Great Violinists And Pianists Part 3

The other incident was a pleasing surprise from his colleagues in art.

He was a guest of the Wickmann family, and they were all gathered in the illuminated garden saloon, when there entered through the gloom of the garden a number of dark figures swiftly following each other, who proved to be the members of the royal orchestra, with Meyerbeer and Taubert at their head. The senior member then presented Spohr with a beautifully executed gold laurel-wreath, while Meyerbeer made a speech full of feeling, in which he thanked him for his enthusiastic love of German art, and for all the grand and beautiful works which he had created, specially "The Crusaders." The twenty-fifth anniversary of Spohr's connection with the court theatre of Ca.s.sel occurred in 1847, and was to have been celebrated with a great festival. The death of Felix Bartholdy Mendelssohn cast a great gloom over musical Germany that year, so the festival was held not in honor of Spohr, but as a solemn memorial of the departed genius whose name is a household word among all those who love the art he so splendidly ill.u.s.trated.

Spohr's next production was the fine symphony known as "The Seasons,"

one of the most picturesque and expressive of his orchestral works, in which he depicts with rich musical color the vicissitudes of the year and the a.s.sociations cl.u.s.tering around them. This symphony was followed by his seventh quintet, in G minor, another string quartet, the thirty-second, and a series of pieces for the violin and piano, and in 1852 we find the indefatigable composer busy in remodeling his opera of "Faust" for production by Mr. Gye, in London. It was produced with great splendor in the English capital, and conducted by Spohr himself; but it did not prove a great success, a deep disappointment to Spohr, who fondly believed this work to be his masterpiece. "On this occasion,"

writes a very competent critic, _a propos_ of the first performance, "there was a certain amount of heaviness about the performance which told very much against the probability of that opera ever becoming a favorite with the Royal Italian Opera subscribers. Nothing could possibly exceed the poetical grace of Eonconi in the t.i.tle role, or surpa.s.s the propriety and expression of his singing. Mme. Castellan's _Cunegonda_ was also exceedingly well sung, and Tamberlik outdid himself by his thorough comprehension of the music, the splendor of his voice, and the refinement of his vocalization in the character of _Ugo_....

The _Mephistopheles_ of Herr Formes was a remarkable personation, being truly demoniacal in the play of his countenance, and as characteristic as any one of Retsch's drawings of Goethe's fiend-tempter. His singing being specially German was in every way well suited to the occasion." In spite of the excellence of the interpretation, Spohr's "Faust" did not take any hold on the lovers of music in England, and even in Germany, where Spohr is held in great reverence, it presents but little attraction. The closing years of Spohr's active life as a musician were devoted to that species of composition where he showed indubitable t.i.tle to be considered a man of genius, works for the violin and chamber music. He himself did not recognize his decadence of energy and musical vigor; but the veteran was more than seventy years old, and his royal master resolved to put his baton in younger and fresher hands. So he was retired from service with an annual pension of fifteen hundred thalers.

Spohr felt this deeply, but he had scarcely reconciled himself to the change when a more serious casualty befell him. He fell and broke his left arm, which never gained enough strength for him to hold the beloved instrument again. It had been the great joy and solace of his life to play, and, now that in his old age he was deprived of this comfort, he was ready to die. Only once more did he make a public appearance. In the spring of 1859 he journeyed to Meiningen to direct a concert on behalf of a charitable fund. An ovation was given to the aged master. A colossal bust of himself was placed on the stage, arched with festoons of palm and laurel, and the conductor's stand was almost buried in flowers. He was received with thunders of welcome, which were again and again reiterated, and at the close of the performance he could hardly escape for the eager throng who wished to press his hand. Spohr died on October 22, 1859, after a few days' illness, and in his death Germany at least recognized the loss of one of its most accomplished and versatile if not greatest composers.

VI.

