Nicolo Paganini: His Life and Work

contributed his first musical criticism to the Athen?um.[25] There was very little about Paganini, but much about the oratorio, "The Triumph of Faith," of Ferdinand

l present day celebrations; but they were relatively of more importance, inasmuch as there were then fewer musi

nt of Paganini at the festival. No one seemed to know how Paganini arrived in Dublin, which gave rise to a vague idea that he was wafted across by the Flying Dutchman. Where he lodged was equally a mystery. He arrived at the stage door of the Theatr

g it rest upon the strings before commencing. This was too trying to the mercurial temperament of the occupants of the gallery, and before many seconds there was a stentorian shout, "Well! we're all ready!" The house was convulsed with laughter, peal after peal rang through the theatre. Paganini, stamping with rage, turned to Sir George Smart, and cried, "Qu'est ce que c'est?" The explanation seemed to

ular that it deserves mention. Carlyle was supposed to have taken a walk with Paganini. Fancy "the Sage of Chelsea" in company with "the magician of the bow"! Thomas Carlyle was in London in 1831 vainly negotiating for the publication of "Sartor Resartus." One day his friend, Edward Irving, took him to Belgrave Square to dine with Henry Drummond. They walked along Piccadilly, thronged with fashionable promenaders; and as both men were of pecular personal appearance, they doub

was announced to play in Bristol. The f

ANI

tizens of

uired to the extent of our means in order to Feed and Clothe the Poor: why is this Foreign Fiddler now to appear? for the purpose of draining those resources which would be infinitely better applied in the exercise of the best feeling of man-Charity. Do not suffer yourselves to be imposed upo

th, 1831. P

Printing Office, 54, C

poor. At Birmingham, in February of that year, his visit caused such an influx of strangers to the town, that neither lodgings nor stabling could meet the de

th a guinea to

he curls

the magistrates, but fortunately no outbreak occurred. The squabbles about prices, the charges of avarice brought against Paganini, and the acrimonious tone of part of the press, afford melancholy reading. His gains were said to reach ￡20,000. In March, 1832,

give a concert in that town, which boasted of a Philharmonic Society. Pag

his did not suit the views of the amateurs, and they threatened the professional players with the loss of patronage and pupils if they dared assist Paganini; and the unfortunate artists, dependent as they were upon that support, had to refuse the offer made them. But Paganini was not to be baffled; he determined to give the concert, and to perform without any accompaniment at all. This he did; and now came the ludicrous sequel. A number of those amateurs actually pa

come into use in England to signify a performance of solo music by one instrument and one performer." It was probably first used by Liszt, in 1840, when he advertised his performances as "Recitals." The first was given at the Hanover Sq

(See Ap

lic anger, caused by his refusal to play for the distressed English actors in Paris, had subsided. His first concert was given in the King's Theatre, on June 21st, when apparently he played nothing new, and had but a small audience. The press in general appeared to be hostile-the Athen?um did not notice him at al

ad something of the volcanic in their nature; both did much battli

ext morning he gave a second concert at the Hanover Square Rooms, at which it was said not more than one hundred persons were present, and half

his best compositions, and, as before, left every other violinist, ancient and modern, at an inconceivable distance behind him." This concert was to be the last, which induced the writer of the Athen?um notice to attend it. He found the "new instrument" nothing but a full-sized viola, tuned in the ordinary way. "Considering the difference of stop between this and the violin, his

nd, through his manager, announced his terms-one thousand pounds. Astounded by the answer, the Oxford Delegate desired that it might be committed to writing. This was do

Boulogne. The young lady secretly left her home, but her father had his suspicions, and apparently arrived at Boulogne first, for the daughter, instead of meeting Paganini, was confronted, on landing, by her father, with whom she returned home. There is no doubt as to the occurrence, for it was "in the papers," and names were given. Schilling, whose Encyclop?dia was published in 1837, gives a long account of the

ce of Paganini, and some of the explanations were meant to be funny, but are too vapid for repetition now. The Musical World for August 4th, 1837, in quoting an anecdote concerning Paganini's kindness to a poor musician, ends by saying Paganini took the poor man with him to America. The question was raised in the Musical World for January the 9th, 1886, and decided in the negative. The legend had this slender foundation. In the early part of 1835, the young lady whom Paganini wished to marry, went to the United States-she was an actress and vocalist of moderate ability-but her