I.
TRICTLY speaking, there was no break in the continuity of art development represented in the virtuoso appearances recorded in [Chapter XXX], and those with which we have presently to deal. In point of chronology, many of those recorded in the present chapter were contemporaneous with some of those in the former. Nevertheless, the artists with whom we are now concerned represent principles more decidedly belonging to the romantic, and hence to the nineteenth century, than did those whose operations have already been discussed as part of the record of the eighteenth. This is seen in the quality and the novelty of their playing, and still more in the influence which they exercised upon the musicians who came after.
Fig. 80.
Earliest of these in point of time, and most influential in other departments than his own, was the famous Italian violinist, Nicolo Paganini (1784-1840), perhaps the most remarkable executant upon the violin who has ever appeared. His father, a clever amateur, had him taught music at an early age, and when only nine years of age he played in a concert at Genoa with triumphant success. He had already practiced diligently and, with the intuition of genius, had found out his own ways of accomplishing things, so that when, at the age of eleven, he was taken to Parma to the teacher Rolla, he was told that there was nothing to teach him. Returning home, he continued his practice, applying himself as much as eight or ten hours a day, and producing a number of compositions so difficult that he alone could play them. His first European tour took place in 1805, and astonished the world. The most marvelous stories were told of him. It was popularly supposed that he could play upon anything, provided only the catgut and the horsehair were furnished him. His first appearance in France was in 1831, and in the same year he played in London. The height of his fame was reached in 1834, at which time Berlioz, the French composer, presented him with a beautiful symphony, "Harold en Italie." Notwithstanding the fact that Paganini lost money in Paris, he presented Berlioz with 20,000 francs, in order to enable him to pursue his career as a composer unhampered by financial distress. This act was greatly to Paganini's credit, and entirely contrary to the prevalent opinion concerning him, which was that he was very miserly. Among the works which Paganini produced was a set of caprices for the violin which were essentially novelties for the instrument. He enlarged the resources of the violin in every direction, employing double stopping, harmonics, and the high positions with a freedom previously unknown. Notwithstanding Spohr's modest remark that upon a certain evening when playing for some amateurs he delighted them "with all the Paganini juggles," it is certain that he did nothing of the kind.
Fig. 81.
PAGANINI AS HE APPEARED.