Dr. Ludwig Spohr's fame as a composer has far overshadowed his reputation as a violin virtuoso, but the most capable musical critics unite in the opinion that that rare quality, which we denominate genius, was princ.i.p.ally shown in his wonderful power as a player, and his works written for the violin. Spohr was a man of immense self-a.s.sertion, and believed in the greatness of his own musical genius as a composer in the higher domain of his art. His "Autobiography," one of the most fresh, racy, and interesting works of the kind ever written, is full of varied ill.u.s.trations of what Chorley stigmatizes his "bovine self-conceit." His fecund production of symphony, oratorio, and opera, as well as of the more elaborate forms of chamber music, for a period of forty years or more, proves how deep was his conviction of his own powers. Indeed, he half confesses himself that he is only willing to be rated a little less than Beethoven. Spohr was singularly meager, for the most part, in musical ideas and freshness of melody, but he was a profound master of the orchestra; and in that variety and richness of resources which give to tone-creations the splendor of color, which is one of the great charms of instrumental music, Spohr is inferior only to Wagner among modern symphonists. Spohr's more pretentious works are a singular union of meagerness of idea with the most polished richness of manner; but, in imagination and thought, he is far the inferior of those whose knowledge of treating the orchestra and contrapuntal skill could not compare with his. There are more vigor and originality in one of Schubert's greater symphonies than in all the mult.i.tudinous works of the same cla.s.s ever written by Spohr. In Spohr's compositions for the violin as a solo instrument, however, he stands unrivaled, for here his true _genre_ as a man of creative genius stamps itself unmistakably.

Before the coming of Spohr violin music had been ill.u.s.trated by a succession of virtuosos, French and Italian, who, though melodiously charming, planned in their works and execution to exhibit the effects and graces of the players themselves instead of the instrument. Paganini carried this tendency to its most remarkable and fascinating extreme, but Spohr founded a new style of violin playing, on which the greatest modern performers who have grown up since his prime have a.s.siduously modeled themselves. Mozart had written solid and simple concertos in which the performer was expected to embroider and finish the composer's sketch. This required genius and skill under instant command, instead of merely phenomenal execution. Again, Beethoven's concertos were so written as to make the solo player merely one of the orchestra, chaining him in bonds only to set him free to deliver the cadenza. This species of self-effacement does not consort with the purpose of solo playing, which is display, though under that display there should be power, mastery, and resource of thought, and not the trickery of the accomplished juggler. Spohr in his violin music most felicitously accomplished this, and he is simply incomparable in his compromise between what is severe and cla.s.sical, and what is suave and delightful, or pa.s.sionately exciting. In these works the musician finds nerve, sparkle, _elan_, and brightness combined with technical charm and richness of thought. Spohr's unconscious and spontaneous force in this direction was the direct outcome of his remarkable power as a solo player, or, more properly, gathered its life-like play and strength from the latter fact. It may be said of Spohr that, as Mozart raised opera to a higher standard, as Beethoven uplifted the ideal of the orchestra, as Clementi laid a solid foundation for piano-playing, so Spohr's creative force as a violinist and writer for the violin has established the grandest school for this instrument, to which all the foremost contemporary artists acknowledge their obligations.

Dr. Spohr's style as a player, while remarkable for its display of technique and command of resource, always subordinated mere display to the purpose of the music. The Italians called him "the first singer on the violin," and his profound musical knowledge enabled him to produce effects in a perfectly legitimate manner, where other players had recourse to meretricious and dazzling exhibition of skill. His t.i.tle to recollection in the history of music will not be so much that of a great general composer, but that of the greatest of composers for the violin, and the one who taught violinists that height of excellence as an excutant should go hand in hand with good taste and self-restraint, to produce its most permanent effects and exert its most vital influence.

NICOLO PAGANINI.

The Birth of the Greatest of Violinists.--His Mother's Dream--Extraordinary Character and Genius.--Heine's Description of his Playing.--Leigh Hunt on Paganini.--Superst.i.tious Rumors current during his Life.--He is believed to be a Demoniac.--His Strange Appearance.--Early Training and Surroundings.--Anecdotes of his Youth.--Paganini's Youthful Dissipations.--His Pa.s.sion for Gambling.--He acquires his Wonderful Guarnerius Violin.--His Reform from the Gaming-table.--Indefatigable Practice and Work as a Young Artist.--Paganini as a _Preux Chevalier_.--His Powerful Attraction for Women.--Episode with a Lady of Rank.--Anecdotes of his Early Italian Concertizing.--The Imbroglio at Ferrant.--The Frail Health of Paganini.--Wonderful Success at Milan, where he first plays One of the Greatest of his Compositions, "Le Streghe."--Duel with Lafont.--Incidents and Anecdotes.--His First Visit to Germany.--Great Enthusiasm of his Audiences.--Experiences at Vienna, Berlin, and other German Cities.--Description of Paganini, in Paris, by Castil-Blaze and Fetis.--His English Reception and the Impression made.--Opinions of the Critics.--Paganini not pleased with England.--Settles in Paris for Two Years, and becomes the Great Musical Lion.--Simplicity and Amiability of Nature.--Magnificent Generosity to Hector Berlioz.--The Great Fortune made by Paganini.--His Beautiful Country Seat near Parma.--An Unfortunate Speculation in Paris.--The Utter Failure of his Health.--His Death at Nice.--Characteristics and Anecdotes.--Interesting Circ.u.mstances of his Last Moments.--The Peculiar Genius of Paganini, and his Influence on Art.

