Nicolo Paganini: His Life and Work Part 1

Nicolo Paganini: His Life and Work.

by Stephen Samuel Stratton.

PREFACE.

The author of this work did not live to see the final sheets in print.

Although it has not received his revision, yet the book has had careful editing. Mr. Stratton did not undertake the Life of Paganini without adequate preparation. He had during many years thoughtfully studied the artist and his attributes, and became an acknowledged authority on the subject. He gathered from all available sources the most reliable information. Almost his last journey was a pilgrimage to Paganini's birthplace. This volume will exhibit his versatility, particularly the chapter giving the a.n.a.lyses of Paganini's compositions. It is therefore the most complete account of the greatest virtuoso recorded in the annals of music. Those who peruse this most interesting biography of Paganini, will naturally desire to learn something of the writer.

Stephen Samuel Stratton was born in London on December 19th, 1840. He began his career as a chorister of St. Mary's Church, Ealing. He studied harmony and composition under Charles Lucas. As an organist, he held these appointments--St. Mary the Virgin, Soho; and St. James's Church, Friern Barnet. On his removal to Birmingham in 1866, he was organist at St. Barnabas Church; Edgbaston Old Parish Church; St. John's, Harborne; and the Church of the Saviour (1878-1882). In 1879 he commenced a series of chamber concerts in Birmingham.

From 1877 until the day of his death, Mr. Stratton was the musical critic of the "Birmingham Daily Post." In that position his influence was decidedly beneficial. He was also a contributor to the London Musical Press. He will be remembered as the joint author (with Mr. James D. Brown) of "British Musical Biography." His "Life of Mendelssohn" was written for Messrs. Dent's "Master Musicians." Among other items may be mentioned "Musical Curiosities," and valuable papers read before the "Incorporated Society of Musicians."

In private life he was highly esteemed--an honorable citizen--a genial, kind hearted man, with a genuine love of his profession. He died, after a short illness, in Birmingham, on June 25th, 1906.

R. H.

CHAPTER I.

There are some names, the mere mention or thought of which conjure up distinct personalities; such are Handel, Bach, Beethoven, Wagner; but not one has the extraordinary individuality of that of Paganini. Though few can be living who ever saw the man, though his portraits are not now commonly to be met with, the name of Paganini at once calls up a picture--weird, uncanny, demoniacal; brings back the faint echo of performances long lost in the corridors of time; and excites the imagination in a manner altogether unique. The last few years have witnessed the appearance of an unprecedented number of wonderful young violinists, whose achievements culminate in the marvellous playing of the boy Franz von Vecsey. These manifestations are almost enough to induce belief in the theory or doctrine of reincarnation, and to make one fancy that the great Genoese is once again in the flesh. These violinists, too, are all playing Paganini's music; they seem to glory in it, and so do the audiences, although to many serious and worthy folk it is mere clap-trap stuff. This revived interest in Paganini and his music seems to render the present an appropriate time to restate the case of the man and the artist, notwithstanding the extensive literature already a.s.sociated with his name.

It is a curious fact that nearly every distinguished musician, composer or executant, has his namesakes. There was a constant succession of Bachs in Thuringia for nearly two centuries; Beethoven's father and grand-father were musicians; there were four Mozarts, musicians; and more than twenty Wagners of some standing in the musical world. No one seems to have traced the pedigree of Paganini, but he was preceded and followed by others bearing the same name, and such particulars as can be gleaned concerning these Paganinis may not be without interest, and at least may serve by way of introduction to the greatest of them all.

Dr. Burney, in his account of Italian Opera in London during the last half of the eighteenth century, names a Signor and Signora Paganini as engaged for the season of 1760-61. They came from Berlin, and the Doctor is ungallant enough to say that the lady, known as "The Paganini," was not young. She made her _debut_ on November 22, 1760, in Galuppi's "Il Mondo della Luna," in a _buffa_ part, and was very captivating. At her benefit, when another opera by Galuppi was given--"Il Filosofo di Campagna,"--such a crowd a.s.sembled as had never been seen on any other occasion. Not one third of those who presented themselves at the Opera-house were able to obtain admission. "Caps were lost, and gowns torn to pieces, without number or mercy, in the struggle to get in.

