Nicolo Paganini: His Life and Work Part 9

Sonata for violin alone.

Preludio e Rondo brilliant, violin and orchestra.

Chant of the Monks of the Monastery of St. Bernard.

"La Primavera," Sonata for violin alone.

Preludio e Fandango, con Variazioni.

"La ci darem la Mano," Variations.

Cantabile, violin and pianoforte.

Polonaise avec variations.

Cantabile e Valse.

Cantabile, for two strings.

Three duos, violin and violoncello.

Duets and small pieces for guitar.

Variations sur un theme comique.

"The Vagaries of a Farm Yard."

Romance pour le Chant. Fantasie Vocale.

WORKS WITH OPUS NUMBER.

Op. 1. The full t.i.tle reads:--_Ventiquattro Caprici per Violino solo, dedicati agli artisti; Opera prima._ It is not necessary to refer to these pieces in detail; they are in the repertory of the leading violinists, and have been played by Joachim and many others. They embrace almost every kind of violin technique, and have merits apart from that standpoint. Schumann in his _Etudes d'apres les Caprices de Paganini_, Op. 3, has transcribed for the pianoforte six numbers. They are, No. 5, Agitato, in A minor, without the alteration of a single note; No. 9, Allegretto in E, quite as closely; the Andante of No. 11, in C; No. 13, Allegro, in B flat, beautifully harmonized; No. 19, Lento, Allegro a.s.sai, in E flat, more freely treated; and No. 16, Presto, in G minor, the melody a.s.signed to the left hand, and written two octaves lower. These studies were the result of Schumann's hearing Paganini at Frankfort in 1830. The impression the great violinist made on the susceptible youth was so deep, that Wasielewski stated that it was more than probable Schumann's decision to devote himself to music dated from that experience. So here is another debt the musical world owes to Paganini. Schumann's Op. 3 bears the date of 1832. The next year he returned to the Italian master, and his Six Studies, Op. 10, are further transcriptions of the Capriccios. The first is a very free arrangement of No. 12, Allegro molto, in A flat; next is a paraphrase of No. 6, Adagio, in G minor, in which different figuration was absolutely necessary for the keyboard instrument. In No. 10, Vivace, in G minor, he divides the melody for the two hands, and accompanies with bold harmonies. The transcription of No. 4, Maestoso, in C, is almost literal, but there are "cuts," as also in No. 12. No. 2, Moderato, in B minor, with its "leaps and bounds," is altered to bring the intervals more within reach of the hand. The bare octaves which form the opening of No. 3, have been filled in with rich harmonies, and to the Presto movement a counterpoint in semiquavers has been added, making it a very attractive piece of the Tocatta order. It will be remembered that one short movement of Schumann's "Carnival" is ent.i.tled Paganini, but it is a reflexion of his style rather than an adaptation of his music. Liszt has borrowed much, in regard to form and melodic outline, from the Capriccios, in his _Etudes d'execution transcendante_. Of his _Grandes Etudes de Paganini_ notice will be taken later. Brahms has written two sets of variations on the theme of the Capriccio, No. 24, Quasi presto, in A minor. These are extraordinarily difficult and brilliant. They were published in 1866, and Carl Tausig was fond of playing them. Paganini's Op. 1, was published by Ricordi about the year 1820.

Op. 2, and Op. 3. The house of Ricordi publish the Twelve Sonatas for violin and guitar, and Breitkopf and Hartel publish an edition for violin and pianoforte, edited by Ferdinand David. There is no clue as to the arranger of the pianoforte part, but it may be the work of Moscheles, who, it will be remembered, was induced "to make a pianoforte accompaniment for twelve small violin pieces," but who refused to have his name affixed to the t.i.tle-page. Anyway, the pianoforte accompaniment is the work of a good musician. The t.i.tle page of Op. 2 runs thus: _Sei Sonate per Violino e chitarra, Composte e Dedicate Al Signor Dellepiane, Da Nicolo Paganini_. The pieces are sonatas in the primitive sense of the term. Each contains two movements only. No. 1, Minuetto, Adagio in A, three-four, the violin part in the nature of a florid _cadenza_ but very clear in rhythm, the guitar accompaniment in semiquaver groups of broken chords. Second movement, Polonese, Quasi allegro, A major, three-four, tuneful, all derived from a short motive, not difficult. No.

