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Jfloil--^f.~J

BIOGRAPHICAL NOTICE

NICOLO PAGANINI,
WITH AN

AND A SKBTCH OF

THE HISTORY OF THE

VIOLIN.

F.

J.

Fetis.

SECOND EDITION.
WITH
PORTRAIT AND WOOD ENGRAVINGS.

LONDON

SCHOTT &
Saris

CO.,

159,

Regent
B.

Street,
:

W.

ittBtuj

Maison Schott.
SntXiUes

Schott's Sohne.
Jrankfort-0-JE.
:

Schott

FRiiREs.

Schott &

Co.

PAGE

Sketch of the History of the Violin

Art and Artists

NicoLo Paganini
Paganini Appreciated as a Composer.
Analysis of his

15

26

Works

79

Portrait of Paganini, after Pommayrac,

1838.

Engravings from Photographs of Paganini's Violin

Municipal Palace at Genoa.
{From

in

the
:

"The

Violin

its

Famous Makers and their Imitators,"

sion

dy kind permis-

of Mr. G. Hart.)

LIBRARY
rorVERSITY OF CAUFOft?^t^
w

11

1 1

n n

1 1

II

3ANTA BARBAIU f ^1 n II Ml
II

" " ' " " "

'

" " " '

'

SKETCH OF THE

HISTORY OF THE VIOLIN.

J^ht ^nstrumettt.
kESPITE
all

contrary assertions,
Oriental, Greek,

based

upon pretended
Neither

monuments,

and Roman antiquity was

nor do Greece

unacquainted with instruments played with a bow.

India nor Egypt furnish the least traces of them
;

and
de

Italy;

nor,

in

fact,

does the whole of the old civilized

" Resume Philosophique de I'Histoire bow comes from the West it was introduced into the whole of Europe by the western nations. Though Viols are found among the modem Arabs in Persia and Turkey,
world.
la

As

I stated in the

Musique," the

they were taken there by Europeans in the time of the Crusades.

The Goudock
to have

of the Russian

peasant,

and the Crwth of the

ancient Irish, appear to proceed from the highest antiquity, and

been the type of instruments of

this

nature.

The

Irish

chroniclers speak of musicians who, in the sixth century, were

celebrated for their talent on the Crwth, a species of Viol with

six strings
;

and Venance Fortunat, a Latin poet who wrote

in

609,

states distinctly that this instrument belonged to Great

Britain.
It
is

not

my

intention to follow

up here the various

;

trans-

formations of
to observe

bow

instruments in the middle ages

it

will suffice

that there were frequent changes in

them from the

in

thirteenth to the sixteenth

kinds, vulgarly called in

century

as

much

the

common

French Rebec, and

in

(ierman Geige

THE HISTORY OF THE

VIOLIN.

ohne Bunde (Violins without band or side pieces), which possessed only three strings, as in the improved Viols, the body of which
was formed of belly and back joined by side pieces, as
Violins, Tenors,
in

our

and

Basses.

The

smaller kinds also possessed

only three strings; the larger kind had four; there were also
others with
five, six,

and seven

strings.

In the middle ages, the Rebec, called Rubebbe, possessed but

two
the
its

strings.

It is the

same instrument which

in Arabia acquired
it is

name

of Rebab.

From

the fifteenth century

found with

three strings.

This instrument took nearly the form of a

mandoline ; the neck and the body being formed of a single piece,
the
finger-board

being as wide as the entire instrument, and

reaching within a short distance of the bridge.

left for

No

passage was

the

bow

in the

body of the instrument, but the body was

by the bow

very narrow, and the bridge formed a point for the middle string
to rest upon, so that this string could be touched

without touching the others.

fifteenth century, the

Like

all

instruments later than the

four different sizes, the
;

Rebec was made of

smallest of which was called Discant, or upper

then followed, in

progressively larger proportions, the Alto, the Tenor,

and the

Bass.

The

dancing-master's Kit, of the latter years of the eighteenth

all

century, was

that

remained of the ancient Rebec.

This
is

The

Viol was called Vielle in the middle ages.

the

Viola of the Italians, and the Vihuela of the Spaniards.

There
this

were several kinds.

kind had a
flat belly,

As
As

early as the fifteenth century,

one of

and a place

for fixing the strings similar to

that of the Guitar.

in the Lute,

and

all

stringed instruments

played with

the

fingers, the finger-board

was

divided into discentury the

tances for placing the fingers.

bellies of Viols

From

the fifteenth

assumed the raised or vaulted form, the backs

remaining

flat.

The

cavities at the side,

which had formerly been

shape of a section of a

very large and straight, were

circle,

made

in the

and were reduced

to the dimensions necessary for the use

it

of the bow.

The

raised bellies rendered

necessary to alter the

ribs.
its

bridge into the bridge- shape, so as to incline towards the

Hence

the term Bridge, which

is

called

by the

Italians,

from

THE HISTORY OF THE

form, Ponticello.

VIOLIN.

The

divisions for the fingers

to the

on the finger-board
form of Viol
it

were retained on the Viols up

century.

second half of the seventeenth

During the
five strings
;

fifteenth century the vaulted

possessed

in the

commencement of

the sixteenth

had

six.

The

first

string

was called in

Italy Canto, the

fifth

second

Sotana, the third Mezzana, the fourth Tenore, the

Bordone,

and the

sixth Basso.

The Viol was divided into three kinds, which were called Upper or Soprano, Tenor, and Bass. The Tenor was used also for
playing the second upper part, or Alto
;

it

was then tuned a note

higher

the tuning of the upper Viol was,

d, a, e, c, g,

first string,

that of the

commencing from the Tenor tuned to Alto, a, e, b,

f, c,

G, D, a; the

same instrument tuned

to Tenor, g, d, a,

and the

Bass, D, A, E, c, g, d.

At the commencement of the seventeenth

specially for

century, the use of instruments

accompanying the
DoubleThis also
Viol,

voice

became general

there was

added

to the other Viols a

is,

Bass Viol, which was called Violone, that

large Viol.

had

six strings,

and was tuned a fourth lower than the Bass

was then called " Viole k

thus A,

E, B, G, D, A.
it

Prior to 1650, this instrument was rarely

la

used in France,

mode de

Lorraine."

In imitation of the vaulted form of Viol, there was made,

already in the fifteenth century, a small instrument of the same
kind, which the Italians called Violino, that
is
is,

small Viol.

This

the instrument which was called Violon in France, and Geige

in

Germany.
It
is

probable that the Violin originally had the same number

;

of strings as the other Viols the upper Viol,

viz.,

that these were tuned a fourth

above

g, d, a, f, c,
;

g; and
but
it

that the

neck also

possessed divisions for the fingers

was soon discovered

that the finger-board of the Violin was not wide

enough

to allow
strings

any one

to play with facility

on so

large a

number of

and

that the space for the fingers to produce the notes was too

narrow to admit of divisions.

reduced to
as
it

These were removed

in fifths
It
;

the strings,
string e,

four,

were tuned
present
day.
in

making the

first

is

at the

cannot be doubted that these

;

improvements originated

France

for

on reference
B 2

to

the

THE HISTORY OF THE

list

VIOLIN,

of instruments employed in the "Orfeo" of Monteverde,

that the Violin

it

will

be seen

was called

in Italy,

at the

end of the

sixteenth century,

and the beginning of the seventeenth, "Violino

piccolo alia francese."

The oldest maker of Violins on record was a native of Brittany, named Jean Kerlin. He followed his trade about the middle of La Borde, author of the imperfect and voluthe fifteenth century.
minous "Essai sur
la

Musique," relates that he saw

in Brittany.

Violin with four strings, the neck of which did not appear to have

been changed, and which, instead of the

a small piece of ivory

ordinary' tail-piece,

had

inlaid, pierced with four holes.

It

This Violin

was thus

labelled,

"Joann. Kerlino, anno 1449."

was aftenvards

brought to Paris, and

city,

Koliker, a musical instrument

maker of

that

had

it

in his possession in 1804.

The

belly

was more raised

than in good modern Italian Violins, and was not equally rounded
at the

upper and lower extemities

Its

the sides were ill-formed and

flattened.

tone was sweet and muffled, and resembled that of

at the close of the sixteenth

instruments
century.

made by Antonio Amati

is

After Jean Kerlin, there

a lapse of sixty years in the

history of the manufacture of Violins, for the only

maker of

this

instrument whose

name has come

Duiffoprugcar, born in the Italian

his Violins at

down to us is Gaspard Tyrol, who commenced making

in

Bologna about 1510, working afterwards

Paris,

and
his

at

Lyons.
is

One
is

Violin only of the large pattern which bears

it

name
for

in existence;

is

dated 1539.

The

quality of tone

of this instrument

powerful and penetrating, but

it

when played
it

upon

some

time,

loses
its

its

intensity.

Like an' old man,

needs repose to recover

faculties.

The
frill.

scroll represents the

head of ^a
to

king's jester, with a plaited

first

This Violin belonged

M. Meerts, formerly
and professor
Gaspard

solo violinist of the Theatre Royal,

Brussels,

at the

Conservatory of that

city.

di Salo, thus called

from being born in the small

in

town of

Salo,

on the lake of Garda,

Lombardy, worked

in

the second half of the sixteenth century.

He

was specially

cele-

brated for his Viols, Basses, and Double-Bass Viols, then more used than the Violin. Nevertheless, an excellent Violin of his make,

THE

rilSTORY Qf

THE

VIOLIN.

dated 1576, was met with in a collection of valuable instruments

which were sold

in possession of

at

Milan

in

1807

and the Baron de Bagge was

one of which Rodolphe Kreutzer often spoke

with admiration.

These instruments, of rather a large

pattern,

possess a powerful tone, approximating to that of the Alto.

Contemporaneously with Gaspard

di Salo, the

two brothers,

Andrea and Nicolo Amati became famous

their Viols

for the excellence of

and Bass Viols

they also

made

excellent Violins, the

tone of which was mellow and agreeable, but they were wanting
in power, like all the instruments

made by

the

members of

this

Andrea and Nicolo, about 1570, made Violins of a large pattern for the chamber music of Charles IX. King of France.
family.

These instruments were remarkable

for the

beauty of their form,

with an
oil

and

perfection of finish.

They were covered

varnish,

of a golden colour, shaded with red.

Paris

Two
The

of these were seen in

successors of

by Professor Cartier about 1 8 1 o.

in the

Andrea

and Nicolo Amati retained

artists for

family the
half.

fame of those
Antonio, son of

more than a century and a

Andrea, Geronimo, his brother, and Nicolo, son of Geronimo, were

instrument makers of high repute, but the sonority of their Violins

and

Basses,

admirably adapted for the music of their time,

for the

is

much

too

weak

modern noisy system

however, Paganini

possessed a Violin of Geronimo Amati, of large pattern, which he

prized most highly.

Two
the

Italian

makers were also famous

at the beginning

and

towards the middle of the seventeenth century for their Violins

first is

Giovanni Paolo Maggini, who had an establishment

at

Brescia, his native town. to

His instruments are dated from 161

is

1640.

The

pattern of these Violins

size.

generally very large

although there are some of the small

the back, rather
flat

The

bellies are raised,

at

the

extiemities, swells out exceedingly

;

towards the sides, which are very wide

the curves being well

rounded towards the angles.

ornament

double row of purfling runs

in

round both belly and back, terminating

at the

some

instances in an

upper and lower parts of the back.

spirit

Most of

Maggini's Violins are varnished with

of wine, of a deep gold

THE HISTORY OF tHE

colour.
less

VIOLIN.

Their tone

is less

mellow than
;

that of the Stradiuari,

and

powerful than the Guaniieri

its

it

has more analogy to the tone

of the Viol, and

character

is

somewhat melancholic. The second

is

maker of that period celebrated in Italy

Giovanni Granzino

he resided at Milan, and worked there from i6 12 to 1635. Violins, of large pattern, resemble those of Gaspard di Salo.

His

The fame
attained
its

of Italy for the construction of

bow

instruments

zenith between the middle of the seventeenth centiuy

half of the eighteenth.

and the

first

To

this

period belong the

names of
kno\\Ti

Stradiuari

and Guamieri.

Antonio Stradiuari, better

cele-

under the Latinised name of Stradivarius, the most

Violins, Viols,

brated maker of
in

and Basses, was born

working

at

Cremona
death

1664; he reached

his eighty-third year,

until his

in 1747.

pupil of the Amati, he

worked a long time with

left

them, and upon their models.

Towards 1700 he
proportions,

them, and
form,

from that time changed

lowered the
ness of the
ployed.
his
bellies,

his

increased his

and was as

fastidious in the degrees of thick-

wood

as he was in the choice of the

wood he emorder to give

Contrary to the principles of the older Italian masters,

increased towards
the centre,
in

thickness

support to the bridge upon which the tension of the strings bears,

and diminished gradually towards the

All
is

sides

of the instrument.
artist,

calculated,

in

the

works of

this

excellent

for the

better production of tone.

equality in
all

To

these advantages are superadded

of form,
finish of details,

the strings, grace

and

brilliancy of varnish.

In a large concert room a good Violin of

;

Giuseppe Guamieri has more power of sonority

but in a drawing-

room nothing can

possibly
"

equal the brilliant mellowness of a

well-preserved Stradiuari.

Unfortunately
for repairs.

many have

fallen into

the hands of unskilful

workmen

The
was

family of the Guamieri or Guamerius has also

become

illustrious for the

manufacture of

bow

instruments.

This family
there, with

also originally of

Cremona, and constantly resided

Guamieri,
7.

the exception of Pietro

still

who setded

at

Mantua, and

resided there in 171

The most
in Italy

celebrated of these makers

his

is

Giuseppe Guamieri, called

"Guamieri del Gesu," from

THE HISTORY OF THE

Violins bearing the

VIOLIN.

mark IHS.

He

was

bom

at

Cremona

at the his

close of the seventeenth century.

It is said that

he learned

trade in the workshop of Stradiuari, but he never attained his

master's delicacy of finish
;

on the contrary,

his

work evinces very

straight
;

frequently great

carelessness.
;

His sound-holes, nearly

his purfling

and

angular, are badly shaped

badly traced
is

in fact,

his instruments carry

no masterly appearance, and one

tempted

to believe that the

excellent quality of their tone arises

more

from the happy choice of material than from studied principles.

Nevertheless, on close inspection,
it

is

evident positive principles

guided him in the construction of his instruments; he has copied

no maker who preceded him.

the other large.

He

had two

patterns,

one

small,

The

instruments of small pattern are the most

are
slightly

numerous,

their bellies

raised,

and

their thickness

rather exceeds that of the Stradiuari.

The

large patterns

which

proceed from Giuseppe Guamieri are few in number, and rarely

met

with.

It

was upon one of these Violins that Paganini played

at all his concerts.

brilliant,

The

tone of these instruments

is

exceedingly

and

carries to a great distance,

but

is less

round and
less

mellow than the instruments of

than at a certain distance.
After Stradiuari

Stradiuari,

and pleases
art

near

and Giuseppe Guamieri, the

of
excellence,
to

seems to have
Italian

remained

at

its

highest point

and the

makers appear not

selves

have sought to improve, contenting themthe

other

with

copying the one or

of these masters.

Lorenzo Guadagnini, a pupil of

of his master.
brilliancy

Stradiuari, copied the small

pattem

The

first

and second

string of his Violins possess

is

and roundness, but the

son,

third

unfortunately muffled.

He
less

had a
sought

who worked

at

Milan

until

towards the end of

1770, following the style of his father; but his instruments are
after.

The
far

Gagliani also copied the Stradiuari, but

their
less

instmments are

from equalling those of the master, doubtRuggieri and

they produced

from want of care in the selection of material.

Alvani copied the form of Giuseppe Guarnieri;

good

Violins,

which are

less valuable,

however, than the Stradiuari.

The Tyrol

lays claim to

some

excellent makers of

bow

instru-

THE HlStORY OF THE

VIOLIN.

merits, the chief of

whom

is

Jacob

Stainer,

who was born about

Firstly, while pupil

1620, at

Absom, a

village near Inspruck.

This celebrated maker,

at three different periods,

changed
:

his

make.

of the Amati of

Cremona
are

the Violins of this period are admir-

ably finished, and

extremely scarce.

The

belly

is

more
lower

raised than in the Amati, the scrolls longer

part.

and wider

in the

All the labels of these Violins are written and signed in his

own

handwriting.

One

of these magnificent instruments, dated

1644, was the property of Gardel, ballet-master of the Opera at

Paris,

who performed upon

Secondly,

it

successfully in the ballet of "

La

Dansomanie."

when

established

at

Absom,
after

after

having married, he produced an immense number of instruments

carelessly finished, from

1650 to 1667.

However,

having
his

led a

life

of poverty for several years, obliged to

for six florins each,

hawk

own

Violins,

which he sold

he received orders from

some noblemen, which improved his position. His genius from this period took a new flight, and he produced some splendid
instruments, which are recognised by scrolls that represent heads

of animals, by the close veining of the bellies, by the close and

even small

ribs,

and by the

varnish, resembling red

mahogany

faded by time into a brown colour.

time by his brother Marcus,

Stainer was assisted at this

who

later in life entered the order

of the Brother Hermits, by the three brothers Klotz (Mathias,

George, and Sebastian),

pupils.

and by Albani,

all

of

whom

were his

The reproach

attached to Stainer's instruments of posthe labels of

sessing a nasal tone applies only to this period,

which are printed; there

are,

however, some admirable instruviolinist

ments of

this time,

which were in the possession of the

las

Ropiquet, of the Marquis de

Rosas, a grandee of Spain, of

the Count de Marp, a Parisian amateur, and of Frey, an artist

of the Opera, and publisher of music

There

is

an excellent

Tenor of
Preville,

this

period,

formerly the

property of

M. Matrot de
his

governor of the port of L'Orient

third

The
quillity

period of Stainer's
after the

career

commences from
artistic

retiring into

a convent
cloister,

death of his wife.

to close his

In the tranlife

of the

he determined

THK HISTORY OF THE

by the production of
chefs-d'arnvre.

VlOLll*.

Having obtained some

wood

of the

first

quality through the

medium

of his superior, he
;

made
one

sixteen Violins

models, combining every perfection

of Stainer-electeurs.

sent

to each of the twelve chiefs of electorates of the Empire,

and

presented the remaining four to the Emperor.

instruments are

Since then, these

known under the name

and
aerial,

Their

tone

is
;

pure, metallic,

like

the beautiful voice of a

woman

they are graceful and elegant in form, exquisitely finished

in all the details,

and have a transparent varnish of a gold colour

such are the qualities which distinguish these productions of the

third

and

last

period of Stainer's talent.

of this

The

labels are in the

hand-writing

celebrated

maker.
;

Three of these

rare

instruments only are

remains unknown.

now to be met with the fate of the others The first was given by the Empress Maria
a Belgian
violinist

Theresa
death
it

to Kennis,

from Liege,

after

whose
Sir

was taken

to England,
Bart.

and became the property of

Richard Betenson,
in

Another Stainer-electeur was purchased

Germany

in

771

by the Duke of Orleans, grandfather of King

Louis

Philippe, for the

sum of 3,500

florins.

Afterwards, this
it

prince, having

discontinued playing the Violin, gave

to

the

younger Novoigille, in token of the pleasure he experienced in

hearing him accompany
Violin
in the

Madame
when
I

de Montesson.

This precious
1817
;

became the property of the

hands of
this artist

violinist Cartier in

it

was

heard and saw

it.

The

third

Violin Elector was in the

possession of the

King of

Prussia,

Frederick William II.

After leaving Stainer, the Klotz family copied his models of

the second period, and these

instruments are not unfrequently

;

mistaken for those of the master

they are, however, readily dis-

tinguished by the varnish ; that of Klotz, instead of a deep red,

has a black ground shaded with yellow

Klotz' instruments
is

the tone of Mathias

silvery,

but of

little

power.

These

artists

produced many pupils in the Tyrol, who imitated the Cremona

models
;

but these

imitations

are

easily

discoverable
is

by the

inferior quality of the

wood, the varnish, which

very dark, and

the tone, which

is

deficient in every quality.

10

THE HISTORY OF THE

VIOLIN.

The
reigns of

ancient manufacture of musical instruments in France,

is

incontestably inferior to that of Italy,

represented, during the

Henry

the Fourth

and Louis the Thirteenth, by Jacques

settled in Paris
;

Bocquay,

bom

at Lyons,

who

Pierret, his townsinferior

man, who produced more instruments, but of

Antoine Despons, and Adrien Veron;
copied AmatL

finish;

these makers generally

The

Violins of the successor of Bocquay, Guersan,

his pupil, are of small pattern,

and

finely finished.

They have
these are
his

become extremely
varnished in
pupils
;

scarce

it is

supposed that there are not more

o\\ti

than twenty which can be considered as his

oil.

make

The

others were

made

in his

workshop by
spirits

they are of inferior quality, and varnished in

of

wine.

The contemporaries
After these

of Guersan at Paris were Castagnery

for

and

Saint-Paul,

whose Violins were formerly esteemed

accomrivalled

paniment

came Salomon, whose instruments

those of Guersan.

Towards the end of the reign of Louis the

Fourteenth. Lagetto enjoyed a certain reputation.

As

regards the

ancient manufacture in the provinces of France,

tliere is

nothing

which

rises

above mediocrity, with the exception of Me'dard, a

contemporary of Geronimo Amati, whose models he copied.

lived at

He

Nancy
the

at the

commencement of the seventeenth

la Lutherie," lived

century.

Lambert, surnamed " Charpentier de

later

a century

in

same town.

He

produced nothing of any note.

;

Saunier, his pupil, surpassed his master in finish

but in general

Lorraine was the country of industry, not

art.

In the modern manufacture of instruments

specially distinguished.

at Paris, Finth is

He

was a German, who worked about

all his Violins,

1770, and followed the proportions of Stradiuari;

varnished in

oil,

are
first

finished

with

care.

They were
came

greatly

sought after in the

instance, but a

change of

taste followed,

and opinion

fell

into a contrary excess.

After Finth

Picte,

pupil of Saunier, whose Violins were given as prizes to the pupils

of the Conservatory of Paris, at the beginning of the present

century
;

they have been esteemed of

little

value.

Not

so with

Lupot,

who came from Orleans

to settle in Paris

1794.

He

studied, with great perseverance, the proportions of Stradiuari,

THE HISTORY OF THE

incontestably the best,

VIOLIN.

and selected the

finest

wood

that could
his great

be obtained.
study,

Lupot made the manufacture of Violins

a work of love.
in value with artists to

and

their finish

and stand next

Thus

far

we have only seen

the

They are highly esteemed, good Cremona instruments. manufacture of bow instru;

ments cultivated by inspiration or by imitation

ments
but
less

science was not

brought to bear as an element in the construction of these instru;

we have

arrived at a period of transition in this

respect,

perhaps, from the results obtained, than from the

:

foundations which have been laid

several essays which have

and

I will first

advert to the

been made with the view of dispensing

with certain portions of the instrument, considered as obstacles

to the free production of vibration.

The

first

essay of this kind was

made

in

1816 by Frangois

Chanot, the son of an instrument-maker of Mirecourt, afterwards

an engineer

in the navy.
all
it

Convinced that the best means of prothe various parts of the Violin was to
practicable,

ducing vibration in
preserve, as far as

was

the fibres of the

wood
and

lengthwise, he concluded that the shoulders of the ordinary Violin,

with

their

angles,

were
;

insuperable

obstacles

to

a free

powerful quality of tone

of the belly to give
principles,
it

he believed,

also, that the

hollowing out

the vaulted form was contrary to theoretical

radical error.

and consequently a

He

was persuaded,

moreover, that short fibres favoured the production of acute tones,

and long

fibres

grave ones.

Upon

these principles he constructed

slightly raised, the

a Violin, the belly of which was only

sound-

holes nearly straight, and, in place of sloping the instrument after

the ordinary form, he depressed the sides gradually, similar to the

body of a
of

Guitar.

With a view of favouring

as

much

as possible

the vibration of the belly, he attached the strings to the lower part
it,

instead of to the ordinary tail-piece.

This done, Chanot sub-

mitted his Violin to the Academies of Sciences and Fine Arts of

the French Institute, and a favourable report of the essay was

pubHshed
181 7.

in the

"Moniteur Universel" on the 22nd of August,

these institutions has not

The judgment pronounced by

been confirmed by the opinion of

artists.

12

THE
It is to

rtlSTORY OF

THE

ViOLIN.

be remarked, that what Chanot conceived to be a

dis-

covery was simply returning to the form of Viols of the middle

ages; that the form had been adopted by able makers, and that
there
is still

extant a Bass Viol of Gaspard di Salo, the angles of

in the possession of

which are removed,

that

M.

Frazzini at Milan;
Pietro

another Bass

of the
to

same form,
at

constructed by
that

Guarnieri, belongs

M. Cappi

Mantua; and

M. de

Rovetta of Bergamo, possesses an old Violin of the same form.

The

artists

who made

these essays discovered that the results did

not answer their expectations.

retired officer of the Italian army,

M. Galbussera,
in a Violin

repro-

duced the pretended invention of Chanot

which he

exhibited in the Palace of Brera at Milan in 1832.

M.

Antolini, of

that city, a distinguished artist, criticised in a small

false principle

pamphlet the

which led

to this return to primitive forms.*

Some

years after Chanot's Violin

had been consigned

to the

department of the

museum

specially devoted to this object, Felix

Savart, a physicist of eminence,

struck with the discoveries of

Chladni on the communication of vibrations and regularity of

sonorous waves, devoted himself with great ardour to the application of these discoveries in the construction of

bow

instnunents,

and

after several experiments,

:

made
ist,

with great sagacity, he arrived

at the following deductions

When
come

two or a larger number

immediate contact,
produce the same

of bodies, whatever they

may

be,

into

and one

is

directly put into motion, they all

number of

vibrations at the

same time; 2nd, All these vibrations

follow parallel directions

kind of body

3rd,

The

increase of the sound of any

for

example of a string

depends upon the simulwhich

this string is in

taneity of the vibrations of the bodies with

contact

and

this increase is carried to its highest

point

when

the

bodies put into motion by communication are in such conditions

that, if

they were directly put into motion, they would produce

as the

the

same number of vibrations

body acted upon

in the first

instance.

"

Osservazzioni su due Violini esposti nelle sale dell'

I.

R. Palazzo di

Brera uno de' quali di forma non commune."

Milan, 1832, in 8vo.

THE HISTORY OF THE

VIOLIN.

I3

The

chief consequences

of these

principles

are,

that the

vibrations

produced by the

strings of the Violin are

communicated
back by the
all

to the belly

by the bridge, from the belly

;

to the

sounding-post

and

that the oscillations, in equal

number, of

these bodies, cause equal vibration, and,

oscillations, to the

by

similar

numbers of

mass of
;

air
it

held in suspension within the body

follows that the object in the conis

of the instrument

hence

struction of this sonorous

box

to favour as

much

as possible

the communication of the sound-waves, and to bring

them

into

harmony.
facture of

In seeking the application of

this

theory to the manuerror

in the
first

bow

instruments, Savart

fell

into

pamphlet he wrote upon

this subject,*

when he expressed

the

opinion that the curves, the angles, and the raised belly adopted

by the old manufacturers could only have proceeded from the

prejudices of routine; but he discovered this error while prosecuting the continuation of his studies,

and he ultimately extolled

first

the proportions of Stradiuari, which he

believed to be only

favourable to good effects from

considerations which the cele-

brated maker had not perceived.

A
sen.,

manufacturer of the greatest intelligence, M. Vuillaume,

born at Mirecourt, and settled

in Paris,

devoted himself to

the principles of constructing

bow

instruments, at the very time

Savart was occupied in endeavouring to discover them.

These

two ingenious men,

in constant

communication with each other on

this subject, reciprocally

aided each other.

The

artist

brought to

the

man
for

of science the tribute of his experience, and the

man

of

science to the artist the result of his meditations.

Vuillaume had

been

a lengthened period engaged in experiments on the

density, homogeneity,

and the

elasticity of various

woods, con-

vinced of the importance of this matter for the solution of most of

the problems of acoustics
instruments.
relative to

the sonorous

quality of

He

was thus enabled

'in

to discover the

most suitable

wood

to

be used

the

repairing of ancient

instruments, as

regards their quality or their defects, and the most signal success
*

" Memoire

sur la construction des instruments a cordes et a archet, lu a

le

I'Academie des Sciences

31 Mai, 1819." Paris

Deterville.

One

vol. in 8vo.

14

THE HISTORY OF THE

his researches.

VIOLIN.

crowned

Many

instruments of great price, after

having been deteriorated by unskilful hands, recovered their former

value through the ability of this distinguished maker.

acquired in this respect,

he applied to

all

instruments of his

What he own

manufacture, and his deep

study of the proportions of the best

ancient instruments, joined to his knowledge of the special nature

of woods, and the laws of vibration, has enabled him to produce

a multitude of very superior instruments, which require only time

to

be stamped with excellence.

It will

be seen, from what has been

said, that the art of con-

structing
routine,

bow

instruments has departed from the prejudices of

in the dark,

working

and by imitation,

to pursue the

wake

of science, of observation, and of calculation.

There can be no

doubt that

this is

a real progress

but to shield this progress from

is

all contestation,

the effect of time

requisite.

To

bring a good

instrument to that state

qualities

of equilibrium
it

which
is

will

make

its

manifest,

on the one hand

necessary that the

materials

employed

in its construction should, for a

lengthened

period, be submitted to the action of the various states of tem-

perature and atmosphere; and on the other, that the elasticity

of

its

various parts should have been put for a long time into
its

action, to acquire all

development.

W^
j^rt
i^f^T/^HEN
(jViY'

anb jPLrtijstB.

singers possessed only part-songs, such as madrigals,

for four, five, or six voices, positive instrumental

and glees

music was unknown.

parts in unison, either
Spinett, or

Instrumentalists played the voice

on bow instruments, or the Organ and

Flutes,

on wind instruments, such as Oboes,

;

Horns,

or

Cromoms
five,

for each instrument was then divided into upper,

high, counter, tenor,

four,

and

bass.

