Four Concertos, of which the instrumentation was not written. Of these nothing seems now to be known. Fétis says that the last of the four was composed at Nice a short time before the death of Paganini.
Concerto for bassoon, with string trio accompaniment. This was discovered at Stockholm in 1890, and the manuscript was said to be in the composer's hand-writing. The announcement of the discovery will be found in The Musical Times, of November, 1890, page 681. I have found no further reference to the subject.
Nine Quartets for Violin, Viola, Violoncello and Guitar. These are in the list drawn up by Constabile as being among the manuscripts preserved by the son of the composer. It is impossible now to say where these manuscripts are; the first three seem completely lost. A copy, probably unique, of the Quartets, Nos. 10 to 15, is among the treasures in the possession of Mr. Alfred Burnett, and by his kindness I am enabled to give a description of the music. Five of the Quartets, Nos. 10 to 14, were composed and dedicated "Al suo Amico Il Sig. Avvocato Luigi Guglièlmo Germi." No. 14 was composed "expressly" for that friend. The Quartets dedicated to Germi might be designated "house music," for though they are difficult, they do not seem to have been written for the "great public." They contain the most lovely music Paganini ever penned. If only the guitar were once more in fashion, these pieces might be heard, and I feel certain they would charm lovers of pure melody.[56] But this is to anticipate.
Quartet, No. 10, in A major, in four movements (as indeed are five out of the six). Allegro, A major, four-four rhythm, in free sonata form, with first and second subject—both lyrical—middle modulatory section, and recapitulation. The violin has the melody, the other instruments accompanying. Minuetto Scherzo, Allegretto, A major, three-four measure, with first short strain on a figure in triplets. Trio in D major, Cantabile theme for violin, doubled by the viola in the octave below. Adagio Cantabile, D major, two-four rhythm. A melody that might be signed Haydn or Mozart, but embellished with a grace peculiar to Italian art. Here the violin is the solo instrument, the others supporting with rich harmonies, the 'cello emphasising the rhythm with frequent pizzicato notes. Rondo Andantino con brio, A major, two-four measure, a bright, sparkling principal theme, staccato, with contrasting episodes, one in D, with fourth string phrases, also with brilliant passages in thirds for the violin, which again has all the thematic work. This is a well developed movement.
Quartet, No. 11, in B major. For this the guitar is tuned a tone higher, the capo tasto raising the E strings to F sharp, and the guitar part is written in the open key of A. The first movement, Allegro moderato, B major, four-four rhythm is free in form, with repeat of the first part. The thematic material is assigned chiefly to the violin, but in the second part there is an episode, a sort of folk-tune, given to the violoncello. Minuetto, Allegretto, B major, three-four, with Trio in G major. The melodies are fresh, and move step-wise, very much like those in the Minuet of Beethoven's first Symphony. They are in scale formation, up and down, and there is only one skip of a third in the first sixteen bars. Again the violin takes all the themes. Larghetto con passione, F sharp minor, six-eight measure, a Lament, a fine expressive theme, opening nobly, but with the elevated style not maintained throughout. The viola and violoncello parts are in keeping with the pathetic feeling of the movement, but the rhythmic figure of the guitar part detracts from its dignity. Polacca, Andantino mosso, B major, three-four measure, a well-written movement, with three clearly defined subjects, two of which are taken up by the viola and violoncello. The violin part in this quartet is brilliant, but not particularly difficult; there is no double-stopping, excepting in chords of accompaniment.
Quartet, No. 12, in A minor. This number is in three movements only. The first, Allegro giusto, A minor, four-four rhythm, is quite orchestral in character, and opens with a theme of symphonic breadth. There is science displayed in the development of this movement. In the first part the second subject is in C major, and in the recapitulation in A major. The slow movement, Adagio tenuto, con precisione, C major, three-four measure, has at first a very broad and declamatory theme for the violin. The writing becomes very elaborate, and the rhythmic figuration complex, passages with four and five-stroke notes occurring. The Finale, Minuetto, Allegretto mosso, is a fully developed movement quite in sonata form, with first part repeated. The exposition has a first subject of two extended members, the second in the major mode. The second subject, in E, is well contrasted. There is a long working out section, with episodial matter, and the recapitulation is very happily led up to. The music has a lilt that is irresistible, and the writing is interesting for each instrument.
