Nicolo Paganini: His Life and Work

e importance, being the benefit concert of two singers of repute, Luigi Marchesi and Teresa Bertinotti.[2] Marchesi was second only to Pacchierotti among the male soprani of the time, and

ook place, and the boy-artist at each played a set of variations of his own composition on "La Carmagnole"; an air then greatly in vogue. That old melody "Malbrough s'en-va-t-en guerre," pressed into the

father took him to Parma, to place him under the "Pride of Italy," Alessandro Rolla, to whom the boy had been recommended by Costa. There was an affecting farewell between Nicolo and hi

hey were waiting lay a violin, and a composition in manuscript-Rolla's latest concerto. Paganini, prompted by his father, took up the violin, and played the concerto through. Astonished at the performance, Rolla asked what virtuoso was in the next room, and on being told it wa

Parma, and the master of Paer. Ghiretti was a violinist, as were nearly all the Italian composers of that period. Under Ghiretti, Paganini went through a systematic course of study in counterpoint and composition, devoting himself to the instrumental style. He must, about the same time, have received violin lessons from Rolla, though he afterwards refused to acknowledge that he had been his pupil. Fétis tells of discussions between Rolla and Paganini concerning the innovations the latter was attempting, for he was always striving after new effects.

ut with him on a tour through Lombardy. Concerts were

me the inevitable collapse. He was still under the stern domination of his father, and his spirit must have chafed under the bondage. His own ardour was sufficient to carry his labours to the verge of exhaustion, and he needed no spur as an incentive to exertion. In all directions save that of music his education was utterly neglected. The moral side of his nature was allowed to grow wild. There was the restraining influence of a mother's lo

as an event of such importance, musically, that it drew visitors from all parts of Italy. As the November of 1798 drew near, young Paganini besought his father's permission to attend the festival, but his request wa

Paganini determined never to return to the home where he had suffered so much. His father must have obtained information as to the youth's whereabouts, for it has been stated that he managed to obtain a large part of the young artist's earnings. The money was freely yielded to a certain extent, and the residu

ly lost at a sitting the earnings of several concerts and was reduced to the greatest embarrassment. Soon his talent provided fresh resources, and his days ran on in alternations of good and evil fortune. Tall, slight, delicate and handsome,[3] Paganini, despite his frail constitution, was an object of attraction to the fair sex. Incidents in his early manhood probably formed the foundation for some of the stories told of him later. As Fétis puts it; the enthusiasm for art, love and "play," reigned by turns in his soul. He ought to have been careful of himself, but he went to excess in everything. Then came a period of enforced rep

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in the Municipal

ench merchant, the owner of a superb Guarnerius violin. This instrument M. Livron lent to the young artist, and attended the concert. When Paganini went to return the violin to its owner, M. Livron at once exclaimed, "I shall take care never to profane the s

credit the statements. Pasini one day placed before Paganini a manuscript concerto, in which difficulties of all kinds were brought together, and putting into the artist's hands a splendid Stradivari violin, said: "This instrument is yours if you can play that at sight

ng in banter in asking so high a price, and added that he was disposed to give 2,000 francs for it. Precisely that very day I found myself in great want of money, in consequence of a heavy loss at play, and I almost resolved to yield my violin for the sum he had offered, when a friend came in to invite me to a party that evening. My capital then consisted of thirty francs, and I had already deprived myself of my jewels, watch, rings, pins, etc. I instantly formed the resolve to risk this last resource, and if fortune went against me, to sell the vio

nt to find the artist triumphant in one great crisis in his life. Gambling, to which, however, he

matter. Enter Napoleon; exit Paganini. In 1800 Napoleon crossed the Alps; in 1804, he proclaimed himself Emperor. He parcelled out Europe, providing for his brothers and sisters, creating sovereigns at his own sweet will. Italy, invaded by a foreign foe, shaken with wars, "alarums and excursions," was not a happy hunting ground for a travelling virtuoso. Paganini vanished from view. In

rduous course of study. It has been remarked that it was only after Paganini had attained an almost perfect mastery over his instrument that he began to investigate the methods of other virtuosi[5]; even so, he had formed his own style of composition before studyin

t tones of my violin were too much for her nerves. On the other hand there was another fascinating creature ... who, I flattered myself, felt a penchant for me, and was never absent from my performances; on my own side, I had long been her admirer (Paganini was now twenty-three years of age, susceptible, and possibly himself fascinating.) Our mutual fondness became gradually stronger and stronger; but we were forced to conceal it, and by this means its strength and fervour were sensibly enhanced. One day I promised to surprise her at the next concert, with a musical joke, which should convey an allusion to our attachment; and I accordingly gave notice at Court that I should bring forward a musical novelty, under the title of 'A Love Scene.' The whole world was on tiptoe at the tidings; and on the evening appointed, I made my appearance, violin in hand; I had previously robbed it of the two middle strings, so that none but E and G remained. The first string being designed to play the maiden's part, and the second (fourth) the youth's, I began with a species of dialogue, in which I attempted to introduce movements analogous to transient bickerings and reconciliations between the lovers. Now my strings growled, and then sighed; and anon they lisped, hesitated, joked and joy

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corded the rank of Captain in the Royal Guard, and, as such, was permitted to wear a brilliant uniform. Appearing in this garb at a State function at Florence, in 1813, the artist was "commanded" to change it for the ordinary dress suit. This request Paganini construed as an insu