Books › Biographical notice of Nicolo Paganini, With and analysis of his compositions and a sketch of the history of the violin, 1876 › scan 59
Scan 59
Biographical notice of Nicolo Paganini, With and analysis of his compositions and a sketch of the history of the violin, 1876
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1incomparable. Other concerts given on the 13th, 16th, 18th, of April, etc., created universal intoxication. Verses appeared in every publication—medals were struck—the name of Paganini engrossing all; and, as M. Schottky remarks, everything was à la Paganini. Fashion assumed his name. Hats, dresses, gloves, shoes, etc., bore his name. Cooks designated certain productions after him; and any extraordinary stroke at billiards was compared to a bow movement of the artist. His portrait appeared on snuff-boxes and cigar-cases; in fact, his bust surmounted the walking-sticks of fashionable men. After a concert given for the benefit of the poor, the magistrate of Vienna presented to Paganini the large gold medal of St. Salvator, and the Emperor conferred upon him the title of virtuoso of his private band.
3A lengthened sojourn in the capital of Austria, and numerous concerts, did not in the least diminish the impression Paganini had created on his arrival. The same ovations were showered upon him in every town of Germany. Prague, from certain traditionary opposition to the musical opinions of Vienna, alone received him coldly; but Berlin so amply avenged this indifference, that he exclaimed at his first concert, "Here is my Vienna public!" After an uninterrupted series of triumphs, during three years, in Austria, Bohemia, Saxony, Poland, Bavaria, Prussia, and in the Rhenish provinces, after unceasing ovations of Vienna, Dresden, Berlin, and Frankfort, the celebrated artist arrived at Paris, and gave his first concert at the Opera, the 9th of March, 1831. His studies for the Violin, which had been published there for some time—a species of enigma which had perplexed every violinist; the European fame of the artist, his travels and triumphs, raised the curiosity of the artists and the public. It is impossible to describe the enthusiasm his first concert created—it was universal frenzy. Tumultuous applause preceded and followed all his performances, the audience rose en masse to recall him after each, and nothing was heard but general approbation and amazement. The same enthusiasm prevailed during his entire stay in Paris.
5Towards the middle of May he left this city, and proceeded to
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