His mother, with equal but more tender zeal for the development of the talent of young Paganini, succeeded in inspiring him with no slight portion of her own enthusiasm, by persuading him that an angel had appeared to her in a vision, and had assured her that he should outstrip all competition as a performer on the violin. Whether this vision was the result of a pardonable stratagem, or whether it was really the dream of a southern imagination, it is certain that it had the greatest effect on the mind of the infant artist, whose instinctive and irresistible inclination for the art made him an easy recipient of this maternal tale of encouragement. He began also to relish the domestic plaudits which were occasionally awarded to him for the boldness wherewith he produced new, if not legitimate, effects, indicative of future mastery over the powers of the instrument; for the instinct of his mind towards the extraordinary was, even thus early, a thing clearly discernible. He speedily outstripped his father’s slender reach of musical knowledge, as well as that of a minor violinist named Cervetto, who, for a short time, attempted to teach him. Giacomo Costa, director of the orchestra, and first violin in the principal churches, at Genoa, was next charged with his musical direction, and led him more rapidly onwards. At this period (when he was about eight years old), he was to be seen performing some three times a week in the churches, and at private musical parties, upon a fiddle that looked nearly as large as himself. At this time, too, he composed his first Violin Sonata, which, with others of his early musical pennings, is, unfortunately, not extant. A year later, he made what was considered his public début, in the great theatre of Genoa, at the request of the noted singers, Marchesi and Albertinotti, who begged of his father to allow the youthful artist to play for their benefit, undertaking, in return, to sing for Paganini at the first concert he should offer to the public. On both occasions, he played a series of variations, believed to be his own, on the French republican air, “La Carmagnole,” which were received with a force of approbation that seemed to carry with it the conviction of his future fame. Already, indeed, had his native genius urged him into a new path, both as to fingering and the management of the bow.
Stimulated by the opening prospects of solid advantage, his father next carried him to Parma, then the residence of Alessandro Rolla, in order to place him under the care of that celebrated composer. It so happened on their arrival, that Rolla was confined to his room by indisposition; and the strangers, having been shown into a neighbouring apartment, found there, on a table, the score of a work which the composer had just finished. At the suggestion of his father, Paganini took up the violin which lay by the manuscript, and performed the new concerto at sight, with so much point and precision as to raise the sick composer from his bed, that he might ascertain to what master’s hand he owed this agreeable surprise! The father, having explained the object of their visit, was assured by Rolla that he was incapable of adding any thing to his son’s acquirements: he advised them to go to Paër, who was then the director of the Conservatory at Parma. Paër, in his turn, directed his visitors to his old master, Giretti, who received young Paganini as one of his pupils, and for six months gave him regular lessons in counterpoint. The good use which he made of this short apprenticeship is proved by the four-and-twenty fugues which he composed in the course of it. His rapid progress inspired Paër with so lively an interest in his success, that he also devoted several hours a day to his instruction, and, at the end of four months, entrusted him with the composition of a duo, which was eminently successful. But these advantages were interrupted by the removal of Paër to Venice, where he had undertaken the composition of an opera.
Thus additionally qualified for the gratification of the “auri sacra fames” in the paternal breast, Paganini was now hawked about the country in a professional tour (at the commencement of 1797), through the principal cities of Lombardy; after which the father and son returned to Genoa, where the youthful artist was again subjected to those daily toils which had previously been forced on him with such wanton rigor: but the bonds were not to be of much longer endurance. In his 14th year, he was permitted, under the protection of an elder brother, to attend the Musical Festival of St. Martin, which is annually celebrated at Lucca, in the month of November; and, after meeting with a very flattering reception in all his public appearances, he extended his tour among the towns in the neighbourhood. The extreme degree of severity and restraint, with which his education had hitherto been conducted, was now beginning to work its natural result. At the age of fifteen, finding himself relieved from all effectual control by means of the ascendancy of his talent, and capable of attaining, through the same means, unlimited pecuniary supplies, he commenced the itinerant system on his own account; and soon, by a reaction of mind, that is in no degree surprising, acquired a decided partiality for a course of life that was accompanied by freedom from the trammels of such a father. The bonds of affection towards that persecuting parent were only loosened, however, not severed; for, after acquiring, by his independent exertions, a sum equal to about a thousand pounds, he proposed to assign a portion of it towards the maintenance of his father and mother. The cupidity of the former rejected this, and demanded the whole. The interest of the capital was then offered, equally in vain; and the violence of the father proceeded to the extent (as it has been asserted) of threatening Paganini with instant death, unless the whole of the principal were relinquished to him. This outrage, supposing it true, appears but a concentration, as it were, of the ill usage more diffusely applied before. To procure peace—perhaps to save his life—Paganini gave up the greater part of the sum.