The

ricercari

and dance tunes

for

or

six

Viols,

formed the

only instrumental

music

properly so called.

Little skill

was necessary

in the execution,

and
music

artists

required

no greater

amount of

talent

than

the

itself displayed.
it.

As regards

the Violin, few persons then

Battista,

cultivated

In

Italy

one Giovanni

sumamed Del

Violino,

is

constantly cited, on account of his Violin performance.

He
of

lived in 1590.

As regards

Giulio Tiburtino and Ludovico

Lasagrino,

who were

in high repute at Florence

about 1540, and

whom

Ganassi del Fontego speaks in his " Regola Rubertina,"

they were performers on the Viol, and not Violinists.

may be
court

said of Beaulieu, Salmon, and others,

The same who were at the

the

of

France.

According to

Mersenne,

French

dis-

tinguished themselves as violinists at the

commencement
Violins

of the

seventeenth century.
elegant

He

speaks in terms of great praise of the

playing of Constantine,
;

King of the
artists lived

of the

vehement enthusiasm of Boccan

of Lazarin and
ever,

of the delicacy and expression

in

Foucard.

These

1630.

Howdis-

France soon afterwards

lost its superiority in that respect.

In 1650,

Father Castrovillari, a

monk

of

Padua, became

tinguished by his performance on the Violin, and by the music he

wrote for that instrument.

it

The

art of executing difficulties

upon

must have attained a high degree of progress

in the north of

ART AND ARTISTS.

far

Europe, even as

back as 1675,

for

Jean Jacques Walther,

principal Violin soloist at the court of Saxony, published at this

period several works,

among which one

is

peculiarly remarkable,

and bears

for

its title

" Hortulus Chelicus " (Mayence, 1688, in

oblong quarto of 129 pages), containing sonatas and serenades, to be performed on a single Violin, with double, triple, and quadruple strings.

This work, which displays great invention, consists

of twenty-four pieces.

The

title

of the last

may

serve to

show

the novelties which Walther introduced to the art of playing the Violin
:

" Serenade for a chorus of Violins, Trembling Organ, small

Guitar, Bagpipe, two Trumpets and Kettle Drums,

German

Lyre,

and Muted
of his day.

Harp, for a single Violin."

The

various effects of

this piece for

a single Violin prove that ^Valther was the Paganini

Giovanni Battista Bassani, a Venetian composer, was a pupil of

Castrovillari for the Violin,

and became celebrated

for the excel-

lent style of his instrumental music.

Among many

other composi-

tions of various styles, there

for Violin

is

a set of his sonatas

in

"da camera"
fixed the

and

Bass,

pubhshed

1679, and thirteen sonatas for

their kind,

two Violins and Bass, excellent of

style of

and which

music

for

bow

instruments at the period at which they

appeared.

Bassani had the

honour of being the master of

Corelli, the great artist, possessed of

immense

talent,

who by

the

elevation of his

ideas,

and the perfection of

Arcangelo

his

style,

placed

himself at the head of the Violin School, and hastened the progress of the art considerably.
Corelli, a

name

justly

celebrated in the annals of music, will descend to ages unborn

without losing a particle of

effected in the

its

glory,

whatever revolutions
great artist

domains of

art.

The
was

may be who bore that

name, no

less celebrated for his

compositions than for his mar-

vellous execution at that period,

bom

in 1653, at Fusignano,

a small town in the States of the Church, and died at

the
1

8th of January, 17 13.

Rome, on His contemporaries were not jealous

welcomed
to
his

of his glory, for the whole of Europe

talent with
his

unanimous acclamations
in the

his

countrymen deposited

remains
to that

Pantheon, and erected a

monument

him close

ART AND ARTISTS.

of Raphael.
still

17

At the expiration of a century and a

art has
its

half, Corelli is

considered as the primitive type of the best Violin schools

effects unknown mechanism has attained a high degree of

and although the

in his

been enriched by many

works

day

although

perfection, the study of his

is still

one of the best His

fifth

for the

acquirement of a broad and majestic

style.

work, com-

posed of twelve sonatas

for the Violin, with the

continued Bass
is

for the Harpsichord, printed at

Rome

in 1700,

a masterpiece

of

its

kind.
art of playing the Violin,

The

and the composition of music

whole of the eighteenth

for this instrument, continued during the

century to progress rapidly.

in almost every
with.

At the commencement of this century

a distinguished
violinist
artist.

town of

Italy,

was met

The

genius of Corelli roused that of every

At

Pisa,

Costantino Clari, equally remarkable as composer and executant

at Florence, Francesco Veracini at
;

at Bologna,

Geronimo Laurenti

Modena, Antonio

Vitali
;

at

Massa

di Carrara,

Cosmo

Perelli

and Francesco Ciampi

instruments

at Lucca,

Lombardi ;

at

Cremona, Visconti,
Michaele Mascitti.

whose counsels greatly aided

;

Stradiuari in the manufacture of his

;

at Pistoia,

Giacopino

at Naples,

Others, as Matteo Alberti,

Tommaso

Albinoni, Carlo Tessarini,

and Antonio

Vivaldi, all pupils of Corelli, were in their

first

day not

only virtuosi of the

order, but admirable writers of instru-

mental music.

Vivaldi was one of those predestined artists

impress upon the art of their time a

new

direction.

who To him may

;

be attributed the

first

improvement of the concerto

a work in which
its

for

the

concerto grosso of Corelli is

all

the parts agree

" L'Estro
for four

together,

and each

in

turn partakes of

interest.

Armonico" of
Violins,

Vivaldi,

composed of twelve concertos

two Viols, Violoncello, and Thorough-Bass

for the Organ,

follows this

model

but in his

sixth, seventh, eighth, ninth, tenth,

eleventh and twelfth work, the genius of the author takes another
flight,

and although there

is

no

division of solo

and

//////,

the prin-

cipal Violin part governs all the rest.

The melodies

of Vivaldi

bear a modern complexion that Somis and Geminiani imitated.

Among

the above-mentioned galaxy of distinguished talent,

l8

ART AND ARTISTS.

first

the model violinist of the

half of the eighteenth century

was

Giuseppe Tartini, born

1692.

at Pirano, in Istria,

on the 12th

of April,

His early days were beset with

difficulties,

but having

had the opportunity of hearing the celebrated who happened to be at Venice when he was
revealed
ruptedly
;

violinist, Veracini,

there, his vocation

itself.

He

withdrew to Ancona to practise uninterin solitude

and he applied himself

more

especially to

the fundamental principle of bow movements, principles which

have since served as the basis of every Violin school of Italy and
of France.
Settled in

Padua

in

1721, as principal soloist and

St.

chapel master of the celebrated church of

forty-nine years of peace

Anthony, he passed

and comfort,

solely occupied with the

labours of his

art,

In

1728, he established a school

and died there on the i6th of February, 1770. in that city, which became
ot

famous throughout Europe, and from which issued a multitude

violinists,

among whom
Bini,

the following

may be

cited
to

Nardini,

Pasqualino

Alberghi,

Domenico

Ferrari,

whom

is

attributed the invention of harmonic sounds, Carminati, Capuzzi,

Madame
Houssaye.

de Sirmen, and the French

violinists,

Pagin and La

Tartini not only contributed towards perfecting the

art of playing

the Violin

by

his

compositions for that instru-

ment, but by the pupils he formed.

elevated
dry.
;

His

style

is

generally

his ideas varied,

and

his

harmony pure without being

There are also nearly
" Sonata del

The number
sonatas of his,

of his published concertos and manuscripts

fifty.

amounts to nearly one hundred and

fifty

among which
is
it
:

is

his

Diavolo,"

the anecdote of which

Tartini thus related

"One night
my

not dissimilar to that told of Paganini.

in 17 13, I

dreamt that
to

had

entered
service.

into a

compact with the

devil,

who was
by the

be

at

my
my
it

All succeeded to

utmost desires.

J'ty

wishes were

always anticipated,

my

desires surpassed,

services of

new

domestic.

thought of giving him

my

Violin, with the view

of discovering whether he would play some fine things upon

but what was

beautiful

my my

surprise

when

heard a sonata so exquisitely

skill
its

and

original,

executed with such consummate

and

in-

telligence, that

deepest conceptions could not find

parallel.

ART AND ARTISTS.

Overcome with
violent sensation

surprise

and

pleasure, I lost
I instantly

awoke me.

seized
I

my breath, my Violin
I

which
in the
in

hope of remembering some portion of what

vain.

had heard, but

The

piece which this

is

dream suggested, and which

all
it

wrote
I

at the time,
still call it

doubtless the best of

my

compositions, and

" Sonata del Diavolo," but

sinks so

much

into insig-

nificance

compared with what

I heard, that I

would have broken

my

instrument and abandoned music for ever, had

my means

permitted

me to do so." Among the pupils of Corelli, one

who was born
at Lucca,

of the most distinguished was

Geminiani,

about 1680.

Having

termi-

nated his studies under

in 1714,

this celebrated master,

he went to England
in Dublin, the

made some good

and
solid,

pupils there,

and died

17th of September, 1762, in his eighty-third year.

His execution

was

brilliant

but his compositions were wanting in

imagination, being only a

weak

imitation of Vivaldi's style.

Somis,

another pupil of Corelli, was born in Piedmont, towards the close

of the seventeenth century, and had visited
his youth, for the

Rome and

Venice

in

purpose of learning under the virtuosi of that

period.

Corelli

made him study

his sonatas,

and Somis

at first

became attached
modified his
style,

to his style, but

when he heard

Vivaldi, he

and copied him

in his compositions.

Somis

was the founder of the Piedmontese Violin school, which, after

the death of Tartini, greatly influenced the art of playing
this instrument.

upon

Baptiste Anet, better

known
at

as Baptiste,

who

received lessons from Corelli,

came
all

to Paris

about 1700, and was

a period when,

considered a prodigy, not at

surprising

according to LuUy, " the best

king's

violinists of the opera,

and of the
without

band,

were

incapable

of

playing their

parts

previous study."

Rather a mediocre musician, Baptiste made but

he efiected no improvement
violinists.

one

pupil, Senaille, so that

in the

formation of a French school of

Besides, he resided

only five years in Paris, having accepted a position in Poland

which was offered

to him.

The

glory of laying the foundation of a Violin school in France

for

was reserved

Jean Marie

I.eclair,

pupil of Somis, and a cele-

c 2

ART AND ARTISTS.

brated
violinist.

He
;

was

bom

at

Lyons

in 1697.

He

at first

used

the Violin as a dancing master, for in his youth he appeared as a

dancer

Turin, Somis,
tunes,

Rouen but having been engaged as ballet-master at who was pleased at hearing him play some dance gave him lessons, by which he made rapid progress. After
at

two

years' study,

the pupil surpassed the master.

Leclair con-

tinued his practice perseveringly, and ultimately became a cele-

brated performer.

Arriving in Paris in 1729, he was engaged in

the orchestra of the Opera, and afterwards in the king's band.

The

pupils he formed,

and the publication of

his sonatas,

his

duets,

and

trios,

are the starting points of the school of French

in influenc-

violinists.

Jean Baptiste Senaille had also some part

ing the

first

development of

this school.

Born

in Paris, the 23rd

of November, 1687, he took lessons from Queversin, one of the

twenty-four violinists of the
king's great band,

and afterwards
fame of the

became
Italian

the pupil
violinists

of Baptiste Anet.
of
that

The

great

period

induced him to proceed to

Modena, where he received

lessons from Antonio Vitali.

city,

He
to

produced a great sensation in that

and became attached

the Court, through the influence of the

Grand Duchess.
excellent pupils,

Return-

ing to Paris in 17 19, he

others

made some

among
for the

Guignon,

and

probably

Guillemain,

who obtained a

certain degree of celebrity for

Violin.

some admirable sonatas

Of
his

all Corelli's pupils,

the one
his

who departed
justly

the most from

extra-

master's

style,

and by
Pietro

daring

arrived at most

ordinary results,
violinist,

was

Locatelli,

celebrated

as

bom

at

Bergamo

in 1693.

He

could have received but

few lessons from his

of age

illustrious master,

being scarcely sixteen years

original,

when

Corelli died.

Bold and

he invented new

combinations in tuning the Violin, in double notes, arpeggios, and

harmonic sounds.

The most important work

in

which he put

forth the result of his discoveries in these various matters, bears

the

title

of "Arte de nuova modulazione."

The French many

editions

of this work are entitled "Caprices dnigmatiques."

If Locatelli,

who

died in Holland in 1764, did not produce

pupils,

he

ART AND ARTISTS. had many

talent
imitators, LoUi, Fiorillo,

2t

and above

all,

Paganini, whose

was the most complete development of this model.

school, founded

The Piedmontese
become

by Somis, was destined

Paris

to

the most fruitful in first-class talent. or Chabran,

Besides Leclair, his

at

nephew Schabran,
1

became celebrated
and above
all

in

75 1.

Giardini, a

model of

grace,

Pugnani, who,

endowed with a highly developed

influence

organisation, exercised a great

upon the

art,

by the grandeur of his executive style, the

variety of his bowing,

and the improvements he introduced

into

the form of the concerto, as regards the effect of solos.

Having

become
the

the leader of the Piedmontese school, Pugnani arrived at

zenith

of his glory in maturing and

brilliant talent

forming

the purer,

beautiful,

and

of Viotti,

who

subsequently became

both the model and despair of the

violinists

of every country.

Contemporary with Pugnani, Gavinies

for the Italian school.

effected for the

French

school at Paris what the Piedmontese violinist effected at Turin

Mechanism of
feeling; such

the bow, which

style,

renders

every difficulty easy, perfect intonation, imposing

replete with

expression

charm and

were the

qualities

which

excited

Viotti

Tartini frangais."

when he heard Gavinies, whom he called "le The talent of this artist was especially apprevalue upon various occasions at concerts of

ciated

at its full

sacred music, where other violinists of incontestable merit had

performed.

He

bore away the palm

after

contesting

it

with

Pugnani, Domenico Ferrari, and John Stamitz.

The
describe.

arrival of Viotti in Paris

produced a sensation

difficult to

No

performer had been heard

who had

attained so
fine

high a degree of perfection

-no

artist

had possessed so
and a

tone, such sustained elegance, such

fire,

style so varied.

The

fancy which was developed in his concertos increased the

delight

he produced

in his auditory; his compositions for the

Violin were as superior to those which had been previously heard

as his execution surpassed that of all his predecessors

and

rivals.

When this beautiful music became known, the rage

of Jarnowick

for the concertos

became

extinct,

and the French school adopted more

pupils
;

enlarged views.

Viotti

made few

but there was one who

ii

ART AND ARTISTS.

Rode, who possessed
all

alone was worth an entire school

brilliant qualifications

the

of his master.

There are few

alive at the

present day

who have heard who

did will

this artist

in his prime,

when he

played at the concerts in the

those
artists

Rue Feydeau and

is

at the

Opera; but

never forget the model of perfection

It

which entranced them.

an interesting remark, which

deem

it

a duty to make, that from Corelli to

hiatus in the school

Rode

there

is

no

^for

Corelli

was the master of Somis, Somis

two other

of Pugnani, Pugnani of Viotti, and Viotti of Rode.

When

the talent of

Rode was

at its zenith,
First,

violinists

rendered the French school

illustrious.

Rodolphe Kreutzer,

the son of one of the Court musicians,

in 1766,

and was a pupil

school,

who was born at Versailles of Anthony Stamitz, a German violinist,

Kreutzer at
first

who founded a
style of his

adopted the narrow

master; but, under the guidance of Gavinies,

and

after hearing Viotti, his

method became broader, more

His tone was
less
full

brilliant,

and bold beyond conception.

mellow; and
mastery of
his
difficulties.

rather than

manner of expression

remarkable than his

originality,

His great quality was

being
his

no

follower of any system,

and obeying only the impulsion of

own energetic sensibility. Kreutzer founded a school, and made many pupils, who have taken advantage of his qualities, and who
generally, are
Baillot, of
violinist

remarked

for their brilliancy of execution.

whom

have

still

to speak,

was not only a great

by the
his

readiest

and most varied mechanism imaginable,

but he was a poet by his exquisite feeling for the beauties of

music and

ready conception of the style necessary for impartPollani,

ing the true character of each composition.

pupil of

Nardini, was one of Baillot's masters

talent of Baillot

but the immense natural

;

formed the rich basis of his own fancy

a great

solo performer, he never

bilities,
if

went
to

to the

extent of his vast capa-

the

work he was

interpret failed to

awaken

his

appreciation.

At the Opera, where he was engaged

to play the
at

solos for dancing, he was only the

shadow of himself ; but when

of Haydn, of Mozart,

annual meetings for the performance of quartetts and quintetts,

with
the

genius

of Boccherini,

and of

ART AND ARTIStS.

Beethoven, his enthusiasm was aroused
;

23

he became sublime and

unequalled for his varied accentuation, the various shadings of

expression,

and the poetry of

his ideas.

His bow was magical

inspiration,

and every note under

Baillot

his fingers

became an eloquent

was not only a great

violinist

he

was a great professor.

his pupils
is

The number
siderable.

of excellent violinists

who were

conof

His school produced Habeneck and Mazas

artists.

both
stands

whom

were eminent

Having become professor

at the

Conservatory of Paris, and the successor of his master, Habeneck

produced some

clever pupils, at the head of

whom

M.

Alard, the present chief of the French school.

Lafont, too, one of the bright glories of the French school

of

violinists,

was, at

first,

the pupil of Kreutzer.

Dissatisfied

with the style of his master, which did not sympathise with his

own, he joined the school of Rode, which seemed formed

for the

development of
elegance,

his

own

qualities,

combining

grace,

purity,

and charm

qualities which, subsequently, with

art.

study,

rendered him a perfect master of his

intonation was so certain
his
taste

The
that,

perfection of his

the

style of his

bowing so seductive
if

so exquisite in his ornament

left

the sentiment

of grandeur
it

anything to be desired,

it

was scarcely perceptible,

was

lost in the rapture created

by

his grace

and

delicacy.

new

school has been formed.

allude to the

Belgian

school for the Violin, which numbers a nation of heroes, the

chiefs of

whom

are

De

Beriot and Vieuxtemps

is

but, convinced

that the history of one's friends

as difficult to write as that of

one's enemies, I shall leave to future historians the agreeable task

of handing
country.

down

to posterity the

names of these

glories of their

Germany has produced

principal qualities have

several schools of violinists,

whose

been perfect intonation and neat execu-

tion; but which in the eighteenth century, especially, wanted a

more powerful tone and broadness of

invented by
left

execution.

The

prodigies
to

Walther in the seventeenth century,

Italy

seem not

have

any

traces.

and Bohemia were the cradles of two

from whence the others proceeded.

schools of

German

violinists,

24
Corelli,

ART AND ARTISTS.

who

disseminated

every\vhere
vioHnist
in

the the

effects

of

his

powerful

influence,

was
in

first

chapei

of

the

Margrave of Anspach,

1699,

when
of the

Pisendel, then choir-boy,

his guidance,

became

his pupil,

and made such progress under

first

that he became

violinist

chapel in

1702.

This
to the

Pisendel, having become an eminent

violinist,

was attached

Court of Saxony as master of the concerts, and opened, at

Dresden, a school for the Violin.
All the traditions of his master

were transmitted to
in

his pupils, but with the

It

mannerism

that

was

vogue

at the

Court of Dresden.

was here the

talent of

Johann Gottlieb Graun, brother of the celebrated composer of

that name,

and master of the concerts of Frederick the Great, King

of Prussia, was formed.

Graun possessed

sterling talent, of

which

he afforded many proofs, both by the pupils he made and by

twenty-nine concertos for the Violin in manuscript,
I

some of which

have seen, and which evince a remarkable degree of cleverness.

left

In his youth, when he

Italy,

the school of Pisendel, he went to

and there received

lessons from Tartini,

whose

style

he

adopted.

The

school for the Violin founded in Bohemia,

by Konieseck of Prague.
been the

Konieseck

is

only

commenced known as having

artist,

master of Francis

Benda, a great

bom
His

at

Althenatka, in Bohemia, the 23rd of November, 1709.

first

master was a blind Jew, of the

violinist

name

of Loebel, a very eminent

He

subsequently became the pupil of Konieseck, and

style,

acquired his brilliant

transmitted to

though deficient

in

tone,

which he

all his pupils.

The

school of Benda, from which

proceeded his two sons, Ramnitz, Rust, Matthes, and several

others,

was celebrated

for a

long period in Germany.

From

this

school

came most of

the Saxon and Prussian violinists.

Benda,

after the

death of Graun, succeeded him as master of the concerts

at the

Court of Prussia in 1772, and died at Potsdam in 1786.

Stamitz,

John Charles
his Violin master

a remarkable

violinist,

and

distin-

guished composer, emanated from Bohemia; he was born in 1719,

was a monk of the Abbey of Reichenau, the

Being
in

Father Czernohorsky.

the service of the Palatinate

ART AND ARTISTS.

Elector in 1745, Stamitz

^5

became

the founder of the celebrated

school of Mannheim, which produced the greater

number of

the

German

violinists of later days.

The

concertos of Stamitz, and a

duet for one Violin, several times published, would alone suffice
to prove the great capabilities of this artist
:

even did his pupils

not bear evidence in favour of this judgment.

Among

his pupils

were his

two sons, Charles and Anthony, Canabich, Foerster,

others.

and several and

all

Christian Canabich succeeded his master;

his pupils

were William Cramer, Banner, Ignace Fraenzel,

artists,

of

whom

were distinguished

but of different

styles.

Cramer and Banner possessed broadness

tone was somewhat thin,

in the style of bowing,

but Fraenzel was a graceful and elegant performer, though his

pupil of Banner,

John Frederick
of

Eck, born at
this school.

Mannheim
This
artist,

in 1766,

became a

brilliant violinist

director of the concerts of the Court of

Munich, was the master of Spohr

at least, as far as talent

can be

formed, until individual organisation

stamp of personality.
in

and meditation receive the has founded a VioHn school Louis Spohr
scale than

Germany, on a more extended and more vigorous

those of his predecessors.

When

Paganini heard him at Venice,

he spoke of him in unqualified terms of approbation. worthy artist has formed many pupils, who occupy
honourable positions in the large
principles
cities,

This

most

and he has exposed the

work,

of his

school in an

extensive

published by

Haslinger, of Vienna,

and subsequently

translated into French

and English.

;;g^tici)Io

^aganini.

UrCENIUS talent,

whatever

its

extent

cannot
this

always count

Y^

upon

popularity.

Susceptibility of the highest conceptions

fail

of the most sublime creations, frequently

the attention of the multitude.
to

in securing

How

is

most coveted point

any precise

be attained?

It

would be
it

difficult

to arrive at

conclusion, from the fact that

applies to matters totally differing

from each other;

it

is,

however, perhaps possible to define the

aggregation of qualities required to

calling
it

move

the public in masses,

is

by
its

"sympathetic wonderment."

Fortunate boldness

characteristic

mark

originality its absolute condition.

The most
differed

renowned popularities of the nineteenth century have each

in their specialty,

Napoleon

Bonaparte, Rossini, and Paganini.

Many
and

other names, doubtless, recall talents of the finest order,

;

personalities of the highest value

yet,

notwithstanding their

having been duly appreciated by the intelligent and enlightened

classes,

they have not called forth those outbursts of enthusiasm

which have been manifested towards others during an entire

generation.
prestige,

The

truly popular

name appears surrounded by

;

its

even to the lowest degrees of the social scale

such was

the case with the prodigious artist

who

is

the object of this notice.

Nicolo Paganini, the most extraordinary

violinist

of the nineteenth century

the most renowned was born on February the

i8th,

1784.

His

father,

Antonio Paganini, a commercial broker, or

simply a broker's clerk, according to some biographers, was passionately fond of music,

and played upon the mandoline.

should

His
art.

penetration soon discovered the aptitude of his son for this

He

resolved

that

study

develope it

His

excessive

NICOLO PAGANINI.
severity

2^

would have probably led

to results contrary to those he

expected, had not the younger Paganini been

firm determination of

endowed with the

the age of six

becoming an

artist.

From

years he was a musician,

and played the

Violin.

The

lessons he

received from his father, as

the most
gentle

manner.

may be presumed, were not given in The ill-treatment to which he was

of his
his

subjected

during this

period

youth,

appears to

have

exercised a fatal influence

tion.

upon
and

nervous and delicate constitu-

From

his first attempts

he was imbued with the disposition

agility

to execute feats of strength

instinct

upon

his instrument.

His

urged him to attempt the most extraordinary things; his

skill

precocious

exciting the astonishment of his

in the future

young
you

friends. fact

His confidence

was not

to

be shaken, from the

of his mother saying to him one day, "

great musician.

My

son,

will

be a

An

angel, radiant with beauty, appeared to

me

during

the night, and,

addressing me,
it

spoke thus
I

'

If thou

wouldst proffer a wish,

shall

be accomplished.'
all

asked that

you should become the greatest of

promised the fulfilment of

violinists,

and the angel

a

my

desire."

His

father's

lessons soon

became

useless,

and

Servetto,

musician of the theatre, at Genoa, became his teacher; but even

he was not possessed of

predestined
artist.

sufficient ability to

be of benefit

to this

Paganini received his instructions for a short

period only, and he was placed under Giacomo Costa, director of

music, and principal violinist to the churches of Genoa, under

whose care he progressed

eighth year,
nately took

rapidly. his
first

He
lost

had now attained

his

when he wrote
no care
of,

sonata,

which he unfortuother of

and has been

among many

his productions.

His countryman, Gnecco, a distinguished comvisits

poser,

encouraged the

of the boy, and tendered counsel

in his progress.

which doubtless aided him materially

gave him lessons for
six

Costa only

months, during which period he obliged

his pupil to play in the churches.

But the master's instructions

were not

at all

satisfactory to the pupil,

who had

already con-

ceived a method of fingering and bowing.

Having reached

his ninth year, the

young

virtuoso appeared in

28
public, for the

NICOLO PAGANINI.
first

time, in a concert at the large theatre of his

native town, given by the excellent soprano Marchesi, with the

vocalist Albertinatti.

These two

artists

sang subsequently at a

concert for Paganini's benefit, and in both these instances this

extraordinary child played variations of his
the French
air,

own composition on
life

" la Carmagnole,"

amid the frenzied acclamations

this

of an enthusiastic audience.

About

period of his

the father

was advised, by judicious

friends, to place the

;

boy under good

shortly after took

masters of the Violin and composition

and he

him

to

Parma, where Alexandro Rolla then resided, so celebrated

conductor of the orchestra, and as a com-

for his performance, as

poser.

Paganini was

now

twelve years of age.

The

following

anecdote, related by M. Schottky, and which Paganini published

in a
first

Vienna

journal, furnishes interesting details of the master's

:

interview with the young artist

" On

arriving at

Rolla's

house, he said,

we found him

ill,

and

in bed.

His wife conducted

us into a

room adjoining the one where

it

the sick

man

lay, in

order
dis

to concert with her husband, who,

appeared, was not at

all

posed to receive
into

us.

Perceiving upon the table of the chamber

last

which we were ushered a Violin, and the

I

concerto of
first

RoUa,

took up the Violin and played the piece at

sight.

Surprised at what he heard, the composer inquired the the virtuoso he had just heard.

name

of

When

he heard

it

was only a

mere

lad,

he would not give credence

to the fact unless

by ocular

demonstration.

Thus

satisfied,

he told me, that he could teach

me

nothing, and

fi-om Paer."

recommended me to take lessons in composition The evident desire evinced by Paganini to refute
is

the supposition of his having received lessons from Rolla,

singularity difficult to account for.

a
at

Gervasoni,

who knew him

in

Parma

at this period, affirms* that

he was the pupil of Rolla

for

several months.

However,

it

was not Paer, then

Germany,

who
*

taught Paganini harmony and counterpoint, but Ghiretti,

who

Teoria di Musica," &c. Parma, 1812. I vol., in 8vo (page 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.
214).

"Nuova

NICOLO PAGANINI.

29

had directed the

precocious
artist

studies of Paer himself.

During
weekly,

six

months

this

received
the

three

lessons

and
on

specially

applied himself to

study of instrumentation.

Even now
his instru-

Paganini was occupied in discovering

new

effects

ment.

Frequent discussions took place between him and Rolla

artist

on the innovations which the young

which he could,

contemplated, and

at this period, only execute imperfectly, whilst the

severe taste of his master deprecated these bold attempts, except

for the sake of occasional effects.
It was,

however, only after his

compositions for the

return to Genoa, that Paganini wrote his

Violin.
it

first

This music was so

difficult that

he was obliged to study

himself with increasing perseverance, and to

make constant

efforts to solve

problems unknown to

all

other violinists.

He

was

seen to have tried the same passage in a thousand different ways

during ten or twelve hours, and to be completely overwhelmed
with fatigue at the end of the day.
It is

by

this

unexampled

perseverance that

he overcame

difficulties
artists,

which were considered

insurmountable by contemporary

when he published a
1797,

specimen

in the

shape of a collection of studies.

Quitting

Paraia, at the

commencement of

Paganini

made

his

first

professional tour with his father through all the

principal towns in I^ombardy,

and commenced a reputation which

increased daily from that period.

after

On
the

his return to
efforts
feel

Genoa, and

having,

in

solitude,
his talent,

made

necessary for the

the weight of the

development of

he began to

chain by which he was held by his father, and determined to

release

himself

from the

ill-treatment

to

which he was

still

subjected under the paternal roof

this

His

artistic soul revolted at

degrading slavery, and

felt

that

some respect

Avas

due

to him.

favourable opportunity alone was required to execute his design.

itself

This soon presented

The
As

fete of St.

Martin was celebrated

annually at Lucca by a musical

festival, to

which persons flocked

from every part of

Italy.

this

period approached, Paganini

it,

entreated his father to permit him to attend

his elder brother.

accompanied by

His demand was

at first

met with a peremp-

tory refusal

but the solicitations of the son, and the prayers of

30

NICOLO PAGANINI.
artist, at

the mother, finally prevailed, and the heart of the young

liberty for

the

first

time,

bounded with

joy,

and he

set

out

by dreams of success and happiness. At Lucca he was Encouraged by this propitious debut, received with enthusiasm.
agitated

he

visited Pisa,

and some other towns,

in all of

which

his success

was unequivocal.