I.

In the latter part of the last century an Italian woman of Genoa had a dream which she thus related to her little son: "My son, you will be a great musician. An angel radiant with beauty appeared to me during the night and promised to accomplish any wish that I might make. I asked that you should become the greatest of all violinists, and the angel granted that my desire should be fulfilled." The child who was thus addressed became that incomparable artist, Paganini, whose name now, a glorious tradition, is used as a standard by which to estimate the excellence of those who have succeeded him.

No artist ever lived who so piqued public curiosity, and invested himself with a species of weird romance, which compa.s.sed him as with a cloud. The personality of the individual so unique and extraordinary, the genius of the artist so transcendant in its way, the mystery which surrounded all the movements of the man, conspired to make him an object of such interest that the announcement of a concert by him in any European city made as much stir as some great public event. Crowds followed his strange figure in the streets wherever he went, and, had the time been the mediaeval ages, he himself a celebrated magician or sorcerer, credited with power over the spirits of earth and air, his appearance could not have aroused a thrill of attention more absorbing.

Over men of genius, as well as the commonplace herd, he cast the same spell, stamping himself as a personage who could be compared with no other.

The German poet Heine thus describes his first acquaintance with this paragon of violinists:

"It was in the theatre at Hamburg that I first heard Paganini's violin.

Although it was fast-day, all the commercial magnates of the town were present in the front boxes, the G.o.ddesses Juno of Wandrahm, and the G.o.ddesses Aphrodite of Dreckwall. A religious hush pervaded the whole a.s.sembly; every eye was directed toward the stage, every ear was strained for hearing. At last a dark figure, which seemed to ascend from the under world, appeared on the stage. It was Paganini in full evening dress, black coat and waistcoat cut after a most villainous pattern, such as is perhaps in accordance with the infernal etiquette of the court of Proserpine, and black trousers fitting awkwardly to his thin legs. His long arms appeared still longer as he advanced, holding in one hand his violin, and in the other the bow, hanging down so as almost to touch the ground--all the while making a series of extraordinary reverences. In the angular contortions of his body there was something so painfully wooden, and also something so like the movements of a droll animal, that a strange disposition to laughter overcame the audience; but his face, which the glaring footlights caused to a.s.sume an even more corpse-like aspect than was natural to it, had in it something so appealing, something so imbecile and meek, that a strange feeling of compa.s.sion removed all tendency to laughter. Had he learned these reverences from an automaton or a performing dog? Is this beseeching look the look of one who is sick unto death, or does there lurk behind it the mocking cunning of a miser? Is that a mortal who in the agony of death stands before the public in the art arena, and, like a dying gladiator, bids for their applause in his last convulsions? or is it some phantom arisen from the grave, a vampire with a violin, who comes to suck, if not the blood from our hearts, at least the money from our pockets? Questions such as these kept chasing each other through the brain while Paganini continued his apparently interminable series of complimentary bows; but all such questionings instantly take flight the moment the great master puts his violin to his chin and began to play.

"Then were heard melodies such as the nightingale pours forth in the gloaming when the perfume of the rose intoxicates her heart with sweet forebodings of spring! What melting, sensuously languishing notes of bliss! Tones that kissed, then poutingly fled from another, and at last embraced and became one, and died away in the ecstasy of union! Again, there were heard sounds like the song of the fallen angels, who, banished from the realms of bliss, sink with shame-red countenance to the lower world. These were sounds out of whose bottomless depth gleamed no ray of hope or comfort; when the blessed in heaven hear them, the praises of G.o.d die away upon their pallid lips, and, sighing, they veil their holy faces." Leigh Hunt, in one of his essays, thus describes the playing of this greatest of all virtuosos: "Paganini, the first time I saw and heard him, and the first moment he struck a note, seemed literally to strike it, to _give_ it a blow. The house was so crammed that, being among the squeezers in the standing room at the side of the pit, I happened to catch the first glance of his face through the arms akimbo of a man who was perched up before me, which made a kind of frame for it; and there on the stage through that frame, as through a perspective gla.s.s, were the face, the bust, and the raised hand of the wonderful musician, with the instrument at his chin, just going to begin, and looking exactly as I describe him in the following lines:

"His hand, Loading the air with dumb expectancy, Suspended, ere it fell, a nation's breath.