Resuming the exercise of his emancipated powers, Paganini visited many parts of Italy, and was flattered and rewarded in all. The intoxication of his rapid successes, combined with his joy at the escape from domestic fetters, seem to have led him into some youthful excesses at this period, and to have made the roving course of his travel rather too close a type of his moral career—
Erring here, and wandering there, Pleas’d with transgression every where.
The increased celebrity which he afterwards acquired, or rather, perhaps, the jealous envy by which such celebrity is commonly pursued, has exercised a magnifying effect upon these early aberrations, and presented them as crimes of a serious and disgraceful nature. Whenever duly examined, they will be probably found to shrink back into something not greatly beyond peccadillo proportions. The feverish and unhealthy excitement besetting his peculiar position should be taken into full account, in forming a moral estimate of his youthful course. That the seductions of the gaming-table for a while swayed his fancy, and checquered his fortunes, is made clear by his own confession, which I will here extract from the interesting “Notice Biographique” by Monsieur Fétis (written as a pendant to the Collection of Paganini’s Compositions, about to appear in Paris), to which pamphlet I am indebted for some of the additional facts in the present sketch.
“I shall never forget,” says Paganini, “that I once placed myself in a position which was to form the turning point of my whole career. The Prince De * * * * * had long felt a desire to become the possessor of my excellent violin, which I still retain, and which was then the only one I had. He sent to me one day, in the endeavour to make me fix a price for it; but, reluctant to part with my instrument, I declared that I would only do so for 250 gold Napoleons. The Prince remarked to me, shortly afterwards, that I was probably joking when I asked so much, but that he was disposed to go as far as 2000 francs. I was, that very day, in much embarrassment as to funds, owing to a considerable loss encountered at play; so that I was on the point of resolving to give up my violin for the sum offered, when a friend came in, with an invitation to join a party in the evening. My whole supply amounted to thirty francs; and I had already stripped myself of my watch, jewels, rings, pins, &c. I formed the instant resolve to hazard my last pittance, and then, if fortune were adverse, to sell the violin for what had been offered, and set off for Petersburgh, without either instrument or property, there to re-establish my circumstances. My thirty francs were presently reduced to three,—and I fancied myself already on the road towards the great city, when fortune, shifting like the glance of an eye, turned my petty remainder into a gain of 160 francs. That favorable moment rescued my fiddle, and set me on my feet. From that day, I renounced gaming, to which a portion of my youth had been sacrificed; and, in the conviction that a gambler is universally despised, I abandoned for ever that fatal passion.”
The imperilled instrument above referred to, appears to have been the same that figures in the following anecdote, as related by M. Fétis. Whilst the youthful artist was still under the dominion of the passion for play, that sometimes robbed him, in a single evening, of the produce of more than one concert, and sometimes did not leave to him even his violin, he had recourse (at Leghorn) to the kindness of a French merchant, Monsieur Livron, a zealous musical amateur, who very readily lent him a fine Guarnerius instrument. After the concert for which it had been required, Paganini took it back to the owner, who, however, declined to receive it, saying, “I shall take good care how I profane the strings that your fingers have touched! It is to you that my violin now belongs.” The instrument was afterwards used by Paganini at all his concerts.
A similar incident occurred to him at Parma, though under different circumstances. Pasini, a painter, with musical propensities, had refused to credit the prodigious facility attributed to Paganini, in the way of playing the crabbedest music at sight, like one who had fully studied it. The sceptic therefore placed before him a manuscript concerto, in which all manner of difficulties had been brought together, and, handing to him an excellent Straduarius instrument, exclaimed, “This is yours, if you play that at sight, like a master.” “In that case,” observed Paganini, “you may say farewell to it at once;” and, in fact, his fulminating execution presently threw the convinced Pasini into an ecstasy of admiration.
To those earlier days belongs also the fact of Paganini’s transient passion for the guitar, or rather for a certain fair Tuscan lady, who incited him to the study of that feebler instrument—of which she was herself a votary. Applying his acute powers to the extension of its resources, he soon made the guitar an object of astonishment to his fair friend; nor did he resume in earnest that peculiar symbol of his greatness, the violin, till after a lapse of nearly three years. Paganini tickling the guitar, may almost suggest, for analogy, Hercules dallying with the distaff!