2, Larghetto expressivo, C major, six-eight, lyrical, melody highly embellished after the first phrase, varied bowing. Allegro spiritoso, same key and measure, in the style of a _Canto popolare_. No. 3, Adagio maestoso, D minor, two-four, princ.i.p.al motive of a dramatic kind, with brilliant pa.s.sages intervening. Andantino gallantement, a crisp, staccato melody, with middle section in D major. No. 4, Andante calcando, A major, four-two, theme, in sixths, thirds and octaves. The movement is ent.i.tled _La Sinagoga_, but I can trace no Jewish melody corresponding to its subject. The second movement, Andantino con brio, in two-four measure is as bright and sparkling as the corresponding movement in No. 3. No. 5, Andante moderato, D major, two-four, two strains of eight bars, with a lyrical theme. The second movement in six-eight rhythm, is another specimen of the Italian _Cantilena_. No. 6, Largo, A minor, six-eight, a combination of recitative and Cadenza pa.s.sages. Tempo di Valse, in three-eight measure, a tripping, fluent theme, for light bowing. The music altogether is light and pleasing, abounding in showy pa.s.sages, and with the real Italian gift of melody.

The accompaniments are in no way difficult.

The Six Sonatas, Op. 3, have rather a curious dedication: _Alla Ragazza Eleonora_. "Ragazza" is a familiar term for a girl, and may be translated as "la.s.s," or even "wench." The Eleonora it may be impossible now to identify, though the lady possibly was connected with the period of Paganini's disappearance when Napoleon invaded Italy. Sonata, No. 1, is in two movements, as are all the others. The first, Larghetto, A major, six-eight measure, has a theme resembling a popular melody, the close of each strain being highly embellished. Ricordi's edition gives an alternative reading of the penultimate bar, in the style of a cadenza. The second movement, Presto variato, in two-four rhythm, has a dance-like theme, with one variation. The two bars preceding the final cadence have semiquaver groups to be played pizzicato, each note with right and left hand alternately. No. 2, Adagio, con dolcezza, G major, three-eight, theme, pure Italian cantilena, in thirds or sixths throughout. Andantino scherzoso, two-four, crisp, tripping melody, chiefly for staccato bowing, ending with arpeggios extending to four octaves. No. 3, Andante sostenuto, D major, two-four, theme for six bars to be played on the second string. Rondo, Molto allegro, six-eight, bright and spirited; the opening might have been inspired by the Irish air "Garyone"--the lilt is so much the same. The movement ends with a rapid descending chromatic scale of three octaves. No. 4, Andante largo, A minor, two-two, the opening bars of the theme for the third string, declamatory, sad. Allegretto mottegiando, two-four, light, tripping melody, to be delivered in a spirit of banter. No. 5, Adagio amorosa, A major, two-four, theme, Italian melody embellished, in thirds throughout, with some semi-staccato bowing. Allegretto energicamente, two-four, a merry, quick-step movement of two eight-bar periods. The second part, in the tonic minor, has the theme divided equally for guitar and violin, in each strain. A coda of four bars, major, is added by way of close. In the arrangement for pianoforte, the violin has the theme throughout. No. 6, Andante innocentemente, E minor, four-four, a pathetic melody, simple, but touching. Allegro vivo e spiritoso, six-eight. One could imagine an Italian peasant singing this melody; it has all the characteristics of a folk-song. It is written throughout in double-notes, mostly thirds. The second part, in the minor, is in a different manner to the first part, which is repeated after it. The guitar accompaniments, with the exception named, are all in chords or arpeggios. The pianoforte part has more variety. It may be observed that the movements in two-four measure have much of the spirit of Haydn's Allegros.

Op. 4, Three Quartets for violin, viola, violoncello and guitar. These were once in the Circulating Music Libraries of the firms of Novello and Augener, but are no longer to be met with. I have failed to obtain copies elsewhere.

Op. 5, _Tre Quartetti a Violino, Viola, Chitarra e Violoncello. Composti e Dedicati Alle Amatrici Da Nicol Paganini. Milano. Presso Gio.