He _smote_; and clinging to the serious chords With G.o.dlike ravishment drew forth a breath, So deep, so strong, so fervid, thick with love-- Blissful, yet laden as with twenty prayers-- That Juno yearned with no diviner soul To the first burthen of the lips of Jove.

The exceeding mystery of the loveliness Sadden'd delight; and, with his mournful look, Dreary and gaunt, hanging his pallid face Twixt his dark flowing locks, he almost seemed Too feeble, or to melancholy eyes One that has parted from his soul for pride, And in the sable secret lived forlorn.

"To show the depth and identicalness of the impression which he made on everybody, foreign or native, an Italian who stood near me said to himself, with a long sigh, 'O Dio!' and this had not been said long, when another person in the same tone uttered 'Oh Christ!' Musicians pressed forward from behind the scenes to get as close to him as possible, and they could not sleep at night for thinking of him."

The impression made by Paganini was something more than that of a great, even the greatest, violinist. It was as if some demoniac power lay behind the human, prisoned and dumb except through the agencies of music, but able to fill expression with faint, far-away cries of pa.s.sion, anguish, love, and aspiration--echoes from the supernatural and invisible. His hearers forgot the admiration due to the wonderful virtuoso, and seemed to listen to voices from another world. The strange rumors that were current about him, Paganini seems to have been not disinclined to encourage, for, mingled with his extraordinary genius, there was an element of charlatanism. It was commonly reported that his wonderful execution on the G-string was due to a long imprisonment, inflicted on him for the a.s.sa.s.sination of a rival in love, during which he had a violin with one string only. Paganini himself writes that, "At Vienna one of the audience affirmed publicly that my performance was not surprising, 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 the devil was a proof of my origin." Even sensible people believed that Paganini had some uncanny and unlawful secret which enabled him to do what was impossible for other players. At Prague he actually printed a letter from his mother to prove that he was not the son of the devil. It was not only the perfectly novel and astonishing character of his playing, but to a large extent his ghostlike appearance, which caused such absurd rumors. The tall, skeleton-like figure, the pale, narrow, wax-colored face, the long, dark, disheveled hair, the mysterious expression of the heavy eye, made a weirdly strange _ensemble_. Heine tells us in "The Florentine Nights" that only one artist had succeeded in delineating the real physiognomy of Paganini: "A deaf and crazy painter, called Lyser, has in a sort of spiritual frenzy so admirably portrayed by a few touches of his pencil the head of Paganini that one is dismayed and moved to laughter at the faithfulness of the sketch! 'The devil guided my hand,' said the deaf painter to me, with mysterious gesticulations and a satirical yet good-natured wag of the head, such as he was wont to indulge in when in the midst of his genial tomfoolery."

II.

Nicolo Paganini was born at Genoa on the night of February 18, 1784, of parents in humbly prosperous circ.u.mstances, his father being a ship-broker, and, though illiterate in a general way, a pa.s.sionate lover of music and an amateur of some skill. The father soon perceived the child's talent, and caused him to study so severely that it not only affected his const.i.tution, but actually made him a tolerable player at the age of six years. The elder Paganini's knowledge of music was not sufficient to carry the lad far in mastering the instrument, but the extraordinary precocity shown so interested Signor Corvetto, the leader at the Genoese theatre, that he undertook to instruct the gifted child.

Two years later the young Paganini was transferred to the charge of Signor Giacomo Costa, an excellent violinist, and director of church music at one of the cathedrals, under whom he made rapid progress in executive skill, while he studied harmony and counterpoint under the composer Gnecco. It was at this time, Paganini not yet being nine years of age, that he composed his first piece, a sonata now lost. In 1793 he made his first appearance in public at Genoa, and played variations on the air "La Carmagnole," then so popular, with immense effect. This _debut_ was followed by several subsequent appearances, in which he created much enthusiasm. He also played a violin concerto every Sunday in church, an attraction which drew great throngs. This practice was of great use to Paganini, as it forced him continually to study fresh music. About the year 1795 it was deemed best to place the boy under the charge of an eminent professor, and Alessandro Rolla, of Parma, was pitched on. When the Paganinis arrived, they found the learned professor ill, and rather surly at the disturbance. Young Paganini, however, speedily silenced the complaints of the querulous invalid. The great player himself relates the anecdote: "His wife showed us into a room adjoining the bedroom, till she had spoken to the sick man. Finding on the table a violin and the music of Rolla's latest concerto, I took up the instrument and played the piece at sight. Astonished at what he heard, the composer asked for the name of the player, and could not believe it was only a young boy till he had seen for himself. He then told me that he had nothing to teach me, and advised me to go to Paer for study in composition." But, as Paer was at this time in Germany, Paganini studied under Ghiretti and Rolla himself while he remained in Parma, according to the monograph of Fetis.

