Books › Biographical notice of Nicolo Paganini, with an analysis of his compositions, and a sketch of the history of the violin, 1876 › scan 38
Scan 38
Biographical notice of Nicolo Paganini, with an analysis of his compositions, and a sketch of the history of the violin, 1876
4 lines. Read by computer on 29 August 2026. No printed page number was found. See the scan on archive.org.
1public, for the first time, in a concert at the large theatre of his native town, given by the excellent soprano Marchesi, with the vocalist Albertinatti. These two artists sang subsequently at a concert for Paganini's benefit, and in both these instances this extraordinary child played variations of his own composition on the French air, "la Carmagnole," amid the frenzied acclamations of an enthusiastic audience. About this period of his life the father was advised, by judicious friends, to place the boy under good masters of the Violin and composition; and he shortly after took him to Parma, where Alexandro Rolla then resided, so celebrated for his performance, as conductor of the orchestra, and as a composer. Paganini was now twelve years of age. The following anecdote, related by M. Schottky, and which Paganini published in a Vienna journal, furnishes interesting details of the master's first interview with the young artist:—"On arriving at Rolla's house, he said, we found him ill, and in bed. His wife conducted us into a room adjoining the one where the sick man lay, in order to concert with her husband, who, it appeared, was not at all disposed to receive us. Perceiving upon the table of the chamber into which we were ushered a Violin, and the last concerto of Rolla, I took up the Violin and played the piece at first sight. Surprised at what he heard, the composer inquired the name of the virtuoso he had just heard. When he heard it was only a mere lad, he would not give credence to the fact unless by ocular demonstration. Thus satisfied, he told me, that he could teach me nothing, and recommended me to take lessons in composition from Paër." The evident desire evinced by Paganini to refute the supposition of his having received lessons from Rolla, is a singularity difficult to account for. Gervasoni, who knew him at Parma at this period, affirms* that he was the pupil of Rolla for several months. However, it was not Paër, then in Germany, who taught Paganini harmony and counterpoint, but Ghiretti, who
3* "Nuova Teoria di Musica," &c. Parma, 1812. 1 vol., in 8vo (page 214). Gervasoni adds that no teacher could have conducted such an artist to the sublime height Paganini attained, and that nature alone could have directed him.
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