Ricordi._ By the courtesy of the firm of Novello, I have been enabled to examine this set, the t.i.tle page of which I quote. The copy I examined is evidently of the original edition. Each quartet is in four movements. No. 1, Presto, D major, sixteen-eight, a peculiar signature, but apparently adopted by reason of the "figures" in quavers. This movement is very much in Rossini Overture form. Andante sotto voce e staccato, D minor, three-four, Canone a tre. The violin begins, the viola answers one bar later, an octave lower, and the violoncello follows in like manner. The guitar is silent. The Canon is kept up strictly to the end. The Trio--not in Canon--is in B flat major, and the guitar supports the strings with full chords. Tema con variazioni, Cantabile quasi Larghetto, D major, two-four, two strains of eight bars, the theme in each begun by the viola, and repeated by the violoncello.

Three variations follow, the theme being allotted to each instrument in turn, the guitar included. Finale, Prestissimo, D major, three-eight, a brilliant, showy movement.

No. 2, Allegro, C major, four-four measure, in binary form, the subjects given to the violin and violoncello. Minuetto, Allegretto, A minor, three-four, with Trio in two sections, F major and D minor. The violin has the theme, the others accompany with chords. Cantabile, Larghetto, A major, six-eight, the melody, floridly embellished, for violin, the other instruments accompanying. Polacca, Quasi presto, C major, six-four. The violin has the chief melody, subordinate parts being given to the viola and violoncello. The guitar has full chords throughout.

No. 3, Allegro, D minor, four-four rhythm, Coda in D major, princ.i.p.al themes for the violin, the viola and violoncello taking up portions here and there with chords and arpeggios for the guitar. Allegro moderato, D minor, three-four, Canone a tre, theme for violin, answered by viola and violoncello at one bar interval, an octave below, as in No. 1. Guitar tacet. Tema Cantabile, Quasi adagio, B flat major, two-four. The movement consists of two periods, the theme for viola and violin alternately, in each. Variation I., florid, violoncello and violin in response; II., in G minor, more elaborate, theme for violoncello and violin, rapid arpeggios for guitar; III., in B flat major, theme for viola and violin, alternately, and finally for guitar. Polacchetta, Allegro con brio, D minor, three-four, a brilliant movement, with themes for the violin; the viola and violoncello share in the figurated pa.s.sages, and the guitar has an accompaniment in chords and arpeggios.

Paganini is said to have repudiated this work, although according to Fetis, the quartets were published at Genoa under his very eyes. I should rather say that the Milan edition was the first, and perhaps the only one. Paganini's a.s.sertion was that some one had taken a few of his themes, and badly arranged them. Fetis further states that various pieces published before, and up to, 1851, must be considered as "commercial frauds." Some of them are named, and will be referred to in due course. The music of Op. 5 cannot be regarded as in any way great, but there are graceful melodies, and the movements in Canon form are ingeniously worked out.

Op. 6, _Premier Concerto (Mi Bemol), pour le violin avec accomp. de l'orchestre._ This was the first of the posthumous works, published by the firm of Schott and Co., Paris, in 1851. It is scored for two flutes, oboes, clarinets, ba.s.soon, double ba.s.soon, two horns, trumpets, three trombones, kettle drums, ba.s.s drum, cymbals, and the usual quintet of strings. The solo violin is tuned a semitone higher, and the part is in D, while the orchestra plays in E flat. Breitkopf and Hartel publish the orchestral parts in the key of D. There is an arrangement of the first movement, by August Wilhelmj, but with that I have nothing to do here. First movement, Allegro maestoso, E flat, four-four. The orchestral exordium extends to ninety-four bars, six more than in the introduction of Beethoven's Concerto. The movement--so it may be termed--is symphonic in form, with second subject in the dominant, and it is richly scored. The exception I take to it is the persistent employment of the cymbals with the ba.s.s drum.

There is a delightful little touch in the canonic imitation for first violins and violoncellos. The solo has a princ.i.p.al theme scarcely indicated in the introduction, and also several important episodes.

