“Introduzione e variazioni in sol sul tema, ‘Nel cor più non mi sento’ per Violino solo.” This piece, published in the work of Guhr, upon the art of PaganiniP is noted nearly from memory.

“Merveille de Paganini, ou duo pour le Violon seul en ut.” This is also from Guhr.

Ghys published at Paris and at Berlin the “Carnaval de Venise, tel que le jouait Paganini.” Ernst and Sivori have also given, as exact traditions of this musical pleasantry, versions differing more or less, which gave rise to discussions in the newspapers. The publication of the veritable “Carnaval de Venise” of the illustrious violinist will remove all uncertainty in this respect.

Paganini was aware that the interest which his concerts created would diminish materially, if he published the compositions he performed. He resolved therefore upon not publishing them until after he had ceased to travel, and had retired from his career of executive artist. He only carried with him the orchestral parts of those pieces he habitually played; and no one ever saw the Violin solo parts of these compositions, for he dreaded the indiscretion of all who sought to gain access to him. He seldom spoke of his works, even to his most intimate friends, consequently an indistinct notion of the nature and number of these works could alone exist. M. Conestabile, who made every effort to acquire the truth of all that concerned the person, the talent, and the success of Paganini, has published in his book the catalogue which was sent to him of all the manuscript and original works of Paganini preserved by his son.

The titles of the works are as follows:—

 1. Four Concertos for the Violin, with accompaniments.

 2. Four other concertos, the orchestral parts unwritten. The last was written a short time prior to his death, at Nice.

 3. Variations upon a comic theme continued for the orchestra.

 4. Sonata for the large Viol, with orchestral parts.

 5. “God save the King,” varied for the Violin, with orchestral parts.

 6. “Le Streghe,” variations on a ballet air, with orchestral parts.

 7. Variations upon “Non più mesta,” theme from “Cenerentola.”

 8. Grand Sentimental Sonata.

 9. Sonata, with variations.

10. “La Primavera,” (Spring), Sonata, without accompaniments.

11. “Varsovie,” Sonata.

12. La ci darem la mano.

13. “Le Carnaval de Venise.”

14. “Di tanti palpiti.”

15. “Marie Louise.”

16. Romance pour le chant.

17. Cantabile for Violin and Piano.

18. Polonaise, with variations.

19. Fantaisie Vocale.

20. Sonata, for Violin Solo.

21. Nine Quartetts, for Violin, Alto, Violoncello, and Guitar.

22. Cantabile and Waltz.

23. Three Duetts, for Violin and Violoncello.

24. Other Duetts and small Pieces for Violin and Guitar.

Unfortunately many of these compositions are incomplete. The original scores, without omissions, which have been found, are the two concertos in E flat and in B minor (it is in this latter the celebrated rondo of “La Clochette” is found); the allegro of a sonata, entitled “Movimento perpetuo”; the famous variations “Le Streghe” (the Witches) with orchestral parts; the variations upon “God save the King,” with parts; variations upon “Di tanti palpiti,” with parts; variations upon “Non più mesta, accanto al fuoco,” with parts; the “Carnaval de Venise,” twenty-four variations upon a popular Venetian air; and sixty variations, in three series, with accompaniment for Piano or Guitar, upon the popular air known at Genoa under the name of “Barucaba.” The theme is very short; the variations are studies of various kind of difficulties. These were written by Paganini, at Genoa, in February, 1835, and were among his latest works; he dedicated them to his friend the advocate, M. L. G. Germi. By some singular circumstance these variations are not included in the list furnished by M. Conestabile.

It will be seen the complete works of Paganini, which have been found, are only nine in number. It is to be deplored that among these high-class productions, the magnificent concerto that the great artist wrote for Paris, and which he played at his third concert at the opera, the 25th of March 1831, should be wanting; also the grand military sonata upon the fourth string in which he displayed such marvellous ability, in a compass of three octaves with harmonic sounds; and, finally, his variations upon “Nel cor più non mi sento.”

The compositions of Paganini are redolent with merit—novelty in ideas, elegance of form, richness of harmony, and variety in the effects of instrumentation. These qualities are especially found in his concertos, which have exercised great influence on compositions of this nature that have subsequently been published. They differ in form in many points from the classic form of Viotti’s concertos. There is the merit of uniformity and increasing interest, which it were well all violinists would meditate upon. In general, without diverting attention from the solo by over-elaborated passages, the instrumentation possessed an interest which cannot be separated from the principal design. The entrées are neither cold nor symmetrical—the effects new and varied.