The

year

1799 had just

commenced, and
This
is

Paganini had not attained his fifteenth year.

not the age

of prudence.

His moral education had been grossly neglected,

which assailed
to
his

and the

severity

more youthful

years,

was not

calculated to

awaken him
and

the dangers of a

life

of freedom.

Freed from

restraint,

relishing the delights of his

artists,

new-born
sole
in

independence, he formed connections with other

abilities

whose

seemed

to consist in encouraging a taste for

gambling
tables

young men of family and means, and turning the

upon
fre-

them

to their

own

advantage.

Paganini, in this manner,

quently lost the produce of several concerts in one night, and was

consequently often in a state of great embarrassment.

His

talent

soon procured fresh resources, and time passed gaily enough,

alternately

between good and bad fortune.

He
In

was frequently
condition he

reduced, by distress, to part with his Violin.

this

found himself

at

Leghorn, and was indebted to the kindness of a

for the

French merchant, (M. Livron), a distinguished amateur,

'

loan of a Violin, an excellent Guamieri.

When
its

the concert had

concluded,

Paganini brought

it

back

to

owner,

when
This
is

this

gentleman exclaimed, "Never

fingers

will I

profane strings which your

is

have touched

that instrument

now

yours."

the

Violin Paganini afterwards used in

all his

concerts.
diff"erent

A similar

event

occurred to him at Parma, but under

Pasini,

circumstances.

an eminent painter, and an excellent amateur performer

Violin,

on the

had disbelieved the prodigious

he had
maturely studied

faculty

imputed
sight,

to Paganini, of playing the most difficult music at as

well
as
if
it.

first

He

brought him

a manuscript concerto,

containing the most difficult passages,

imagined almost by every performer as

" This instrument shall be yours,

insurmountable,

and

placing in his hands an excellent instrument of Stradiuari, added,

if

you can

play, in a

masteriy

NICOLO PAGANINI.
manner, that concerto
replied
at
first

31
" If that
it,"

sight."

is

the

case,"

Paganini,
exquisite

" you

may

bid adieu to

and he

forthwith,

by

his

performance of the piece, threw Pasini into

extatic admiration.

Adventures of every kind characterise

early days time,
;

this period of Paganini's

the enthusiasm of

art, love,

and gambling, divided

his

despite

the warnings

of

a delicate constitution, which

proclaimed the necessity of great care.

Heedless of everything,
until the prostration of all
lie

he continued his career of dissipation,

his faculties

forced a respite.

He

would then
until,

up

for

several

weeks, in a state of absolute repose,

with refreshed energies,

life.

he recommenced

his artistic career

and wandering

Unex-

pected resources occasionally relieved him from positive poverty.

In

this position, at

seventeen years of age, being at Leghorn, in

1 80 1,

he became acquainted with a wealthy Swedish amateur,

whose favourite instrument was the bassoon.

he could meet with no music
difficult for his talent,

Complaining that
sufficiently

for

his instrument,

Paganini provided him with compositions

It

almost impracticable, for which he was richly rewarded.

to

was

be feared that

this

dissolute
talent,

life

would ultimately deprive the ended

world of his marvellous

circumstance,
related

when an unforeseen and important

his fatal

by

himself,

passion

for

gambling.
" I shall never forget," he said, " that I one day, placed myself
in a position

which was
time,

to decide

my

future.

The

Prince of

had, for

some
I

coveted the possession of

my
still

Violin
have.
I

the
He,

only one

possessed at that period, and which I

on one particular occasion, was extremely anxious that

mention the sum
to part with
for

should

which

would dispose of
I

it

but, not wishing

sell it for

my

instrument, I declared

would not

250

gold napoleons.

Some

time after the Prince said to

me

that I

was, doubtless, only speaking in jest in asking such a sum, but

that

he would be willing
in the greatest at play,

to give

me

2,000 francs.
to

I was,

at this

moment,
I

want of money

meet a debt of honour

to

had incurred

and was almost temjjted

I

accept the

proffered amount,

when

received an invitation to a party that

32

NICOLO PAGANINI.
All
all

evening at a friend's house.

francs, as I

had disposed of
I resolved
fickle,

my capital consisted of thirty my jewels, watch, rings, and

this last

brooches, &c.
fortune proved

on risking

resource

and,

if

to sell

my
;

Violin to the Prince and to

proceed to St Petersburg, without instniment or luggage, with the

view of re-establishing
to three,

my

affairs

my

thirty francs

were reduced

and

fancied myself on the road to Russia,

;

when suddenly

my my

fortune took a sudden turn

capital I

and, with the small remains of

won i6o

francs.

This amount saved

that

my

Violin,

and

completely set

me

up.

From
part

day

abjured gambling

to

which

had
is

sacrificed

of

my
all

youth

convinced

that

a gamester

an object of contempt to
still

well-regulated minds."

Although he was

in the
profit,

prime of youth, Paganini knew of

nothing but success and

nations to which
all

when, during one of those

halluciits

great artists are subject, the Violin lost

attractions in his eyes.

in love with him,

lady of rank having fallen desperately

and the

feeling being reciprocated,

he withdrew
This lady
instru-

with her to an estate she possessed in Tuscany.*

played the Guitar, and Paganini imbibed a taste

for that

ment, and applied himself as sedulously to

formerly

its

practice as he

had

done

with the

Violin.

He

soon
;

discovered

new

resources, which he imparted to his friend

and during a period

of three years, he devoted

all

the energies of his

mind

to its study,

and

to agricultural pursuits, for

which the

lady's estate

afforded
his

him ample
works.

opportunities.

It

was

at this period

he wrote

two

sonatas for Guitar and Violin, which form his second and third

Love

cools with time in a castle as in a cottage.

;

Paganini

discovered this

all his

former penchant for the Violin returned,

his
travels.

and he decided on resuming

Genoa,
in

On

his

return to

1804, he occupied himself solely with

his fourth

composition,

and wrote here

work which

consists of four grand

This circumstance
later, this
life,

in the life
it

of Paganini

made very

little

impression

upon me when he
career
:

me, as I was only interested in his artistic anecdote appeared important to establish the chronological
relatetl

to

order of his

as will

be hereafter

seen.

NICOLO PAGANINI.
quartetts for Violin, Viol, Guitar,
variations for Violin,

33
;

and Violoncello
It

and bravura
accompani-

on an

original theme, with Guitar

ment, which forms his

fifth

work.

appears too, that at this

period he gave instruction on the Violin to Catarina Calcagno,*

born
Italy

at

Genoa,

in

1797, who, at the age of

style.

fifteen,

astounded
lost after

by the boldness of her

All traces of her

seem

Towards the middle of 1805, Paganini left Genoa, to undertake a new tour in Italy. The first town he visited was
1816.

Lucca, the scene of his

great a sensation
festival in

first

successes.

Here he again created so

at a nocturnal

by a concerto he performed

a convent chapel, that the

monks were

obliged to leave

their stalls, in order to repress the applause

which burst forth

despite the sanctity of the place.

He

was then twenty-one years

of age.

The

principality

organised in the

of Lucca and Piombino had been month of March, of the same year, in favour of

the Princess Eliza, sister of Napoleon, and the wife of Prince

Bacciochi.

Lucca.
to oifer

The Court had fixed its residence in the town of The great reputation of the violinist induced the Princess
director

him the posts of

of her private music, and

conductor of the opera orchestra.

sity for

Notwithstanding his propen-

independence of action, and although the emoluments

it.

were scanty, the position pleased him, and he accepted

Prince Bacciochi received instruction from him on

The

the Violin.

The

Princess,

who had

appreciated the originality of his talent,

effects

induced him to extend his discoveries of novel

instrument.

upon the

To

convince him of the interest he had inspired her

with, she granted

him the grade of captain

Paganini added
talent.

in the royal gendarmerie,

so that he might be

admitted with his brilliant

costume

to all the

great Court receptions.

many

novelties to those
effect

which characterised his

Thus, seeking to vary the

it

of his instrument at the Court concerts, where

play,

was

his

duty to

he removed the second and third

first

strings,

and composed a
has related this

dialogue for the

and fourth

strings.
:

He

circumstance himself nearly in these terms

* Gervasoni,

" Nuova Teoria

di Musica,"

page 103.

34
" At Lucca

NICOLO PAGANINI.
I directed the orchestra

when
I

the reigning family

honoured the opera with

to play at Court
:

their presence.

was often called upon

concerts.

and

then,

organised fortnightly

The

Princess Eliza always withdrew before the termination, as

irritated

my

harmonic sounds

her nerves.

lady,

whom

had long

loved without having avowed

with great regularity.
of her assiduous
visits.

my

passion, attended the concerts

fancied I perceived that I was the object

Insensibly our mutual passion increased

but important motives rendered prudence and mystery necessary our love in consequence became more violent.
her,
I

had promised

on one occasion,

that,

at

the following

concert, I

would
our

introduce a musical piece which

relative positions
;

should bear allusion to

to the Court a novelty

and

announced

under

the

title
;

of "Scbne amoureuse."
all

Curiosity rose to the highest

pitch

but the surprise of

present at Court was extreme,

when
I

I entered the saloon with a Violin with only

two

strings.

had
the

only retained the

first

and the

fourth.

The former was

to

to express

the sentiments of a young

passionate language

girl,

the other was

I

express

of a lover.

had composed a kind of

representing
;

dialogue, in which the most tender accents followed the outbursts

of jealousy.

At

one time,

chords

most

tender

appeals, at another, plaintive reproaches

felicity

cries of joy

and anger,

lovers,

and pain. Then followed the reconciliation; and the more persuaded than ever, executed a pas de deuxy which
coda.

terminated in a brilliant
successful.
I

This

novelty was

eminently

do not speak of the languishing looks which the

darted at me.
to

goddess of

my thoughts
;

The

Princess Eliza lauded

me

to the skies
*

and said
just

me

in the

most gracious manner

;

possible,

You have
The
idea

performed impossibilities

would not a

single string suffice for your talent?' I

promised to make the

attempt.

delighted

me

and,

some weeks

after,

composed my military sonata, entitled " Napoleon," which I performed on the 25th of August, before a numerous and brilliant
Court.
Its success far

surpassed

my

expectations.

My predilec-

tion for the

string

string dates

from

this period.

All I wrote for this

was received with enthusiasm, and

I daily

acquired greater

NICOLO PAGANINl.
facility

33
it,

upon

it

hence

obtained the mastery of

which you

know, and should no longer surprise you."

In the summer of 1808, Paganini obtained leave to
quitted Lucca, never
travel,

and

more

to return.

As

the sister of Napoleon

fixed her residence
artist

had become Grand Duchess of Tuscany, she

at Florence, with
all

her Court, where the great

retained his

position.*

He

went

to Leghorn, where, seven years previously,

he had met with so much success.

\vith

Here he was not received

his

the

warmth extended

to

him on

former

visit

but his

talent soon

overcame the coldness evinced towards him.

He

has

related, with

much humour, a
into

series of tribulations

which happened
"

to

him upon the occasion of

had run

his first concert there.

nail,"

he said, "

my

heel,

and

came on
I
fell

limping, at which
to

the audience laughed.

At the moment

was about
out,

commence

my

concerto, the candles of

first

my

desk

(Another laugh.)
first

At the end of the

few bars of the

solo,

my

string broke,

which increased the

hilarity of the audience,

but I played the

piece on the three strings

and

the grins quickly changed into

string frequently occurred
it

acclamations of applause."
afterwards
;

The broken

and Paganini has been accused of using

as a

means

of success, having previously practised

upon the three

first also.

strings,

pieces which appear to require the use of the

From Leghorn he went

Borghese,
sister

to Turin,

where the Princess Pauline

of Napoleon, the Prince, her husband, and suite,

Blangini, then attached to the service of the

were sojourning.

Princess as director of music (1808 or 1809), there heard the

illustrious

viohnist at several concerts

Paris, with
first

and spoke of him

It

to

me,
at

on

his return to

unbounded admiration.
his

was

Turin that Paganini was

attacked with internal inflammation,

health,

which subsequently so debihtated

as frequently to

cause long interruptions to his travels, and his series of concerts.

He

was nearly convalescent, when he was recalled to the Court of

Florence, in the

month of October,

1809, for the concerts which

were to be given on the occasion of peace between France and

* Gervasoni,

" Nuova Teoria

di

Musica," page 214.

36
Austria.
sculptor,
his
It

NICOLO PAGANINI.

was

at

this

period that

my
An

friend,

the celebrated
I

Bartolini,
at

executed a bust of Paganini, which

in

saw

in

studio

Florence,

1841.

excellent

work by M.

Conestabile, which has just appeared, and which only reached

me

a few days ago,* furnishes

me

with information as to the

It will

manner Paganini was employed

that he

in 18 10.

be found

(p.

58)
visit

must have

left

Florence about December, 1809, to

;

Romagna and Lombardy

at

that he gave concerts at the old theatre

of Cesena ; that he afterwards produced an extraordinary sensation

a concert given at Rimini, the 22nd of January, 18 10.

Conestabile, from

This

information was extracted by M.

manuscript
the

memoirs by M, Giangi, an amateur composer,

town of Rimini.
cities

relating to

It is

probable he afterwards visited the other

;

of Central Italy, Ravenna, Forli, Imola, and Faenza

but

this is

not certain.

It

appears also about the same period he met

life.

with an adventure at Ferrara that nearly cost him his

He

had gone
and

to

Bologna with a

friend,

and purposed giving some

concerts there.

Arrangements were already made with the manager,

rehearsals appointed, when, at the

about to commence, Marcolini,

capriciously refused to

moment the rehearsal was who was to sing at the concert,

this contretemps,

do

so.

Disconcerted by

Paganini sought the aid of

of the theatre, but

Madame

Pallerini, the principal

dancer

who possessed

a most agreeable voice, which

she only cultivated for herself and her friends.

Vanquished by

the solicitations of the great violinist, she consented to sing at the

concert

but when she presented herself to the public, fear over-

powered her

she

sang with timidity

and

when she

retired,

encouraged by the kind applause which rewarded her

piercing hiss was heard.

efforts,

Maddened
last solo,

with rage, Paganini vowed

to avenge this outrage at the

end of the concert.

As he was
animals.

about to commence his

he announced to the public that

cries of various

he purposed imitating the notes and

After having imitated the chirping of certain birds, cock-crowing,

*

" Vita

di

Paganini

di

Genova,

scritta

ed

illustrata

da
i

Giancarlo
vol.,

Conestabile.

Perugia,

Tipografia di Vincenzo Bartilli,

1851."

in

8vo, 317 pages.

NICOLO PAGANIKI.
the

37
to

mewing of

'a cat,

and the barking of a dog, he advanced

ass,

tlie footlights,

and while imitating the braying of an

he called

out " This for the

fischiato
!

men who
;

hissed " (Questo e per quelli che han

this repartee

He

was convinced

would excite

laughter,

and the

hissers

be hooted

but the

pit rose to

a man, vociferating,
literally scaled.

and rushing forward

to the orchestra,

which they
flight,

Paganini had only time to escape, by hasty

the dangers that

menaced him.

It

was only

after

he was safely

at

home, that he

learned the cause of this fearful tumult.

He

was told that the

ill

peasantry in the suburbs of Ferrara entertain peculiar

feelings

towards the residents of that town

considering
to asses.

them as a com-

munity of

idiots,
if

and compare them

Hence, any resident

of the suburb,
it is

questioned from whence he came, never admits

from Ferrara, but vociferates a vigorous hee-haw. The audience

present at Paganini's concert considered this a personal allusion

to themselves
;

the result was, that the authorities withdrew their

permission and prohibited the continuation of his concerts.

then, Paganini

Since

was never heard again

at Ferrara.

Gervasoni relates* that on the i6th of August, 181 1, Paganini

gave a concert at Parma, at which he produced an immense sensation,

both upon

artists

and amateurs,
It

particularly in his varia-

tions

on

the fourth string.

his

would appear that from Parma he

Court of
2,

returned to

duties

at

the

Florence.
for
is

Here he

probably remained during the year 181

no information of
with.

him
there

in other places,

during this period,

doubt,
obliged
to

met

He

was,
to

can be

little

return

occasionally

the capital of

Tuscany

to fulfil his duties.

Here, about the end

the adventure

commencement of 1813, occurred which obliged him suddenly to quit the service
of i8i2, or the

of the

Grand

Duchess, and leave the town.

to

This adventure had been certified

witnesses,
in nearly the following
ball,

M. Conestabile by ocular
:

terms

At a grand Court
who
The

gala,

where a concert preceded a

Paganini,

directed the former,

and was

to

have performed,

appeared in the orchestra in his uniform of captain of the royal

gendarmerie.
Princess, as soon as she perceived this, sent
*

Loc

cit.

38
her

NICOLO PAGANINI.

commands

that the uniform was to be replaced

by evening
to

dress.

He

replied that his commission allowed

it.

him

wear the
repeated

uniform, and refused to change

The command was

;

during the concert and again met with refusal

and

to prove that
at the

he defied the orders of the Grand Duchess, he appeared

ball in his uniform.

Moreover, in order to show that he did not

care what might be thought of the insult proffered to him,

he

walked up and down the room

Nevertheless,

after the ball

had commenced.

convinced that

although reason
at Court,

and and

right

were

both in his favour, absolutism prevailed

his defiance

might endanger his

liberty,

he quitted Florence during the night,

and

directed his steps towards

Lombardy.

The most tempting

Delighted at finding

offers,

and the promise of the Grand Duchess's leniency, proved

to

unavailing

induce

him

to

return.*

himself his

own

master, he determined never again to accept a

offer.

fixed position,

however tempting the

of "

Being
Theatre

at

Milan in the spring of 1813, he witnessed,

Scala, the ballet
II

at the
"

La

Noce

di

Benevento
It

by

Virgano, the music of which was by Siissmayer.t

this ballet that

was from

Paganini took the theme of his celebrated varia(the Witches),

tions

"le Streghe,"

from the

air

being that to
variations,

which the witches appeared.

While busied with these

and making arrangements

for his concerts,

he was again seized

with a return of his former malady, and several months elapsed

before he could appear in public.
It

was only on the 29th of

his first concert,

October following he was enabled to give

when

he excited a sensation which the journals of

Italy

and Germany

made known

to the whole world.

Paganini always

evinced an extraordinary predilection for

Milan, to which city he was

much

attached.

Not only did he

From

the sentiments which induced the

Grand Duchess

to overlook his

which have escaped the pen of M. Conestabile, inferences may be drawn, which dehcacy dictates should not be mentioned unreservedly.
insubordination,
certain innuendoes

and from

+ An artist of great Requiem of Mozart.

merit, author of several operas,

and who continued the

NICOLO PAGANINI.

39

reside there the greater part of 1813, with the exception of his
visit to

Genoa, but
it

also, until the

month of September,

18 14,

visiting

three times during five years, residing there for a long

thirty-seven concerts.

period,

and giving

In 18 13 he gave eleven,
;

some
18 14.

at

La

Scala,

and others

at the

Theatre Carcano
series at

and, after

a repose of some months, another

the Theatre Re, in

In the month of October of that year he went to Bologna,

for the first time, at

where he saw Rossini

ship which
in

and commenced a
in 181
7,

friend-

became strengthened
Rossini
at

Rome,

and

at Paris in at

183 1.

produced
Milan,
artists

his

"Aureliano

in

Palmira,"

December, 18 13,

at

which period Paganini was

Genoa, so that these

had never yet met each other

until

Rossini was about leaving Bologna, to write his "Turco in

at Milan.

Italia,"

Up

to the year
Italy.

1828, Paganini had

to

made

three times

the

round of

In 18 15 he returned

Romagna, and having

given some concerts there, stopped at Ancona.

Here

his

malady

returned to him for several months, and he then proceeded to

Genoa, about the commencement of 1816, while Lafont was

giving concerts at Milan.

Anxious to hear the French

rivalry

violinist,

he repaired
spoken
of,

thither,

where a

ensued, which was

much

and appreciated

in various ways, according to the bias

of school and nationality.

Lafont,

who

frequently related to

me

the circumstances of this meeting, was perfectly convinced that he

was the

victor.

It is interesting to
life:

circumstance of his

"Being

hear Paganini's relation of this

at

Genoa,

in

March, 1816,
for

heard that Lafont was giving concerts at Milan,

which

city I

immediately started, for the purpose of hearing him.

His per-

formance pleased

me

exceedingly.

A week

aftenvards I gave a
to him.

concert at the Theatre

La

Scala, to

make myself known

The

next day Lafont proposed

I

we should both perform on

the

same evening.

excused myself by saying that such experiments

were always impolitic, as the public invariably looked upon such

matters as duels, in which there was always a victim, and that
it

would be so

in this case

for as

he was acknowledged the best

considered

violinist in France, so the public indulgently

me

as the

40
best of Italian violinists,

NlCOLO PAGANINl.
Lafont not looking at
I
it

in this light, I

was obliged

to accept the challenge.

allowed him to regulate

:

the programme, which he did in the following planner

in

We each
we
two
for

turn

played one of our

own

compositions, after which

played together the

Violins.
text,

"Symphonie concertante" of Kreutzer,

In this

did not deviate in the least from the author's

;

we both were playing our own parts but in the solos my own imagination, and introduced several novelties, which seemed to annoy my adversary. Then followed a Russian air, with variations, by Lafont, and I finished the concert with my
while
I yielded to

variations

on "le Streghe."

Lafont probably surpassed

but the applause which followed not suffer by comparison,"

my

efforts
it

me in convinced me
it

tone,
I

did

Lafont,

cannot be denied, acted

imprudently under the circumstances, for although

may be

ad-

mitted he possessed more purely classical qualities, and was more

in accordance with

French

taste

than Paganini, although his tone

poetry of execu-

was

fuller,

and more equal,

yet, in original fancy,

tion, and mastery of

difficulties,

he could not place himself in

In a concert,
at the

juxtaposition

with his antagonist.

Con-

servatory of Paris, in 1816, the palm would have been awarded to

him, but, with an Italian public, athirst for novelty and originality,
his failure

was

certain,
later,

A similar

circumstance occurred two years

when Paganini
withall

had returned to Placentia to give concerts.

Lipinski,* was then there (18 18),

The

Polish violinist,

He

had sought Paganini

was put

out success at Venice, Verona, and Milan, and had abandoned

hopes of meeting him, when a concert

bill

into his hands,

which announced that they were then together

Paganini gave six concerts in this town
;

in the

same town.

and, at the sixth, played

a concerted
plauded.

symphony with
frequently

Lipinski,
at

which

was

much

ap-

They

met
time

each other's residence and

Lipinski dedicated to

improvised together.

Some

after,

him

one of

his

works t as a tribute of respect; but when they again

* Who subsequently became principal Violin soloist at the Chapel of the King of Saxony. t Tre Capricci per il Violino, dedicati al esimio professore Nicolo Paganini, da Carlo Lipinski. Leipzig Breitkopf iind Hartel, 1827,
;

IN

PAGANINl's VIOLIN, THE MUNICIPAL PALACE AT GENOA.

their Imitators."

From " The

Violin:

its

Famous Makers and

(By kind tcrmission of

Mr. G. Hart.)

lilCOLO PAGANlNl.

41

met

at

Warsaw,

in

1829, a journal, speaking of a concert which

the Polish violinist had just given, and lauding his talent, took

occasion to depreciate the ability of Paganini, and to accuse the

virtuoso of charlatanism.
violinist,
it

Other journals defended the Genoese

Lipinski,

and undervalued the merit of

who deemed
directed

a duty publicly to exculpate himself from the suspicion of

the

having been connected with

discourteous

attack

towards his illustrious competitor,

all

Paganini did not seem at

concerned about the matter, but the intimacy of the two

artists ceased.

From
health,

Milan, Paganini repaired to Venice, in the

summer

of

1816, where he remained for upwards of a year, to restore his

which had

for

some time been

in a declining state

he

also
is

gave some concerts.

This protracted sojourn at Venice

Zeitung," of July

mentioned

in the " Leipziger Musikalische

the 23rd,
subject
:

181 7, by a correspondent,

who

thus alludes to the

"The

celebrated violinist, Paganini, has at last quitted Venice,

where he has been sojourning for more than twelve months, and
has returned to Genoa, his native town, taking Milan in his
route."

In the same year (1817) he arrived at Rome, and found Rossini

there busy in producing his "Cenerentola."

Several concerts which

he gave there during the Carnival excited the greatest enthusiasm.

He

also frequently played at the palace of the

Count de Kaunitz,
this

ambassador of Austria, where he met Count Mettemich, who

urgently pressed

him

to visit Vienna.

From

time Paganini

formed the project of leaving

Italy to visit the principal cities of

Germany and France

realising his

however, the uncertain state of his health,

life

which, at times, placed his

project at
Sicily
;

in danger,

prevented him from

this

period.

Besides,

he had not yet

visited

Naples and

and
it

he had long entertained a strong

does not seem that he
visited, at

desire of doing so

however,

this time, that portion of the Peninsula, for

we hear

of him in

Upper

Italy, giving concerts at

Verona, at Placentia, at Turin,

at Florence,

and throughout Tuscany, during 1818, and a portion

42
of 1819.*
It is It

NICOLO PAGAXINl.
was only in the
latter

year that he arrived at Naples.

a very remarkable circumstance that he appeared there in a

his great

manner unworthy of
first

name

for,

instead of giving his

concerts at the San Carlo, he modestly

It is true
that, at

commenced

at the

theatre II Fondo.

the period he arrived

namely
are

in the

middle of the summer, the theatrical performances

at the

more frequently given

Fondo than

at

San Carlo.
artists indis-

On

his arrival at Naples, Paganini

found several

posed towards him.

attributed to him,
test,

They doubted

the reality of the prodigies

and awaited a

failure.

To

put his talent to the

the

young composer, Danna, recently from the Conservatory,

to
\^Tite

was engaged
difficulty,

a quartett,

containing every species of

violinist

convinced that the great

would not vanquish

them.

He

was, therefore, invited to a musical re-union, where

violinist

he met the
violinist

Onorio de Vito, the composer Danna, the

of

and

director

music Festa, and the violoncellist

Ciandelli.
first

The

piece was immediately given to

him

to play at

sight.

Understanding the snare that was

it,

laid for him,

he

merely glanced at
it.

and played
at

it

as

if

he had been familiar with

Amazed and confounded

what they had heard, the highest

approbation was awarded to him,

miracle.
It

and he was proclaimed a

was during

this

sojourn at Naples, that Paganini met with

his extraordinary
;

one of the most singular adventures of

life.

An

alarming relapse of his malady took place

and, thinking that any

current of air was injurious to him, he took an apartment in a part

of the town called Petrajo, below Sant

Elmo; but meeting here

visit to

that

M. Conestabile

places Paganini's

first

diately after the concerts at

traces of his

Rome

during the Carnival, but

Naples and Sicily immeI have found no

having done so in the musical journals, the Italian newspapers, and the almanacks, of that period (1818). It would be difficult to understand that, in a short time, Paganini could have given several concerts at the Theatre Fondo, others at San Carlo, at Naples, then at Palermo ; and that he should have left Upper Italy, Piedmont, and Tuscany, to return to Naples and I believe his first visit to Naples only took place in 1819. In Sicily in 1819. the months of December, 1818, and January, 1819, he gave four concerts at the Theatre Carignano of Turin ; in the February following he gave concerts at Florence, and in June and July some at Naples.

NICOLO PAGANINI.
which he most sought
worse,
it

43
daily becoaiing

to avoid,

and

his health

was reported that he was consumptive.

is

At Naples, the
His landlord,

opinion prevailed that consumption

contagious.

alarmed at having in his house one who was supposed to be dying

of this malady, had the inhumanity to turn

him out

into the street,

Ciandelli,

with

all

he possessed.

Fortunately, the

violoncellist

the friend of Paganini, happened to be passing, and, incensed at

this act of cruelty,
artist,

which might have proved

barbarian
his

fatal

to the great

belaboured the

unmercifully with

stick

he

carried,

and then had

friend

conveyed to a comfortable
to him.

lodging,

where every attention was paid

to Milan, in

Paganini

re-

covered sufficiently to give concerts.

Having returned

March, 1820,

Paganini

took

part in founding a society of musical amateurs, which adopted the

name

of " Gli Orfei," for the performance of the classical works old masters.

of the
concerts

He

conducted several of

this

society's

who, in testimony of gratitude and admiration, pre-

sented

him with medals and crowns.

Paganini's predilection

for the capital of

He

Lombardy detained him there until December. then went to Rome, and arrived while Rossini was pro-

ducing his " Matilda di Sabran," at the Apollo Theatre.

On

the

day of the general

rehearsal, the leader

of the orchestra was

seized with apoplexy.

This unexpected event was a source of

great embarrassment to the composer, inasmuch as the talent of

the musicians was below mediocrity. stance

As soon
his

as this

circum-

reached

Paganini,

he flew to

friend's

assistance,

attended the general rehearsal, and led the three

tations with

first

represen-

an energy that struck the band with amazement

182 1,

In May,

Paganini

left

Rome

to

return

to

Naples.

Kandler met him here during the summer.

the Fondo, and at the Teatro Nuovo.

He

gave concerts at
musician has

This

literary

given an account in the " Morgenblatt " (182 1, No. 290) of the extraordinary impression this " Hercules of Violinists," as he
Called him,

made upon

him.

The account

is filled

with expres-

sions of

unbounded admiration.
to Palermo,

From Naples Paganini went

and gave concerts.

44

NICOLO PAGANINI.

which were but poorly attended, attributed by the correspondent

of the " Leipziger Musikalische Zeitung " to the indifference of
the Sicilians for instrumental music.
duration, for

His stay here was of short

we find him at Venice, then at Placentia, at the commencement of 1822. In April of the same year he gave
concerts at Milan, his return being hailed with the warmest tokens of delight, and with a success surpassing
all his

former
to

visits.

