Scan 41
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
21 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1PAGANINI
3of this sum two legacies of fifty and sixty thousand francs were to be paid to Paganini's two sisters, and an annuity of 1200 francs to Antonia Bianchi. He requested that his burial should be without pomp. 'I desire that no musicians play a Requiem for me; and I bequeath my violin 1 to the city of Genoa where it may be perpetually kept.' Independently of his wealth Paganini possessed some valuable instruments—a Stradivarius, a Guarnerius of the smaller pattern, an excellent Amati, a Stradivarius viola, and a bass of the same maker. one of two readings
4If this sum two legacies of fifty and sixty thousand francs were to be paid to Paganini's two sisters, and an annuity of 1200 francs to Antonia Bianchi. He requested that his burial should be without pomp. 'I desire that no musicians play a Requiem for me; and I bequeath my violin 1 to the city of Genoa where it may be perpetually kept.' Independently of his wealth Paganini possessed some valuable instruments—a Stradivarius, a Guarnerius of the smaller pattern, an excellent Amati, a Stradivarius viola, and a bass of the same maker. one of two readings
6By reason of certain superstitious rumours concerning him, and of the fact that he died without receiving the last rites of the Church, permission to inter his body in consecrated ground was withheld until five years after his death. An inquiry having then been concluded with regard to Paganini's orthodoxy, his son, the Baron Achillino, defrayed the expenses of a solemn service to the memory of his father as 'Chevalier de St. George,' in the church of Steccata, belonging to that order of chivalry, in Parma. The body was finally laid in its last resting-place in the month of May 1845, in the village church adjoining Paganini's property, the Villa Gajona, near Parma.
8PERSONAL CHARACTERISTICS.—The extraordinary dexterity of his playing was sustained by his concert appearances entirely. George Harrys—an attaché at the Hanoverian court, who acted as the virtuoso's secretary for a year—asserts that Paganini never touched his violin in private save to test or tune it. 'I have laboured enough to acquire my talent,' was the violinist's remark when questioned; 'it is time I should rest myself.' Sleep was a never-failing source of delight to him, but in eating and drinking he was extremely frugal. The state of his health required the strictest diet, and if he started on a journey early in the morning he frequently fasted nearly the whole day. Ordinarily a basin of soup or a cup of chocolate constituted his breakfast, and a cup of camomile tea his supper. one of two readings
9Personal Characteristics.—The extraordinary dexterity of his playing was sustained by his concert appearances entirely. George Harrys—an attaché at the Hanoverian court, who acted as the virtuoso's secretary for a year—asserts that Paganini never touched his violin in private save to test or tune it. 'I have laboured enough to acquire my talent,' was the violinist's remark when questioned; 'it is time I should rest myself.' Sleep was a never-failing source of delight to him, but in eating and drinking he was extremely frugal. The state of his health required the strictest diet, and if he started on a journey early in the morning he frequently fasted nearly the whole day. Ordinarily a basin of soup or a cup of chocolate constituted his breakfast, and a cup of camomile tea his supper. one of two readings
11For his son Achillino he cherished a tender affection, and many anecdotes of his wonderful patience and touching devotion to the child have been preserved. To his inferiors he was contemptuous and disdainful, and he was by no means subservient to people of rank and wealth. His tall skeleton figure, waxen narrow face, enshrined in long dark hair, usually provoked some ridicule, when he first appeared upon the platform, but a few bars of his sensational playing quickly won him the profound admiration of his audience. Sir Charles Hallé, who was introduced to Paganini in Paris, describes him as 'a striking, awe-inspiring figure,' most difficult to converse with. When he wished the young pianist to play he indicated his desire by a movement of his long hand, but otherwise sat rigid and taciturn.
13Few artists have ever aroused such a fund of gossiping scandal as did Paganini. His supposed present of 20,000 francs to his friend Berlioz on Dec. 18, 1838, astonished the world, for not the least of the accusations levelled against him was that of sordid avarice. As a matter of fact, the real donor was Armand Bertin, the wealthy proprietor of the Journal des Débats. Berlioz was a member of his staff; he had a high regard for his talents, and was anxious to lighten his troubles. A certain delicacy of feeling suggested that such a gift would be more acceptable if offered as a tribute of admiration from one artist to another. He therefore persuaded Paganini to appear as the donor of this munificent gift. Only one or two of Bertin's friends were admitted into the secret, and Berlioz was always kept in ignorance of the true state of the matter.2
15ARTISTIC ACHIEVEMENTS.—As an executant Paganini created the difficulties he performed. The disciple of no school, his concentration and perseverance alone produced the daring flights and brilliant technicalities which were destined to inaugurate the epoch of virtuosity. Before Paganini artists had not discovered the utility of harmonics. Viotti, Rode, Kreutzer, employed natural harmonics for isolated effects, but the advantages of the stopped harmonic of every tone and half-tone on the violin remained unknown. It was these sounds that Paganini developed to such a remarkable degree. He alone estimated their varied functions: (1) in extending the compass of the violin; (2) in adding charm and brilliance; (3) in the execution of high passages in double notes formerly reckoned to be impossible. The novelty of these effects, the facility with which he executed them, the sensational, though often exaggerated, expression he put into them, combined with his varied staccato and pizzicato passages, were the qualities which threw the whole of musical Europe into a paroxysm of wonder and admiration. His inventive talent also augmented his art. For instance, his diverse modes of tuning his violin had been employed in the early part of the 17th century by Biber (see BIBER; SCORDATURA), and the familiar custom of playing a melody on one string and an accompaniment upon another was developed by him into a variety of left-hand pizzicato accompaniments. But the combined pizzicato and arco runs, the chromatic slides with one finger, and the guitar effects, employed by later violinists, especially by Sarasate, were originated by Paganini. The quality of tone which he produced, even in the swiftest passages, was true and pure, but it lacked the richness so characteristic of Spohr or Baillot, and was wanting in tenderness. His excellences one of two readings
16Artistic Achievements.—As an executant Paganini created the difficulties he performed. The disciple of no school, his concentration and perseverance alone produced the daring flights and brilliant technicalities which were destined to inaugurate the epoch of virtuosity. Before Paganini artists had not discovered the utility of harmonics. Viotti, Rode, Kreutzer, employed natural harmonics for isolated effects, but the advantages of the stopped harmonic of every tone and half-tone on the violin remained unknown. It was these sounds that Paganini developed to such a remarkable degree. He alone estimated their varied functions: (1) in extending the compass of the violin; (2) in adding charm and brilliance; (3) in the execution of high passages in double notes formerly reckoned to be impossible. The novelty of these effects, the facility with which he executed them, the sensational, though often exaggerated, expression he put into them, combined with his varied staccato and pizzicato passages, were the qualities which threw the whole of musical Europe into a paroxysm of wonder and admiration. His inventive talent also augmented his art. For instance, his diverse modes of tuning his violin had been employed in the early part of the 17th century by Biber (see Biber; Scordatura), and the familiar custom of playing a melody on one string and an accompaniment upon another was developed by him into a variety of left-hand pizzicato accompaniments. But the combined pizzicato and arco runs, the chromatic slides with one finger, and the guitar effects, employed by later violinists, especially by Sarasate, were originated by Paganini. The quality of tone which he produced, even in the swiftest passages, was true and pure, but it lacked the richness so characteristic of Spohr or Baillot, and was wanting in tenderness. His excellences one of two readings
181 The Guarnerius, preserved in the Sala Rossa of the Municipal Palace at Genoa.
202 See Life and Letters of Ch. Hallé (1896).
The computer misreads some letters and numbers. Where a name matters to you, read the scan.