Ladies in full dress, who had sent away their carriages, were obliged to appear in the streets and walk home without caps or attendants."

"Luckily the weather was fine," adds the Doctor, who witnessed this uncommon spectacle. "The Paganini" thus antic.i.p.ated the extraordinary triumphs of the more famous artist of half a century later. Signor Paganini, the husband, was only "a coa.r.s.e first man," and sang almost without a voice. Next comes Ercole Paganini, born at Ferrara, about 1770, the composer of several operas, produced at La Scala, Milan, and at Florence, from 1804 to 1810. A tenor singer named Paganini appeared in opera at Florence in 1830, was decidedly successful and became highly popular in Genoa in 1836. After Francesco Lamperti was appointed (in 1850) professor of singing at the Conservatorio, Milan, among the good pupils he turned out was one named Paganini, of whom, however, no particulars are forthcoming. In 1865, Cesare Paganini, a theoretical writer, published a treatise at Florence; and in November, 1898, Signora Franceschati-Paganini was the Brunnhilde in a performance of "Gotterdammerung," at Bologna. Then there was Dr. Paganini, who was perhaps the brother in whose charge young Nicolo was allowed to go to Lucca in 1798. Whomsoever he may have been, this Dr. Paganini died in 1835, which event gave rise to a rumour that the great violinist was dead--a rumour happily untrue. This Dr. Paganini was not a fiddle-player, but a fiddle-fancier. He possessed a violin ornamented with mother-o'-pearl and ebony, which had belonged to a Shah of Persia, the favourite violin of Lord Byron (so it was said), one that had belonged to Stanislaus of Poland, father-in-law of Louis XV., one that had been played upon by Charles IV. of Spain (the enthusiast who had quartet performances at six in the morning, and who scorned to "keep time,") and another, once the property of that monarch's favourite, Don Manuel de G.o.doy, Duke of Alcudia.

All the Paganinis mentioned above were eclipsed by _the_ Paganini (_pace_ Dr. Burney), the artist who stood alone, whose life was full of strange vicissitudes, who was worshipped and calumniated, who was applauded as perhaps never artist was before nor since, yet who was laughed at, hissed--only once--brought before the law-courts--threatened with imprisonment and mobbed within an ace of being lynched. As a child of four, Paganini narrowly escaped being buried alive; from youth up he was a constant sufferer from physical disorders; he had no real home till he was fifty-two; after death his remains were refused burial for five years; and when his body had rested in the grave for half a century it was exhumed, apparently in order that his features might once more be gazed upon. Truly, Paganini's story is a romance, a drama, a tragedy. We may not look upon his like again, nor is it desirable that we should; for his life conveys a moral that few can fail to discern.

The artist is the child of his age. What kind of age was it that produced Paganini? A few years before he was born there came into the world one who was to set Europe aflame. The age was the age of revolution. Thrones tottered; armies devastated the Continent, and Italy became a mere appanage of the French Empire. The political upheaval was accompanied by a revolution in art. The romantic school in music arose, and Beethoven, Schubert, Berlioz, Chopin, Schumann, Liszt, and Wagner, were the psychic results of the turmoil into which the world was thrown.

Into such a world, already feeling the premonitory tremors of the great Revolution, was Nicolo Paganini born, at Genoa, on October 27th, 1782.[1]

[Ill.u.s.tration: _Plate II.--See Appendix._

THE BIRTHPLACE OF PAGANINI.]

The Genoese--thrifty and industrious--bore no very good moral character at that time; but they were then perhaps not alone in that respect.

Little information is available concerning the family of Paganini. The father, Antonio Paganini, kept a small shop in the vicinity of the port; he is described as a man of extraordinarily avaricious character, hard and brutal, but possessing the redeeming quality of a love for music, and showing some skill in the art; his instrument was the mandoline, though Laphaleque says he was a violinist. The mother must have been of a lovable disposition, from what little has been recorded of her. The family consisted of two sons and two daughters. Of the elder son, mention is made but once; of the daughters, nothing seems to be known.