He

was now
he again
despaired

seriously

preoccupied with his

visit

Germany, as
was
to

projected by Count Metternich; but during an excursion to Pavia,

fell
of.

seriously

ill,

in January,

1823, and his

life

He

had scarcely recovered when he proceeded

Turin, where a similar welcome and success awaited him.

health was,

His

however,

extremely delicate, and the necessity of

air.

repose so manifest, that he was obliged to return to his native

Some months

of inaction and calm, passed at Genoa, renewed his

health and strength sufficiently to enable

him
in

to give concerts at

the Theatre Saint Augustin, to which his fellow-townsfolk flocked

in crowds.

These concerts took place

the

month of May,
at

1824, after which he repaired to Milan.

Here he played
year,

La

Scala,

on the 12th of June of the same

and was received

Genoa, and gave

with acclamations which denoted the intense interest his health

had

excited.

Some days
first

after,

he returned

to

two concerts, the

of July following.

on the 30th of June, the second on the 7th

his pristine health
in

Paganini seemed to have recovered

strength, for in the
talent

all

and
his

month of November

the

same year

seemed

to be greater than ever at the concerts he gave at

title

Venice.

The

of " Filarmonico," which then followed his

name on
Genoese

his concert bills,

gave

rise

to polemical discussions.

Enemies, which great talent invariably creates, pretended that the

violinist

sought to induce

the belief that he

;

was a

member

of the

Academy
if

of Philharmonics of Bologna

although

such was not the case, his admirers replied that the

Academy

would be honoured

Paganini condescended to become one.

He

terminated the discussion by declaring that his assuming the

addition to his

name was merely a declaration

of his love for the

art.

NICOLO PAGANINI.
In January, 1825,

45

Paganini gave two concerts at Trieste;

thence he proceeded to Naples, for the third time, and met with a
renewal of his former triumphs.

In the summer he returned to

success
so

Palermo,
delicious

and

this

time

his

was unparalleled.
to

The
he

climate

of Sicily was

agreeable

him

that

remained here a year, giving here and there occasional concerts,

but enjoying long intervals of repose.
This lengthened sojourn in
such a favourable climate restored him to better health than he

had experienced
of quitting
Italy.

for

a long period, and he returned to his project

so,

However, before doing

he wished to return

to several towns of

which he retained so many delightful remito Trieste in the

niscences,

and went

summer

of 1826, then to

Venice, and finally to

Rome, where he gave

five concerts at the

Theatre Argentina, each of which was a separate ovation.

the 5th of April, 1827,

On

Pope Leo the Twelfth decorated him with the Order of the Golden Spur, in token of his admiration of his
great talent.

From Rome he went

to Florence,

where he was

detained by a disease in one of his

for a very long period.

legs,

which remained uncured

He

went

to Milan,

where he was warmly

received by his friends, and

quitted this town
1 6th

on the 2nd of March, 1828, he

to Vienna,

and proceeded

where he arrived the

of the

same month.
first

On

the 29th of March, the

concert of this great

artist

threw the Viennese population into an indescribable paroxysm of

enthusiasm.
"

The

first

note he played on his Guarnerius (says

M.

Schilling, in poetical style, in his "

Universal-Lexicon der Musik")

indeed,

from

his first step into the

room

his reputation

was

decided in Germany.
liant halo of glory

Acted upon as by an
his

electric spark, a bril;

appeared to invest

whole person

he stood

before us like a miraculous apparition in the domain of art."

The
at this

Vienna journals were unlimited

miration
;

in hyperbolical expressions of ad-

and the immense crowd

whom

he had enchanted

concert, unceasingly poured forth

the enchanter, for two months.

Austrian capital,
Strebinger,

hymns of praise to the glory of The most eminent artists of the Mayseder, Jansa, Slawich, Leon de St. Lubin,
others, all admitted his

Bohm, and

performance to be

46
incomparable.

NICOLO PAGANINI.
Other concerts given on the 13th, i6th, iSth, of
universal
intoxication.

April, etc., created

Verses appeared in

every publication
engrossing
Paganini.
all
;

medals

were struck

the

name

of Paganini
h.

and, as

M. Schottky remarks, everything was

Cooks designated
His
portrait

la

Fashion assumed his name.

Hats, dresses, gloves,

certain productions

shoes, etc., bore his name.

after

him

and any extraordinary stroke

of the
;

at billiards

was compared
snuff-

to a

bow movement

artist.

appeared on

boxes and cigar-cases

sticks of fashionable

in fact, his bust

surmounted the walking-

men.

After a concert given for the benefit

of the poor, the magistrate of Vienna presented to Paganini the

large gold

medal of

St. Salvator,

and the Emperor conferred upon

him

the

title

of virtuoso of his private band.

lengthened sojourn in the capital of Austria, and niunerous

concerts, did not in the least diminish the impression Paganini

had created on

his arrival.

The same

ovations were showered

upon him
received

in

every town of Germany.

Prague,

from certain

traditionary opposition to the musical opinions of Vienna, alone

him

coldly

but Berlin so amply avenged

first

this indifferis

ence, that he exclaimed at his

concert,

Here

my Vienna

public!"

After an uninterrupted series of triumphs, during three

years, in Austria,
in the

Bohemia, Saxony, Poland, Bavaria, Prussia, and

after

Rhenish provinces,

unceasing ovations of Vienna,

artist arrived at

Dresden, Berlin, and Frankfort, the celebrated

Paris,

and gave

his first concert at the Opera, the 9th of

for the Violin,

March,

183 1.
for

His studies

which had been published there

some time
the

species of enigma which

had perplexed every

his

violinist;

European fame of the

artist,

travels

and
It is

triumphs, raised the curiosity of the artists and the public.

impossible to describe the enthusiasm his

first

concert created

it

was universal
all

frenzy.

Tumultuous applause preceded and followed

audience rose eu masse to recall him

his performances, the

after each,

and nothing was heard but general approbation and

amazement.
stay in Paris.

The same enthusiasm

prevailed during

his entire

Towards the middle of May he

left this city,

and proceeded to

NICOLO PAGANINI.

47

London, where he was expected with the utmost impatience, but

not with that
artistic

and perceptive

interest with

which he had

been received
for

at Paris.

his

concerts

The high drew down the

prices of admission charged

reprobation

of

the

Enghsh

journals, as if the artist

was not privileged

to put

what price he

pleased upon his talent, or that they were perforce obliged to go

and hear him.

Ireland,

The

concerts at London, at which Paganini per-

formed, and his professional tour through England, Scotland, and

produced an immense amount of money;

France and Belgium.

this

was a

large fortune, to
his visits to

which he added considerably afterwards, during

He

has been reproached with

having sold himself to an English speculator for a certain time

and a

definite

sum
it is

a system which

many
art

artists

have since

adopted, though
artist.

repugnant both to

and the dignity of the

England, certainly
in

Yet the great care necessary for the organisation of concerts,

encountered by an
for
its

the
offer

difficulties

artist in

some apology

adoption.

The scandalous manner

toll

which the managements plunder the artists the

claimed

by the band, charitable

calm serenity necessary
can scarcely be blamed

institutions,

printers,

advertisements,

lighting, servants, &c., &c., &c., ofier so

many

interruptions to the
that the artist

for the display of talent,

for ridding himself of these

is

annoyances

by concluding a compact by which he

native

assured a specific sum.*

After an absence of six years, Paganini again set foot on his

soil.

The wealth he had amassed

in his

European

tour,

placed him in a position of great independence.

to place this to advantage, yet

He

sought

was undecided what part of the

His former

Peninsula he would select as his place of abode.

predilection was for

Tuscany

but,

among

the various properties

in the

he purchased, was a charming country house

*

environs of
from any

M.

Fetis ought
difficulties in

by

this

time to be aware that an

artist suffers

a less degree in England than in any country of Europe ; in no part of the world is the true merit or just talent of a musician sooner

of these

more justly rewarded, than in England ; yet, at the same time, must be conceded that charlatanism, both native and foreign, has long been rampant and held a sway, as far as music is concerned, in this country, quite
discerned, or
it

revolting to a true artist.

Translator's Note.

48
Parma, called
la Villa

NICOLO PAGANINI.

Gajona

here

he decided on residing.

Various projects occupied him at

this period, the

most important

of which was the publication of his compositions

publication

which was ardently desired by

that

all violinists,

under the impression

they would arrive at the secret of his marvellous talent

his

During

stay in

London, M. Troupenas, one of the most

in Paris at that time,

eminent publishers

arrived there for the

;

purpose of purchasing the copyright of his manuscripts

yet,

although M. Troupenas was accustomed to pay large sums to

celebrated authors, whose works he published, particularly Rossini

and Auber, he could not come

to terms with the great violinist

M, Troupenas has

frequently told

me

that the

sum asked by

Paganini for his manuscripts was so considerable, that a continuous sale during ten years would not have reimbursed him.
Afterwards,
at

Brussels,

Paganini

told

me

he contemplated

publishing his works himself; but, not having yet abandoned

giving concerts, he conceived the singular idea of arranging his

music

for the Pianoforte.

On

returning to Italy, where he was almost worshipped by his

countrj'men, from the great triumphs he had obtained, and the

honours conferred on him by foreign potentates, he was received

with
the

most

marked degree of

respect.
at

On

the

14th of
benefit

November, 1834, he gave a concert

of the poor.

Placentia, for the

The

following 12th of December, he played at the

Court of Maria Louisa,

Duchess of Parma,
George.

from

whom

he

received the imperial Order of St

During the year

1835, Paganini alternately resided at Genoa, Milan, and at his

retreat

near Parma.
rise to

The

cholera,
that

which was then raging at

he had
fallen

Genoa, gave
infection.

the

rumour

a victim to the

This event was announced in the public papers, in

his

which there apppeared necrological notices; but, although

health was lamentably bad, he escaped the cholera.

In 1836, some speculators induced him to lend the aid of his

name and
pretext, but

talent to establish a casino,

of which music was the

gambling the real object

in the

This establishment, which

locality of Paris,

was situated

most fashionable

was opened

NICOLO PAGANINI.

49

with considerable splendour at the end of November, 1837, under

the

name of Casino Paganini

its

but the Government refused to

authorize

opening as a gambling house, and the speculators

far

were reduced to give concerts, the proceeds of which were exceeded

by the expenses

of

the

undertaking.

Under the

necessity of meeting the engagement entered into for this purpose,

the great artist withdrew from

his country

house near Parma,

and proceeded by way of Piedmont.

guitarist Legnani,

At Turin, together with the

for the

he gave a concert on the 9th of June,

;

benefit of the poor

and he then proceeded by way of Lyons,

ill

notwithstanding his

state

of

health,

and arrived

at

Paris

oppressed with fatigue and suffering.

The

decline of his health

was manifest

and

his

wasted strength precluded the possibility of

his playing at the Casino.

Paris,

As

the price of his painful journey to

and the loss of his

;

health,

a law

suit

was commenced against

him, which he lost

the judges, without having heard his defence,

condemned him
and he was
paid.
to

to

pay 5o,ooof. to the creditors of the speculation,

his liberty until that

be deprived of

amount was

When

this decision

was pronounced, Paganini was dying

his

malady, which was phthisis of the larynx, had increased since the

commencement of
proceed to

1839.
the

The medical men

climate

advised him to
they considered

Marseilles,

of which

favourable to his health.

He

followed their advice, and travelled

by slow stages
the illness. of the
city,

to the south.

His great energy struggled against

house of a
friend,
art,

In retirement he
still

at the

near the gates

occupied himself with his

and alternated
to
particular

between the Violin and the Guitar.

revive,

One day he seemed

his

and performed a quartett of Beethoven,

he went, some few days
after,

favourite, with the greatest energy.

Despite his extreme weakto

ness,

hear a requiem for

male voices, by Cherubini,

finally,

on the 21st of June, he

attended in one of the churches at Marseilles, to take part in

a solemn mass by Beethoven.

inherent in
sea,
fully
all

However, the love of change,

valetudinarians, induced

him

to return to

Genoa by
E

impressed that the voyage would recruit his health.

5 Vain hope
!

NICOLO PAGANINI.
In the commencement of October of the same year,
his native city to his
:

he wrote from

M.

Galafre, a painter,

and an

esteemed friend of

" Being in

much worse

health than I was

at Nice."

at Marseilles, I have resolved

on passing the winter

Thus he believed he was

him.

flying to

from death, and death was pursuing

his last abode.

Nice was destined

be

The

progress of his

malady was rapid

fits

his voice

became almost

extinct,

and dreadful
finally

of

coughing,

which daily became

more

frequent,

reduced him to a shadow.

The

sinking of the features, a certain

visible in his face.

token of approaching death, was

writer has furnished us with a
last

An

Italian his

most touching description of

:

moments
"

in the following terms

On

the last night of his existence, he appeared unusually

tranquil.

He had slept
at its
full,

a little

when he awoke, he requested

in the

that

the curtains of his bed should be drawn aside to contemplate the

moon, which,
again
trees

was advancing calmly

immensity of

the pure heavens.

While steadily gazing

at this

luminous orb, he

became drowsy, but the murmuring of the neighbouring

awakened
in his breast that

sweet agitation which

is

the

reality of the beautiful.

At

this

solemn hour, he seemed desirous

to return to Nature

all

the soft sensations which he was then

possessed of; stretching forth his hands towards his enchanted

Violin

to the faithful

companion of
its

his travels

which had robbed care of

last

stings
life

he sent
fruit

to the

magician
its

to heaven, with
all

sounds, the

last sigh

of a

which had been

melody."
at the

The

great artist expired the 27th of

May, 1840,

age of

56, leaving to his only son, Achille

cantatrice,

Antonia Bianchi,

the of Como an

of his liaison with the

immense

fortune,

and

the

title

of Baron, which had been conceded to him in Germany.

All had not ended with the

as his talent

man whose

life

was as extraordinary
popular rumours,

Whether from the

will

effect of certain

of which mention

be made

hereafter, or whether,

from the
rites

fact of Paganini having died without receiving the last

of

the Church, he had

left

doubts as to his

religion, his

remains

were refused interment

Nice,

in

consecrated ground by the Bishop of

Monsignor Antonio Galvano.

Vainly

did his son,

his

NICOLO PAGANINI.
friends,

51

and most of the

artists

of the

city, solicit

permission to
that,

celebrate a solemn service for his eternal rest,

on the plea

as in all cases of phthisis, the sufferer never believed his

end was
remained
per-

approaching,

but

had died

suddenly

the

Bishop

inexorable, but proffered

an authentic act of decease, with

mission to remove the body wheresoever they pleased.

This was

not accepted, and the matter was brought before the tribunals.

At

Nice,

verdict

was returned

in

favour

of

the

Bishop.

Recourse was then had to

decision,

Rome, which remitted the Bishop's

to institute

and charged the Bishop of Turin, conjointly with two

an inquiry with
All this time the
at

Canons of the Cathedral of Genoa,

was lying
afterwards
in

reference to the catholicity of Paganini.

body
was

one of the rooms of the hospital

Nice

it

removed by sea from the

city, to

lazaretto of Villa Franca,

near the

a country spot

named

Polcevera, near Genoa,

artist.

which belonged to the family of the

illustrious

It

was

rumoured
at
night.

that piteous

and extraordinary tones were heard there

popular reports,
the

To end
of

these

young Baron

Paganini resolved on defraying the expense of a solemn service to

the

memory

his father, as Chevalier

in

de

St.

George, which was

celebrated at

Parma

the church of the Sleccata, belonging

After this ceremony, the friends of the

to that chivalrous order.

deceased obtained permission from the Bishop of Parma to bring

the

body
it

into the

Duchy,

to

remove

it

to the Villa Gajona,

and

to

inter

in the village church.

This funeral homage was rendered

to the remains of the celebrated

man,

in the

month of May, 1845,

had

but without pomp, in

conformity with the orders which

emanated from the Government

By
the

his will,

made on

the 27th of April, 1837, and opened on

left

I St

of June,

1840, Paganini

to his son,

legitimized

by

deeds of law, a fortune estimated

sterling),

at

two millions (;^8o,ooo

fifty

out of which two legacies were to be paid, of

francs, to his
tw'^o sisters,

and

sixty

thousand

leaving to the mother of

his

son Achille an annuity of 1,200 francs.

Independently of

his wealth, Paganini possessed a collection of valuable instruments,

among which was an incomparable

Stradiuari,

estimated at

52

NICOLO PAGANINI.
florins,

upwards of 8,000 Austrian

a charming Guarnieri of the

Bass,
equally-

smaller pattern, an excellent Amati, a Stradiuari

prized with his Violin of this master, and his large Guarnieri, the

only instrument which accompanied him in his travels, and which

he bequeathed
artist

to the

town of Genoa, not being desirous that any

it

should possess

after

him.
prodigious talent

The
fully

frenzied admiration which Paganini's

excited wherever he went,

and the wealth he amassed, were paindistressing state of his health during

compensated
part

for,

by the
his

the greater

of

life.

His

biographers

attribute

this

delicate state to the excesses of a stormy youth ; but the

rate use, during

immode-

more than twenty

years, of the

quack medicine

of

Le Roy,

exerted an equally fatal influence over his physical

constitution.

He

rarely consulted the faculty,

and

less frequently

followed their advice.

His confidence
it

in this favourite

panacea

was unshaken;
that

he resorted to

on every occasion, convinced

could
resist its action.

no

ill

with which humanity

it

is afflicted,

The
crisis.

powerful agitation
Its

excited was looked

upon

as a salutary

frequent

use

subjected the intestinal

functions

to

frequent disturbance, induced irritation, which

became
almost

chronic,

and produced nervous

was not only by

attacks,

which

often

deprived

him of the power of speech.

It

his almost

constant indisposition

that

Paganini expiated his glory and his success, for the malignity of his

enemies pursued him for more than

imputations, which everywhere
his honour.
left

fifteen years with

calumnious

their traces,

and compromised

Crime was even imputed

unworthy of

to

him.

The

versions

varied, as regards the deeds laid to his charge; according to one,

his liaisons,

his talent, led

him
in

in his

youth to the
to

commission of highway robbery; others

attributed

him a
which
his

maddening and
mistress,
It

vindictive

jealousy
the

love

affairs,

frequently brought

him

to

verge

of

murder.

Now

now The

his rival,

had

fallen victims to his irrepressible fury.

was even

said, a

long incarceration in prison had expiated his

intervals

crime.

long
for

which

took

place

between

his

concerts,

either

the

re-establishment

of his health

or for

NICOLO PAGANINi.
repose and meditation, favoured these calumnious reports.
qualities

53

The

even of

his

talent

were but weapons for his enemies,

and

it

was said that the solitude of a prison, and the impossibility

performance on the fourth, the only one that
his instrument.

of replacing the strings of his Violin which had broken, led to his
his marvellous
re-

mained upon
France,

When

Paganini visited Germany,

collecting

and England, envy pursued him, greedy of

if it

odious calumny, to oppose his success, as

were decreed that

genius and talent should ever expiate the advantages which nature

and study had endowed them

he appealed
to the

with.

Paganini was frequently

driven to defend himself in the columns of the press; vainly had

testimony of the ambassadors of the foreign

call

powers; vainly did he

cision, the
facts

upon

his

enemies to

cite,

with pre-

and dates which they had vaguely propagated

this.

but no advantageous results were derived from

especially,

Paris,

was

hostile

to him,

although that city contributed

real public,

principally to his fame.

Apart from the

who

entertain

neither hatred nor prejudice,

and who
is,

yield to the pleasure which

talent provides for them, there

in that city, a hunger-starved

ill

population, which
prevents.

exists

on the

it

does and the good

it

This contemptible world speculated upon the celebrity

of the

artist,

and persuaded

itself that

he would purchase
;

their

silence.

Lithographic prints presented him a prisoner

journals

attacked his morals, his humanity, his integrity.

attacks

These reiterated

this pillory to

which he saw himself attached, as actor

and

as spectator

affected
I

him

deeply.

He

confided his sorrows

to me,

and took counsel from me,

satisfying

unjust malice.
to

requested him to furnish

write

me me

perfectly of their

with some notes with his

enable

me

to

letter,

which

published

signature,
facts,

and was copied

into

most of the Paris

so

journals.
interest
for

The
the
it

related in that letter,

possess

much
it,

history of the

most extraordinary man of our

it

age, that I

deem

important to give

a place here.

conceive

besides, a duty to

omit nothing that

may avenge
proofs

the calumnies which attached to

art
:

one of the most dazzling glories of the musical

"Sir,

So

many

of kindness

have been showered

54

NICOLO PAGANINI.
the French public, so

upon me by
has
in the

much encouraging approbation

I

been bestowed upon me, that fame which

it

cannot avoid believing

is

said preceded

me
it

in

Paris,

and
if

that

I fell not short of

my

reputation at

my

concerts.

But,

any

doubt of that kind existed in

my

bosom,

would be removed

by the eagerness evinced by your

artists to

produce
of

my

likeness,
faithful
sir,

and by the great

resemblances or not
it is

number

of

portraits

Paganini

which cover the walls of your

sold,

city; but,

not only simple portraits that speculators of that nature stop

for,

at
I

while walking yesterday on the Boulevard des Italiens,

saw

in a shop,

where engravings are

a lithograph represent-

ing Paganini in prison.

folks

'Oh!' I exclaimed, 'here are some honest

who,

after the fashion of Basile,

make a
for

profit out of certain

calumnies which have pursued

me

the last fifteen years.'

the
I

However,

examined laughingly

this mystification, with all

details that the imagination of the artist

had conjured up, when

perceived that a large number of persons had congregated around

me, each of whom, confronting

my

face with that of the

young

man
it

represented in the lithograph, verified the change that had

taken place in

my

person since

my

detention.

then saw that

call,

was looked on

in

a serious

light

by those you

I believe,

louts,

and

that the speculation

live, I

was a good one.

It struck
artists,

me
are

that, as

everybody must

might furnish the

who

kind enough to consider

anecdotes

me

worthy of their attention, with some

derive
subjects

anecdotes
that I claim

from which they could

of similar facetiae to the subject in question.

publicity,

It is to give

them
this

from your kindness the insertion of

letter in the

'Revue Musicale.'
in prison
;
;

"

They have represented me

but they are ignorant

of the cause of

my

incarceration

however, they know as

much

of that as I do myself, and those

who concocted
to this,

the anecdote.

There are many stories in reference them with as many subjects for their
stated
I
that,

which would supply

it

pencils; for example,

in

is

having found a

rival

my

mistress'

apartment,

stabbed him honourably in the back, while he was unable to

Others
assert,
that, in the

defend himself

madness of jealousy,

NtCOLO PAGANINt.
I

55

slew

my

mistress; but they

do not
I

state

how

effected

my

bloody purpose.
desirous
settled
it

Some

assert

used a dagger
I

others

that,

of \vitnessing her agony,

in accordance with his

used poison.
fancy.
I

Each has
should not
relate

own

Why
will
I

lithographers

have
at

the

same

privilege?

what

occurred to

me

Padua, nearly

fifteen years since.

had played

at a concert with great success.

The

next day, seated at the

table d'hote (I

was the

sixtieth)

my

entrance in the room passed

I

unobserved.

One

of the guests spoke of the great effect

had
all

produced the previous evening.

that

His neighbour concurred in

'There
is

was

said,

and

added,

nothing surprising

in

Paganini's performance
in a

he

acquired his talent while confined

dungeon during eight

years, having only his Violin to soften

the rigours of his confinement.

coward-like, stabbed one of

He

was condemned

for having,

my

friends,

who was

his rival.'

As

you may imagine, every one was shocked by the enormity of

crime.
I then

my

addressed myself to the person

acquainted with

my

history,

and requested

to

who was so well know when and

where

this

had taken
surprise

place.

Every eye was directed towards me.

Judge the

in this tragical history!

no longer
it

his

when they recognised the principal actor The narrator was embarrassed. It was He heard friend who had been assassinated.

had been affirmed

he

believed; but

it

was not improbable

artist's

he had been
is

deceived.

This

is

how an
will

reputation

trifled with,

because indolent people

at liberty as well as

never comprehend

that

one may study

"

under lock and key.

still

more

ridiculous report, at Vienna, tested the credulity

I

of some enthusiasts.

had played the

variations entitled
effect.

Streghe" (the Witches), and they produced some

individual,

"Le One

who was
air,

represented to

me

as of a sallow complexion,
that he

melancholy
surprising in

and bright

eye, affirmed

saw nothing

my performance, for he had distinctly seen, while I was playing my variations, the devil at my elbow directing my arm and guiding my bow. My resemblance to him was a proof He was clothed in red had horns on his head of my origin.

and

carried his tail

between

his

legs.

After so minute a de-

56
scription,

NlCOLO PAGANlMl.

you

will

understand,

sir, it

was impossible to doubt the

the secret

fact;

hence,

many concluded

they had discovered

feats.

of what they termed

my

wonderful
for

"My
and
I

mind was disturbed

a long time by these reports,

I

sought every means to prove their absurdity.

remarked

that from the age of fourteen, I

had continued

to give concerts,
I

consequently was always before the public; that

had been
to the

engaged as leader of the orchestra, and musical director

Court of Lucca;
eight
that
if
it

were

true,

had been detained

years
it

in

prison, for

having assassinated

my

mistress

or

my

rival,

must have taken place before

I

my

appearance in
rival

public; that
years of age.
country,

must have had a mistress and a

at seven

At Vienna

appealed to the ambassador of

my

who

declared he had

known me

for

upwards of twenty

years as an honest man,

aside

and

I succeeded in setting the

calumny
I

temporarily; but there are always

to find

some remains, and

to the malignity

was not surprised

them
I to

here.

How am

I to act, sir?

I see nothing but resignation,

and submit

which

exerts itself at
I conclude, to

my

expense.

deem

it,

however, a duty, before

rise

communicate

you an anecdote, which gave

to the injurious reports propagated against me.

violinist,

of

the

name

of Duranowski,

who was

at

Milan

in

1798, connected

himself with

two persons of disreputable character, and was

village,

induced to accompany them to a

assassinating

where they purposed

to

the priest,

who was

reported

be very

rich.

Fortunately, the heart of one failed

him

at the

moment

of the

dreadful deed, and he immediately denounced

his accomplices.

The gendarmerie soon

and
his
priest's house.

arrived

on the

spot,

and took Duranowski

companion prisoners

at the moment they arrived at the They were condemned to the galleys for twenty

years,

and thrown

into

a dungeon

but General Menou,

after

he

became Governor of Milan, restored Duranowski to liberty, after two years' detention. Will you credit it ? upon this groundwork

they have constructed

violinist

my
/,

history.
it

It

was necessary that the

;

should end
that of

in

was Paganini

the
I
it

assassination

became

my

mistress or

my

rival

and

was who was

NiCOLO PAGANINI.
sent to prison,

57

with
that

this exception, that I

:

was

to discover there

a new school for the Violin

the irons were not adjudged against

at perfect liberty.

me,

in order

my

arms might be
in,

Since

these

reports

are

persisted

against all probability, I

must
:

necessarily bear
is,

them with
death,

resignation.
will

One hope remains

its

it

that after

my

calumny

abandon

prey,

and

that

those

who have
rest.

so cruelly avenged

my

triumphs, will leave

my

ashes at

Receive, &c.,
" Paganini."
stated,

As

just

Paganini

was deeply mortified

by these

reports which affected

his honour.

He

wrote to the editors of

the journals

in

Vienna; and when Mr. Schottky, of Prague,

his biography, to crush his

formed the project of writing

niators, Paganini,

calum-

who

rejoiced at the idea of such a publication,

urged his friend to hasten his labours.

Berlin
:

He

wrote to him from

I

'*

It is

high time I should write to you.

I

have no bad

news

to

communicate, though

suffer

slightly with

my

eyes,

which inconveniences

me

a good deal.
I

You have probably

all

seen

the Dresden journals.

at

met with

kinds of gratifications

Dresden, which the extreme kindness of the royal family

It is

completed.
contributions

true,

learned that you had in one of your

biography, but
is

promised

my

have not heard

pitch.
;

anything since.
tion, of

My
I

curiosity

at its

utmost
at

My
he
is

rela-

whom
is

spoke to you, joined

me

Dresden

also

extremely anxious.

Do

let

us see some portion of your work.

My

honour

in

your keeping.

How

fortunate to have found an

!

avenger, whose

name

alone suffices to crush the basest calumnies

talents will drive
gratification of

Your
and

integrity

and your

my

enemies to despair,

to

you

will

remain the

having done a generous

action."

Nothing can be more honourable or more natural than the

indignation
felt
;

by Paganini
it

at the calumnies

which

his success
to the

engendered

but

would seem that he was deceived as

:

means of

silencing
life

them

for the publication of the chronological

easily

order of his

would

have demonstrated the absurdity

It is

of the reports propagated against him.

fact,

that until

58 he was nearly
paternal roof.
fifteen

NICOLO PAGANINl.
years

of

age,

he

remained under the

Hence he proceeded

to Lucca,

where he unfor-

tunately formed an acquaintance with some disreputable persons,

who, taking advantage of

fruits

his inexperience,

robbed him of the

Pisa,

of

his

industry,

and drove him

to

Arezzo,

and

Leghorn, where he gave concerts to repair the inroads

his losses

had made, and improve

latter place in

his pecuniary position.

He

was

at this

This date

is

and was then only seventeen years of age. authentically established by Gervasoni, who was his
1801,

contemporary.

Some months
nearly

after, his

predilection for the Violin

changed, and he took up the Guitar, acquired a mastery over

that instrument
several
in Italy. to

equal to

the Violin,

and wrote
still

for

it

distinguished

compositions, which are

sought for

In 1804, we find him at Genoa, giving instructions

Calcagno,

the young Catarina

who became

a most worthy

pupil.

The

following year, he enters

the service at the Court

of Lucca, remains in that town until 1808, then undertakes a professional tour, arrives at Leghorn,

and plays

at several concerts.

In 1809, Blangini meets him at Turin.