Quartet, No. 13, in F. The first movement, Allegro con brio, F major, four-four time, opens with a theme of a declamatory type, and the expression is dramatic. The second subject in C, is in the style of the Italian aria, concluding with the lively Cabaletta strain. A short Coda ends the first part. In the working out section there is an important episodial theme for the violoncello, and in the recapitulation the second subject, now in F, is allotted to the viola, the violin taking up the Cabaletta. Both parts are marked for repetition. Minuetto, Allegretto, F major, three-four measure. The violin has the theme of the first strain of eight bars repeated; the violoncello responds with the subject of the next strain of twenty-five bars, one phrase lengthened to five bars. The Trio in B flat has a tripping theme for the viola, legato and staccato bowing in the same "figure." Later the phrases are broken into dialogue for violin and viola. In the Minuet the guitar has a "second" to the violin melody. Larghetto tenuto, con anima, D flat major, six-eight rhythm, a broad, cantabile theme for the violin, with spare embellishment. The movement must be slow, for there are arpeggios of eight notes to the quaver beat in the guitar part. Finale, Prestissimo, F major, two-two measure. The theme for the violin resembles very much some of those merry "tributary" motives found in Mozart's symphonies towards the close of the first part of a movement—the "Jupiter," first movement for instance. The second subject affords contrast. The whole is most spirited and light-hearted. Paganini must have been in a happy mood when he wrote this quartet.
Quartet, No. 14, in A major. The first movement, Allegro maestoso, A major, four-four measure, is very brilliant, opening with a theme in which arpeggio and scale figures abound. This closes in B, and the second subject begins in E. Here occurs some very free chromatic writing, suggestive of Richard Strauss, as, for instance, D sharp for violoncello against E flat for guitar and viola; and C natural opposed to B sharp. But it is a mere matter of spelling. The first part ends in E, and is marked for repetition. Then, with a single prefatory chord of E minor, the working out section begins in C, with a new motive, which passes through a number of keys, the primary returning with the second subject. Minuetto, Scherzo affettuoso, A major, three-four. The subject is based on a three-note figure, giving, by cross accents, to the four-bar phrase the effect of a six-bar phrase in duple measure—Tempo rubato. The Trio, in D, has a theme in triple measure, but the middle sentence has the displaced accents of the Minuet. Largo, con sentimento, G flat major, four-four measure. For this the pitch of the guitar is raised a tone, and the part written in E major. The movement is in song form, the melody opening in stately fashion, but the writing soon becomes florid. At the second entry the theme begins in A major, the return to G flat being ingeniously effected. There are some rapid pizzicato passages for the violoncello. Finale, Allegro vivace, A major, four-four rhythm. This is a moto perpetuo, sempre staccato, for the violin. The theme is quite unlike that of the movement known as Op. 11. After the exposition of the subject, the violin has figure-playing of an easy kind, while the violoncello has a Cantabile theme. This recurs, and snatches of it are heard in the brief coda. The other instruments merely accompany. This quartet has distinct character.
Quartet, No. 15. The title simply runs: "Composto da Nicola Paganini," without any dedication. Note the copyist's spelling of the Christian name. In the first movement, Maestoso, A minor, four-four measure, the first subject is given out by the viola. It begins with a mournful, somewhat stern motive, bold, and with an embellished subordinate theme. The second subject, also assigned to the viola, is an impassioned lyrical theme in C major. In the working out section, the violin takes the first subject, and joins the violoncello in an episodial theme, the viola contributing a florid counterpoint. There are modifications in the recapitulation, but the viola again has the second subject now in the tonic major. The guitar is busy throughout the movement, with full chords and extended arpeggios. Minuetto a Canone, Andantino, A major, three-four measure. The Canon is confined to the violin and viola, the latter starting with a theme in short, detached figures, the violin following, an octave higher, one beat later. Guitar and violoncello give supporting harmonies. In the Trio, in D major, the melody is given to the guitar, with a pizzicato accompaniment for the other instruments. At the seventeenth bar, there are again four bars of canon, this time in the unison, staccato bowing. The Minuet, abbreviated, is then repeated. The canon is not continuous, a cadence occurring at the end of each eight bars. Next comes an Interlude, Recitative, Andante sostenuto, con sentimento, D major. This is for the viola, and extends to twenty-one bars, the expression being dramatic. The other instruments have a rather elaborate accompaniment. The slow movement immediately ensues, Adagio Cantabile, D major, two-four rhythm. The viola has the melody, in the form of the Italian aria, embellished with prima donna fioriture. The movement is short, only running to forty-six bars. Rondo, Allegretto, A minor, two-four. The leading theme, marked by syncopations, is given to the viola, the violin joining in the repetition. The tonality is constantly changing from the minor to the major and back again. There is a new theme in the middle section, and some elaboration before the first subject returns. The close is abrupt. The viola has the chief part in this quartet, which is quite different to the others.
I have only a few notes concerning some of the works yet to be considered. Dramatic Sonata, "The Storm," for violin and orchestra. This was evidently a piece of programme music, for it was thus described:—Part I., the approach of the storm; II., the commencement of the tempest; III., the prayer; IV., the fury of the sea; V., the hurricane; VI., the tumult at its height; VII., the stilling of the tempest; VIII., an outburst of the most lively joy. It was played at Paganini's third and last concert at Prague, December 20th, 1828, and one account refers to it as a "dramatic sonata for a full orchestra, with analogous embellishments and solos and variations, by Paganini on the fourth string."[57]