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Grove's Dictionary of music and musicians, 1927
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1in fact consisted in a combination of mechanical perfection, daring originality, and striking individuality. Outside his own particular genre he was unsuccessful. His performance of a concerto by Kreutzer in Paris scarcely rose above mediocrity, but in his own 'Witches' Dance' ('Le Streghe'), the prayer from 'Mosé' on the G string, or the variations on 'Di tanti palpiti,' etc., which were in accordance with his own peculiar style, he never failed to arouse the enthusiasm of his audience. Paganini's care in guarding the secrets of his discoveries made him withhold the publication of his compositions, and to be excessively wary of imparting his art to others. But sometimes caprice led him to interest himself in encouraging genius, as in the cases of Camillo Sivori, to whom, at the age of six, he gave some lessons, and Catarina Calcagno, a little girl whom he instructed for a few months while in Genoa in 1804. The mantle of Paganini's greatness fell easily upon the shoulders of SIVORI (q.v.), whose execution of Paganini's B minor Concerto never failed to arouse fervent applause, but Catarina Calcagno, after astonishing Italy with the boldness of her style at the age of 15, is lost trace of after the year 1816. While it has been admitted that Paganini's compositions and effects savoured of charlatanism, yet the revolution which he caused in the art of violin-playing, and its lasting results, entitle him to rank amongst the greatest geniuses of his age. Notwithstanding his triumphant successes in Germany (a curious testimony to this is in the fact that Schumann, Liszt and Brahms all founded remarkable pianoforte works on themes from Paganini) Spohr's example held most sway in that country, but the French and Belgian schools reveal his influence at every point.
3LIST OF COMPOSITIONS PUBLISHED IN PAGANINI'S LIFETIME
4Ventiquattro Capricci per violino solo dedicati agli artisti, op. 1.
5Sei Sonati per violino e chitarra, op. 2.
6Sei Sonati per violino e chitarra, op. 3.
7Tre gran Quartetti a violino, viola, chitarra, e violoncello, opp. 4 and 5.
9POSTHUMOUS PUBLISHED COMPOSITIONS
10Concerto in E, op. 6 (posthumous op. 1). The first movement was frequently performed by Wilhelmj, with orchestral accompaniment.
11Concerto in B minor, op. 7 (posthumous op. 2), with the celebrated Rondo à la Clochette. Orchestral accompaniment.
12'Le Streghe' (Witches' Dance, on an air by Simone Mayr), op. 8 (posthumous op. 3). Set of variations upon a theme taken from Süssmayer's ballet 'Il noce di Benevento,' with orchestral accompaniment. Variations on 'God save the King,' with orchestral accompaniment, op. 9 (posthumous op. 4).
13'Le Carnaval de Venise.' Burlesque variations upon the popular Italian air, without accompaniment, op. 10 (posthumous op. 5).
14'Moto perpetuo.' Allegro de Concert, op. 11 (posthumous op. 6). With orchestra.
15Variations upon Rossini's air, 'Non più mesta' from 'La Cenerentola,' op. 12 (posthumous op. 7). Variations upon the air 'Di tanti palpiti,' with orchestral part, op. 13 (posthumous op. 8).
16Sixty variations in all keys upon the popular Genoese air 'Baruca,' with piano or guitar accompaniment. Written in Genoa in Feb. 1835, and dedicated to his friend M. L. G. Germi, op. 14 (posthumous op. 9).
17Schumann and Liszt have each transcribed Paganini's 'Twenty-four Caprices' for the piano, and Brahms has written twenty-eight variations upon a theme of Paganini's. The 'Witches' Dance' was arranged for piano by J. B. Cramer in 1832; for violoncello by R. E. Backmuld in 1877, and for concertina and piano by R. Blagrove. Paganini's last waltz, written at Nice, May 1840, was transcribed for the piano by H. Herz, London, 1840. David edited the two concertos, and Alard included excerpts from Paganini in his 'Maîtres classiques,' 1862. Other transcriptions have been made by W. V. Wallace, Henri Léonard, M. Hambourg, L. Auer Pauer, etc.