In the same year he

In 1810, he

returns to Florence, where Bartolini executes his bust.

travels through the

Romagna, and performs

particularly at Rimini,

an inhabitant of which furnished an account to M. Conestabile.

It is afterwards that his

adventure at Ferrara occurs; and the i6th

of August of the following year he gives concerts at Parma, as

confirmed by M. Gervasoni.

Returning to Florence, he remains

there during 1812, where, at the beginning of 18 13, the affair

takes place which drives

him from

Court.

In the same year he

is

gives thirteen concerts at Milan.

In 1814 he

at

Genoa,

his

native place.
there,

He

then returns to Milan, gives eleven concerts

to

and proceeds

Bologna, where he meets Rossini.

In

18 15, he makes his second professional tour in Romagna, and

plays at Ancona, returning again to his native place.

In March,

18 16, he goes to hear Lafont at Milan, receives the challenge,

gives concerts,

and proceeds

to

Venice in the summer of the

same

year.

He

remains there nearly a year, according to the

report of a correspondent of the "Leipziger Musikalische Zeitung,"

NICOLO PAGANINI.
from which period
until his

59

death the public journals teem with

It is

accounts of his brilliant successes.

contradiction,
public,

manifest,

and beyond
suffered

that

during an existence constantly before the

no period can be found where he could have

criminal
his

a detention of eight years, or even the time necessary for undergoing a

procedure,
Paganini,

with

the

design

of

confounding

vilifiers,

should have collected the testimonies

all this

of those he had

known

previously to and during

table

period,

and have published the chronological

sketched
:

which has been thus

rest.

the whole matter would then have been set at

credulity
is

Human

prone to feed on outrageous absurdities.

Not only was his dignity as a man attacked, for endeavours were ever made to deprive him of this, and to grant him only a fantastic existence. The almost insuperable difficulties he had
overcome as a
birth to
violinist,

were not the only motives which gave

the

reports
his
livid

circulated.

The

extraordinary expression

of his face,

paleness, his

dark and penetrating eye,

together with the sardonic smile which occasionally played

his lips,

upon
seen

appeared to the vulgar, and to certain diseased minds,

evidences of satanic origin.
It

unmistakable

has been

by

his letter,

which has been given in

subject.

extenso,

what he himself

related

on that
in

But these ridiculous ideas were not

only,
for

entertained

Germany

there

are

traces

of

them
the

even in Italy, and they probably had some effect upon

difficulties

which attended

his

obsequies.

M. Amati, a

distin-

guished

writer,

has furnished M. Schottky with an anecdote which

It

has reference to his acquaintance with Paganini at Florence.

will

be seen what impression the extraordinary aspect of

this

singular being

the narrator:

" Near

had upon nervous temperaments.

the gate of
Pitti,

Thus speaks
is

at

Florence, there

a steep

hill,

on the summit of which stands the ancient Fiesole,

formerly the rival of the capital of Tuscany, but divested of

its

former splendour.

Here the purest

air is inhaled, effect of

and the

beauty of the prospect produces rather the

of reality.

a dream than

One

beautiful

May

morning, when the flowers and

all

verdure lay smiling, kissed by the sun's rays, and

nature was

6o

NICOLO PAGANINI.
I

beaming with youth,

of

ascended

this hill

by
is

its

most rugged path,

In front

from whence the most

beautiful

view

obtained.

me was

a stranger, who, from time to time, stopped to recover

his breath,

and admire the enchanting landscape, which met

Insensibly
I

his

eye in every direction.

approached him.

Believing

himself alone, he spoke aloud, and accompanied his monologue

with
rapid
gesticulations

and

loud

laughter.

Suddenly

he

checked himself;

his lynx-like eye

had perceived

in the distance

a charming object, which soon after also attracted

It

my

attention.

was a young peasant

girl,

who was approaching towards

jet,

us

slowly, carrying

a basket of flowers.

She wore a straw hat;

was softened by
formed

her

hair,

dark and lustrous as

regularity of her
looks.

played upon her forehead;

features

and the

handsome
With a

the mildness of her

beautifully

hand

she constantly replaced her shining ringlets, which the refreshing

zephyr displaced.

The

stranger, astonished at so

much

beauty,
to

fixed his ardent looks

upon her; when she had got near

him,

she seemed transfixed at the appearance of the individual

stood before her, grew pale, and trembled.

who Her basket seemed

this

ready to

fall

from her hands.

She, however, hurried on, and

soon
I

disappeared

behind a projection.
stranger,

During

period,
in

contemplated the

whose eyes were

I

fixed

the

direction the girl

had taken.

Never had

seen so extraordinary

face.

He

merely cast upon

smile,

me

a passing glance, accompanied

his way.

by a most singular

and pursued
scarcely

"The

next

day, dark clouds, driven

by the winds,

rolled
yet,

along like the sea waves;

was the sun

visible,

despite the weather, I went out, and having traversed the bridge

Delle Grazie, outside the gate which bears that name,

directed

my
I

steps to

the

right,

towards the

hill,

on

the
its

summit of
drawbridge.

which

I already

perceived the ruined castle with

this

approached the remains of

walls

ancient edifice, through the

dilapidated

of the

which

the

wind

was

whistling.

Here
contem-

everything

bore

impress of

destruction.

Here,

plating the fearful ravages of time,

and

listening to the mournful

melodies of

the

hurricane,

the

moanings of a human voice

NICOLO PAGANINL
Struck

upon

my

ear,

and made me shudder.

from a subterranean
its

It

seemed as

if

the voice proceeded

I

cavity

near which
I

was standing.

rushed forward to

mouth, where
lying

found

a
I

man

pale

and with haggard

looks,

upon the moss.

recognised the stranger of the previous

it,

day; his searching

look was fixed upon me; I recoiled from

stranger was in
"

and perceiving the

no need of

assistance, I withdrew.

On

the following evening, I was walking by the side of the

Amo,
note,

the

moonlight

flickering

as

it

rose.

The

nightingale's
to roost,
totally

and the warbling of birds of every kind preparing

nature suddenly intermingled with
these

were saluting the departing rays of day.

different

Sounds of a

harmonized

melodies of nature.
music,
I

Attracted by this exquisite and

the
direction

unknown

followed

from

whence
the

they seemed

to proceed,

and

again found myself near the singular being

all

who had occupied

as

my

thoughts

for

last

three

days.

Carelessly lying beneath a tree, his features were

now

as calm

they had appeared troubled the

day previous, and as he

listened with impassioned expression to the fury of the tempest

in the

old castle, so did he

now seem

to

enjoy the concert

of the feathered tribe, whose notes he was whistling with most

astounding imitation.
that led

could not explain the strange destiny

me

constantly into his presence.

for,

"

My

astonishment had not yet ceased,

on returning the

following evening from a long walk, just as the stars began their
first

scintillations, I sat
Uffizi.

down

to repose

myself under the Loggie

degli

A
my

joyous party passed me, and sat

down on a
sounds
evidently

marble seat some distance from me; soon

struck

after, celestial

upon

ear,

by turns joyful

and
artist.

plaintive,

produced by the hand of a superior

to the hilarious shouts of the

Silence succeeded
all

merry party,
I

of

whom seemed

as transfixed
silently,

by the divine music as

follow the
artist,

to
I

They all rose, who continued walking while he

was m}self.
discover what instrument
it

played.
I heard,

also

followed,

to

was

and who the

it.

artist

might be that discoursed so enchant-

ingly

upon

Arrived at the square of the Palazzo Vecchio, the

62

NICOLO PAGANINI.
I followed them.

party entered a restaurant.

their former merriment,

Here they regained

his

and the

leader,

more than

companions,
surprise,

displayed

extraordinary animation.

To my

great

the

instrument was a guitar (which seemed to have become magical),

and the performer,

continuously

discovered to be the stranger I had so

met

He

was no longer the suffering being he had

seemed and
to

his

eyes beamed, his veins swelled with exultation, his

coat and waistcoat were both unbuttoned, his cravat loosened,

his gesticulations those of
it,'

a madman.

inquired his name.

'None of us knows

replied the individual,

*I

one of the

party,

whom

addressed myself;

was

in

company with my

friends,

who were singing and dancing to my guitar, when this singular man pushed in among us, and snatching the guitar from my hands, commenced playing without saying a word. Annoyed at the intrusion, we were about to lay hands upon him, but without
noticing us in the least, he

continued playing, subjugating us

by

his exquisite performance.

Each time we inquired

to relate to us

his

name,
occa-

he resumed
anecdote.

his

playing without making any reply.

while,

He

sionally ceased for a

In

this

some extraordinary manner he has brought us hither, without more

possess.'

knowledge of him than you

"Some days
Eager to
universal,

after,

Paganini was announced to give a concert.

hear the

incomparable
I

artist,

whose fame was so

I

and

whom

had not yet heard,

to

went

to the theatre,

which was

literally

crowded

suffocation.

patience was

manifested until

the

concert

The utmost imcommenced with

appeared.
I

a symphony, which, although by a composer of eminence, was

listened to with indifference.

astonished
mystified

at

recognising
for

in

At last the him the

artist

was
so
etc.

stranger
at

who had
Fiesole,

me

some

days,

whom

had met

I will not attempt to describe the effect his performance pro-

duced
Let

the
all

transports of frenzy his incomparable talent excited.

to say, that

it

suffice

on that one evening, he seemed

to

conjoin

the delightful
girl

impressions of the graceful appear-

ance of the peasant

ruins,

of the mountain, the hurricane in the

songsters

the warbhng of the feathered

on the banks

NICOLO PAGANINI.

63

of the Arno, and the inspiring delirium of the evening at the

Loggie."

With a people so imaginative as the

a looking person as
eccentricity of his
stitious ideas,

Italians, so extraordinary

Paganini,
of
life,

his

wondrous

talent,

and the
to super-

mode

naturally

conduced

and the

belief in the supernatural.

devil.

Many

believed

he had entered into a compact with the

prejudices were greater even than

In Germany these
It

among

the Italians.

has

been seen in his letter already given what was said of him at
Vienna, when he played his variations on the "Witches' Dance."

At

Leipzig, the "Zeitung

fiir

die elegant

account of one of his concerts:

"In

Welt" gave the following

the Hotel de Pologne,

resided a lady of exceeding beauty, whose tresses were the object

of

much
lips.

admiration, but whose features wore an aspect of deep

melancholy, though a sweet yet sad smile was ever playing on

her
I

had seen her once:

this

sufficed

to imprint

her

features

upon

my memory, and

sought every means to see her

his last concert, I
all

at all times.

The evening Paganini gave

was

near the stage, and although

my

eyes wandered

over the

theatre, I did not discover her I sought so anxiously.

Paganini

appeared.

Can

describe the magic of his

bow?
and

The marplaintive

vellous tones he extracted from the melancholy

string
I ever

touched every heart

and upon

this

occasion more so than

sigh,
I

remember.
saw

At

this

moment, the sound of a

such as

proceeds from some person dying, struck upon

around, and
I

my

ear.

looked

my

incognita,
fell

white as marble, unconscious,

in showers

apparently, of the tears which

I

down

her cheeks.

uttered

a cry of surprise, which was heard throughout the

theatre;

every voice

being at the time hushed

into

silence.

Paganini,

who was only a few paces from me, turned round

at

and looked
intended for

me.

An

extraordinary smile, such as I had never

his face; but
I
it

before seen, played

upon

did not seem either

me

or the lady.

watched

its

direction,

and perceived,

not without emotion, dressed in the English fashion, and seated next the lady, my not very reputable acquaintance of Elbingerode,

who returned

the smile with one no less extraordinary.

They were

64
then intimate
?

NICOLO PAGANINI.
I

understand that smile now.

for a

In

reality, it

had

been generally observed, and

long time surmised, that

Paganini and Satan were most intimately connected, or that they

were one and the same person.

My

discovery

made me

forget

my

lady; but judge of

my

horror,

when upon
squeeze
I
it

turning round I saw

her neighbour take her hand,

with affection,
;

and

the lady grow paler than before.

this
ing.

was thunderstruck

but at

moment the applause increased. Paganini had finished playThe audience rose, as did the lady and her friend. I followed
to the door,

them

before which stood a carriage with two black

in,

horses.

The

lady got
off,

followed by her cavalier,

when

the

carriage flew

bright flashes of lightning bursting forth from

the horses' eyes.

Paganini's

Greatly agitated,

returned to the theatre

but

marvels
I left

no

longer

astounded

me.

The

concert

concluded,

by the same door through which the mysterious

lady had passed, and then found there was no place where a
carriage could stand."

Paganini was deeply affected by these rumours, which not

only detracted from his position, but tended to render his talent
valueless.
It is

not improbable that in his youth he had himself

contributed to the propagation of such fabrications by his eccentricities.

But when age crept on

when honours and successes had

be great when general esteem

accumulated

he

discovered that none, however great his fame,

fortune, could

however favoured by
is

withheld.

With the view of ending the ridiculous reports conletter,

:

cerning his origin, he published at Prague the following

which

his

mother had written

to

him on the

21st of July, 1828

"Dearest Son,
your
letter

At
9th

last,

after
I

seven months have elapsed

since I wrote to you at Milan,

had the happiness of receiving

through the intermediary of
rejoiced to find that you were
I

of

the

current,

Signor Agnino, and was

in the
that,

much
to
to

enjoyment of good health.

your travels
expressly
Paris

am

also delighted to find

after

and London,
I

you purpose
you,

visiting

Genoa

embrace me.

assure
that

my

prayers are daily offered up to the

Most High,

my

health

may be

sustained, also yours, so that

my

desire

may be

realized.

NICOLO PAGANINI.
"

65

My

dream has been

fulfilled,

me

has been accomplished.

and that which God promised Your name is great, and art, with

the help of God, has placed you in a position of independence.

Beloved, esteemed by your fellow citizens, you will find in

my

bosom and
demands.
"

those of your friends, that repose which your health

The

portraits

which accompanied your

I

letter
all

have given

me

great pleasure.

had seen

in the

papers

the accounts

you give

me

of yourself

You may
it

imagine, as your mother,

what an

infinite

source of joy

was
all

to

me.

Dear

son, I entreat

you
this

to continue to inform

me

of
it

that concerns you, for with

assurance I shall feel that

I shall still

will

prolong

my

days,

and be
thank
that

convinced that

have the happiness of embracing you.

"We
you
will

are all well.

In the

name

of

all

your relations,

for the

sums of money you have

sent.

Omit nothing

render your

name
that

immortal.

Eschew

the vices of great

cities,

remembering
She

you have a mother who loves you

aspirations

affectionately,

and whose fondest

will

are

your health

and happiness.
"

never cease her supplications to the

All-powerful for your preservation.

Embrace your amiable companion

Love me
as I love you.

for

me, and

kiss little

Achille.

" Your ever affectionate mother,

"Teresa Paganini."
This
letter

was not necessary

nor

to prove to reasoning mortals

that the great artist

was not a son of Satan.

are
its

But the ignorant

beliefs
follies,

mass
easily

listens

not to reason,

superstitious

removed.

Opinion
to

in

France did justice to these

but

they seemed

revive afterwards,

and acquired renewed

so calumniated

strength after the decease of

him who had been

during his

life.

Nothing could be more variable than the moral dispositions

of Paganini
;

at

one time melancholy and

taciturn, passing several

hours seated, without uttering a word; at another, he would give

himself entirely up to unrestrained gaiety, without any apparent

motive for either the one or the other.

He

seldom spoke much;

F

66

NICOLO PAGANINI.

but while travelling, the movement of the carriage rendered him

loquacious,

Mr. George Harrys, who lived for some time on

terms of intimacy with him,

curious details on

and who

has

published

some
the

his private life,*

states that his

bad health

rendered his speaking aloud extremely painful,

but

when

noise of the wheels rattling over the stones was almost deafening,

he spoke loudly and

rapidly.

It

was

not, as with

most persons,

the beauty of the country through which he passed that

made

him communicative,

for

he paid no attention to the lovely land-

scapes which met his eye in every direction; rapid transit seemed
to be his only aim; but there was something in the
rolling of

the coach which

suflfering

made

conversation a necessity.

His constant

did not permit him to enjoy a beautiful country, where

others

dwelt

who were
his large

blessed with

health.

Besides, he was

always cold, and even at a

summer
the

heat of twenty-two degrees

he wrapped

cloak around him, and ensconced himself

in a corner of a carriage, with

windows hermetically
all

closed.

By a

singular contradiction, he invariably kept

the windows of

his apartments

wide open, to take, as he called

it,

an

air

bath.
all

He

cursed the climate of Germany, of France, and above

Italy.

of England, saying there was no living but in

Travelling

was exceedingly painful

to him, suffering, as

he constantly did,
travel quickly.

from pain in the abdomen;

hence his wish to

In the agony he experienced, his habitual paleness was replaced

by a

livid

and greenish hue.

Sleep to him was a source of great

delight,

hours

and he would sleep uninterruptedly for two or three consecutively, and awake full of cheerfulness. When

the horses were being changed, he either remained in the carriage,

or walked about until the fresh horses were put to; but he never

entered an inn or post-house until he arrived at the end of his

journey.

Before starting, he neither took tea nor coffee,

If

but

a basin of soup, or a cup of chocolate.

in the morning,

he started early

he would do so

fasting,

and frequently remained

Paganini in seinem Reisewagen und Zimmer,

etc.

Aus einem

Reisejour-

nale.

Brunswick, 1830.

i2mo.

NICOLO PAGANINI.
nearly the whole day without taking any refreshment.

67

His luggage

caused no trouble, as

it

consisted only of a small dilapidated

trunk, containing his precious

Guamieri Violin,

his jewels,

his

money, and a few

fine linen articles, a carpet bag,

and a

hat-case,

which was placed

of
all

in

the

interior

of

the

carriage.

Careless

that related to the comforts of

life,

he was alike negligent

his entire

in his toilet.

A small
he

napkin would contain

wardrobe;

his papers,

which were of paramount importance, representing

kept in a small
red pocket-book,

immense

value,

which

also contained his accounts.

None

but himself could decipher

pell-mell

these hieroglyphics of his

Babel-like accounts, where

Berlin,

were mixed up Vienna and Carlsruhe,

Leipzig, receipts
tickets.

Frankfort,

and

and outlay
clear
to

for post-horses,

etc.,

and concert
ignorant

All

was

him; though

extremely

of arithmetic, he had devised certain means of arriving at an

exact account of
all his affairs.

In the inns on the road, Paganini was never dissatisfied.

It

was a matter of indifference

to him,

whether he was shown into

"

a garret or an elegantly-furnished chamber, whether the bed was

good or bad,
enough noise
the road."

as long as he

was removed from

all

noise.

have

in large towns,"

he would

say, " I

wish to rest on
light; frequently

His supper was always extremely

he would take nothing but a cupful of camomile

tea, after

which he
fifteen

would sleep soundly till the morning.

However, when, about

years before his death, he was attacked with the phthisis which
ultimately proved
his sleep
;

fatal,

a convulsive cough frequently interrupted

crisis

but as soon as the

was over, he was asleep again.

The most

securely-guarded state prisoner never experienced

so monotonous a course of existence as that to which Paganini

condemned himself at home he left his room with regret, and Many have thought his only seemed happy in perfect solitude. Never was error greater he Violin occupied him constantly.
;

never touched

it

except to

tune

it

previously to

going to a
to acquire

rehearsal or a concert.

" I have laboured

enough

my talent,"
anecdote

he would

say, "it is time I should rest

myself"

The

is

perhaps known,

of

an Englishman, a passionate
F 2

68

NICOLO PAGANINI.

admirer and amateur of the Violin, who, intent on discovering

the secret of the great
artist's

study, followed in his steps

for

more than six months, staying at the same hotels, and always

when

possible in the next room.

Vainly, however, did he seek

to hear

him study some of

his difficulties

the
It

most profound

silence reigned in the artist's apartment. that

occurred, however,
artist

on one occasion the rooms of the amateur and the

were only separated by a door which was not used.

Peeping
it

through the keyhole, the curiosity of the amateur was, as

appeared, about to be gratified.
a sofa, taking from
raised to his
its

He
him

saw Paganini, seated on

case the precious Violin, which, on being

his long-sought

shoulder, assured

happiness

was about

to

be realized
left

but not a note was heard, for Paganini

finger-board, to

merely moved his

hand up and down the

calculate certain positions, without using the

bow.

This done,

the Violin was replaced in

its

case.

In utter despair, the English-

man

gave up the

fruitless pursuit,

and returned

to England.

Paganini did not seek to conceal that his constant study of

the instrument in his early years precluded his attending to his
education,
instruction.

and

that his

mind was but

ill-stored

with

literary

He

never looked into a book,

not even to wile

away any portion of time by reading a romance.

the sciences were sealed books to him.
standing, found

History and

M.

Schottky, notwith-

among the documents which were furnished to him by M. Amati, an anecdote which indicates that the great

violinist's

memory
poetry,

retained certain smatterings of history, mytho-

logy,

and

which

he

would

apply

occasionally

most

oppositely.

Dining one day with the celebrated poets, Monti

at

and Ugo Foscolo,

witty

the residence of the beautiful, rich,

's,

and

Comtesse F

Foscolo,

who was
last,

captivated with the

his

charms of the Comtesse, arrived the

rival,

and finding Monti,

addressing her in terms of gallantry, he abruptly quitted

the apartment, and hastened to allay his fierceness on the garden

terrace.

Here he met Paganini, and

his passion subsided.

Ap-

proaching him with great warmth, and seizing his hand, he said
to him,

"When

heard you at the concert yesterday.

Homer

NICOLO PAGANINl.
Stood before

69
of the
first

me

in all his sublimity.

The grandeur

movement

of your concerto brought to

my mind

the arrival of

the Greek ships before Troy.

The

exquisite loveliness of the

Briseis.

Adagio pictured

When

will

me the tender love-talk of Achilles and you let me hear the despair and wailings
to

of the

hero over the body of Patroclus?"

hesitation,
violinists."

Paganini replied, without

"When

Achilles Paganini finds his Patroclus

among

Political

events

had no

interest for
it

him; he consequently

never read a newspaper unless

himself.
future.

contained something concerning

for the

His whole thoughts were occupied on projects

Among
and

these were the founding of a musical conser-

vatory in Italy, the publication of his compositions, the writing

of

operas,

abandoning

his

professional

tours.

While
great

dwelling on these subjects, he would pace his

rapidity, arrange

room with

his stray pieces

of music, or number his red

diary, dress himself

and go

to dinner, or

have

it

brought to his
spent a great

room, which he preferred to the

table d'hote.

He

portion of the day recUning on his bed, and

in the evening, to

left his

room only
rarely

walk

for

about an hour.

He

would pass the

entire evening without light in his apartment,

and

went

to

bed

later

than half-past ten.

He

frequently remained for hours

Mistrustful, like
his

absorbed in deep thought, almost motionless.

most

Italians,

he complained of the treachery of some of

friends,

most intimate

which necessarily

rendered him the more

so; hence his dislike to society

he

did not believe he could

repose the slightest confidence in any one.

Notwithstanding his extreme repugnance to receiving

his

visits,

world-wide fame brought sometimes from sixty to

anxious to see and speak with him;

eighty

visitors,

many

of these

he would refer to his secretary, but others he could not avoid

receiving.

Circumspect with
artists

he was more so with

of his
talent;

those who came on who came to discover

patiently.

business,

the secret

he listened to these
visits,

His

fatigue

was

so great after receiving these

that he

would bolt

his door,

and not answer anyone who knocked.

NICOLO PAGANINI.

The

invitations

he received
towns he

for dinners
visited,

and suppers were very

in to give

numerous
aware of

in all the

or remained

concerts; they annoyed him, and he refused most of them,

his habit

of partaking of everything that was placed

on the
any
ill

table.

He

could eat and drink largely without feeling

time, but in a

effects at the

day or two
force.

his intestinal pains

would come on with redoubled

if

He

would

invariably,

he could do so without being observed,

left

retire to rest as

soon

as he

the table.

He

was

infinitely

gayer previous to dinner

than

after.

One would be
it

inclined to suppose he was desirous

of impressing upon his host the sacrifice he

the invitation
:

made
if

in accepting

was

so, in fact.

At evening

parties

he was extremely cheerful,

if,

no mention

was made of music; but

with the ill-judged view of affording

of,

him amusement,
diately left him.

it

was proposed or spoken

his spirits

imme-

If to gather his opinions

his talent,

upon other
by

violinists,

or to question
cally,

him upon

he only replied monosyllabistealing

and endeavoured

to avoid the inquisition

away

to another part of the

room, or to interrupt the conversation

subjects.

by observations on other
to perform before

In the large
it

cities of

Germany,

vocal and instrumental societies

deemed

homage

to his talent

him some musical compositions;

to listen with attention, his

but, although

he would appear

pied on other subjects, and he rarely

mind was pre-occuknew what he listened to.

He

occasionally avowed, with great sincerity, that the obligation

of identifying his public existence with music

an imperious
ordinary
life.

desire

to
it

forget

the art

made him when he entered

feel

into

Nor can

be dissimulated that

this idiosyncracy

pertains to almost every artist

who

has obtained great celebrity,

and who
faculties

has
are

acquired popular fame.

With

these,

all

their

concentrated in the feeling of their personality.

their

Art,

separated from

own

glorification,

does not
their

exist.

Gluck

and

Gre'try

recognized

no music but

own,

nor

beUeved any other to be worthy of being performed. How many composers have been imbued with the same feeling, differing
with those great

men

only in dissimulation

With those whose

NICOLO PAGANINI.
executive
talents

71

bring them in contact with the pubUc,

it is

it

is

worse

still;

without personal ovations,

it

not only indifference

to

for the art,

is

hatred.
life,

Hence, when, having returned

the

ordinary conditions of

and withdrawn from the manifestations

of enthusiasm they have for so long a period excited, artists

who

come

into this

category decline rapidly, and

present in their

old age a spectacle of moral degradation, unless, by an extra-

ordinary exception, great intellectual faculties have been united

to their extraordinary talent.

Paganini

felt

great pleasure in a small circle of friends, and

in quiet conversation.

The amusements
until

of society delighted him;

and he would remain

a late hour, where he did not appear

to

be an object of attention.
^his

He

did not like the glare of light

lights

sight having

been affected by stage

lights,

hence

his habit

of playing with his back to the

and of remaining

in the

dark

when
their

at

home.

His memory was

excellent, despite his habitual

abstraction. features

When

once persons had been introduced to him,

forgotten; but,

and names were never

singularity,

by some

inexplicable

he never remembered

the
left
it.

name

of

a town

in

which he gave concerts the moment he

Notwithstanding the enormous number of concerts he gave,

Paganini was pre-occupied the day on which one was given.

He

would remain

idle the

whole morning, lying on a

sofa.

Before

going to a rehearsal, he would open his Violin-case to examine

the state of his strings, tune
it,

and prepare the

orchestral parts

of the

pieces

he intended playing.

During these operations

certain

he took large quantities of snuff

token with him

of great mental excitement and disquietude.

rehearsal,
his first care

On

arriving
in

at

was

to see

that

no person was

the

room
to the

or theatre.

Should any one be

there,

he merely indicated

band what he desired by almost an imperceptible sound,

or slight pizzicato.

He

was extremely severe with the band;

tutti

and would have a solo or a

If this continued,

repeated for the slightest error.

fro before the

he would pace to and

furious

orchestra,

and dart the most

a
tutti

looks at the

musicians; but

when

came

in too soon, before the termination of a cadenza,

fi

NICOLO PAGANINl.
forth into a tempest of rage

he burst

which would cause th e

the

boldest to
satisfactory,

tremble.

When, however,
Siete

accompaniment was

he would smile, and express

"Bravissimo!

his approbation aloud,

in these words,

tutti

virtuosi!"

When he

came to a pause for the introduction of a cadenza, the musicians

all rose,

eager to observe what he was about to play, but Paganini

would merely play a few notes

was only
in the

stop

suddenly
caetera.

and,

turning
!"

towards them, would laughingly add, "Et

evening he would put forth

Messieurs

It

all his strength.

After
the

the rehearsal, he would converse for a few

leader, to

moments with
had been
paid,

thank him

for the attention

that

and

sought

out especial

passages for

his

particular

observation.

He

invariably carried

away himself the

orchestral parts, of which

he was

particularly careful.

The

principal part

was never seen,

as he played from

memory,

to avoid his pieces being copied.

light

When
came

he returned home he partook of a

remained there

repast, threw

himself upon his bed, and

to take

until

the carriage

him

to the theatre. at

few minutes sufficed for

his toilet,

and he proceeded

once to the concert.

When
a

he

arrived he evinced as
dxiring

much
first

gaiety, as

he had displayed gravity

"is

the

day.
If

His

question was

there

large

audience?"

answered

in the affirmative,
if,

he would

say, **good

good

excellent people !"

on the contrary, he was told the

effect

audience was small, he expressed a fear that the

of the

music would be

lost in the

empty boxes.

Paganini was not always alike disposed for his concerts.

He
if

had doubts of

himself; and, trying several difficult passages,

he

failed in executing

them with
I

his usual facility,

Paris, I

he became angry,

and exclaimed, "If

were in

would not play to-day."

He

would frequently recover himself during the evening, and say

ingeniously to his friends, " I have played better at the end than
at the

commencement of the concert." He kept the public waiting a long time before he came on. His departure from the theatre
resembled a triumph
;

a crowd formed an avenue to his carriage,

;

and greeted him with loud acclamations on

his arrival at his hotel

he was received similarly

Paganini seemed delighted with the

NICOLO PAGANINI.

73

homage, and frequently mixed with the crowds that surrounded

the
doors.

He

would join the company

spirits,

at the table d'hdte in

the best possible

and would sup

heartily.

There are few examples of such devotion

Paganini evinced in the accomplishment of his

to severe study as
art.

He

created

the difficulties he performed, with a view of varying the effects

and augmenting the resources of his instrument

on
he
his ultimate destiny.

this, as it is seen,

having been his object, so soon as he was capable of reflecting

Having played the music of

of

the old

masters,
felt

particularly

that

Pugnani,

Viotti
if

and

Kreutzer,
their
of

he could never attain great fame

he followed in
the ninth

path.

