the Requiem of Mozart.
[K] Who subsequently became principal Violin soloist at the Chapel of
the King of Saxony.