Little Nicolo must have given evidence of musical talent very early, but ere he was put to his studies he was attacked by the measles, and that so severely that he remained for a whole day in a state of catalepsy. He was given up for dead and was wrapped in a shroud, and only a slight movement at the last, showing symptoms of life, saved him from the horror of premature burial. Scarcely had he recovered, when his father began his lessons in violin playing. The child's evident disposition for the art excited the father's avarice, which found little scope for gratification in his small business undertakings. He indulged in golden dreams of the future, and to hasten their realisation was unremitting in his work of instruction. His method was cruel in the extreme. The poor child was kept to his task from morn till night; slight faults were punished with rigour, even blows and starvation being resorted to in order to force the talent which nature had bestowed. This unnatural treatment must have wrung the heart of the gentle mother, and doubtless by way of encouragement she told the poor little fellow of her wonderful dream. An Angel had appeared to her, and promised her the fulfilment of any desire. She asked that her son might become the greatest of violinists, and her prayer was to be granted. This disclosure may have fired the ambition of the child, for he was the hardest of workers, and needed no spur. Already, at six years of age, he was a tolerable player, and was even beginning to find out new paths.

His performances excited the admiration and amazement of the neighbours, and even the Maestro Francesco Gnecco visited the little house by the harbour to listen to the wonder-child. He introduced the boy to the circle of his own friends, and made the father understand that he had long outgrown his training. In short, the germ of the _virtuoso_ of later days was already manifesting itself. Nicolo was now placed under Giovanni Servetto, leader of the theatre band--a man of slight attainments, with whom the boy did not stay long. His next master was Giacomo Costa, the foremost violinist in Genoa and maestro di capella of the Cathedral, a genial man, who took a lively interest in the boy.

Under Costa, Nicolo made rapid progress, and was introduced to a new world, though the pedantry of the master frequently came into collision with the peculiarities of the pupil. Young Paganini now had to play a new concerto each week at one of the churches: that was one of the conditions Costa imposed when taking him as a pupil. Paganini's extraordinary powers as a player at sight were in great measure due to this early experience. The father still exercised stern oversight, and there was little relaxation or youthful pleasure for Nicolo. His health was already undermined, and, as Dubourg touchingly puts it:--"the sickly child, incapable of attaining a healthy maturity, was merged into the suffering man."

In his eighth year Nicolo composed a sonata for the violin--since, with other works, lost. About that time a very vivid, almost shamefaced, impression was made upon him by hearing that Mozart, at the age of six, had composed a pianoforte concerto, with parts for orchestra, and so difficult that only a _virtuoso_ could execute it. For long Nicolo tormented himself with the thought of this musical superiority, and strove day and night to remedy his own imperfection in the art.

FOOTNOTE:

[1] All biographical notices of Paganini, with the exception of that in Riemann's "Dictionary of Music," give February 18th, 1784, as the date of birth. The correct date seems to have been established when the centenary celebration took place, in 1882.

CHAPTER II.

In 1793 Paganini made his _debut_ in the great Theatre of Genoa (the Carlo Felice?). He was in his eleventh year, and his reputation must have been considerable, for the occasion was of some 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 sang at the King's Theatre, London, during the season of 1788; in the "Musical Reminiscences" of the Earl of Mount Edgc.u.mbe he is highly praised as the most brilliant singer of his day.

It was a great compliment to the talent of the young Nicolo that these singers should apply for his a.s.sistance. Moreover, they promised to sing for him when he should give a concert. Both functions duly took 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 service of the French Revolution, was appropriately a.s.sociated with the young artist, himself a revolutionist. His success was phenomenal, performers and audience being thrown into transports of admiration.

It would appear that young Paganini studied with Giacomo Costa for a period of six months only. He must then have continued to work by himself, for it was not until about 1795 that his 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 his mother, for they were tenderly attached to each other. Paganini has himself related the story of his interview with Rolla, which, for the sake of completeness, must be summarised here.