The slow movement, Adagio, C minor, four-four, was inspired, as already mentioned, by the Italian tragedian, Demarini. Paganini witnessed his performance in a prison scene, where, after recapitulating his misfortunes, he supplicated Providence to relieve him of the burden of his life. Paganini retired to rest still under the influence of the emotions excited by the actor. He could not sleep: he rose and sought through his violin a means of expression by which he could pour out the feelings that consumed his soul. Thus, genius tortures and produces. It must have been this movement in which William Gardiner heard "tones more than human, which seemed to be wrung from the deepest anguish of a broken heart." Observe, especially, the recitative pa.s.sages that close the movement. Finale, Rondo, Allegro spiritoso, E flat, two-four. This is the longest concerto movement known to me, running on to four hundred and eighty-three bars, but the "measure" is short. The concerto is not so long as that of Beethoven, the first and second movements containing fewer bars. It may be noted that in the first and last movements Paganini introduces harmonics, and pa.s.sages in tenths, most probably for the first time in a concerto. In the slow movement there is no double stopping. The Cadenzas were improvised, and Paganini, like Beethoven, in his improvisations surpa.s.sed anything he ever committed to paper.

Op. 7, Concerto No. 2, in B minor. Allegro maestoso, B minor, twelve-eight. Adagio, D major, two-two. Rondo, Andantino allegretto moderato, B minor, six-eight. This is not so long as the first concerto by some two hundred bars, and is not so fine a work, but it is a piece worthy of being occasionally heard. In the princ.i.p.al theme of the Rondo occur the pa.s.sages where the silver bell three times echoes the violin note--the top F sharp of the pianoforte keyboard. Failing the bell, the violinist produces the sound by an artificial harmonic. It is this Rondo that Liszt has included in his _Grosse Etuden von Paganini_. His treatment of Paganini must be briefly described. There are six "studies," the first a transcription of Paganini's Caprice, No. 6, Adagio, G minor. To this Liszt adds a prefix, the arpeggio prelude of No. 5. The Caprice itself is very literally copied, the whole being an octave lower, and at first a.s.signed to the left hand alone. After the sixteenth bar the treatment becomes more free, while the figuration is much the same. The study ends with the arpeggio pa.s.sage as at the beginning. The second takes for subject No. 17, Andante, E flat.

Scarcely a note is omitted, but the pa.s.sages are placed higher or lower, and the runs given to either hand. This is a marvel of ingenuity, forming a most brilliant pianoforte solo. It is followed, as by a second sonata movement, by the "Campanella" Rondo, the two being intended to be performed in succession. For this purpose the Rondo from the Concerto is transposed to G sharp minor, the closing E flat of the previous movement changing enharmonically to D sharp.

The first exposition of the subject follows Paganini very closely, but in the development and further progress of the movement Liszt follows his own bent, repeating the princ.i.p.al theme again and again with ever varying treatment. This is a piece for the _virtuoso_, and one of the most showy in the pianist's repertory. The fourth study is an extremely clever transcription of the Caprice No. 1, Andante, E major. Not a note of Paganini's piece is left out, and the arpeggios are ingeniously set out for interwoven fingering, causing the performance to be something to look at as well as to hear. It is nearly all cross-handed work. The fifth study is an arrangement of the Caprice No. 9, Allegretto, E major.

On paper it appears easier than the setting by Schumann, but it is more difficult to play. Here, again, the phrases are divided for both hands.

The _glissando_ pa.s.sages in sixths are impossible on modern instruments.

The sixth and last study, on the Caprice, No. 24, Tema, con variazioni, A minor, is the most ingenious of all. The theme is simply harmonised at first, then used as a counterpoint to the arpeggios in the first variation. The next is more simply treated, and in the third variation Paganini's theme forms the ba.s.s upon which the figuration of the initial motive is superposed. To the end Liszt shows what possibilities in keyboard execution were latent in Paganini's violin figures; and if the latter had written only these Capriccios he would survive as the cause of the most original inventions in pianoforte technique that have yet seen the light.

Op. 8, _Le Streghe._ Variations on the "Witches' Dance," theme from the Ballet, "Le Nozze di Benevento," by Vigano, music by Sussmayer. It has already been stated that Paganini witnessed a performance of this ballet, at La Scala, Milan, in 1813. He took the theme from a fantastic scene where the witches appear. In his London programmes Paganini thus described the piece; "Variations on the Country Dance Della Streghe alla Noce di Benevento (or the comic dances of the Witches under the walnut tree of Benevento), composed and performed by Signor Paganini." The piece is in the key of E flat, and the violin is to be tuned a semitone higher, the soloist playing in D. There is an orchestral prelude of eighteen bars, Maestoso, followed by a solo, Larghetto, a beautiful Italian melody, embellished, in two short strains. The theme is simply set forth, and the variations serve for the display of bravura playing with pizzicato and harmonics in the second movement, fourth string melody, and double harmonics in the third, and with the Finale resembling a Galopade. Orchestral parts are published, as well as the arrangement with pianoforte.