Chance brought under

in

his

notice

work
at
its

Locatelli, entitled, "I'Arte di

Nuova Modulazione," and he

and
facts,

once
first

saw

it

new world of
it

ideas

though, on

appearance
perhaps,

was unsuccessful from

because
it

its

excessive

difficulty,

and,

also,

was

in

advance of the period when

Circumstances were

"classic" forms should be departed from.

favourable to Paganini, for the necessity of innovation was at

its

zenith in his day.

In adopting the ideas of his predecessors,

in resuscitating forgotten effects, in superadding what his genius

and perseverance gave

character

birth to, he arrived at that

his

distinctive

of

performance and

ultimate

greatness.

The

diversity of sounds

the

different

methods of tuning
single

his instru-

ment

notes

staccati

harmonic the frequent employment of double and the simultaneous and bow passages the various the use of the double and even notes a
pizzicato
triple
facility

prodigious

in

executing wide

intervals

with

unerring
styles

precision, joined to

an extraordinary number of various

means
From
on

of bowing

such were the

manner
in

principal features of Paganini's talent

his

which were rendered perfect by

execution

his

exquisite nervous sensibility,

and

his

enormous musical

feeling.
it

the

which he placed himself, leaning, as

his right arm,

were,

his hip,

from the position of

it

and the manner

its

in which he held his bow,

would have been thought

move-

ments would be nothing less than awkward, and the arm all stiflSiess; but it was soon observed that the bow and the arm

74

NICOLO PAGANINI.
with equal ease, and what appeared to be
result of

moved

the result

of

some malformation, was the

was most favourable to the

deep study of that which

wished to produce.

effect the artist

His bow was of ordinary dimensions; but was screwed up with

more than
all

usual

tension.

It

is

probable

Paganini

found

it

preferable for his bounding staccato, which differed from that of

other violinists.
says gi'eat

In the notice which he wrote at Lucca,

he

surprise

was

manifested

at

the

length

of his

bow, and the thickness of

his strings; but,

some time

after,

he

evidently discovered the difficulty of producing vibration in every

part

of the

strings,

and consequently, of obtaining a

perfect

tone, for he gradually diminished their dimensions

and

when
size.

he played

in

Paris his strings were

under the medium

Paganini's hands were large, dry,

dint of excessive practice,
difficult to

and nervous.
of the

His

fingers,

by

had acquired a suppleness and aptitude

left

conceive.
his

The thumb

hand

fell

easily

upon
of

the

palm of

hand, when necessary for the

execution

certain shifting passages.

The

quality of tone which Paganini brought from his instruclear

ment was

and

pure, without being excessively

it

full,

except

in certain effects,

when

was manifest he collected

all his

power

to arrive at extraordinary results.

this portion of his talent

But what most distinguished

was the variety of voices he drew from

his

the strings,

by means of

own, or which,

after
full

having been

discovered by others, had been neglected, their

import having

been misunderstood.
his time

Thus, the harmonic sounds, which before

as curious

had only been considered

and limited

effects,

rather than as a positive benefit to a violinist, formed an important

feature in Paganini's performance.
effect that It

was not only

artificial

for

an isolated
to reach

he employed them, but as an

means

certain intervals, which the largest

It

hand could never embrace.

Before Paganini, none had
it

was from the harmonic sounds that he obtained on the fourth

string a

compass of three octaves.

that

imagined

beyond natural harmonics,

fifths,

was possible
the

to

execute thirds,

sixths;

in

fact,

that

at

octaves in

diatonic succession,

natural

and harmonic

sounds

could

be

NICOLO PAGANlNt.
produced.
the utmost
tory
effect,

75

All these Paganini executed in every position with

facility.

In singing he frequently produced a vibragreatly

which
sliding

resembled the

human

voice,

but

when, by

the hand, the voice

became

like that of

an

old woman, the effect was affected and exaggerated.

intonation was perfect;
this rare

Paganini's
least

quality

was not the

of

the advantages he possessed over other violinists.

After having spoken of the great qualities of Paganini's talent,

it

is

necessary to consider

it

from the general impression

it

produced

upon

the

public.

Many

overleap

the

bounds of

reason in expatiating on the poetry of his playing, particularly

upon

his singing.

He

was cited as the great Violin singer

as

the creator of a pathetic and dramatic school, applied to the

art of bowing.
I

confess that I do not look at his prodigious

talent

in this light.

What

experienced in listening to him

admiration;

was astonishment

unbounded
music.

but

was seldom

moved by
true

that feeling

which appears to

me

inseparable from the

great
violinist

expression

of

The

poetry

of the
if I

consisted, principally, in his brilliancy; and,

may be

allowed

the

expression,

the mastery

of his bow.

There was fulness

was no tenderness
for

and
in

grandeur in his phrasing

his

but

there

accents.

In the

prayer

from

" Mosb,"

example,

he was great when the baritone voice was heard on the fourth
string,

from the elevated character

to the
fell

he gave

to

it;

but when

he came
string,

part of Elcia, into

an octave
strain

higher on the same

of

he

an

affected

heavy,

tremulous

sounds, which good taste would have rejected.

His triumph
sublime

was

in

the
left

last

major

strain;

here

he

was

and

he then
to hear

an impression bordering on enthusiasm.

Paganini,
it

To pronounce judgment upon

him
his

was necessary

in his
talent.
flatter

own

especial style

in

that

which most charache

thought
it

terized

In his concerts
the national

Paris,

necessary to

feeling

by Kreutzer and one by Rode

mediocrity in their performance.
us the opinion

by playing a concerto but he scarcely rose above

secretary, Mr. Harrys, tells

His

Paganini formed of himself as regards these

76
attempts.

NICOLO PAGANINI.

He

said to

him, "
I

have

in accordance with this,

regulate

my own peculiar style my composition. To play

:

those of other

artists, I

must arrange them accordingly

had

much
to

rather write a piece in which I can trust myself entirely

my own

musical impressions."
Paris, with these

The

unfavourable impression

he made

in

two pieces, was a lesson to him;

time

he

never played from

that

any

music

but

his

own.

Paganini's art did

his

not apply to any species of composition

was a
art

specialty, of

which he alone could be the interpreter

an
him
I

born

^vith

him, the secret of which he has carried with

to the grave.

have used a word he often repeated

for

he frequently
by him
" study

insisted that his talent resulted from a secret discovered

and
for

which he would reveal before his death,

should
should
cited,

in

the Violin," that

pages,
all

only
cause
in

contain
the

small

number

of
to

but

that

utmost
of

consternation
infallibility

violinists.

He

support

the

of his secret,

the

experiment that he had made at Naples,

talent,

upon a
in

violoncellist of little

named Gaetano
Apart
from

Ciandelli,

who, by the revelation of the

mystery,

became transformed
the

one

morning

into

virtuoso.

study
secret

of mechanism

for

which

there

is

no

substitute

no

can
heart

exist

from

talent,

but that which nature implants in the

is,

of the

artist;

there

however,

something astounding
Paganini possessed,
of

and mysterious
ever touching

in

the

faculty

which

invariably overcoming the almost unheard-of difficulties, without

the Violin

except

at

concerts

and

rehearsals.
for

Mr. Harrys, who was his secretary, and did not leave him

more than a

year, never
it

saw him take

his Violin

from

its

case.
secret,

Be

it,

however, as

may, death has not permitted the

of which Paganini spoke, to be divulged.

Many

notices of the
either

life

and

talent of this great artist

have

been published,

in
:

collections

or separately;

the most

important are the following

I.

"Paganini's

Leben und Treiben

als

Kunstler und

als

Mensch," (Life and Adventures of Paganini, as an Artist, and

NICOLO PAGANINI.
as a Man).

77

Prague, Calve, 1830, in 8vo of 410 pages.

This

work, of which

M. Schottky
of

is

the author,

is

but a compilation,

without

order,

correspondence,

anecdotes,

and

German
work,
in

newspaper
from
his

reports, as far as concerns the travels of the artist,

first

leaving Italy.

An

abridgment of
positive
false

this

which

many

doubtful facts and

accounts

have

been introduced, was published by M. L. Vinela, under the

title

of " Paganini's

of Paganini).
2.
*'

Leben und Charakter," (Life and Character Hamburg, Hoffmann and Campe, 1830, in 8vo. Paganini in seinem Reisewagen und Zimmer, in seinen
Stunden,
in

redseligen

gesellschaftlichen
this

Zirkeln,

Concerten," (Paganini in

Post-chaise, in his

und Room,

seinen
in his

hours of Privacy,

in

Society,

and
sound

his

Concerts).

Brunswick,
in simplicity

Vieweg, 1830, in 8vo of 68 pages.

work written
judgment.

and

good

faith,

indicating

Mr.

George

Harrys, or Harris, the writer of this opusculum, was an English-

man, attached

to

the

Court of

Hanover.
artist,

With a
and

view

of

studying Paganini as a
notice,

man and an

to publish this

he became
" Leben,

his interpreter

and

secretary,

and remained
Eine

with him an entire year.

3.

Character

und

Kunst

N.

Paganini's.

Skizze," (Sketch

of the Life, Character,

and Talent of Paganini,

Leipzig, Rein, 1830,

by M.
in 8vo.
4.

F. C. J. Schiitz, Professor at Halle).

"Notice
J.

sur
la

le

cdlbbre

violoniste
Paris,

Nicolo

Paganini,"

by M.

Imbert de

Phalbque,

E. Guyot, in 8vo, of 66

pages, with portrait.

5.

" Paganini, his Life, his Person,

and a few Words upon

1

his Secret,"
6.
h.

by G.

L. Anders.

Paris,

Delaunay,

831, in 8vo.

" Paganini et Bdriot, ou Avis aux artistes qui se destinent

Paris, Legouest,

I'enseignement du Violon," by Fr. Fayolle.

in 8vo.

1 83 1, 7.

" Vita di Nicolo Paganini di Genova, scritta ed illustrata

di varie

da Giancarlo Conestabile, socio

tipografia di

Academic."
in 8vo, in

Perugia,

Vincenzo
work,

Bartelli,

1831,

vol.

317 pages.

An

excellent

carefully

edited,

and

good

spirit

78
of criticism,

NICOLO PAGANINI.

from documents chosen with discernment.

is

The

portrait of Paganini

given from

M.

Schottky's,

but softened

and

idealized.

Independently of the portraits which accompany most of the

above works, many were published

in France.

in

Italy,

in
:

Germany, and

The most sought

for are the following

7 th

ist.

Portrait

of Paganini, lithographed by Maurin, in the

volume of the

Revue Musicale;
Paris,

2nd, one lithographed by Mauzaise, in 4to,

B^nard; 3rd, Milan, Ricordi; 4th, drawn and lithographed

Berlin, Sachse, in 4to
;

by Begas,
Falter;

5 th,

without

name

of author,

in 4to, Berlin,
7th,

Trautwein and Co.; 6th, drawn by Hahn, Munich,

lithographed by
8th,

Kratzschmar,
of
author,

Leipzig,

Breitkopf
Artaria,

and Hartel;
1828;
9th,

without

name

Vienna,
ditto,

ditto,

Hamburg,

Niemeyer;

loth,

Leipzig,

Ponicke; nth,

ditto,

Mannheim, Heckel.

^aganini ^.^pprmalcb

as a "oTnposer.

ANALYSIS OF HIS WORKS.

lONG
his

ere

th^ talent of Paganini had acquired popularity

Italy,

beyond
published,

a collection of studies for the Violin, under

name,

still

unknown

to

French
;

violinists,

had been
novelties

and created a deep impression

difficulties

so

many

were there accumulated, and the

they presented were

so problematical, and under forms so peculiar, that

many professors
far as to

doubted the

possibility of their execution,

and went so

look upon the publication of that work as a mystification.

ever, the

How-

composer, Andreozzi,

who had brought

difficulties as

to Paris the

copy from which Pacini published

was
in Italy a

his edition, attested that there

man who

executed those

though they

were mere

trifles,

and who would astound the

if

professors

and

pupils of the Conservatoire,

they heard him.

This

man was

the author himself

it

was Paganini.
his

At the same time, Blangini, on

spoke of
this artist with enthusiasm,

return from Italy, also

likewise attested
that

and

his art bore

no

affinity

with the

manner of playing the Violin

until his

that all great masters

had propagated
talent,

day

that all

was
to

the

invention

of

his

and

that

he was

destined

revolutionize the style of playing the Violin.

Some young

artists,

among whom was Habeneck, attempted

the

to solve these musical

enigmas, but finally abandoned them, as they could not discover

application
of

these

novelties

to

the

pure music of the

great composers.

8o

NICOLO PAGANINI

The

struggle

between Lafont and Paganini resuscitated the

confused recollection of his name, and the prodigies he effected

were the subject of serious conversation.

of his success
the

Insensibly the fact

it,

became patent
artist

the
as

journals confirmed

and

name

of the

gradually acquired popularity.

his

However,

fame blazoned
composer.

forth

name

a violinist only
first

not

as

The
after

twenty-four studies of the

work were only

was published.

known
It

in France,

more than twenty years

he had enchanted
all

after

it

was only

Paris,

and had traversed

France, gaining triumphs wherever he played, that the value of

his

compositions attracted
after.

some

attention.

They were then

to
for copies

sought

Italy

and Germany were written

of his concertos, his fantasias, and his airs with variations, but

none of them had been published.

" Ventiquattro

The

list

of this
:

artist's

works which appeared, comprised the following only

^
I.

Capricci per Violino solo,

capriccios,
in

dedicati

agli

artisti.

Op.

i."

These studies or
trills

various

keys,

consist of arpeggi, staccati,

in octaves,

and

scales in octaves,
etc.

tenths, combinations of double, triple,

2.

and quadruple chords,

" Sei Sonate per Violino e Chitarra, dedicati al Signor

delle Piane."
3.

Op.

2.

" Sei Sonati per Violino e Chitarra, dedicati alia Ragazza

Eleonora."
4.

Op.

3.

" Tre gran Quartetti a Violino, Viola, Chitarra e Violoncello,

dedicati alle amatrici."

said of this

Op.

4,

Idem.

Op.
it

5,

Ibid.
his,

Paganini

work

to

Mr. Harrys, that

his

was not

but was

formed from some of

themes badly arranged.

positive productions of

These are the only

lished

Paganini

pub-

up

to the present

day (June, 185 1);

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

minor)

of the

first

work.

AS A COMPOSER.

" Trois airs varies pour le Violon, pour etre executes sur la

quatribme 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
piii

non

mi

sento' per Violino solo."

This piece, published in the work

is

of Guhr, upon the art of Paganini*

" Merveille de Paganini, ou

noted nearly from memory.

le

duo pour
at

Violon seul en ut"

This

is

also

from Guhr.
at

Ghys pubhshed
Venise,
given,
tel

Paris

and

Berlin the

"Camaval d
versions

que

le jouait

Paganini."

Ernst and Sivori have also

pleasantry,

as

exact

traditions of this musical

less,

differing

more or

which gave

rise to discussions in the

news-

papers.

The

publication of the veritable "Carnaval de Venise"

of the illustrious violinist will

respect.

remove

all

uncertainty in this

Paganini was aware that the

created would diminish materially,
sitions

interest
if

which

his

concerts

he published the compo-

he performed.
until after

He

resolved therefore upon not publishing

to travel,

them

he had ceased
artist.

and had

retired

from his

career of executive
tral parts

He

only carried with him the orches-

of those pieces he habitually played; and no one ever

for

saw the Violin solo parts of these compositions,

the indiscretion of
all

he dreaded

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
effort
exist.

M. Conestabile, who made every

all

to

acquire the truth of

success

that

concerned the person,

the talent, and the

of Paganini, has published in his

sent to

book the catalogue which was

and
original

him of

all

the manuscript

works of Paganini preserved by

of the works are as follows
:

his son.

The
1.

titles

2.

Four Concertos for the Violin, with accompaniments. Four other concertos, the orchestral parts unwritten.
to his death, at Nice.

The

last

was written a short time prior

*

Published by Schott

&

Co., Mayencfe and London.

8i

NICOLO PAGANINI
Variations upon a comic theme continued for the orchestra.

3. 4.
5.

Sonata

for the large Viol, with orchestral parts.

"God

save the King," varied for the VioHn, with orchestral

parts.
6.

"Le

Streghe," variations

on a

ballet air, with

orchestral

parts.
7.

Variations

upon

"Non

pili

mesta,"

theme from "Cene-

rentola."
8.
9.

Grand Sentimental Sonata.

Sonata, with variations.

10. 11.
12.
13.

"La

Primavera," (Spring), Sonata, without accompaniments.

"Varsovie," Sonata.

La ci darem la mano. " Le Camaval de Venise."

" Di tanti palpiti."

14.
15.

"Marie Louise."

16.

Romance pour

le chant.

17. Cantabile for Violin and Piano. 18. Polonaise,

19.

with variations.

Fantaisie Vocale.

20. 21.

Sonata, for Violin Solo.

Nine Quartetts,
Three Duetts,

for Violin, Alto, Violoncello,

and

Guitar.

22.
23. 24.

Cantabile and Waltz.

for Violin

and Violoncello.
for Violin

Other Duetts and small Pieces

and

Guitar.

Unfortunately

many

of these compositions are

incomplete.

The

original scores, without omissions,

which have been found,

in

are the two concertos in

latter

flat

and

B minor

(it

is

in
;

this

the celebrated rondo of "

allegro of a sonata, entitled

La Clochette " is found) the "Movimento perpetuo"; the famous

variations

the variations

upon "

Le Streghe " (the Witches) with orchestral parts upon " God save the King," with parts variations Di tanti palpiti," with parts variations upon " Non pih
;

"

mesta, accanto al fuoco," with parts

twenty-four variations
variations,

the " Carnaval de Venise,"

air;

upon a popular Venetian

with

and

sixty

in

three

series,

accompaniment

for

Piano or

AS A COMPOSER.
Guitar,

83
the

upon the popular

air
is

known

at

Genoa under

name

of

"Barucaba."

The theme

very short; the variations are studies of

various kind of difficulties.

These were written by Paganini,

his latest

at

Genoa, in February, 1835, ^^^ were among

works; he
G.

dedicated them to his friend the advocate, M.

L.

Germi.

By some
in the
list

singular circumstance these variations are not included

furnished by

M. Conestabile.
in

It will

be seen the complete works of Paganini, which have

been found, are only nine

number.

It is to

be deplored that

among
third

these

high-class

productions,

the

magnificent concerto
at

that the great artist wrote for Paris,

and which he played

his

concert at the opera,

;

the 25 th of

March

1831, should

be wanting

also the

grand military sonata upon the fourth string

ability, in

in

which he displayed such marvellous

;

a compass of

three octaves with harmonic sounds

and,

finally, his variations

upon " Nel cor piu 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.
especially found in his concertos,

These

qualities

are

which have exercised great

have subsequently
points from the

influence

on compositions of

this nature that

been published.
classic

They

differ in

form

in

many
is

form of

Viotti's concertos.
interest,

There
it

the merit of uniforall

mity and increasing

which

were well

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.
effects

The entrees new and varied. The first concerto

are

neither

cold

nor symmetrical

the

is

in

flat,

set for the orchestra, but the

Violin are written in

D;

the four strings of the instrument are

consequently tuned a semitone higher.

written,
is

The

tutti,

admirably

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
recollection of his having
first.

have an indistinct
in

composed

this

one

1811.

There
2

84
is

NICOLO PAGANINI
little

originality in the

style
all,

of the tutti

and the

solos

but

in the details,

and above

in the brilliant passages,

this

there are

certain points
interest;

which render
is

concerto a work of the greatest

there

frequent

employment of double notes and

on the fourth
string,

harmonics.

The second
first

solo presents effects

is

of which effects Paganini

last

the inventor.

It terminates

with the

passage of the

solo transposed into the original key.

is

The

adagio (in

minor)

a dialogue between the fourth string of this dialogue appears

and the other

three.

The conception
the
is

to have absorbed all

little

artist's

attention, for the

melody has

novelty.
is

This

not the case

original.

mth

the rondo
is

the

theme

of

which

peculiarly

There

an

extraordinary

staccato passage, which Paganini executed in a novel manner,

peculiar to himself.
to give this passage

It is
its

necessary to understand the method.

It is

original character.
for

in this

rondo
in

that Paganini employed,

the

first

time, tenths,

combined

various ways, producing wonderful effects, by the unerring and

marvellous certainty of his mechanism.

piece
in
is

The

character of the
string

bold

the second solo, nearly

all

on the fourth

and

harmonics,

produced

an extraordinary
its

sensation,

nothing

similar having

been heard prior to

concerto
is

introduction.

The second
of the
first

is

in

minor.

The commencement
;

piece
its

broad and impassioned

;

the

harmony

often

interesting in

successions

the instrumentation intelligent and

rich in effects.

The

tutti

are

weak
solo

in

development, and serve

only to connect together the various solo parts.

the

The phrase of

commencement of

the

first

is

very grand, and largely

developed, followed by a modulation in D, where

is

displayed in a novel passage

is

of double notes.
first

much boldness The melody

which follows

somewhat poor

without any change

follows
is

which

the four
a
fault
;

bars being repeated

is

but the passage which

particularly effective.

Paganini in this has

difficulties,

evinced

much

daring in the combination of

left

both for the

bow

and the

hand.

He

has introduced a double shake, descending

in thirds

in the execution of

which he was incomparable, both

his intonation.

in brilliancy

and the irreproachable perfection of

As A COMPOS F.R.

The second
rather
short,

tutti,

which

recalls the
it

subject of the
in

first,

is

but

interesting;

modulates

E
;

minor,

and

terminates

with an

unusual form of suspension.

first

The

subject
is

of the second solo differs totally from the

expressive

the melody

and combines

effects

of staccato, to which Paganini

imparted a character quite peculiar.

this subject,
all

The passage which

very effective
:

follows

in

double notes,
difficulties,

is

its

combinaartist

tions present

immense

which to the great

were

but mere

trifles.

The second
first,

solo ends in

major, finishes with

the passage of the

transposed into this

difficult.

new

key,

and con-

sequently rendered

much more

Throughout

this first

piece, the

double-note passages and

entirely

jumping bowing are quite novel, and depart

ordinary form of the concerto.
able in the

from the

Two

things are equally remark-

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
hoAv-

was the marvellous

skill

with which he

managed the bow,

There was

ever great the distances of the intervals.

in this part

alone of the

artist's

talent
life.

an evident predestination, and the

to

study of an entire
all

It is impossible

give any idea of

the combinations which are

met

in the fingering of the chords

strewn

among

these immensely difficult passages;

extraordinary
intervals,

they embrace
violinists

occasionally

such

that

are

at a loss to discover the artifices

by

which the

hand reaches them.

difficulties,

Besides,

in

this

labyrinth

of

unheard-of

neither

a doubtful note nor uncertain intonation ever occurred.

The adagio
little

(in

D)

is

a cantabile of the

finest character.
it

More

simple than the rest of Paganini's compositions,

effect,

produced but
from

finishing as

it

does without the exhibition of extrato expect

ordinary

difficulties,

which the public were wont

him ;
sive,

nevertheless, the forms of the

melody

are elegant, expres-

and

full

of charms.

Good

taste prevails

throughout this
is

piece.

The rondo

with the obbligato bell accompaniment

the most incomprehensible feats of
taste.

de-

lightfully fanciful;

skill

are

here combined with exquisite

The

first

subject

is

remark-

86
able for

NICOLO PAGANINI
its

elegance and novelty, both in

its

details

and

its

general formation.

Some charming bow

nimbly over the
lightly, that

effects are introduced,

which Paganini executed with marvellous brilliancy and

dexterity.

The bow moved so

fluttered so

strings,

and the

fingers

briskly

and

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, "Movimento perpetuo," is only remarkable as a study
tached

entitled
for de-

bomng
arm

of exceedingly rapid movement, which continues

until the last bar.

This species of

difficulty exacts great supple-

ness of

to avoid fatigue,

and a

perfect ensemble of the left

hand and the bow.

bars without a single

In

this

piece there are

no

less

than 170
it

rest.

Considered as a composition,

is

unimportant, but interesting as a study.

Few
as

musical compositions ever obtained such universal fame

the

"Streghe"

(the

Witches),

either

from

the

prodigious
super-

execution of the great violinist, or perhaps because

stition attached to the title.

some

The

original

manuscript indicates

that the introduction

and the

variations are
is

composed upon an

original air; however, if tradition

air

to

be depended upon, the

di Benevento."
in

was taken from the

is

ballet of " II

Noce

The
triple

introduction
notes,
is

short.

The

first

variation,

double and

extremely

difficult.

It

may be regarded
is

as a valuable

study for playing in tune.

In the second there

a mixture of

harmonics and

pizzicato

which produces a very which never

original effect.

The

third

is
;

a dialogue between the fourth string and the double a novel

effect

harmonics

failed to

draw down the

which joins
fourth

loudest acclamations of the auditory.

this

The

finale,

variation, terminates with

rapid passages
difficulty.

upon the

string,

and

in

harmonics of extreme

In the variations upon "

to

God

save the King," Paganini seems

all

have intended concentrating

all

the

new

effects

he had

dis-

covered, and

the

enormous
is

difficulties

over which he had

triumphed.
the melody

The
is

subject

written in three

and

in four parts;

played with the bow, and the other parts of the

AS A COMPOSER.

87

accompaniment

is

pizzicato.

The
and
of

first

variation, in

double notes,

presents successions of thirds

tenths,

which require a large

Paganini

hand
it

and a great

certainty

intonation.

played
its

in

a light and rapid

manner, which greatly increased

variation
is

difficulty. triplets,

The second

complication of

rapid

intermingled with passages of double notes and bounding

staccatos.
dexterity.

The

execution of this variation requires extraordinary

is

In the third the subject

sustained in a slow moveis

ment, during which the accompaniment

rapid passages
is

going on in extremely
strings.

on the
it

third

and fourth

The

fourth

peculiarly quaint;

consists in rapid passages pizzicato in the

upper

part, while the

accompaniment

is

played upon the lower,

is

with the

bow

staccato.

The
and

fifth,

written in double notes,

is

an

echo
lower

effect

on the upper octave, the bass

by

pizzicato

on the

strings.

The

sixth

last consists in staccato arpeggios,

difficult
left

of execution, arising from the complex positions of the

hand.

In the fantasia with variations, on " Di

orchestra
is

tanti

palpiti,"
;

the

written in

flat,

the solo a semitone higher

in the

second variation the fourth string

effected this change with so

perceived at his concerts.

ductory larghetto, followed

follows
is

Paganini is lowered to B flat. much address, that it was never The piece commences by an introby a recitative. The subject which
first

quite

simple,

and the

variation

without very

remarkable

difficulties,

with the exception of a very rapid descend-

ing scale in harmonics.

is

In the second, where the fourth string

lowered to

flat,

passages occur in double notes of great

difficulty for the

it

bow.

The

third

is

the most curious and difficult;

consists of arpeggios with double notes in a presto

in

movement,
a new and

and combinations of harmonics and ordinary notes

quaint style.

The
mesta),

air
is

with variations,

on "La Cenerentola" (Non

the Orchestra; the Violin
is

piii

written in

flat for
first

tuned

a semitone higher.

The

variation contains nothing remark-

able; the second, a combination of bounding staccato harmonics

and

pizzicato, recalls similar passages

found in other works of the

88
author.
octaves.

NICOLO PAGANIIJI

The The

third,

in a
is

minor mood,

is

composed nearly of
double harmonics.
brilliantly effective,

fourth

an echo, the

effects are

It is followed

by a

finale in thirds

and octaves,

but fraught with

difficulty.

The twenty variations upon the popular air " Oh, Mamma," known as the " Camaval de Venise," which has been so
frequently imitated,
to each; all the
is

remarkable for the distinct character given

concentrated

bow and finger effects imagined by Paganini are in it. Good taste is sometimes departed from in
it

a few

of the variations, but

will

not be denied that some extra-

ordinary effects are produced in those strange freaks, to which

the marvellous dexterity of the artist lent an irresistible charm.

The

last

work

to

which

have to allude

is

the collection
air

of sixty variations, in the form of studies, upon the popular

" Barucaba."

Paganini purposed in each of these studies to give

all

every style of bowing,

the difficulties of fingering, and

is

all

the

combinations of harmony, upon which his school

founded.

By a

singular notion, nearly all these variations are written in

different keys.
j

If the astonishing success of Paganini, the

immense popularity
talent of

of his

name, and the influence he exercised over the

violinists of the

some 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,
illustrious
if

not in imitation, at least as a pupil of that

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

in their

this great

man would be
of his
effects,

elevated

esteem when the prodigious

difficulties

he executed while
the most

playing, were placed before them.

Some

AS A COMPOSER.
easy of execution, were hastily copied, and the mystery of his
talent
will

was supposed

to

have been discovered.

How much

illusion

be dissipated by the examination and study of these anxiously

!

expected works

I will

not speak of the simply curious effects

the
million

by

which

Paganini

dazzled

and bow

feats

of

of
will

his

pizzicato

the modifications in tuning the instrument,

the merit of which consisted

and of the thousand combinations,

principally
in

perfect

execution.

These
a

only have

an

exceptional existence,

and

will

never hold a place in serious

skilful
violinist,

music.

Besides, the

sagacity of Guhr,

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.*

That which most stmck me on reading the MSS. of Paganini,

that

which raised him immensely in

my estimation, was
in

the convic*

tion that the

mechanism of the artjwasjiever carriedJxUhe same

he was never equalled
infinite variety

extent

that

surmounting

difficulties

and never was such

displayed in brilliant passages.

The double
left

notes for instance, always the test of great Violinists,

as respects true intonation

and precision

hand descends

to

it

natural position

form a
The

particularly

when

the

salient feature

in the rapid passages of his compositions.

intervals are ever

varying

sometimes tenths passing with ^jumping incredible

unerring
certainty

in

thirds,

sometimes

in sixths, eighths,

and

rapidity from

one kind of
in

interval to another

distances

always

double notes

with

and

perfect

intonation.