When Nicolo with his father arrived at Rolla's house, the famous violinist was ill in bed. His wife showed the visitors into an apartment adjoining, and went to inform her husband of their arrival, but he was disinclined to receive the strangers. On a table in the room where they were waiting lay a violin, and a composition in ma.n.u.script--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 was only a boy he had heard, would not credit the statement without the evidence of his own eyes. To the father's entreaty Rolla replied that he could teach the boy nothing; it would waste his time to remain with him. He must go to Ferdinando Paer, who would teach him composition.

There are several versions of this story, and much uncertainty respecting some points. Rolla was chamber _virtuoso_, and director of the concerts at the Court of Parma. Paer, whose first opera was produced in 1789, was at this time in great request at Venice, where he brought out a succession of operas. In 1796 he may have been in Parma, for his "Griselda" was produced there that year. Paganini, at some time or other, doubtless did profit by Paer's friendly a.s.sistance; but his real teacher was Gasparo Ghiretti, chamber musician to Prince Ferdinand of 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. Fetis tells of discussions between Rolla and Paganini concerning the innovations the latter was attempting, for he was always striving after new effects. As he could but imperfectly execute what he aimed at, these eccentric flights did not commend themselves to Rolla, whose taste and style were of a more severe order. Of Paganini's work in composition little appears to be known. Anders states that Paer when in Parma devoted several hours daily to Paganini; and at the end of the fourth month entrusted him with a composition of a _duo_, in which Nicolo succeeded to the complete satisfaction of his master. Paganini may also at that time have sketched, if he did not complete, the Studies, or Caprices, Op. 1.

In 1797 the father took the boy from Parma, and set out with him on a tour through Lombardy. Concerts were given in Milan, Bologna, Florence, Pisa, and Leghorn.

The young artist achieved an extraordinary reputation; the father took possession of the more material rewards of art. The "golden dreams" were in process of realisation! Returning to Genoa, young Paganini finished the composition of his Twenty-four Studies, which were of such excessive difficulty that he could not play them. He would try a single pa.s.sage over in a hundred ways, working for ten or eleven hours at a stretch, and then would come 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 love, but there was little else. It might indeed be said that, musically, Paganini was self-educated; but that one of the world's great geniuses should lack the intellectual and moral training that go to make the complete man was sad in the extreme. Paganini's was a nature warped; on the one side phenomenal power, on the other bodily suffering, intellectual and spiritual atrophy. But more of this when we turn from his career to the man himself.

As the youth grew older the spirit of revolt arose. He must and would escape from the tyranny of his avaricious father. But how? A way soon offered itself. At Lucca, the festival of St. Martin, held each November, was 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 was met by a point-blank refusal. The importunities of the youth, aided by the prayers of the mother, at length prevailed, and in care of the elder brother afterwards Dr. Paganini (?)--Nicolo was allowed to leave home.

Free at last, the youth, now in his seventeenth year, went on his way, his whole being thrilled with dreams of success and happiness. At Lucca he was most enthusiastically received, and, elated by his good fortune, Paganini extended his tour, playing in Pisa and other towns. Enabled now to earn his own living, 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 residue was obtained by threats.

But no threat or entreaty could induce Nicolo to return to his paternal home. The bird had escaped, and liberty was sweet. But young Paganini was scarcely fitted for an independent, uncontrolled career. He had no moral ballast, and much would depend upon what kind of company he kept.