Op. 9, Variations on "G.o.d save the King." Theme, Andante, G major, with Six Variations. One princ.i.p.al feature is the intermingling of left hand staccato with bowed notes. At the close there are sustained open notes on the G and D strings, bowed, with double pizzicato, in sixths, above.

Op. 10, Variations on "The Carnival of Venice." For this the violin is tuned a semitone higher, the solo being played in A, and the accompaniment in B flat. The theme is a popular Venetian air, "O Mamma!"

Paganini heard it when in Venice in 1816, but whether he then composed the variations is not certain. It was not long, however, before Paganini made the air a favourite everywhere he went, and it is to him the melody owes its world-wide popularity. The composer of the air remains unknown.

Joseph Ghys published, at Paris and Berlin, what purported to be Paganini's variations; Ernst and Sivori played versions more or less exactly in accordance with the original; but the text was finally settled by the publication of the piece in 1851. There are twenty variations. The 9th and 14th are for the fourth string; the 11th has alternate bowed and pizzicato notes; the 15th and 18th are pizzicato throughout; the 19th is in tenths and thirds; and the piece ends with a short brilliant coda.

Op. 11, _Moto Perpetuo._ Allegro vivace, C major. Fetis terms this piece a movement from a Sonata for violin and orchestra. It is in the repertory for all violinists, and its running pa.s.sages of staccato semiquavers need no description.

Op. 12, Introduction and Variations on the air "Non piu mesta accanto al fuoco." The theme is from Rossini's opera "La Cenerentola" (Cinderella), produced at Rome during the Carnival season of 1817, and forms the concluding number of the work. Paganini again directs the violin to be tuned a semitone higher, writing the solo part in D, and the accompaniment in E flat. The Introduction, Adagio Cantabile, is another example of Paganini's pure Italian style of melody. The theme seems to have appealed to him--doubtless he witnessed the _premiere_ of the opera--for the variations have a spontaneity and brilliance of their own. There are four variations, and a Finale full of das.h.i.+ng _bravura_.

Op. 13, Introduction and Variations on the air "Di tanti palpiti," from Rossini's first serious opera, "Tancredi," produced at Venice in 1813.

Rossini is said to have taken the theme from a Greek Litany he heard sung in a church on one of the Islets of the Laguna, near Venice. A Signora Righetti, a singer, writing in 1823 (?), stated that there was no truth in the a.s.sertion. Be that as it may, "Di tanti palpiti" made the opera, and Paganini's variations extended its popularity. The introduction is an elaborate movement, the violin tuned a semitone higher, and the part written in A, with accompaniment in B flat. There are three variations, the second being almost throughout in harmonics, single and double, and excessively difficult. This piece is very rarely played.

Op. 14, Sixty Studies in Variation form, on the air known at Genoa as "Barucaba," for violin alone. This is one of the composer's latest works, and was written at Genoa in February 1835, and dedicated to Paganini's friend the Advocate, L. G. Germi. The theme is short, in simple ternary form, the opening sentence of four bars being repeated after the middle period of eight bars. The theme is in A major, Maestoso. The variations are studies upon various species of difficulties, and a special feature is the order of keys. Of the fifteen possible major keys, Paganini employs thirteen, and he is quite modern in the way in which he causes the one to succeed the other. Thus the second variation is in D, the third in B flat, the fourth in F sharp, and the fifth in D--in each case the drop of a major third or its enharmonic equivalent. Then he starts a new series, from D to B, thence to G, E, C, A flat, F, D flat, back to A. In 1835 such a sequence was very uncommon; even Beethoven, in his Variations, only has one such, in the Variations in F, Op. 34. The Variation form is again in full vogue; at this distance we can afford to be just in our estimate of Paganini's achievements. He was not a Beethoven, but his Variations are not to be despised.

