Biographical notice of Nicolo Paganini / With an analysis of his compositions, and a sketch of the history of the violin.

by François-Joseph Fétis

The second tutti, which recalls the subject of the first, is rather short, but interesting; it modulates in E minor, and terminates with an unusual form of suspension. The subject of the second solo differs totally from the first; the melody is expressive and combines effects of staccato, to which Paganini imparted a character quite peculiar. The passage which follows this subject, all in double notes, is very effective: its combinations present immense difficulties, which to the great artist were but mere trifles. The second solo ends in B major, finishes with the passage of the first, transposed into this new key, and consequently rendered much more difficult.

Throughout this first piece, the double-note passages and jumping bowing are quite novel, and depart entirely from the ordinary form of the concerto. Two things are equally remarkable in the manner Paganini played them. The first was his perfect intonation of the double notes in this shoal of difficulties, particularly in the excessive rapidity in the passages; the second was the marvellous skill with which he managed the bow, however great the distances of the intervals. There was in this part alone of the artist’s talent an evident predestination, and the study of an entire life. It is impossible to give any idea of all the combinations which are met in the fingering of the chords strewn among these immensely difficult passages; they embrace occasionally such extraordinary intervals, that violinists are at a loss to discover the artifices by which the hand reaches them. Besides, in this labyrinth of unheard-of difficulties, neither a doubtful note nor uncertain intonation ever occurred.

The adagio (in D) is a cantabile of the finest character. More simple than the rest of Paganini’s compositions, it produced but little effect, finishing as it does without the exhibition of extraordinary difficulties, which the public were wont to expect from him; nevertheless, the forms of the melody are elegant, expressive, and full of charms. Good taste prevails throughout this piece. The rondo with the obbligato bell accompaniment is delightfully fanciful; the most incomprehensible feats of skill are here combined with exquisite taste. The first subject is remarkable for its elegance and novelty, both in its details and its general formation. Some charming bow effects are introduced, which Paganini executed with marvellous brilliancy and dexterity. The bow fluttered so nimbly over the strings, and the fingers moved so briskly and lightly, that the performance seemed one of easy accomplishment. The rondo of the “Clochette” obtained enthusiastic success throughout Europe.

The allegro of the sonata for Violin and orchestra, entitled “Movimento perpetuo,” is only remarkable as a study for detached bowing of exceedingly rapid movement, which continues until the last bar. This species of difficulty exacts great suppleness of arm to avoid fatigue, and a perfect ensemble of the left hand and the bow. In this piece there are no less than 170 bars without a single rest. Considered as a composition, it is unimportant, but interesting as a study.

Few musical compositions ever obtained such universal fame as the “Streghe” (the Witches), either from the prodigious execution of the great violinist, or perhaps because some superstition attached to the title. The original manuscript indicates that the introduction and the variations are composed upon an original air; however, if tradition is to be depended upon, the air was taken from the ballet of “Il Noce di Benevento.” The introduction is short. The first variation, in double and triple notes, is extremely difficult. It may be regarded as a valuable study for playing in tune. In the second there is a mixture of harmonics and pizzicato which produces a very original effect. The third is a dialogue between the fourth string and the double harmonics; a novel effect which never failed to draw down the loudest acclamations of the auditory. The finale, which joins this variation, terminates with rapid passages upon the fourth string, and in harmonics of extreme difficulty.

In the variations upon “God save the King,” Paganini seems to have intended concentrating all the new effects he had discovered, and all the enormous difficulties over which he had triumphed. The subject is written in three and in four parts; the melody is played with the bow, and the other parts of the accompaniment is pizzicato. The first variation, in double notes, presents successions of thirds and tenths, which require a large hand and a great certainty of intonation. Paganini played it in a light and rapid manner, which greatly increased its difficulty. The second variation is a complication of rapid triplets, intermingled with passages of double notes and bounding staccatos. The execution of this variation requires extraordinary dexterity. In the third the subject is sustained in a slow movement, during which the accompaniment is going on in extremely rapid passages on the third and fourth strings. The fourth is peculiarly quaint; it consists in rapid passages pizzicato in the upper part, while the accompaniment is played upon the lower, with the bow staccato. The fifth, written in double notes, is an echo effect on the upper octave, the bass is by pizzicato on the lower strings. The sixth and last consists in staccato arpeggios, difficult of execution, arising from the complex positions of the left hand.

In the fantasia with variations, on “Di tanti palpiti,” the orchestra is written in B flat, the solo a semitone higher; in the second variation the fourth string is lowered to B flat. Paganini effected this change with so much address, that it was never perceived at his concerts. The piece commences by an introductory larghetto, followed by a recitative. The subject which follows is quite simple, and the first variation without very remarkable difficulties, with the exception of a very rapid descending scale in harmonics. In the second, where the fourth string is lowered to B flat, passages occur in double notes of great difficulty for the bow. The third is the most curious and difficult; it consists of arpeggios with double notes in a presto movement, and combinations of harmonics and ordinary notes in a new and quaint style.

The air with variations, on “La Cenerentola” (Non più mesta), is written in E flat for the Orchestra; the Violin is tuned a semitone higher. The first variation contains nothing remarkable; the second, a combination of bounding staccato harmonics and pizzicato, recalls similar passages found in other works of the author. The third, in a minor mood, is composed nearly of octaves. The fourth is an echo, the effects are double harmonics. It is followed by a finale in thirds and octaves, brilliantly effective, but fraught with difficulty.

The twenty variations upon the popular air “Oh, Mamma,” known as the “Carnaval de Venise,” which has been so frequently imitated, are remarkable for the distinct character given to each; all the bow and finger effects imagined by Paganini are concentrated in it. Good taste is sometimes departed from in a few of the variations, but it will not be denied that some extraordinary effects are produced in those strange freaks, to which the marvellous dexterity of the artist lent an irresistible charm.

The last work to which I have to allude is the collection of sixty variations, in the form of studies, upon the popular air “Barucaba.” Paganini purposed in each of these studies to give every style of bowing, all the difficulties of fingering, and all the combinations of harmony, upon which his school is founded. By a singular notion, nearly all these variations are written in different keys.