The youthful player had already begun to search out new effects on the violin, and to create for himself characteristics of tone and treatment hitherto unknown to players. After his return to Genoa he composed his first "etudes," which were of such unheard-of difficulty that he was sometimes obliged to practice a single pa.s.sage ten hours running. His intense study resulted not only in his acquirement of an unlimited execution, but in breaking down his health. His father was a harsh and inexorable taskmaster, and up to this time Paganini (now being fourteen) had remained quiescent under this tyrant's control. But the desire of liberty was breeding projects in his breast, which opportunity soon favored. He managed to get permission to travel alone for the first time to Lucca, where he had engaged to play at the musical festival in November, 1798. He was received with so much enthusiasm that he determined not to return to the paternal roof, and at once set off to fulfill engagements at Pisa and other towns. In vain the angry and mortified father sought to reclaim the young rebel who had slipped through his fingers. Nicolo found the sweets of freedom too precious to go back again to bondage, though he continued to send his father a portion of the proceeds of his playing.

The youth, intoxicated with the license of his life, plunged into all kinds of dissipation, specially into gambling, at this time a universal vice in Italy, as indeed it was throughout Europe. Alternate fits of study and gaming, both of which he pursued with equal zeal, and the exhaustion of the life he led, operated dangerously on his enfeebled frame, and fits of illness frequently prevented his fulfillment of concert engagements. More than once he wasted in one evening the proceeds of several concerts, and was obliged to borrow money on his violin, the source of his livelihood, in order to obtain funds wherewith to pay his gambling debts. Anything more wild, debilitating, and ruinous than the life led by this boy, who had barely emerged from childhood, can hardly be imagined. On one occasion he was announced for a concert at Leghorn, but he had gambled away his money and p.a.w.ned his violin, so that he was compelled to get the loan of an instrument in order to play in the evening. In this emergency he applied to M. Livron, a French gentleman, a merchant of Leghorn, and an excellent amateur performer, who possessed a Guarneri del Gesu violin, reputed among connoisseurs one of the finest instruments in the world. The generous Frenchman instantly acceded to the boy's wish, and the precious violin was put in his hands.

After the concert, when Paganini returned the instrument to M. Livron, the latter, who had been to hear him, exclaimed, "Never will I profane the strings which your fingers have touched! That instrument is yours."

The astonishment and delight of the young artist may be more easily imagined than described. It was upon this violin that Paganini afterward performed in all his concerts, and the great virtuoso left it to the town of Genoa, where it is now preserved in a gla.s.s case in the Museum.

An excellent engraving of it, from a photograph, was published in 1875 in George Hart's book on "The Violin."

At this period of his life, between the ages of seventeen and twenty, Nicolo Paganini was surrounded by numerous admirers, and led into all kinds of dissipation. He was naturally amiable and witty in conversation, though he has been reproached with selfishness. There can be no doubt that he was, at this period, constantly under the combined influences of flattery and unbounded ambition; nevertheless, in spite of all his successful performances at concerts, the style of life he was leading kept him so poor that he frequently took in hand all kinds of musical work to supply the wants of the moment. It is a curious coincidence that the fine violin which was presented to him by M.

Livron, as we have just seen, was the cause of his abandoning, after a while, the allurements of the gaming-tables. Paganini tells us himself that a certain n.o.bleman was anxious to possess this instrument, and had offered for it a sum equivalent to about four hundred dollars; but the artist would not sell it even if one thousand had been offered for it, although he was, at this juncture, in great need of funds to pay off a debt of honor, and sorely tempted to accept the proffered amount. Just at this point Paganini received an invitation to a friend's house where gambling was the order of the day. "All my capital," he says, "consisted of thirty francs, as I had disposed of my jewels, watch, rings, etc.; I nevertheless resolved on risking this last resource, and, if fortune proved fickle, to sell my violin and proceed to St. Petersburg, without instrument or baggage, with the view of reestablishing my affairs. My thirty francs were soon reduced to three, and I already fancied myself on the road to Russia, when luck took a sudden turn, and I won one hundred and sixty francs. This saved my violin and completely set me up.