One has to bear in mind that at the period now under notice--1798--Europe was in a very unsettled state. The very pillars of society were shaken, and there were many dangers in the path of the young and inexperienced. But that is a very trite observation, for it applies to all times and places. However, Paganini seems to have become acquainted with what Fetis terms "artists of another kind," who encouraged "play" of a more exciting, if less exalted order, than the young musician had hitherto devoted himself to. With his ardent southern temperament Paganini threw himself with the greatest zest into the vortex of gambling, and frequently lost at a sitting the earnings of several concerts and was reduced to the greatest embarra.s.sment. 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 const.i.tution, was an object of attraction to the fair s.e.x. Incidents in his early manhood probably formed the foundation for some of the stories told of him later. As Fetis 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 repose, of absolute exhaustion, lasting sometimes for weeks. This would be followed by a display of extraordinary energy, when his marvellous talent took its highest flights, and he plunged once more into the wildest bohemianism. Such a course of life was enough to wreck the artist, and no friend seemed to be at hand to save him from himself. Frequently he had to part with his violin in order to raise money to pay his debts of honour, and it was upon one such occasion that he met with the greatest good fortune he had yet experienced, and acquired a violin which became the instrument of his conversion from the fatal pa.s.sion for gambling.

[Ill.u.s.tration: _Plate III.--See Appendix._

PAGANINI'S VIOLIN IN THE MUNIc.i.p.aL MUSEUM AT GENOA.]

Arriving at Leghorn, where he was to give a concert, Paganini yielded to his weakness for the other kind of play and lost his money and his violin. He was in a dilemma indeed, but was fortunate in meeting with an enthusiastic musical amateur, M. Livron, a French 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 strings your fingers have touched. It is to you now that my violin belongs." A n.o.ble benefactor, that M. Livron. The Guarnerius became Paganini's inseparable companion; he played upon it throughout all his tours, and its subsequent history will be duly related.

Paganini acquired another instrument on the same easy terms, but attended by different circ.u.mstances. Signor Pasini, of Parma, a painter of some distinction, and an amateur violinist, had heard of Paganini's wonderful powers as a reader of music at sight, but refused to credit the statements. Pasini one day placed before Paganini a ma.n.u.script 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, like a master, without studying its difficulties in advance." "If that is so," replied Paganini, "You may bid farewell to it at once." His terrific[4]

execution made the music seem as if it played itself as his eye fell upon it. Pasini was petrified with astonishment.

The abandonment of the vice of gambling came about in this way, his own words being quoted. "I shall never forget," said he, "one day placing myself in a position which was to decide my whole career. The Prince De * * * * * had long desired to possess my excellent violin (the Guarnerius), the only one I then had, and which I still possess. One day he desired me to fix a price; but, unwilling to part from my instrument, I declared I would not sell it for less than 250 gold Napoleons. A short time after, the Prince remarked that I was probably indulging 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 violin and to set out for St. Petersburg, without instrument and without funds, with the object of retrieving my position. Soon my thirty francs were reduced to three, and I saw myself on the road to the great city, when fortune, changing in the twinkling of an eye, gained me one hundred francs with the little that yet remained. That moment saved my violin and set me up again. From that day I withdrew from play, to which I had sacrificed a portion of my youth: and convinced that a gambler is universally despised, I renounced for ever that fatal pa.s.sion."

It would be interesting to know when these things occurred, but dates are wanting; it is sufficient to find the artist triumphant in one great crisis in his life. Gambling, to which, however, he was not a party, was destined to trouble the last years of his life, as will be seen further on.

Paganini's career, gambling apart, was by no means of a conventional character. His irregular habits, fits of extraordinary energy followed by langour and depression, led to frequent disappearances from public view. One such disappearance lasted for about four years, and only the romantic aspect of it has been described; the prime cause may have been overlooked. Here is one view of the 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 absolute retirement he lived for over three years at the chateau of a Tuscan lady of rank, who was a performer upon the guitar. Paganini threw himself with ardour into the study of that instrument, and became as great a virtuoso upon it as upon the violin. He composed a number of pieces for guitar and violin. According to Fetis, Paganini also devoted himself to the study of agriculture.

But eventually he tired of a life of indolence and dalliance, and in 1804--the country settled now under French government--Paganini returned to Genoa, but whether to the paternal roof is not clear. He was doubtless invigorated by his long rest, and now resumed his arduous 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 studying the works of others. Now, he busied himself with the studies of Locatelli, whose extravagances almost equalled his own. It is said that he even gave lessons while in Genoa, and mention is made of one pupil, Catarina Calcagno, who had a brilliant, but brief career.