Nicolo Paganini: His Life and Work Part 10

That Paganini did not always play the piece in the form in which Guhr wrote it down, is proved by the existence of another ma.n.u.script, which is, perhaps, very little known. It was written by the late Mrs. Tom Taylor, who gave it to Mr. Alfred Burnett many years ago, and that gentleman has kindly permitted me to examine it. For this the violin is tuned a whole tone higher. The Introduction is altogether different, and the theme much less floridly embellished. The first variation corresponds to Guhr's No. 2, but the harmonics are not quite the same.

In this the melody floats above tremolando chords. The second, in outline, resembles Guhr's No. 4, but whereas the latter has alternate natural notes and harmonics, Mrs. Taylor gives alternations of detached bowed notes and pizzicati. The third is like Guhr's No. 3, in that it has short figures in double notes, alternately for fundamental and harmonic sounds. Guhr's variation consists of twenty-five bars; Mrs.

Taylor's of thirty-one, there being a short cadenza. The fourth resembles Guhr's No. 7 in the wide-spread arpeggios, but the harmonics are differently distributed, and the coda is not the same as in Guhr.[54]

[Ill.u.s.tration: PLATE 25. (_See Appendix._)]

[Ill.u.s.tration: PLATE 26. (_See Appendix._)]

In the Imperial Library, Berlin, there is a ma.n.u.script by Paganini, inscribed "Capriccio a Violino Solo di Nicolo Paganini In cor piu non mi sento," in which the embellished theme differs from both those already described. The first page is reproduced in facsimile in Paul Stoeving's "Story of the Violin," p. 213. Then there is an autograph copy in the British Museum with this inscription: "In cuor piu non mi sento, Thema con variazioni per Violino, con Accompagnementi di Violino e Violoncello Composta da Niccolo Paganini." The piece consists of an Introduction, Theme and four Variations, and, so far, agrees with Mrs. Taylor's copy.

Finally, Paganini played the piece with the orchestra, as will be seen from this extract from a programme: "Prelude and Variations on the Tema, 'Nel cor piu non missento,' with orchestral accompaniment, by Signor Paganini." This was played at the concert of June 27th, 1831, at the King's Theatre, and the programme from which this extract is taken is in possession of Mr. Richard Harrison, of Brighton, who most obligingly copied it for me.

Duo pour le violon seul. This begins with an Adagio, C major, three-four measure, with a melody for the bow, and left hand pizzicato accompaniment. A short Allegro molto follows, in square time, the pizzicato accompaniment being chiefly in double notes, with occasional chromatic harmonics. This little piece must have been on sale in London a year before Paganini arrived, for the following anecdote was in print in May, 1830. "A few days since, a footman went into Mori's music shop to buy a fiddle string. While he was making his choice a gentleman entered the shop, and began to examine various compositions for the violin. Among the rest he found Paganini's celebrated _Merveille--duo pour un seul Violon_ and, perceiving the difficulties in which it abounded, asked the shopman if he thought that Mori himself could play it. The young man, a little perplexed and unwilling to imply that his master's powers had any limits, at length replied, that he had no doubt he could perform it, provided he practised it for a week. Upon which the footman, who stood intent upon the conversation, broke in on the discourse and swore that Mori could do no such thing, for that he himself had been practising the piece for three weeks and could not play it yet."

Trois Airs Varies pour le Violon, pour etre executes sur la Quatrieme Corda seulement, avec accompagnement de Piano par Gustavo Carulli. Fetis says these are merely souvenirs arranged by the author of the accompaniments.[55] Antonio Minasi includes them in the lists of works performed by Paganini in England. The fourth string is to be raised to A, for all three. The first is in C, with two easy variations; the second, in G, resembles a folk song, and has three variations; the third, in C, also has three variations. The first two are marked Andante; the third, Andantino. The accompaniments are of the easiest song kind.

Le Charme de Padua, Divertimento pour Violon et Piano concertant, compose par Nicolo Paganini. This piece was published in London before the date of Paganini's first concert, and possibly before the arrival of that artist in England. It was issued by a firm of repute, Wessel and Stodar, who were the first publishers in England of the works of Chopin.