19BIBLIOGRAPHY
20CONESTABILE: N. Paganini, with picture, Perugia, 1851. FÉTIS: N. Paganini, Paris, 1851; Translation by W. E. Guernsey, London, 1876, with pictures. SCHOTTKY: Paganinis Leben und Treiben, Prague, 1830, with picture. SCHUTZ: Leben, Charakter, und Kunst, Leipzig, 1830, with picture. DE LAPHALEQUE: Notice sur le célèbre violoniste, N. Paganini, Paris, 1830 with picture. ANDERS: Paganini, his Life, etc., Paris, 1831. DU RIVAGE: Réflexions sur le talent de N. Paganini, Paris, 1830. HARRYS: Paganini in seinem Reisewagon etc., Brunswick, 1830. NIGGLI: N. Paganini, Leipzig, 1882. VINETA: Paganinis Leben und Charakter, Hamburg, 1830, with picture. JULES JANIN: La Mort de Paganini, MS. in the possession of the writer. BRUNI: N. Paganini, Florence, 1873. POLKO: Racconto storico di Oreste Bruni, Leipzig, 1876, with picture. GUHR: Über Paganinis Kunst, Mainz, 1829. ESCUDIER: Aus dem Leben Paganini, Leipzig. Anon., Biographie von N. Paganini, Zürich, 1846. Anon., Memoir of Paganini, Liverpool, 1832, with picture. Paganini, a Genoese periodical published 1887 and onward. The Athenaeum, 1831; New Monthly Magazine, 1831; The Literary Gazette and Journal of the Belles Lettres, 1831; The Examiner, 1831; Chambers's Edinburgh Journal, 1832; Fraser's Magazine, Apr. 1832; for the 'Correspondence of Niccolo Paganini'; J. THEODORE BENT: 'Nicolo Paganini,' Lady's Magazine, 1831 (also reprinted separately). EDGAR ISTEL: Nicolo Paganini, Leipzig, 1919. PROD'HOMME: Paganini (Musiciens célèbres), 1907. S. STRATTON and J. KAPP: Nicolo Paganini, 1913.
22O. R. and E. H.-A.
24PAGE, JOHN (d. London, Aug. 1812), a tenor singer, was elected a lay-clerk of St. George's Chapel, Windsor, Dec. 3, 1790. He resigned the appointment Nov. 9, 1795, having for some time previously officiated as deputy at the Chapel Royal and St. Paul's. In 1800 he edited and published 'Harmonia sacra; a collection of anthems in score, selected from the most eminent masters of the 16th, 17th and 18th centuries,' 1 3 vols. fol.; an excellent work supplementary to the collections of Boyce and Arnold. On Jan. 10, 1801, upon the resignation of Richard Bellamy, he was appointed a vicar-choral of St. Paul's. In 1804 he issued 'A Collection of Hymns by various composers, with 12 Psalm tunes and an Ode composed by Jonathan Battishill.' Also 'Festive Harmony; a collection of the most favourite Madrigals, Elegies, and Glees, selected from the works of the most eminent composers.' In 1806 he published 'The Burial Service, Chant, Evening Service, Dirge and Anthems appointed to be performed at the funeral of Lord Nelson Jan. 9, 1806, composed by Dr. Croft, Purcell, Dr. Greene, Attwood and Handel.' In 1808 he joined William Sexton, organist of St. George's Chapel, Windsor, in the publication of a selection from Handel's Chandos Anthems, in a mutilated form.
26W. H. H.
28PAGIN, ANDRÉ NOEL (b. Paris 1721), violinist, favourably mentioned by Dr. Burney,2 was a pupil of Tartini, having travelled to Italy in his youth with the object of studying under the great Italian. In 1750 he returned to Paris and performed at the Concert Spirituel, with a success which unfortunately was not enduring. He accepted an appointment—bearing an annual stipend of £250 a year—in the Duc de Clermont's household, and frequently took part in soirées given by musical amateurs.
30Compositions.—Six Sonatas with bass (Paris, 1748), dedicated to Prince de Grünberghem. The same, with harpsichord accompaniment, London, 1770. The adagio of the Sixth Sonata appears under No. 139 in Cartier's 'École de violon,' and Sonata No. 5 is included in Alard's 'Les Maîtres classiques.'
32E. H.-A.
341 The collection consisted almost entirely of late 17th and 18th century works. A full list of contents was published in previous editions of this Dictionary.
352 Present State of Music in France and Italy, p. 42.
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