Nicolo Paganini: His Life and Work

comed him in the Capital of France. This does not sound complimentary to London, but perhaps Fétis read some of the introductory comm

hats, caps, etc., and the hair of all the beaux patronised by beauty, will be after his curious pattern. His influence will extend to our tables, and there will be Paganini puffs served up daily. Then, all at once, his very name will cease to be pronounced by persons of ton; and, as a matter of course, people not of ton-not of the Devonshire circle, not of Almack's-will imitate those who are: and the Italian play

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by his art, and his passion to lose it at the gambling table. Paganini's bow (Scotticé, boo) is almost as wonderful as

ch notices in advance of any distinguished artist, however eccentric he might be. Paganini dul

ng's T

ters of the Opera, and the public, that he will give a Grand Miscellaneous

s; Two Pair, 6 Guineas; Three Pair, 4 Guineas; Stalls, 2 Guineas; Orchestra, 1-1

and M. Laporte, the manager of the King's Theatre, was virtually accused of conspiring to rob the public. It must be explained that Laporte "farmed" Paganini; and as the latter invariably doubled the ordinary prices of admission, his impressario naturally desired to share in the golden harve

iday, 2

respectfully inform the public that the Concer

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reedom of action. This may be illustrated by a story that I have not met with in any English publication, though it may be true all the same. It is from the notice of Paganini in Mendel's "Musikalisches Conversations-Lexikon." His Majesty William IV. sent to enquire what honorarium

anini expressed his regret that they had not been fixed still higher! Be that as it may, that was not the time to trifle with an angry public. There was not a moment to be lost, and some one

e towns of the Continent to double the usual prices at the theatres where I have given my Concerts, and, but little acquainted with the customs of this Capital, where I present myself for the first time, I thought I might do the same here. But having been inf

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O PAG

June 1st

He wrote thus: "The long, laboured, reiterated articles relative to Paganini, in all the foreign journals for years past, have spoken of his powers as so astonishing, that we were quite prepared to find them fall far short of report; but his performances at his first concert, on the 3rd of last month, convinced us that it is possible to exceed the most sanguine expectation, and to surpass what the most eulogistic

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hed style of a high-class literary journal. This is how it deals with the concert:-"At length all differences have been arranged, and the mighty wonder has come forth-a very Zamiel in appearance, and certainly a very devil in performance! He is, beyond r

estra were full, and also the pit, but not crowded. The audience consisted in great part of musicians; and even those engaged in the orchestra

second solo the Military Sonata for the G string, the theme being Mozart's "Non più andrai." The receipts were ￡700. Paganini had a most flattering reception, and his performances were greeted with acclamations, and waving of hats and handkerchiefs. The members of the orchestra were astounded. Mori avowed that if he could not sell, he would at least burn, his fiddle; Lindley, who stammered terribly, said that "it was the d-d-devil"; and Dragonetti (whose "he's were she's") growled out, "She's mighty esprit!" Cramer t

variations on "The Carnival of Venice," and a Sonata on the fourth string, in which the Prayer from Mosé in Egitto was introduced. The third concert took place on the 13th, when Paganini brought out another new Concerto. Something like ￡900 was realised. At the fourth concert, on the 16th, Paganini played a Cant

til the audiences began to dwindle. At one, at the King's Theatre on July 4th, Paganini played a new Concerto in E major, "all expression and grace," and by far the best proof given of his talent since his arrival in London. Paganini gave two concerts at the London Tavern in July. The first was well attended, but a

n the first half of the nineteenth century! Now-a-days the

no hindrance should stand in the way of those desirous of hearing the violinist. But when it was given out that Paganini would give a third performance, there was a disturbance. Some leading residents had a handbill printed calling upon the "nobility and gentry" to support the established amusements of the town, by patronizing the Ball, if only as an act of justice to the proprietor. The effect was to secure a thronged attendance at the Rotunda, and so poor an assemblage at the theatre, that Paganini refused to perform. Of course the manager had to communicate this unpleasant piece of information to the audience, at the same time offering to return the admission money; but the people were in no pacific frame of mind, and they marched straightway to the hotel where Paganini was staying, and demanded the fulfilment of his engagement. A mob soon c

on July 9th. When the Lord Mayor proposed the toast of the Lord Chancellor, before Lord Brougham's rising to return thanks, Paganini played a solo. He evi

s agent) had arranged for a specific sum, and there was very little in excess for the payment of vocalists, and general expenses. There was also a clashing with an important fixture at the theatre, a

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