Ghys published at Paris and at Berlin the “Carnaval de Venise, tel que le jouait Paganini.” Ernst and Sivori have also given, as exact traditions of this musical pleasantry, versions differing more or less, which gave rise to discussions in the newspapers. The publication of the veritable “Carnaval de Venise” of the illustrious violinist will remove all uncertainty in this respect.
Paganini was aware that the interest which his concerts created would diminish materially, if he published the compositions he performed. He resolved therefore upon not publishing them until after he had ceased to travel, and had retired from his career of executive artist. He only carried with him the orchestral parts of those pieces he habitually played; and no one ever saw the Violin solo parts of these compositions, for he dreaded the indiscretion of all who sought to gain access to him. He seldom spoke of his works, even to his most intimate friends, consequently an indistinct notion of the nature and number of these works could alone exist. M. Conestabile, who made every effort to acquire the truth of all that concerned the person, the talent, and the success of Paganini, has published in his book the catalogue which was sent to him of all the manuscript and original works of Paganini preserved by his son.
The titles of the works are as follows:—
1. Four Concertos for the Violin, with accompaniments.
2. Four other concertos, the orchestral parts unwritten. The last was written a short time prior to his death, at Nice.
3. Variations upon a comic theme continued for the orchestra.
4. Sonata for the large Viol, with orchestral parts.
5. “God save the King,” varied for the Violin, with orchestral parts.
6. “Le Streghe,” variations on a ballet air, with orchestral parts.
7. Variations upon “Non più mesta,” theme from “Cenerentola.”
8. Grand Sentimental Sonata.
9. Sonata, with variations.
10. “La Primavera,” (Spring), Sonata, without accompaniments.
11. “Varsovie,” Sonata.
12. La ci darem la mano.
13. “Le Carnaval de Venise.”
14. “Di tanti palpiti.”
15. “Marie Louise.”
16. Romance pour le chant.
17. Cantabile for Violin and Piano.
18. Polonaise, with variations.
19. Fantaisie Vocale.
20. Sonata, for Violin Solo.
21. Nine Quartetts, for Violin, Alto, Violoncello, and Guitar.
22. Cantabile and Waltz.
23. Three Duetts, for Violin and Violoncello.
24. Other Duetts and small Pieces for Violin and Guitar.
Unfortunately many of these compositions are incomplete. The original scores, without omissions, which have been found, are the two concertos in E flat and in B minor (it is in this latter the celebrated rondo of “La Clochette” is found); the allegro of a sonata, entitled “Movimento perpetuo”; the famous variations “Le Streghe” (the Witches) with orchestral parts; the variations upon “God save the King,” with parts; variations upon “Di tanti palpiti,” with parts; variations upon “Non più mesta, accanto al fuoco,” with parts; the “Carnaval de Venise,” twenty-four variations upon a popular Venetian air; and sixty variations, in three series, with accompaniment for Piano or Guitar, upon the popular air known at Genoa under the name of “Barucaba.” The theme is very short; the variations are studies of various kind of difficulties. These were written by Paganini, at Genoa, in February, 1835, and were among his latest works; he dedicated them to his friend the advocate, M. L. G. Germi. By some singular circumstance these variations are not included in the list furnished by M. Conestabile.
It will be seen the complete works of Paganini, which have been found, are only nine in number. It is to be deplored that among these high-class productions, the magnificent concerto that the great artist wrote for Paris, and which he played at his third concert at the opera, the 25th of March 1831, should be wanting; also the grand military sonata upon the fourth string in which he displayed such marvellous ability, in a compass of three octaves with harmonic sounds; and, finally, his variations upon “Nel cor più non mi sento.”
The compositions of Paganini are redolent with merit—novelty in ideas, elegance of form, richness of harmony, and variety in the effects of instrumentation. These qualities are especially found in his concertos, which have exercised great influence on compositions of this nature that have subsequently been published. They differ in form in many points from the classic form of Viotti’s concertos. There is the merit of uniformity and increasing interest, which it were well all violinists would meditate upon. In general, without diverting attention from the solo by over-elaborated passages, the instrumentation possessed an interest which cannot be separated from the principal design. The entrées are neither cold nor symmetrical—the effects new and varied.
The first concerto is in E flat, set for the orchestra, but the Violin is written in D; the four strings of the instrument are consequently tuned a semitone higher. The tutti, admirably written, is bold and flowing, and very effective. The forms remind one generally of those of the old concerto, more than of those Paganini wrote since, this being his first. I have an indistinct recollection of his having composed this one in 1811. There is little originality in the style of the tutti and the solos; but in the details, and above all, in the brilliant passages, there are certain points which render this concerto a work of the greatest interest; there is frequent employment of double notes and harmonics. The second solo presents effects on the fourth string, of which effects Paganini is the inventor. It terminates with the last passage of the first solo transposed into the original key.
The adagio (in C minor) is a dialogue between the fourth string and the other three. The conception of this dialogue appears to have absorbed all the artist’s attention, for the melody has little novelty. This is not the case with the rondo—the theme of which is peculiarly original. There is an extraordinary staccato passage, which Paganini executed in a novel manner, peculiar to himself. It is necessary to understand the method to give this passage its original character. It is in this rondo that Paganini employed, for the first time, tenths, combined in various ways, producing wonderful effects, by the unerring and marvellous certainty of his mechanism. The character of the piece is bold: the second solo, nearly all on the fourth string and in harmonics, produced an extraordinary sensation, nothing similar having been heard prior to its introduction.
The second concerto is in B minor. The commencement of the first piece is broad and impassioned; the harmony often interesting in its successions; the instrumentation intelligent and rich in effects. The tutti are weak in development, and serve only to connect together the various solo parts. The phrase of the commencement of the first solo is very grand, and largely developed, followed by a modulation in D, where much boldness is displayed in a novel passage of double notes. The melody which follows is somewhat poor—the four first bars being repeated without any change—which is a fault; but the passage which follows is particularly effective. Paganini in this has evinced much daring in the combination of difficulties, both for the bow and the left hand. He has introduced a double shake, descending in thirds—in the execution of which he was incomparable, both in brilliancy and the irreproachable perfection of his intonation.