WORKS WITHOUT OPUS NUMBER.

Sonata in A major. As published in the collection of posthumous compositions, this Sonata is for violin, with pianoforte accompaniment.

The piece consists of an Introduction, Theme, Three Variations and Coda, the term "Sonata" being employed quite in its primitive sense:--a piece to be played. The Introduction is only eight bars in length, ending with a short cadenza leading to the theme, Andantino, A major, two-four measure. The first part consists of two four-bar phrases, repeated; the second has a phrase extended, by a Codetta, to six bars, and ends with a repet.i.tion of the first phrase, with close in A. The first variation has a more florid version, in triplets, of the melody; the second begins with a simple form of the theme for the fourth string, and introduces harmonics; the third is a bravura movement, chiefly for staccato bowing in demisemiquaver pa.s.sages. The coda, termed Finale, is made up of cadences, on a tonic pedal for eight bars. The accompaniment is easy.

Messrs. Schott also publish the Sonata for violin, with accompaniment of violin and violoncello, very easy parts for these last.

_Variazioni di bravura sopra Temi del Mose di G. Rossini, per Violino sulla quanta corda, di Nicolo Paganini._ This was originally for violin and orchestra. Berlioz has a reference to this piece, in which he states that Paganini employed the ba.s.s-drum with better effect than did Rossini himself in the accompaniment to the prayer, "Del tuo stellato soglio."

Paganini placed the stroke of the drum on the syncopated beat to which the verbal accent was a.s.signed, whereas Rossini gave the drum stroke on the first beat of the bar. Some one, complimenting Paganini upon his composition, added; "It must be confessed that Rossini furnished you a very beautiful theme." "That's very true," replied Paganini, "but he didn't invent my bang of the big drum." It is said that in this piece Paganini produced a tone that dominated the whole orchestra even in fortissimo pa.s.sages.

The firm of Ricordi publish an arrangement, for string quintet, and for pianoforte accompaniment. The G string of the solo violin is raised to B flat, and the Adagio is played in C minor and major, while the accompaniment is in E flat minor and major. The strain in the minor key is played three times. The second time, the first eight bars are to be played an octave higher then the first time; the third in harmonics. The Introductory Adagio is the celebrated Prayer. Then follows a Tema, Tempo alla Marcia, E flat, four-four, the violin part in C. This is a different theme, and appears to be a paraphrase of part of the March and Chorus (in the Oratorio), "Hail, happy day!" There are three variations, and a short coda. Harmonics are sparingly introduced. Rossini's opera, "Mose in Egitto," was produced at Naples in 1818, and was remodelled by the composer some years later, for performance at the Grand Opera, Paris (1827). It is not known when Paganini wrote his variations, but his themes were most probably taken from the first version of the opera.

_Variazioni di Bravura per Violino sopra un tema originale con accompagnamento di Piano o Chitarra._ The theme is that of the Twenty-fourth Caprice, from Op. 1, and the variations are the same, only the notation of the eighth is different. The accompaniment, for either guitar or pianoforte, is extremely simple. There is a short interlude (called _Tutti_ in Ricordi's edition) of six bars to be played between the variations.

_Introduzione e Variazioni sul Tema nel cor piu mi sento per Violino solo di Nicol Paganini._ So runs the t.i.tle in the edition published by Ricordi and Co. The theme is the duet in Paisiello's opera, _La Molinara_, which Beethoven also took as a subject for variations (in 1795). Ricordi's publication agrees in every particular with the version to be found in Guhr's treatise on Paganini's "Art of Playing the Violin," published in 1831--preface dated Frankfurt, November, 1829.

Guhr[53] heard Paganini many times, closely watched his playing, and frequently conversed with him on the subject. This piece was written from memory, and is certainly a great accomplishment; but it can scarcely be regarded as an authentic version. The introduction is brilliant, the theme, Andante, G major, six-eight measure, is profusely ornamented, and each of the seven variations--No. 6 is in G minor, the others in G major--has some special form of virtuosity. In the third there are double shakes in harmonics, which Guhr explains. The last is in widespread ascending and descending arpeggios throughout. The theme and third variation are written on two staves, one for bowed melody, the other for left hand pizzicato.