The music was reviewed in _The Harmonicon_, June 1831, the notice concluding thus: "It perhaps is a bagatelle on which he (Paganini) has bestowed little time and less thought. It certainly is a flimsy affair, and might have been produced by the dullest and most mechanical _repieno_ in the band of a suburb (_sic_) theatre." The piece consists of a Larghetto and Presto, in C major, the slow introduction being in six-eight rhythm, the Presto in six-four. There is one princ.i.p.al theme in the first part, given out by the violin and repeated by the pianoforte, a simple melody, with embellishments. The Presto is in Rondo form, with leading theme for pianoforte, continued by violin, and relieved by an episode contrasted in character. The music is not great, but unprejudiced musicians will scarcely endorse the captious remarks of the reviewer. The firm of Edwin Ashdown (successor to Wessel) publish the composition, also a version by S. G.o.dbe for viola and pianoforte. In this the themes are written an octave lower, and modifications occur in double-stops, and so forth, to suit the viola. There is likewise an arrangement for flute and pianoforte, by J. Sedlazek. It is not stated by whom the pianoforte part was written, but it is very well done, and is not a mere accompaniment.

WORKS UNPUBLISHED, OR LOST.

Concerto in D minor. Fetis terms this a magnificent concerto; it was performed by Paganini at the first concert he gave in Paris, March 25th, 1831, and that seems to be all that is known about the piece. Concerto in E minor. This was in three movements; Allegro maestoso; Adagio flebile, con sentimento; Rondo, Andantino Gajo, "with a triangle accompaniment." It was played by Paganini at the King's Theatre, June 13th, 1831. Concerto in E major. The three movements of this piece were; Allegro Marziale; Cantabile Spianato; and Polacca brillante. Paganini played this concerto at his concert, July 4th, 1831. Concerto in two movements. This was a medley. The one movement, Cantabile a doppie corde, was by Paganini; the other, Ronda scherzoso, by Rodolphe Kreutzer. Played, August 17th, 1831.

Four Concertos, of which the instrumentation was not written. Of these nothing seems now to be known. Fetis says that the last of the four was composed at Nice a short time before the death of Paganini.

Concerto for ba.s.soon, with string trio accompaniment. This was discovered at Stockholm in 1890, and the ma.n.u.script 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 ma.n.u.scripts preserved by the son of the composer. It is impossible now to say where these ma.n.u.scripts 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 Guglielmo 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 fas.h.i.+on, these pieces might be heard, and I feel certain they would charm lovers of pure melody.[56]

But this is to antic.i.p.ate.

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 princ.i.p.al theme, staccato, with contrasting episodes, one in D, with fourth string phrases, also with brilliant pa.s.sages 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 a.s.signed 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 pa.s.sione, F sharp minor, six-eight measure, a Lament, a fine expressive theme, opening n.o.bly, 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, pa.s.sages 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 repet.i.tion.

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 repet.i.tion. Then, with a single prefatory chord of E minor, the working out section begins in C, with a new motive, which pa.s.ses 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 fas.h.i.+on, 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 pa.s.sages 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 s.n.a.t.c.hes of it are heard in the brief coda. The other instruments merely accompany. This quartet has distinct character.

Quartet, No. 15. The t.i.tle 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 a.s.signed to the viola, is an impa.s.sioned 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 repet.i.tion. 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 a.n.a.logous embellishments and solos and variations, by Paganini on the fourth string."[57]

"Sonata Militaire," in G, for the fourth string, theme, the air "Non piu andrai," from Mozart's opera "Le Nozze di Figaro." This piece was composed expressly for the second of the two concerts Paganini gave in Genoa in 1824, when the young singer, Antonia Bianchi, made her debut.

The Sonata was played by Paganini at his first concert in London. All traces of it appear to have been lost.

"Napoleon Sonata," for the fourth string. Paganini gave an account of the origin of this piece to his friend, Julius Schottky, and to what has already been related in connection therewith may now be added the further statement he made. Paganini sang to his friend the first movement of this Sonata "in an animated though feeble tone," and said that Rossini transferred the theme into one of his earlier operas. It would be interesting to know the opera in question, but the early works of Rossini would be searched in vain without the clue afforded by the Sonata, which appears to have vanished completely.