From that day forward I gradually gave up gaming, becoming more and more convinced that a gambler is an object of contempt to all well-regulated minds."

III.

Love-making was also among the diversions which Paganini began early to practice. Like nearly all great musicians, he was an object of great fascination to the fair s.e.x, and his life had its full share of amorous romances. A strange episode was his retirement in the country chateau of a beautiful Bolognese lady for three years, between the years 1801 and 1804. Here, in the society of a lovely woman, who was pa.s.sionately devoted to him, and amid beautiful scenery, he devoted himself to practicing and composition, also giving much study to the guitar (the favorite instrument of his inamorata), on which he became a wonderful proficient. This charming idyl in Paganini's life reminds one of the retirement of the pianist Chopin to the island of Majorca in the company of Mme. George Sand. It was during this period of his life that Paganini composed twelve of his finest sonatas for violin and guitar.

When our musician returned again to Genoa and active life in 1804, he devoted much time also to composition. He was twenty years of age, and wrote here four grand quartets for violin, tenor, violoncello, and guitar, and also some bravura variations for violin with guitar accompaniment. At this period he gave lessons to a young girl of Genoa, Catherine Calcagno, about seven years of age; eight years later, when only fifteen years old, this young lady astonished Italian audiences by the boldness of her style. She continued her artistic career till the year 1816, when she had attained the age of twenty-one, and all traces of her in the musical world appear to be lost; doubtless, at this period she found a husband, and retired completely from public life.

In 1805 Paganini accepted the position of director of music and conductor of the opera orchestra at Lucca, under the immediate patronage of the Princess Eliza, sister of Napoleon and wife of Bacciochi. The prince took lessons from him on the violin, and gave him whole charge of the court music. It was at the numerous concerts given at Lucca during this period of Paganini's early career that he first elaborated many of those curious effects, such as performances on one string, harmonic and pizzicato pa.s.sages, which afterward became so characteristic of his style.

But the demon of unrest would not permit Paganini to remain very long in one place. In 1808 he began his wandering career of concert-giving afresh, performing throughout northern Italy, and ama.s.sing considerable money, for his fame had now become so widespread that engagements poured on him thick and fast. The lessons of his inconsiderate past had already made a deep impression on his mind, and Paganini became very economical, a tendency which afterward developed into an almost miserly pa.s.sion for money-getting and -saving, though, through his whole life, he performed many acts of magnificent generosity. He had numerous curious adventures, some of which are worth recording. At a concert in Leghorn he came on the stage, limping, from the effects of a nail which had run into his foot. This made a great laugh. Just as he began to play, the candles fell out of his music desk, and again there was an uproar. Suddenly the first string broke, and there was more hilarity; but, says Paganini, naively, "I played the piece on three strings, and the sneers quickly changed into boisterous applause." At Ferrara he narrowly escaped an enraged audience with his life. It had been arranged that a certain Signora Marcolini should take part in his concert, but illness prevented her singing, and at the last moment Paganini secured the services of Signora Pallerini, who, though a danseuse, possessed an agreeable voice.

The lady was very nervous and diffident, but sang exceedingly well, though there were a few in the audience who were inconsiderate enough to hiss. Paganini was furious at this insult, and vowed to be avenged. At the end of the concert he proposed to amuse the audience by imitating the noises of various animals on his violin. After he had reproduced the mewing of a cat, the barking of a dog, the crowing of a c.o.c.k, etc., he advanced to the footlights and called out, "Questo e per quelli che han fischiato" ("This is for those who hissed"), and imitated in an unmistakable way the braying of the jacka.s.s. At this the pit rose to a man, and charged through the orchestra, climbed the stage, and would have killed Paganini, had he not fled incontinently, "standing not on the order of his going, but going at once." The explanation of this sensitiveness of the audience is found in the fact that the people of Ferrara had a general reputation for stupidity, and the appearance of a Ferrarese outside of the town walls was the signal for a significant hee-haw. Paganini never gave any more concerts in that town.