His

hand was a

geometrical compass which divided the finger board with mathematical precision

his fingers falling exactly

where the intonation

I

of the intervals of the double notes was to be found.

do not

speak of the
difficulties

varieties

of bowing, by which he rendered these

I

more complicated,

merely look at the double-note

passages alone,
trifles

therefore say, that these passages, which were

will

to Paganini,

be impracticable to any other

de
Paganini."

violinist

"Essai sur

I'art

de

jouer du

Violon,

Mayence

Londres, Schott

&

Co.

NICOLO PAGANINI AS A COMPOSER.

be,
if

whomsoever he may
rapidity

he would execute them with the same

intonation
of

and with the

it is

perfect

the author.

As

a study,

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.

may be asked why new difficulties are and it may be remarked, with reason, that
It

introduced into art

the aim of music

is

not to surprise with marvellous

feats,

but to delight the feelings.

I

This principle

I perfectly

coincide with; yet

would observe,

on the one hand,

endeavouring
to

that certain artists will never

be prevented from
apparently

overcome

difficulties,

however

insurmountable, nor the public from applauding the happy result

of their efforts
:

on the other hand, that the study of

is

difficulties

conduces to certainty in what

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 weak-

ness consists in the

monotony of the rapid passages

all

and the
Art

same may be said of nearly

is

other

known

concertos.

evidently limited in this species of composition, to things which

last

cannot be considered as the

essay of the

artist's

skill

more

may be

boldly attempted, and that by varied means.

studied,

Let the

happy darings of Paganini be

something
is

and

it

will

be found that

gained.

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PAGANINI,

RODE,

N. Intrcxiuction et Variations sur Nel cor piit non mi sento s. ... ... ... pour Violon seul ... ... ... ... ... 4 Etudes en 60 Variations progressives sur I'air Barucaba pour Violon seul. ... ... ... each 4 Op. 14 (Oeuvre posthume). In 3 Books P. 24 Caprices en forme d'Etudes dans las 24 Tons de la Gamme, ... ... ... pour Violon seul, Op. 22 ... ... ... ... 12 id. avec accomp. d'un 2d Violon arranges par L. J. Meerts Id. ... 18 ... ... ... le 2d Violon separement Id. id. ... ... ... 8
et

6 6

o o o

RODE, KRBUTZBR,
Id.

BAILLOT.

Baillot et adoptee par le Conservatoire de ... servir k I'etude dans cet etablissement

Methode, redigee par Musique k Paris pour

...

...

...

...12
12

With German words

5 Caprices en forme d'Etudes pour Violon seul,

o o 6

VIVIEN, A.

Op. 8

...

CONCERTOS, AIRS VARIES, FANTAISIES,

POUR VIOLON AVEC ACCOMP.
(concertos, variations, fantasias, etc., for violin

ETC.,
s.

with accomp.)

d.

AXiARD, D.

Fantaisie sur das motifs de Norma, Op. 9, avec ace. de Piano 8 Fantaisie sur des motifs de Linda di Chamounix, Op. 12, avec ace. de Piano 8 Avec ace. d'Orchestre ... ... ... ... ... 30 Souvenirs des Pyrenees, Nocturne, Op. 13, avec accomp. de Piano ... 4 ... ... ... ire Concerto, Op. 15, avec ace. de Piano ... ... 16 Avec ace. d'Orchestre ... ... ... ... ... ... 28
. .

Souvenirs de Mozart, Fantaisie, Op. 21, avec ace. de Piano ... ... 8 Avec ace. d'Orchestre ... ... ... ... ...180 ... caracteristique, Op. 24, avec accomp. de Piano ... ... 8 o Avec ace. d'Orchestre ... ... ... ... ... ... 16 o Vilanelle, Op. 29, avec accomp. de Piano ... ... ... ... ... 4 6 Le Desir, Fantaisie sur un theme de Beethoven, Op. 30, avec ace. de Piano 8 o Avec ace. d'Orchestre ... ... ... ... ... ... 18 o ... ire Symphonie, Op. 3ibis, avec ace. de Piano .. ... 8 o Avec ace. d'Orchestre ... ... ... ... ... ...180 Fantaisie sur des motifs de Nahucodonosor, Op. 32, avec ace. de Piano ... 8 o Avec ace. d'Orchestre ... ... ... ... ... ... 12 o 2me Concerto, Op 34, avec ace. de Piano ... ... ... ... ... 8 o Avec ace. d'Orchestre ... ... ... ... ... 16 o ... Fantaisie sur la Priere de I'opera Mdise, Op. 35, avec ace. de Piano ... 6 o Avec ace. d'Orchestre ... ... ... ... ... 8 o ... Fantaisie de Concert sur des motifs de La Muelte de Portici, Op. 36, avec ... ... accomp. de Piano ... ... ... ... ... 8 o // Trovatore, Fantaisie, Op. 37, avec accomp. de Piano ... ... ... 8 o Avec ace. d'Orchestre .. ... .. ... ... ... 14 o La Traviata, Fantaisie, Op. 38, avec accomp. de Piano ... ... ... 8 o Fantaisies faciles, Op. 39, avec ace. de Piano 8 o Bellini, Norma ... Rossini, Lm Gazza Ladra... ... 1. 5. 4 4 o
Fantaisie
. .

o o o 6 o o o

2.

Les Puritains ... La Soniiambula Seville 8. ... ... ... ... 4 o ... Un Ballo in Maschera, Fantaisie, Op. 40, avec ace. de Piano ... ... L'Aragonesa, Valse de Concert, Op. 42, avec accomp. de Piano ... ... ... Canzonetta, Melodic, Op. 43, avec ace. de Piano ... Robert le Diable, Grande Fantaisie de Concert, Op. 44, avec ace. de Piano ... ... Guillaume Tell, Fantaisie, Op. 45, avec ace. de Piano, ... ... ... ... ... Rigoletto, Fantaisie, Op. 46, avec ace. de Piano Fantaisie de Concert sur Faust, de Gounod, Op. 47, avec ace. de Piano..
7.

Donizetti, L'/isire d'Amore Adam, Le Chalet ... ... Le Barbier de 4. Rossini,

3.

4 4

o o

6.

Donizetti,

La
...

Fille
...

du
...

Hegiment

Bellini,

4 4 4
8 6
3

o o o o o
6

8 8 8

o o o o

) )

PUBLICATIONS OF SCHOTT &

CO.,
d.

ALiARD, D.

-La Juive, Fantaisie, Op. 48, avec ace. de Piano Pastorale et celebre Menuet de Boccherini, transciits, Op. 52, avec ace.

o
6 o

de Piano Ernani, Fantaisie, Op. 54, avec ace. de Piano Les MaJtres classiques du Violon. Collection de Moreeaux choisis dans les Chefs-d'Oeuvre des plus grands Maitres classiques avec le style, le phrase, I'expression, les doigters et les coups d'archet, pour Violon et Piano 26. Chabran, 5th Sonate (in G) No. I. C^^//t, 1 2th Senate (FoUia), Op. 5 27. Manfrcdi, 6th Sonate, Op. I 7 2. Bach,y.S. 6thSonate(inE) 8 28. Mozart, 5th Sonate (in G) 29. Beethoven, Romance (in G) 3. Tartiniy Le Trille du Dia... ... ble, Sonate Op. 40 7 6th Sonate (le 30- Paganini, I2th Sonate, Op 4. Leclair, ... ... 6 Tombeau) ... 3 (in E minor) 31- Bach, J. S., 4th Sonate (in 5. Stamitz, 1st Divertimento. (Duo pour Violon seul) ... 3 D minor) ... 6. f^w//?, 24th Concerto (Bmin.) 10 32. Porpora, ist Sonate (in A) 7. Gavinies, 2nd Sonate, Op. I 33- Francoeur, 4th Sonate (in E) 4 8. Mozart, Sonate (in B flat) 8 34- Guillemin, 2nd Sonate (in C) 9. Beethmjen, Romance (in F. 35- Stamitz, 2nd Divertimento, (Duo pour Violon seul) Op. 50 6th Sonate, in D 10. Paganini, 1st Sonate, Op 2 36. Lolli, 11. La Romanesca, Air du 1 6me (Duo pour Violon seul)...
:

Siecle

37-

St.

Georges,
seul)

le

Chevalier.

Porpora, loth Sonate (in E) loth Sonate, 13. Tartini,

12.

3rd Sonate in

A (Duo pour
4 4
Preludes

Violon

14.
15. 16.

L'Abbandonata(in Gmin. Nardini, 1st Sonate (B flat) Pugnani, 1st Sonate (in E) Viotti, 22nd Concerto (in A
minor) Mozart, Concerto, Op. 76 Beethoven, Sonate, Op. 30,

38

CampagnoU,

(pour Violon seul) 39. A'rif^2-,/?., Concerto (inD) Baillot, Air russe. Op. 20 40.
41.

CampagnoU, 2 Fugiies pour

Violon
seul,
1st

17.
18.

42. Blasius, 43.

Op. 10 Sonate (in G)

5 th

19.

No. 2 Kreuizer, R.,

Je
suis

Mondonville,

Sonate,

La Molinara
Paisiello,

Op. 4
44. Robineau, 3rd Sonate (in

20. Baillot, 21. 22.

Corelli,

Air de Lindor
ist

F
7

o
45.

minor)

o o

Sonate,
1st

Op

Dauvergne, 4th Sonate

(in

(inD)
Bach, y. S., D minor)
Sonate
...

5
(in
...

46.

C minor) De Ferrari, 2nd

...

6
Sonate
(in

Bflat)
47. Pa^n, 5th Sonate (in A) 48. Stad, 3rd Sonate (in C min.)

23. Locatelli, 24. Leclair,

Le Labyrinthe de

ARTOT,

I'Harmonie pour Violon seul 3 3rd Sonate (Le Tambourin) ... ... 5 ^ariJf//rt, 2nd Sonate (E flat) 8 25. ler Air varie. Op. I, avec J.

49. Bach,

1st

Concerto

(in

minor)
50- Boccherini, 3rd Sonate (in G)
ace.

de Piano
...

Avec
2nd Air
varie.

ace. d'Orehestre
2,

...

Op.

avec ace. de Piano

...

Avec

ace. d'Orehestre

Souvenir de Bellini, Fantaisie brillante, Op. 4, avec ace. de Piano Scene des tombeaux de Lucia di Lammermoor, Fantasie, Op. 5, avec ace. de Piano

Avec ace. d'Orehestre... Le Reve, Scene, Op. 6, avec ace. de Piano

7 12

...

Scherzo, Op. 7, avec ace. de Piano ... 6 Hommage a Rubini, Fantaisie brill., Op. 8, avec ace. de Piano ... 8 Avec ace. d'Orehestre ... 14 Grande Fantaisie sur I'Hymne national russe, Op. XI, avec ace. de Piano

159,

REGENT STREET, LONDON, W.

r.

V. d.

ARTOT, Serenade, Op. avec de Piano 4 Rondo avec aec.de Piano 8 Op. Grande Fantaisie de Concert, Op. avec accomp. de Piano 8 Variations concertantes pour Violon Chant sur une Romance de Pacini, avec de Piano Op. Concerto, Op. avec ace. de Piano d'Orchestre Avec 24 Grande Fantaisie sur des motifs de Robert Op. avec dePiano 8 Romance de Field, avec accomp. de Piano Op. 3 Romance de Lucrice Borgia, avec accomp. de Piano 4
J.
Fantaisie sur des motifs de
ace.
...

Norma, Op. 13, avec

...

ace.

de Piano

14, brillant.

15,

16,

..

o 6 o o

et

17,

ace.
18,

ir

ace.

...

...

leJOiable,

19,

ace,

transerite,

20, transerite,
:

...

BACH,

J. S.

Compositions, see
Compositions, see
:

Alard, Les Maitres classiques, No.

2,

22, 31, 49.

BAILiLOT, P. BAZZINI, A.

Alard, Les Maitres classiques. No. 20, 40

I'air finale

Fantaisie dramatique sur

de Lucia di Lammer-

moor. Op. 10, avec ace. de Piano Avec ace. d'Orchestre ... IS L' Absence, Melodic, Op. 22, avec accomp. de Piano 4 Souvenir de Naples, Fantaisie, Op. 23, avec ace. de Piano 8 Avec ace. d'Orchestre ... 18 Fantaisie sur des motifs de I'opera Anna Bolena, Op. 24, avec ace. de Piano 7 Avec ace. d'Orchestre ... IS La Ronde des Lutins, Scherzo fantastique. Op. 25, avec ace. de Piano 7 2me Fantaisie sur La Sonnambula, Op. 26, avec ace. de Piano 8 Avec ace. d'Orchestre ... 18 II Pirata, Fantaisie de Concert, Op. 27, avec accomp. de Piano ... 8 Avec ace. d'Orchestre ... 18 Hjnnne triomphal, 3me Concerto, Op. 29, avec accomp, de Piano 8 Avec ace. d'Orchestre ... 18 6 Moreeaux lyriques. Op. 35, avec accomp. de Piano No. I. Elegie o 5 4. Bavardage ... S 2. La Joie ... ... ... 6 o 5. Reve de Bonheur 5 6 o 6. Bolero 3. Le Muletier 6 Le Carillon d'Arras, Air Flamand varie, Op. 36, avec ace. de Piano 8 4me Concerto, Op. 38, avec ace. de Piano ... 10 Avec ace. d'Orchestre ... 21 Fantaisie sur La Straniera, Op. 40, avec ace. de Piano 3 Moreeaux lyriques. Op. 41, avec accomp. de Piano
. . :

o o
o

No.

I.

Nocturne
Scherzo Berceuse

...

2. 3.

Concerto

militaire.

Op. 42, avec

ace.

de Piano
ace.

Avec ace. d'Orchestre ... Ballade, Morceau fantastique, Op. 43, No. I, avec La Danse des Gnomes, Morceau fantastique. Op.

43,

de Piano No. 2, avec ace

:

de Piano 3 Moreeaux en forme de Sonate, Op. 44, avec accomp. de Piano No. I. Allegro
2. 3.

Romance
Finale
4$, avec accomp. de Piano
:

4 6

o o o

Moreeaux caracteristiques. Op. No. I. Heure d'amour

2. 3.

Regrets
Seguidille ... de Salon, Op. 46, avec ace. de Piano
I.
:

3 Moreeaux

No.

Une Matinee au Lido

Separation Inquietude 2 Grandes Etudes, Op. 49, avec aec. de Piano,

2.
3.

No.

and 2

...

each

PUBLICATIONS OF SCHOTT &

CO.,
s.

d.

BAZZINI, A. La
No.
I.

Traviata, Fantaisie, Op, 50, avec ace. de Piano

Allegro dramatique, Op. 51, avec ace. de Piano 3 Morceaux de Salon, Op. 53, avec ace. de Piano :
Sotti I Salici
. . .

8 8
... ... ...

o
o o o o o o o o o

...
...

...

...

...
... ...

... ...
...

2.

Pourquoi?

... ...

...
...

...

4 4
5

3.

Mignonne

...

...

2me

Polonaise, Op. 56, avec ace. de Piano

...

8
ace.

BEETHOVEN, L. van. Romance en Fa, Op. avec de Piano... Concerto, avec d'Orchestre, Op. 61
Romance en
ace.

Sol,

Op. 40, avec

... ... ... ... ... ...

de Piano
...
...

4
5

50,

...
...

aec.

...

16

Avec
See also
:

ace.

de Piano

...

...

...

...

Alard, Les Maitres classiques, No. 9, 18, 29.

ler Air varie, en
ace.
,,

BERIOT, CH.

de. Avec
,,

Remineur, Op. i, avec

... ...

aec.

de Piano

de Quatuor
d'Orchestre

2me Air 3me 4me

varie,

en

Re majeur,'Op.
ace.

2,^avec ace. de Piano

...

...

Avec

de Quatuor

4 4 8 4 4
8 6 6 10

6 6
6 6

d'Orchestre ... ,, ,, Air varie, en Mi majeur, Op. 3, avec ace. de Piano Avec ace. de Quatuor ... d'Orchestre ... ., ,, Air varie. Air montagnard, en Sibemol, Op. 5, avec ace. de Piano

...

Avec

ace.
,,

de Quatuor

...

6 6
10 6 8 6
7

d'Orchestre ... ... ... 5me Air varie, en Mi mineur, Op. 7, avec ace. de Piano Avec ace. d'Orchestre ... 6me Air varie, en La mineur. Op. 12, avec ace. de Piano... Avec aec. d'Orchestre ... 7me Air varie, en Mi majeur, Op. 15, avec ace. de Piano... Avec aec. d'Orchestre ... ire Concerto en Re majeur. Op. 16, avec ace. de Piano
,,
.

Avec
,,

ace.
,,

de Quatuor
d'Orchestre

...
...

6 8 8 8 16
7

Le Tremolo, Caprice sur un Theme de Beethoven, Op. 30, avec ace. de Piano
Avec
ace. d'Orchestre
...

12
ace.
...

2me Concerto en Si mineur. Op. 32, avec Avec ace. de Quatuor ...
,,
,,

de Piano
...

... ...

15 16

d'Orchestre

...

33
32, avec aec.

Andante

et

Rondo
Avec
,,

russe, Extraits
aec.
,,

du 2me Concerto, Op.

...

de Piano de Quatuor
d'Orchestre ... 3 Etudes caracteristiques. Op. 37, avec ace. de Piano 8me Air varie, en Re mineur. Op. 42, avec aec. de Piano... Avec aec. d'Orchestre ... 3me Concerto en Mi mineur. Op. 44, avec ace. de Piano ...

8 10
21 8 8 8 12 16

Avec
,,

aec.
,,

de Quatuor

..

4me Concerto en Re
Avec
,,

d'Orchestre ... mineur. Op. 46, avec aec de Piano

ace.
,,

de Quatuor

...

33 8 8
16
...

9me Air

d'Orchestre ... Re mineur. Op. 52, avec aec. de Piano Avec ace. d'Orchestre ... 5me Concerto en Re majeur. Op. 55, avec ace. de Piano ... Avec ace. d'Orchestre ... Valses pour Violon et Piano concertants, Op. 58 lome Air varie (Fantaisie), en Re majeur, Op. 67, avec ace. de Piano Avec ace. d'Orchestre ...
varie (Fantaisie), en

9 16 10 18
7

...

8
IS

159,

REGENT STREET, LONDON, W.

s.

d.

BBRIOT, CH.

de. 6me Concerto en La majeur, Op. 70, avec ace. de Piano 8 Avec ace. d'Orchestre ... 7me Concerto en Sol majeur. Op. 76, avec ace. de Piano .. 10 Avec ace. d'Orchestre ... 21 Premier Guide du Violoniste, 20 Etudes melodiques, faciles et progressives. Op. 77. 2me Suite, 10 Etudes melodiques, et de style en forme
de Solos, avec
ace.

o
6

de Piano
ace.

Partie separee de Violon

9 3

lime Air varie, en La mineur. Op. 79, avec Avec ace. d'Orchestre ...

de Piano...

10

Etude de Salon, Op. 85bis, avec ace. de Piano I2me Air varie, en Re majeur, Op. 88, avec ace. de Piano...

4 8
16

Avec

ace. d'Orchestre

...

Nocturne, Op. 90, pour Piano et Violon 8me Concerto en Sol majeur, Op. 99, avec ace. de Piano

4
...

12

Avec ace. d'Orchestre ... 26 Fantaisie ou Sc^ne de Ballet, Op. 100, avec. ace. de Piano 8 ace. d'Orchestre ... Avec 16 Les trois Bouquets, 3 Fantaisies, Op. loi, avee aee.de Piano. 3 Books, each 4

9me Concerto en La
Avec

mineur. Op. 104, ace. d'Orchestre ...

avee ace. de Piano

8
15

2e Fantaisie-Ballet, Op. 105, avee ace. de Piano ... Andante-Caprice, Op. 108, avec ace. de Piano 2 Fantaisies sur des themes russes. Op. iii, avec ace. de Piano

8
7
:

No. Grande

4
6 8 16

Op. 115, avee ace. de Piano Avee ace. d'Orchestre ... Reveuse, Morceau de Concert, Op. 118, avec ace. de Piano Avec ace. de Quatuor ... Grande Valse de Concert, Op. 119, avec aec. de Piano
Fantaisie,

4
6
7

Avec
Andante

ace. d'Orchestre

...

...

10
7

Fantaisie lyrique, Op. 120, avec ace. de Piano varie. Op. 121, avec aec, de Piano ... Elegie, tiree de I'Op. 123, avec ace. de Piano Serenade, Op. 124, avec ace. de Piano Les Echos, Fantaisie, Op. 125, avec aec. de Piano... Souvenirs de Weber, Fantaisie sur des motifs ^Oberon et de Freischutz. Op. 126, avec aec. de Piano lome Concerto en La mineur. Op. 127, avee aec. de Piano

6
3

4
7

Avee ace. d'Orchestre ... ... each 12 Melodies italiennes, avec ace. de Piano. In 3 Books ... 36 Etudes melodiques, avec ace. de Piano, choisies dans la Methode.
In 6 Books
... ... ... ... ... ... ... ...

8 16

o o o
6

4
6

each

BESBKIRSKY,
BOCCHERINI,
COREiLLI.

G.

Fantaisie de Concert sur Faust, de Gounod, avec

ace. de Piano Souvenir de Varsovie, 2 Mazurkas, avec aec. de Piano L. 3me Sonate

OARRODUS, J. Fantasia on ScotchT.

DANCLA,
No.
I.

Fantaisie sur // Trovatore, avec accomp. de Piano

...

Airs, with Pianoforte accomp.

Compositions.

See: Alard, Les Maitres elassiques. No.

i,

21.

Ch. Theme de
,, ,,

2.

6 petits Airs varies, Pacini ... 4 o Rossini ... 4 o

Bellini
...

Op

J,

avec aec. de Piano

4.
S-

Theme de

,,

Donizetti

3.

6.

Weigl Mercadante

Romance et Mazurka, Op. 100, avec ace. de Piano Tarantelle, Op. 102, avec ace. de Piano ire Suite 3 petits Divertissements, avec aec. de Piano,

PUBLICATIONS OF SCHOTT &

"P ATJnTiA,

CO.,

CH.
Suite
et
...

3 petits Divertissements, Op. lo6, avec ace. de Piano,

s.

d.

2me

4
7

Polonaise brillante, Op. 112, avec ace. de Piano Hymne k Ste. Cecile, Op. 114, avec ace. de Piano L'Utile et I'Agreable, 24 Melodies faciles, Op. 115, avec ace. de Piano each In 4 Books ec ace. de Piano 6 petits Airs varies, 2me Serie, Op. 118,

Andantino

4
7

o o o

No.

I.

2.
3.

La

Montecchi ed Strantera
...

Capuletti
... ... ...

Nor7na

.4

4 4

4.
5.

La Sonnambula

...

6.

Les Puritains Le Cartiaval de Venise

Variations brillantes sur Le Carnavalde Venise, Op, 120, avec ace. de Piano Valse de Concert, Op. 121, avec ace. de Piano Petite Eeole de la Melodie, 12 petites Pieces tres faciles. Op. 123, avec In 2 Books ... ... ... ... ... each ace. de Piano. 6 petites Fantaisies faciles, Op. 126, avec ace. de Piano
:

In 3 Books

...

...

...

...

...

...

...

each

6me

Fantaisie, Op. 127, avec ace. de Piano... Andante cantabile. Op. 130, avec ace. de Piano

Berceuse, Op. 131, avec ace. de Piano ... Elegie, Op. 132, avec ace. de Piano Fantaisie-Capriee sur Faust de Gounod, Op.

1 33, avec ace. de Piano Canzonetta, Op. 1 34, avec ace. de Piano La Charmille, Reverie poetique,Op. 135, avec ace. de Piano Saltarelle, Op. 136, avec ace. de Piano

Fantaisie brillante sur

Za Dame

blanche.

Op. 137, avec

ace.

de Piano
...

Souvenir de Cauterets,

Cavatine, Op. 140, avec ace. de Piano

:

ERNST, H. W.
No.
I.

3 Morceaux de Salon, avec ace. de Piano 2 Nocturnes, Op. 8

2.

Th^me allemand

varie,

Op. 9

...

Elegie, Chant. Op. 10 Fantaisie brillante sur la Marehe et la

3.

Romance
...

^Othello, Op.

i,avec ace
7 12 2

de Piano

Avee

ace.

d'Orchestre

Feuillet d' Album, avec ace. de Piano...

La Romanesca, Celebre Danse du B.

ace.

i6e Siecle, avec ace. de Piano...

2
avec

PRIBDRICHS,

Fantaisie el^ante sur

...

Z^ Carnaval de

Venise,

de Piano

GOUNOD, CH.
TT "FIRM AN,

Hymne

k Sainte Cecile, pour Violon et Piano

:

3
...

Fantaisies, avee ace. de Piano

Lucia di Lammermoor, Op. 14 ... Lalla Roukh, Op. 51 Le Pre aux Clercs, O"^. 1% ...

6
7

La

Favorite, Op. 59 Galathee, Op. 60

...

...

6
5

... Guillaume Tell, Op. 61 Z^ Barbier de Seville, Op. 62

.

8
7

o o O o o o o

Don

Pasquale, Op. 73 Norma, Op. 74

.

6
5

o
o

Richard, Cc^irde Lion, Op. 75

j

Freischiitz

(Robin des Bois),

...

Op. 77 I^s Puritains, Op. 78

La Sonnambula, Op.

79

No.

6 Morceaux de Salon sur des motifs favoris. Op. 91, avec ace. de Piano ... 4 6 4. Robert leDiable de Meyerbeer I. Souvenir des Alpes ... 4 6 5. Le Prophite id. 2. Martha de Flotow 4 6 6. L^s Huguenots id. 3. Stabat Mater de Rossini ...

Les Succes du jeune Violoniste. 20 Morceaux gradues. Op.

et

95,

pour Piano

No.

I.

Violon Mozart,
Mozart, Figaro

3. 4.

La FUite etuhant^e Donizetti, L' Elisired' Amore

Le
Mariage
de

5. 6.
7.

Bellini, Bellini,

Z^

/^>fl/^

Le Carnaval de Venise / Montecchi ed I

Capuletti
...

159.

REGENT STREET, LONDON, W.

Violoniste (continued) La Gazza 14. Rossini,
:

HERMAN,
No.
8.

A,

Le Succes du jeune
Vltalieniie
... ...
...

Rossini,

Ladra

9.

Algir

10.

11.
12.

La Cenerentola ... 4 Adam, Cantique de Noel... 4 Mehul, La Chasse du jeune 4

Henri
Rossini, Otello
'Qt\Y\vi\,
...
...

o o o o o o

15.

Weber, Oberon
Bellini,

16. 17.

Beatrice di lenda

13.
-

La

Straniera

...

4 4

Fantaisie espagnole des Vaches Guillauine Tell ... 19. Rossini, Mdise 20. Airs russes ..
18.

Le Ranz

de

6 Fantaisies de Salon sur des Airs favoris anglais et americains. Op. 155, avec ace. de Piano No. I. The Last Rose of Summer 4 o 3. The Star-Spangled Banner 2. Home, Sweet Home ... 4 o 6. Hail Columbia
:
I |

Ecole du Violoniste, Morceaux faciles No. I. Flotovv, Alessandro Stradella 2. Auber, Les Diamattts de la Couronne ... 3. Auber, La Muette de Portici L'Etoile du 4. Meyerbeer,

et progressifs,
6.

avec ace. de Piano

Adam,

Le

Postilion

de

7.

9.

Lonjunieau Auber, Fra Diavolo Maillart, Les Dragons de

Villars

Nord
5-

10.

Auber, Z^ Domino noir

12. Rossini, Le Co/nte Ory Auber, La Part du Diable Les Premiers Pas du Violoniste. Choix de Recreations tirees des Oeuvres les plus celebres pour Violon et Piano No. Le Torrent, Valse UnReved'Enfant, Nocturne La Donna del Lago, Marche DElisire d'Amore Guillaume Tell II pleut Bergere Don yuan ... Les Cloches au village Galathee Souvenir du Tyrol Gondolina ... Z^ PrS aux Clercs Robin des Bois Invitation a la Valse (de Les Alpes ... Weber)
.
.

HILLER,

JANSA,

Concert, Op, 152, mit Pianoforte-Begleitung Mit Orchester-Begleitung L, 12 Impromptus (12 Morceaux de Salon), Op, 79, avec ace, de Piano, No, i, Printemps ; No, 2, Tarantella ; No, 3, Tendresse ; No, 4, L' Agitation; No. 5, Nocturne No, 6, Toccata ; No, 7, L'EleNo. 9, Serenade ; No. 10, Melancolie ; gance ; No. 8, Agrement ... ... ... No. II, Romance; No. 12, Gaite ... each .. Concerto, Op. 83, avec ace. de Piano ... ... ... ...

P.

Avec

ace. d'Orchestre

...

...

...

...

...

...

JOACHIM,

Fantaisies brillantes et faciles sur des Airs russes, avec ace. de Piano ... ... ... In 2 Books, ... ... ... each ... J. 3 Pieces, Op. 2, avec ace. de Piano
:

Separate

No.

i.

Romance
Fantaisie Fantaisie de Primavera
...

2.

KREUTZER, R.
LECLiAIRjJ. M.

3.

...

...

...

Compositions. SeeAlard, LesMaitresclassiques, No. 19,39.

Compositions.

SeeAlard, Les Maitres classiques. No.

4, 24.

LEONARD,

H. Souvenir de Haydn. Fantaisie sur I'air " Gott erhalte Franz den Kaiser," Op. 2, avec ace. de Piano ... ... 7 Fantaisie sur des themes russes. Op. 3, avec ace. de Piano ... 4 2me Concerto, Op. 14, avec ace, de Piano ... ... IS Avec ace. d'Orchestre ... ... 24 ... Grande Fantaisie militaire, Op. 15, avec ace. de Piano 8 Avec ace. d'Orchestre ... ... 15 ... 10 3me Concerto, Op. 16, avec ace. de Piano ... Avec ace. d'Orchestre ... ... 18

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H.

o o

Avec

ace.
,,

de Quatuor
d'Orchestre

...
...