"Sonata Maestosa Sentimentale," with variations on a theme by Haydn, for the fourth string. It is probable that the theme for these variations was the well-known Emperor's Hymn, and that this Sonata was performed by Paganini before the Austrian Court in 1828.

Sonata with variations on a theme from the opera "L'Amor Marinaro."

Nothing is now known of this Sonata, nor of the particular theme chosen from the opera. "L'Amor Marinaro" (the Corsair in Love) was one of the early productions of Joseph Weigl, being written in 1798. An opera buffa, it was distinguished by natural charm, freshness of colouring and beauty of melody, and to the latter quality Paganini's choice of it must doubtless be attributed.

"Chant of the Monks of the Monastery of St. Bernard." This was the t.i.tle given to a piece in the programme of a concert at Covent Garden Theatre.

It was performed on a darkened stage and the solemn character of its music was emphasized by a beautiful scene representing a monastery with stained gla.s.s windows. The introduction, a movement of some length of the ba.s.ses in unison, was followed by a chant "of lovely harmonies, performed in harmonics (I believe, on the fourth strings) in combination with the wood instruments." Minasi, who gives this account of the piece, states that he believes it to be merely the second movement of the Concerto in B minor, Op. 7.

Cantabile for two strings. This piece was performed at the King's Theatre, on June 13th, 1831. Possibly it was the same as the musical fantasia already referred to as played at Lucca under the t.i.tle of "A Love Scene." Of the remaining pieces, except the one mentioned below, nothing seems now to be known save the names.

The one exception is the piece ent.i.tled "The Vagaries of a Farmyard,"

which contained a wonderful series of imitations of farmyard sounds. In this connection the following anecdote, ill.u.s.trating Paganini's extraordinary power of portraying curious sounds on his violin, may be worth repeating. One fine night, when staying at a little inn just outside Frankfort, he was sitting at his window lost in the contemplation of the glorious heavens. The striking of a clock broke through his reverie and called back to his mind an occurrence of which he had but recently been an ear-witness. He seized his violin, and there arose on the stillness of the night the moans and cries of a mother and her new-born babe. The landlord of the inn, awakened by the unusual sounds and wondering how such visitors had found their way into his house without his knowledge, called his son and hastened to the room whence the plaintive cries proceeded; and he found Paganini, too deep in thought to perceive his entrance, making his violin bring forth these human sounds. It is stated of Paganini that he was wont to produce his animal cries under the stress of special excitement or during an access of fever, and that with his farmyard piece he electrified the audience at one of the last of his concerts in London.

FOOTNOTES:

[52] Lapheleque, p. 45.

[53] Carl F. W. Guhr, born at Militsch, Silesia, October 30th, 1787, violinist, pianist and composer, became Director of the Museum Concerts and Conductor of the Opera at Frankfort-on-the-Main, in which city he died July 22nd, 1848.

[54] Mrs. Tom Taylor (_nee_ Laura Wilson Barker) was a fine musician, a composer, and almost phenomenal performer on the pianoforte and the violin. She played with both Spohr and Paganini, and took down this set of variations after hearing Paganini play them twice. She died at Coles.h.i.+ll, Bucks, May 22nd, 1905, at the advanced age of eighty-six.

[55] Gustavo Carulli was the son of the celebrated guitarrist, Ferdinando Carulli, and was born at Leghorn in 1801.

[56] They were performed at the private quartet concerts given by Mr.

Burnett in the Art Club, Blackheath, from about the year 1893 onward.

[57] _The Quarterly Musical Magazine and Review_, Vol. X., p. 205.

CHAPTER XII.

This may have been the concert at which, according to a lithograph,[58]

Paganini received "the homage of five thousand persons after having pocketed 2,000 for two hours' performance." While the great world showed their appreciation of his playing in this way, and Royal patrons delighted to invest him with n.o.ble orders, the more humble admirers of Paganini caused medals to be struck in his honour. One of these, a tribute from the city of Vienna, has already been referred to; another very fine medal, struck in Paris during Paganini's first visit there in 1831 is reproduced here. The inscription round Paganini's head fills one with a strangely ironical feeling, when one remembers that the fame of Paganini did but survive to lead to the homage of exhumation.