As he approached his thirtieth year his delicate and highly strung organization, already undermined by the excesses of his early youth, began to give way. He was frequently troubled with internal inflammation, and he was obliged to regulate his habits in the strictest fashion as to diet and hours of sleep. Even while comparatively well, his health always continued to be very frail.

Paganini composed his remarkable variations called "Le Streghe" ("The Witches") at Milan in 1813. In this composition, the air of which was taken from a ballet by Sussmayer, called "Il Noce de Benevento," at the part where the witches appear in the piece as performed on the stage, the violinist introduced many of his most remarkable effects. He played this piece for the first time at La Scala theatre, and he was honored with the most tumultuous enthusiasm, which for a long time prevented the progress of the programme. Paganini always had a predilection for Milan afterward, and said he enjoyed giving concerts there more than at any other city in Europe. He gave no less than thirty-seven concerts here in 1813. In this city, three years afterward, occurred his interesting musical duel with Lafont, the well-known French violinist. Paganini was then at Genoa, and, hearing of Lafont's presence at Milan, at once hastened to that city to hear him play. "His performance," said Pagani-ni, "pleased me exceedingly." When the Italian violinist, a week later, gave a concert at La Scala, Lafont was in the audience, and the very next day he proposed that Paganini and himself should play together at the same concert. "I excused myself," said Paganini, "alleging that such experiments were impolitic, as the public invariably looked upon these matters as duels, in which there must be a victim, and that it would be so in this case; for, as he was acknowledged to be the best of the French violinists, so the public indulgently considered me to be the best player in Italy. Lafont not looking at it in this light, I was obliged to accept the challenge. I allowed him to arrange the programme.

We each played a concerto of our own composition, after which we played together a duo concertante by Kreutzer. In this I did not deviate in the least from the composer's text while we played together, but in the solo parts I yielded freely to 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 variations called 'Le Streghe.' Lafont probably surpa.s.sed me in tone; but the applause which followed my efforts convinced me that I did not suffer by comparison." There seems to be no question that the victory remained with Paganini. A few years later Paganini played in a similar contest with the Polish violinist Lipinski, at Placentia. The two artists, however, were intimate friends, and there was not a spark of rivalry or jealousy in their generous emulation. In fact, Paganini appears to have been utterly without that conceit in his own extraordinary powers which is so common in musical artists. Heine gives an amusing ill.u.s.tration of this. He writes: "Once, after listening to a concert by Paganini, as I was addressing him with the most impa.s.sioned eulogies on his violin-playing, he interrupted me with the words, 'But how were you pleased to-day with my compliments and reverences?'" The musician thought more of his genuflexions than of his musical talent.

IV.

In the year 1817 Rossini, Meyerbeer, and Paganini were at Rome during Carnival time, and the trio determined on a grand frolic. Rossini had composed a very clever part-song, "Carnavale, Carnavale," known in English as "We are Poor Beggars," and the three great musicians, having disguised themselves as beggars, sang it with great effect through the streets. Rossini during this Carnival produced his "Cenerentola," and Paganini gave a series of concerts which excited great enthusiasm.

Shortly after this, Paganini's health gave way completely at Naples, and the landlord of the hotel where he was stopping got the impression that his sickness was infectious. In the most brutal manner he turned the sick musician into the street. Fortunately, at this moment a violoncello player, Ciandelli, who knew Paga-nini well, was pa.s.sing by, and came to the rescue, and his anger was so great, when he saw what had happened to the great violinist, that he belabored the barbarous landlord unmercifully with a stick, and conveyed the invalid to a comfortable lodging where he was carefully attended to. Some time subsequently Paganini had an opportunity of repaying this kindness, for he gave Ciandelli some valuable instruction, which enabled him in the course of a few years to become transformed from a very indifferent performer into an artist of considerable eminence.

At the age of thirty-six Paganini again found himself at Milan, and there organized a society of musical amateurs, called "Gli Orfei." He conducted several of their concerts. But either the love of a roving life or the necessity of wandering in order to fill his exchequer kept him constantly on the move; and, though during these travels he is said to have met with many extraordinary adventures, very little reliance can be placed upon the accounts that have come down to us, the more so when we consider that Paga-nini's mode of life was, as we shall see presently, become by this time extremely sober. It was not until he was forty-four years old that he finally quitted Italy to make himself better known in foreign countries. He had been encouraged to visit Vienna by Prince Metternich, who had heard and admired his playing at Rome in 1817, and had repeatedly made plans to visit Germany, but his health had been so wretched as to prevent his departure from his native country. But a sojourn in the balmy climate of Sicily for a few months had done him so much good that in 1828 he put his long-deferred plans into execution. The first concert in March of that year made an unparalleled sensation. He gave a great number of concerts in Vienna, among them several for the poor. A fever seized all cla.s.ses of society.