...

... ...

...

...

... ... ...

8
15

,,

...

...

...

Elegie k la memoire de Marie MilanoUo, Op. 20, avec ace. de Piano Las Echos, Fantaisie pastorale, Op. 22, avec ace. de Piano

Avec

ace.

de Quatuor

...

d'Orchestre ... ,, ,, Fantaisie suedoise. Op. 23, avec ace. de Piano

Avec
,,

ace.
,,

de Quatuor

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d'Orchestre ... Sctee populaire espagnole. Op. 24, avec ace. de Piano

Avec

ace.
,,

de Quatuor

...

d'Orchestre ... Concertstiick (4me Concerto), Op. 26, avec ace. de Piano..
,,

Avec
,,

ace.

de Quatuor

...

,,

d'Orchestre
caracteristiques,

Souvenirs de Blankenberghe, Morceaux

ace.

Op.

27, avec

No.

I.

de Piano Aux Bords de

la la

2,

Promenade a
Concerto.

mer ... campagne

36]
4
o
...
|

3.

Coursekl'ane(Foliemusicale) 4

4.

Les Adieux

5me

Op. 28, avec ace. de Piano

ace.
,,

Avec
,,

de Quatuor

Don

d'Orchestre ... Juan^ Fantaisie, Op. 29, avec ace de Piano

...

Avec
,,

ace.
,,

de Quatuor
d'Orchestre
ace.

...
...
:

de Piano No. 1. Andante et Allegro de Concert 2. Tristezza, Marcia 2 Solos, Op. 32, avec ace. de Piano No. I. Andante et Rondoletto 2. Meditazione et Scherzo 2 Solos, Op. 33, avec ace. de Piano No. I. Polonaise 2. Morceau de Concert... Airs bohemiens et styriens, Fantaisie de Salon, avec ace. de Piano Dove sono, Air de I'opera Z<? Nozze de Figaro, transcrit, avec ace. de Piano Les Dragons de VUlars, Fantaisie brillante, avec ace. de Piano ... Ernani, Fantaisie de Salon, avec accomp. de Piano L'Etoile du Soir, Romance du Tannkduser, transcrite, avec ace. de Piano La Follia, Variations serieuses de Corelli, avec ace. de Piano ou d'Orchestre et Cadenza ... 5 Gedichte von R. Wagner, f iir Violine und Pianoforte iibertragen Martha, Transcription - Caprice, avec accomp. de Piano ... Pieta Signore, Air d'Eglise d'A, Stradella, transcrit, avec ace. de Piano Priere k la Madone, de Gordigiani, transcrite, avec ace. de Piano... // Trovatore, Fantaisie de Salon, avec accomp. de Piano .. 2 Morceaux, Op. 31, avec
:

LIOHTBNSTBIN,
LIPINSKY,
ace.

G.

Hongroise, pour Violon et Piano

XjIDEjLi, J. La Charite, Choeur de Rossini, trans, avec ace. de Piano Cujus animam. Air du Stabat Mater transcrite, avec ace. de Piano...

Oh.
;

6 Morceaux de Salon sur des motifs de Rossini, avec

45.

de Piano

No.

I.

Li Marinari

L'Orgia

2. 3.

La Serenata La Danza ...

6.

La Pastorella del 'Alpi La Regata veneziana

159,

REGENT STREET, LONDON, W.

Ave Maria de
... ...

MILANOLLO,
de Piano

Th.
...

Schubert, transcrit. Op. 4, avec ace.

... ... ... ... ... ... ...

s.

d.

4
7

MORBT,

V. 6 Valses de Beethoven, transc. pour Violon at MOSSEjR. a. La Serenade, Nocturne, Op. 3, avec ace. de
8, 17, 28.

Piano
Piano
...

o
o

Fantaisie brillante sur Freischiitz, Op. 4, avec ace. de Piano MOZART, "W. A. Compositions see Alard, Les Maitres classiques,
PAGANINI, N.
No.
I.
:

...

...

6 8

No.

CEuvresposthumes Mi bemol. Op. 6, avec ace. de Piano ... ... 18 L'accomp. d'Orchestre ... ... ... ... ... ... 33 ibis. Rondo du ler Concerto, Op. 6bis, avec ace. de Piano ... ... Allegro du ler Concerto, refait eteinstrumente avec une cadence par G.
ler Concerto, en

90
o

o o

Besekirsky

Avec
,,

ace.
,,

de Piano
d'Orchestre

...

...

... ...

... ...

... ...

... ...

8
16
15

...

...

o
o o

2.

2me

Concerto, en Si mineur(Rondo de
ace.

la Clochette),

Op.

7,

avec

... ... ... ... ... de Piano... ... ... L'accomp. d'Orchestre... ... ... ... ... ... 2 bis. La Clochette, Rondo, Op. 7bis, avec ace. de Piano (Danse des Sorcieres), fameuses Variations, Op. 8, avec 3. Le Streghe ... .. ... ... ... ... ... ace. de Piano ... L'accomp. d'Orchestre... ... ... ... ... ... ... 4. God save the Queen, Variations, Op. 9, avec ace. de Piano ... L'accomp. d'Orchestre ... ... ... ... ... ... 5. Lc Camaval de Venise, 20 Variations, Op. 10, avec ace. de Piano... 6. Moto perpetuo (Mouvement perpetuel). Allegro de Concert, Op. 11, ... ... ... ... ... ... avec ace. de Piano ... L'accomp. d'Orchestre ... ... ... ... ... ... 7. Non piu mesta. Theme et Variations, Op. 12, avec ace. de Piano ... ... ... .., L'accomp. d'Orchestre ... ... ... ... 8. I Palpiti, Theme et Variations, Op. 13, avec ace. de Piano ... ... ... ... L'accomp. d'Orchestre ... ... ... The above posthumous works, complete in 2 Parts, bound in cloth, gilt, nett ... ... nett Id. in paper ... ... ... ... ... ... No, 10. Sonate, avec ace. de Piano ... ... ... ... ... ire Sonate, Op. 2, avec ace. de Piano ... ... ... ... ... I2me Sonate, Op. 3, avec ace. de Piano ... ... ... ... ...

...80

33

70
14
7

10 6

o o 6 o o
6

4
7

o
6

10
7

14
16 12 3

o o o o
6

...40
4 o

PANOPKA,

Romance de PRUME, Fantaisie F. Souvenir

H. 2 Nocturnes brillants sur des motifs de Mina, Op. 50, avec ace. de Piano ... ... ... ... ... ... ... ... roperaZ'w3'<?<5.f/'/i?, Op. 51, avec ace. de Piano
.

...60
4
.

Melancolie, Pastorale, Op. i, avec ace. de Piano ... 7 et Vai-iations sur un theme d! Herald, Op. 9, avec ace. de Piano 8 Avec ace. d'Orchestre ... ... ... ... ... ... 15 villageois. Andante et Rondo, Op. 10, avec ace. de Piano ... 8

La

RAFF,

RBBBR, REINAGLB,

Quatuor ... ... ... ... ... ... 9 18 d'Orchestre Concert heroique, Op. 11, avec ace. de Piano ... ... ... 15 Avec ace. d'Orchestre ... ... ... ... ... ... 30 Le Retour a la vie ou les Arpeges, Caprice, Op. 12, avec ace. de Piano... 8 ... ... ... Avec ace. de Quintuor ... ... ... 8 La Danse des Sorcieres, Scherzo burlesque et caracteristique. Op. 13, avec ace. de Piano ... ... ... ... ... J. La Fee d'amour, Morceau caracteristique. Op. 67, avec acc.dePiano 9 6 Morceaux pour Violon et Piano. Op. 85 ... ... ... ... No. 3. Cavatina ... ... ... 3 6. Tarantella ... ... ... ... ... .. ... ... ... ... ... 3 H. Berceuse, avec ace. de Piano ...
ace. de
,, ,,
.

Avec

o o o o o o o o o o o

..,60
o o
6

40
6

A. B.

Th^me

et Variations, avec ace.

de Piano

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Airvarie, Op. lo, Nouv. Edition, avec ace. de Piano... Avec ace. en Quatuor ... Concerto, en La min. arr. en Senate, avec ace. de Piano, par A. Brand, Nouv. Edition

P.

3
3

En Quatuor

8 6

SAINTON,
Theme

P. Premier Concerto, Op. Avec ace. d'Orchestre ...

9,

avec ace. de Piano

8
16

italien varie.

Op. 10, avec ace. de Piano Avec ace. d'Orchestre ...

6
12
" de Lindpaintner,
7
1=;

Fantaisie sur la

Romance

favorite

"Die Fahnenwacht
...

Op.

II,

avec ace. de Piano

Avec Avec
Souvenir de

ace. d'Orchestre

Fantai.sie sur Lucrezta Baryta,

Op.

12,

avec aec. de Piano...

ace. d'Orchestre

...

8 16
7

La

Fille

du Regiment,

Fantaisie,
...

Op.

13,

avec ace. de Piano

Avec

ace. d'Orchestre

16

Air montagnard, Fantaisie, Op.

Avec

14, avec ace. ace. d'Orchestre ...

de Piano

Solo de Concert, Op. 16, avec aec. de Piano... Avec aec. d'Orchestre ... Rondo-Mazurka, Op. 17, avec ace. de Piano... Avec ace. d'Orchestre ... 3 Romances, Op. 18, avec ace. de Piano Source, Op. 19, avec ace. de Piano La Tarantelle, Op. 20, avec aec. de Piano

15 7 16

8
18

6 4 6 8
16

SINGBLEE,

J. B.

2me

Concerto, Op. 10, avec. ace. de Piano

...

Avec

ace. d'Orchestre
:

Fantaisies, avec aec. de Piano

Le

Pirate,

Op. 13
14..

Lucie de Lammermoor, Op. La Part du Diable, Op. 16

6 6
7

La FlAte encliantee, Op. 109 ... Romeo et Juliette, de Gounod,

Op. 112 Ernani, Op. 113 Guillaume Tell, Op. 117 Rigoletto, Op. 118 Fra Diavolo, Op. II9 ... Robert le Diable, Op. 120 Fantaisie melodique, Op. 121 ... La Mandolinata, Op. 122 Lohengrin, Op. 123 Don Pasquale, Op. 124 LePostillondeLonjumeau,0^. 125 Un Ballo in Maschera, Op. 126 Le Cheval de Bronze, Oy'- 129... La Reine a'unjour. Op. 130 ... Tannhduser, Op. 131 ... Le Domino noir. Op. 133 Stabat Mater A^^osswix, Op. 1 34 La Dame blatuhe. Op. 135
L^s Mattres-Chanteursde Nuremberg,

La

Sireni, Op. 18 6 Les Mousquetaires dela Reiiie,0'^. 21 7 6 Ztf Pre aux Clercs, Op. 24 6 Le ValdAndorre, Op. 25 LxBarbier de Seville, Duo, Op. 26 8 La Favorite, Op. 27 8 ySrusalem (L Lombardi), Op. 28 8 Le ProphHe, O^. 2^ 8 La Fille du Rigiment, Op. 30 8 Les Huguenots, Op. 3 ... 18 Norma, Op. 33 ... 7 Lucrezia Borgia, Op. 34 7 La Sonnambula, Op. 39 6 Les Puritains, Op. 40 ... 6 Fantaisie- Pastorale, Op. 56 6

Martha, Op. 67... Stradella, Op. 68

7 7

Le Barbier de

Seville,

Op. 69

La

Muette de Portici (Masaniello)

7
7

Op. 137

Op. 71 Zampa, Op. 90 ... // Trovaiore, Op. 94 Othello, Op. 95 L'Elisire a'Atnore, Op. 96 Robin des Bois, Op. 97 ... Fantaisie elegante. Op. 98 La Traviata, Op. 107 ...

Za

Juive, Op. 138

6 6 6
7

Simiramide Moese Oberon

Tancride
Preciosa
...
...

6
7

Themes de Mendelssohn
Biatrice de Tenda

159,

REGENT STREET, LONDON, W.

i,

SIVORI, C. Variations sur Nel cor piu non mi avec de Piano Op. Variations sur un theme du avec de Piano Op. Fantaisie-Etude, Op. avec de Piano d'Orchestre Avec Eloge des Larmes, de Schubert, avec de Piano
La
Genoise, Caprice, Op.
Pirate,

avec ace. de Piano

2,

sento,

ace.

3,

ace.

10, ace.

ace.

...

15

transcrite,

ace.

4
5

SNYDERS, ED. Fantaisie-Valse, pour Violon et Piano SPOHR, L. Barcarolle (in G), pour Violon et Piano, Op. 135, No. STASNY, Li. 3 Polkas (Kutschke-Papageno- et Amaranth- Polka)
Violon
et

pour
6

Piano

o
6

S^T^ERT,

J.

de.
...

Adelaide von Beethoven, iibertragen mit Pianoforte-

Begleitung

4
I,

TARTINI,

G.

lome Sonate, Op.

avec ace. de Piano

13).

(Alard, Les Mattres dassiques. No.

6 Senates, Edition Leonard

No.

I,

in

2,

,,

3,

A minor... G G major
,,

...

...

46 46

4,
5.

in
. ,,

C F

6,

major M
,,

Le

du Diable, Sonate (in G minor). Edition Leonard Edition Alard Id. Edition Leonard Variations sur une Gavotte de Corelli.
Trille
. .

TOURS,

B.

Repos

et Reveil,

2 Morceaux de Salon, pour Violon et Piano

a Paganini, Caprice, Op.
...

VIEUXTEMPS,
de Piano

H.

Hommage

9,

av

Avec

ace. d'Orchestre

Grand Concerto (in E,) Op. 10 (La Avec ace. de Piano

,,

partie de Violon principal)

,,

d'Quatuor

18 18

d'Orchestre ... ,, ,, 33 Fantaisie-Caprice, Op. Ii, avec ace. de Piano 8 Yankee Doodle, Variations burlesques, Op. 17, avec ace. de Piano 6 Moreeau de Salon, Op. 22, No. 2, Air varie, avec. ace. de Piano 6 Moreeau de Salon, Op. 22, No. 3, Reverie, avee ace. de Piano .. 4 6 Divertissements d'Amateurs sur des Melodies russes favorites. Op. 24,

avec ace. de Piano

No.

to 3

each
each

4
7

5 and 6 Feuilles d'Album, 3 Morceaux,

6 o o

Op. 40, avec

ace.

de Piano

No.

I.

Romance
Regrets

2.
3.

4 4
...

Bohemienne
...

7
Sieele,

o o o

Old England, Caprice sur des Airs Anglais du l6e and I7e
avec ace. de Piano

Op. 42
15

Avec

ace. d'Orchestre

...

Voix intimes, Pensees melodiques, Op. 45, avee

ace.

de Piano
8 8 6
8

Douleurs, Espoir, Foi Deception, Serenite, Contemplation Fantaisie brillante sur j5'rrt?, avec ace. de Piano ... Fantaisie de Salon sur / Lombardi, avec ace. de Piano Fantaisie sur Luisa Miller, avee ace. de Piano Chansons russes, transcrites et varices, avec ace. de Piano...
I.

Book

2.

6
16,

o o o o o

VIOTTT,

J. B.

Compositions, see

Alard, Les Mattres dassiques. No. 6,

"WABFBLG-HEM,

L. van.

Pastorale, avec ace. de Piano

Reverie, avec ace. de Piano

4 4

o
6

PUBLICATIONS OF SCHOTT &

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G. 6 petits Morceaux de Salon sur des motifs d'operas favoris, Op. 51, avec ace. dePiano Weber, Oberon No. 2. ^ieyerhQGr,L'EtoileduNord 4 o Rossini, Guillaume Tell.. ... ... 3. Flotow, Itidra 4 o Petites Fantaisies elegantes, Op. 52, avec ace. de Piano Abt, Wenn die Schwalben No. I. Suppe, Mein Oesterreich 3 heimwarts ziehen Schlummer-Polka 3 2. Beyer, Mailiifterl O bitt' euch 5- Kreipl, 3. Gumbert, 6. Proch, Das Alpenhorn ... ... liebe Vogelein 3
:

s.

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No.

6 petits Morceaux de Salon, avec aec.de Piano. Op. 75 ... 1. Verdi, Don Carlos 4. Rossini, Guillaume Tell ... 5 2. Meyerbeer, VAfricaine ... 5. Weber, Euryanthe 5 ... 6. Marschner, Templeru.yndin 3. Wagner, Lohengrin 5
:

SalonstUcke iiber ausgewahlte Lieder von F. Schubert, fiir Violine und Piano, Op. 82 8. Haidenroslein {La Rose No. I. Der Wanderer (Le Meunier ... sauvage) ... ... voyageur)... 4 o der Bach Standchen (Serenade), von 2. Der Miiller und Shakespeare (La Voix enchantresse) ... 4 o 10. Auf dem Wasser (Sur le lac) 3. Gute Nacht (Je dois te fuir) 4 o ... II. Die Taubenpost (L'Oiseau 4. Mein (Elle et ^ moi) 4 o messager) 5. Eifersuchtu. Stolz( Jalousie) 4 o Friihlingssehnsucht (LeDesir 6. Rastlose Liebe (Toujours) 4 o du Printemps) 7. Die Forelle (La Truite) ... 4 o
12
:

6 Fantaisies brillantes et non difficiles sur des Operas favoris pour Violon et Piano, Op. 86 Robert le Diable No. I. Gustave, ou le Bal masque 6 o Les Puritains ... 2. Zampa La Favorite 6 o ... 3. La Dame blanche ... 6 Airs favoris d'Operas italiens varies, avec ace. de Piano, Op. 87 ... ... ... 4. Torquato Tasso .. No. I. Emani ... 5. Cenerentola 2. Lucia di Ldmmermoor
:
.

...60

3.

La Sonnambula

...

...40
.

40 40
.

6.

II Pirata

...

WIENIAWSKI,

Polonaise brillante. Op. 21 Avec ace. de Piano d'Orehestre ,,

H.

2me

15

DUOS POUR PIANO ET VIOLON.

(CONCERTANTE DUETS FOR PIANO AND VIOLIN.)

ALARD, Barcarolle

D.
No.

Tarantelle,
I.

Duo

eoneertant. Op. 14
:

et Saltarelle,
2.

Op. 26

Barcarolle
Saltarelle

BEETHOVEN, L. van. Duos, (See Complete Violin Catalogue). BERIOT CH. de. Collection de Duos eoneertant (see Complete Violin
Catalogue).

DANCLA, CH.
Souvenir

Souvenir d'C>r/>4/^de Gluck, Duo, Op. 96 de Gluck, Duo, Op. 97 Duo brillant sur Moise de Rossini, Op. ill DuohnYlantSMT La Fliite enchant^, Op. ti6 3 Duos, Op. 124 3. Air Irlandais et No. I. RobindesBois (Der Freischiitz) 4 6 de Venise 4 6| 2. Serenade de Z><w 5^
d'y^rOTw/*?,
:
|

le

Camaval

) .

159,

REGENT STREET, LONDON,

Senate
(in

\V.
s.

d.

DEICHMANN, C. GERNSHBIM, F. GOLDMARK, C.

Sonate, Op. 25
...

minor)

12

Sonate I2bis
Suite in sSiitzen. Op. ii

10
12 16

GOUNOD,
et

Ch, Meditation sur le ler Prelude de J. S. Bach, pour Pir.no Violon ou Violoncelle, avec accomp. d'Orgue ou d'un 2d Violoncelle
lib

ad

Serenade, pour Piano et Violon (ou Violoncelle)

4 4

GRBGOIR,
No.
I.

J. et

LEONARD,
.

H.
o o o o o
6

Collection de
28.
/irMj-/

Duos

concertants
...

/ Lombardi (Jertisalem)
Le Prophete

2. 3.

4.
5.

Airs styriens Don Pasquale Les Mousquetairesdela Reine

6.

Romeo

et Juliette

...

8 8 8 8 8

30.

V Africaine

de Gounod

3134-

Romeo et yuliette Die Walkiire

...

8 8 8
7

to 13, 6 Duos d 'Amateurs each sur des Melodies russes, No. 14. // Trovatore 15 to 20, 6 Duos sur des Themes originaux

No. 8

Meistersinger von A^iirnbei-g (Les MaitresChanteurs de Nurevihtrg). 36. Rienzi 37- Lohengrin ... 38. Das Rhei7igold
39.

35- Die

7 7 7

7 7 7
7

Oberon

No.

I.

Regrets

4
4

2.
345-

Chant de Mai

Le Bal
Bonheur passe Sur I'Eau
Pensee
d'

6.

Amour

4 4 4 4
8 8 8

o o o o
o o o o o

40. 41. 42. 43-

Don Juan ... Der Freischiitz La Favorite La Muette de Portici {Masaniello)

7
7 7

21. 22.
23-

Ernani Martha Le Camaval de Venise

44. 46.

Euryanthe ... Le Vaisseau-FantoDie (Der

.

24. Rigoletto 26. Tannhduser

27.

fliegende Hollander) 47- Richard, Ca:ur de Lion 48. La Juive ... 49. Airs irlandais, (The Min.

8
7

Airs bohemiens

strel

Boy,

etc.)

...

HILLER,

Duetto appassionato. Op. 58 Op. 142 3 Fantaisie-Stiicke. No. I. in C-major ... ...

P.

8
...

...

...

...

...

.2.
3-

...

7 7

JENSEN, G. KETTERER,

Suite (Praeludium, Canon, Toccata et Finale), Op. 3

10

E., et

A.

HERMAN.
faciles,
I

Duos

concertants (See

ComArr.

plete Violin Catalogue).

KUHLAU, P.
No.
I.

6 Sonatines par R. Schaab. Nos.

progressives et doigtees. Op. 55.

... ... ... ...
...

to 6

each
:

LBCARPENTIER,
Lm,
2. 3.

A.

Petites Fantaisies sur des motifs favoris

Dame blanche.

Op. 179

La Sonnambula

,,180

Richard Ccmr deLion 181

4 4 4

o o o

DElisire cTAmore Le Barbier de Seville

182 183

Norma
(See Complete Violin Catalogue.

4 4 4

o o o

MOZART, "W. A.

Sonatas and Operas.

STIEHL, H.
Sonate.

Sonate.

Op. 37bis

...

Op. 100

12 12
12.

o o o

VIEUXTEMPS, H

Grande Sonate, Op.

Nouvelle Edit., revue

16

par I'auteur
Collection de

...

Duos

concertants.

(See Complete Violin Catalogue.)

PUBLICATIONS OF SCHOTT &

CO.,

WlCHTL,
No.
I.

6 petits Duos sur motifs d'operas favoris de Verdi. Op. 44 / Lornbardi ... ... 4 o Rigoletto ... ... 2. La Traviaia 4 o ... Na bucodonosor ... ... 3. Ernani 4 O Op. 81 6 petits Duos de Salon. ... ... No. I. Robin (ies Bois 4. Les Nocesde Figaro... 4 o 2. Don yuan... ... ... 5. i^rt'^//^ 4 o 6. La Fltite eruhantie ... ... ... 3. Oberon 4 o Petits Duos sur des motifs d'Operas favoris Op. 92 ... ... ... No. I. Moi'se 5. Les Diamants de la Couronne 4 6 ... 6. Marie 2. Le Barbur de SMlle 4 6 7. Zi-j Dragons de Villars 3. II Pirata 4 6 Les Afousquetaires de la Reine ... ... ... 4. >^ 4 6 Petits Duos sur des motifs d'Operas de R. Wagner. Op. 98 No. I. Die Meistersinger von Niirn3. Die Walkiire berg ... 4. Siegfried ... ... 2. Das Rheingold ... ... 5. G'dtierddmmerung .. 4 6 Rossini. Duos, Op. loi Souvenir de I. Stabat Mater No. 2. La Foi, L'Esperance et la Charite...
Gt.
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4 4 4 4 4 4

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MORCEAUX CONCERTANTS AVEC

(CONCERTANTES FOR 2 VIOLINS WITH ACC.)

ACC.
31,
...

AIjARD, D.

Symphonie concertante pour 2 Violons, Op.

...
...

avec
...

accomp. de Piano

...

...

...

...

10

... 24 Avec ace. d'Orchestre ... ... ... ... ... 2me Symphonie concertante pour 2 Violons, Op. 33, avec accomp, de

Piano

...

...

...

...

...

...

...

...

...

ID

Avec ace. d'Orchestre ... ... ... ... ... 18 3me Symphonie concertante pour 2 Violons, Op. 34bis, avec accde Piano 12 Avec ace. d'Orchestre ... ... ... ... ... 18 ... DAJNCI4A, CH. 4e Symphonie concertante pour 2 Violons, Op. 98,
avec ace. de Piano
..
,

...

...

...

...

...

...

..80
6
7

3 petites Symphonies concertantes pour 2 Violons, Op. 109, avec ace. de Piano. Nos. i to 3, each ... ... ... ... ... ... Petite Ecole de la Melodic. Pieces melodiques pour 2 Violons, Op. 129, avec accomp. de Piano. 2 Books ... ... ... ... ... each LiOTJIS, N. L'Amitie, Fantaisie brillante pour 2 Violons, Op. 140, avec

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MORET,

accomp. de Piano ... ... ... ... ... ... ... ... 7 V. La demiere Rose d'fite, Melodie irlandaise. Duo concertant ... ... ... pour 2 Violons, Op. 42, avec ace. de Piano
. .

To

DUOS POUR DEUX VIOLONS.

(duets for two violins.)

ALA-RD, D.
B. C.

Collection methodique et progressive de Lettre A. Op. 22. ir Duo elementaire 3 G. Op. 23.

,,
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,,

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3me
4me ,, 5me 6me ,,
de.

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F.

23.
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30 30 30 4 6 46
. .

Duos 7me Duo

:

facile
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H.
I.

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27.
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8me ,, 9me

brillant

4 4 6
6 6 6
7 7

6 6

K.
L.

,,

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lome lime ,, I2me ,,

. .

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BBRIOT, CH.

each 3 l^uos concertants, Op. 57. Nos. I to 3 12 petits Duos elementaires, Op. 87 6 Duos caracteristiques composes sur des motifs du Ballet espagnol de N. Youssoupoff. Op. 113 (See, also Studies for the Violin.)
:

159,

REGENT STREET, LONDON, W.

s.

DANCLA, CH.
PIOfllLLO,
F.

3 Senates faciles et brillantes pour Violon avec ace. d'un 2d Violon. Op. 138 Studies for the Violin.) (See, also
:

d.

Op. 10. 6 Duos concertants. In 3 Books J. N. Ranch. 6 Duos concertants. Op. 14. In 2 Books ...
augmentee par

Nouv. Edition, revue

... ... ...

et

...
...

each
,,

...

70
8

HERMAN,
MAZAS,
P.
Lettre A. B. C.

A.

Duos concertants (moyenne

force).

Op. 130
,

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D. 9 >> 6 Duos faciles et progressifs. ... ... ... ... ... Op. 46... 7 Duos brillants. Op. 66 ... ... ... ... 10 ... ... ... 3 Duos brillants. Op. 67 10 3 6 Duos faciles et brillants dedies aux jeunes eleves. Op. 82. 2 Books, each 9 Collection de Duos de Salon. I r Volume. ... each 6 6 Duos brillants. Op. 83. In 3 Books... 2me Volume. 6 Duos brillants. Op, 84. ... ... ,, ,, 7

Collection progressive : 12 petits Duos, dediesaux jeunes eleves. Op. 38. In 2 Bks. 6 petits Duos, dedics aux eleves. Op. 39. ,, 6 Duos brillants, dedies aux amateurs. Op. 40. ,, grands Duos, dedies aux artistes. 6 Op. 41. ,,

each
,, ,,

80 80
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Le Lycee du
ire Annee.

Violoniste.

15

Duos abecedaires

concertants.

Op.

85.

3 Books, each
,,
,,

2me 3me 4me

,,
,,

,,

9 Duos elementaires. Op. 86. 9 Duos d'Emulation concertants. Op. 87. 6 grands Duos de Salon concertants. Op. 88.

,,

70 ,,80 80
,,

,,

PLBYEL,
3

J. 6 petits Duos elementaires. Op. 8 6 Duos. Op. 23. 2 Books ... ... .,, 6 Duos. Op. 24. Nouvelle Edit. In 2 Books 6 Duos faciles et progressifs. ... Op. 48...

7
... ...
...

each
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7

60
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... ...

...

...
...

Duos

faciles

...

...

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...

...

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VIOTTI,

J. B,

6 Duos. Op. 28. (5th Book of Duos.)

...

In 2 Books

Nouvelle Edition. each

TRIOS POUR VIOLON.

DANCLA, CH. 6 petits Trios faciles et concertants pour 3 Violons. Op. each 6 o 99. In 2 Books 8 o HANSEL, P. 3 Trios pour 2 Violons et Violoncelle. Op. 30 MAZAS, P. 3 Trios pour 2 Violons et Alto ou Violoncelle. Op. 18 ..90
... ... ...

(trios for violin.)

...

...

...

...

PAGANINI,
VIOTTI,

N.

cipale con

CEuvres posthumes. No. 10. Sonata per Violino prinaccomp. di Violino e Violoncello ... ... ... ...
3 Trios pour 2 Violons et Violoncelle. Op, 18

3
12

Id.

J. B. In 3 Nos.

each

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"WANHAL,
PBTIS,

J, 3 Trios faciles pour 2 Violons et Violoncelle, ou Flute, Violon, et Violoncelle

p. J. Biographical Notice of Nicolo Paganini, followed by an Analysis of his Compositions, and preceded by a Sketch of the History of the Violin. Second, carefully revised Edition, with Paganini's
Portrait,

Id. bound in cloth HART. G. The Violin

nett
...

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...

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Famous Makers and

their Imitators.
...

With
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numerous
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Wood Engravings. In 8vo, bound in cloth, gilt In 4to, beautifully bound, gilt (Engravings on toned paper)

...

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