The shop windows were crowded with goods _a la Paganini_; a good stroke at billiards was called _un coup a la Paganini_; dishes Avere named after him; his portrait was enameled on snuff-boxes, and the Viennese dandies carried his bust on the head of their walking-sticks. A cabman wheedled out of the reluctant violinist permission to print on his cab, _Cabriolet de Paganini_. By this cunning device, Jehu so augmented his profits that he was able to rent a large house and establish a hotel, in which capacity Paganini found him when he returned again to Vienna.

Among the pleasant stories told of him is one similar to an incident previously related of Viotti. One day, as he was walking in Vienna, Paganini saw poor little Italian boy sc.r.a.ping some Neapolitan songs before the windows of a large house. A celebrated composer who accompanied the artist remarked to him, "There is one of your compatriots." Upon which Paganini evinced a desire to speak to the lad, and went across the street to him for that purpose. After ascertaining that he was a poor beggar-boy from the other side of the Alps, and that he supported his sick mother, his only relative, by his playing, the great violinist appeared touched. He literally emptied his pockets into the boy's hand, and, taking the violin and bow from him, began the most grotesque and extraordinary performance possible. A crowd soon collected, the great virtuoso was at once recognized by the bystanders, and when he brought the performance to an end, amid the cheers and shouts of all a.s.sembled, he handed round the boy's hat, and made a considerable collection of coin, in which silver pieces were very conspicuous. He then handed the sum to the young Italian, saying, "Take that to your mother," and, rejoining his companion, walked off with him, saying, "I hope I've done a good turn to that little animal." At Berlin, where he soon afterward astonished his crowded audiences by his marvelous playing, the same fanatical enthusiasm ensued; and, with the exception of Palermo, Naples (where he seems to have had many detractors), and Prague, his visits to the various cities of Europe were one continued triumph. People tried in vain to explain his method of playing, professors criticised him, and pamphlets were published which endeavored to make him out a quack or a charlatan. It was all to no purpose. Nothing could arrest his onward course; triumph succeeded triumph wherever he appeared; and, though no one could understand him, every one admired him, and he had only to touch his violin to enchant thousands. A curious scene occurred at Berlin, at a musical evening party to which Paganini was invited. A young and presumptuous professor of the violin performed there several pieces with very little effect; he was not aware of the presence of the Genoese giant, whom he did not know even by sight. Others, however, quickly recognized him, and he was asked to play, which he at first declined, but finally consented to do after urgent solicitation. Purposely he played a few variations in wretchedly bad style, which caused a suppressed laugh from those ignorant of his ident.i.ty. The young professor came forward again and played another selection in a most pretentious and pointed way, as if to crush the daring wretch who had ventured to compete with him. Paganini again took up the instrument, and played a short piece with such touching pathos and astonishing execution, that the audience sat breathless till the last dying cadence wakened them into thunders of applause, and hearts thrilled as the name "Paganini" crept from mouth to mouth. The young professor had already vanished from the room, and was never again seen in the house where he had received so severe a lesson.

Paganini repeated his triumphs again the following year, performing in Vienna and the princ.i.p.al cities of Germany, and everywhere arousing similar feelings of admiration. Orders and medals were bestowed on him, and his progress was almost one of royalty. His first concert in Paris was given on March 9, 1831, at the opera-house. He was then forty-seven years old, and Castil-Blaze described him as being nearly six feet in height, with a long, pallid face, brilliant eyes, like those of an eagle, long curling black hair, which fell down over the collar of his coat, a thin and cadaverous figure--altogether a personality so gaunt and delicate as to be more like a shadow than a man. The eyes sparkled with a strange phosph.o.r.escent gleam, and the long bony fingers were so flexible as to be likened only to "a handkerchief tied to the end of a stick." Petis describes the impression he created at his first concert as amounting to a "positive and universal frenzy." Being questioned as to why he always performed his own compositions, he replied "that, if he played other compositions than his own, he was obliged to arrange them to suit his own peculiar style, and it was less trouble to write a piece of his own." Indeed, whenever he attempted to interpret the works of other composers, he failed to produce the effects which might have been expected of him. This was especially the case in the works of Beethoven.

V.