The first concerto is in E flat, set for the orchestra, but the Violin is written in D; the four strings of the instrument are consequently tuned a semitone higher. The tutti, admirably written, is bold and flowing, and very effective. The forms remind one generally of those of the old concerto, more than of those Paganini wrote since, this being his first. I have an indistinct recollection of his having composed this one in 1811. There is little originality in the style of the tutti and the solos; but in the details, and above all, in the brilliant passages, there are certain points which render this concerto a work of the greatest interest; there is frequent employment of double notes and harmonics. The second solo presents effects on the fourth string, of which effects Paganini is the inventor. It terminates with the last passage of the first solo transposed into the original key.

The adagio (in C minor) is a dialogue between the fourth string and the other three. The conception of this dialogue appears to have absorbed all the artist’s attention, for the melody has little novelty. This is not the case with the rondo—the theme of which is peculiarly original. There is an extraordinary staccato passage, which Paganini executed in a novel manner, peculiar to himself. It is necessary to understand the method to give this passage its original character. It is in this rondo that Paganini employed, for the first time, tenths, combined in various ways, producing wonderful effects, by the unerring and marvellous certainty of his mechanism. The character of the piece is bold: the second solo, nearly all on the fourth string and in harmonics, produced an extraordinary sensation, nothing similar having been heard prior to its introduction.

The second concerto is in B minor. The commencement of the first piece is broad and impassioned; the harmony often interesting in its successions; the instrumentation intelligent and rich in effects. The tutti are weak in development, and serve only to connect together the various solo parts. The phrase of the commencement of the first solo is very grand, and largely developed, followed by a modulation in D, where much boldness is displayed in a novel passage of double notes. The melody which follows is somewhat poor—the four first bars being repeated without any change—which is a fault; but the passage which follows is particularly effective. Paganini in this has evinced much daring in the combination of difficulties, both for the bow and the left hand. He has introduced a double shake, descending in thirds—in the execution of which he was incomparable, both in brilliancy and the irreproachable perfection of his intonation.

The second tutti, which recalls the subject of the first, is rather short, but interesting; it modulates in E minor, and terminates with an unusual form of suspension. The subject of the second solo differs totally from the first; the melody is expressive and combines effects of staccato, to which Paganini imparted a character quite peculiar. The passage which follows this subject, all in double notes, is very effective: its combinations present immense difficulties, which to the great artist were but mere trifles. The second solo ends in B major, finishes with the passage of the first, transposed into this new key, and consequently rendered much more difficult.

Throughout this first piece, the double-note passages and jumping bowing are quite novel, and depart entirely from the ordinary form of the concerto. Two things are equally remarkable in the manner Paganini played them. The first was his perfect intonation of the double notes in this shoal of difficulties, particularly in the excessive rapidity in the passages; the second was the marvellous skill with which he managed the bow, however great the distances of the intervals. There was in this part alone of the artist’s talent an evident predestination, and the study of an entire life. It is impossible to give any idea of all the combinations which are met in the fingering of the chords strewn among these immensely difficult passages; they embrace occasionally such extraordinary intervals, that violinists are at a loss to discover the artifices by which the hand reaches them. Besides, in this labyrinth of unheard-of difficulties, neither a doubtful note nor uncertain intonation ever occurred.

The adagio (in D) is a cantabile of the finest character. More simple than the rest of Paganini’s compositions, it produced but little effect, finishing as it does without the exhibition of extraordinary difficulties, which the public were wont to expect from him; nevertheless, the forms of the melody are elegant, expressive, and full of charms. Good taste prevails throughout this piece. The rondo with the obbligato bell accompaniment is delightfully fanciful; the most incomprehensible feats of skill are here combined with exquisite taste. The first subject is remarkable for its elegance and novelty, both in its details and its general formation. Some charming bow effects are introduced, which Paganini executed with marvellous brilliancy and dexterity. The bow fluttered so nimbly over the strings, and the fingers moved so briskly and lightly, that the performance seemed one of easy accomplishment. The rondo of the “Clochette” obtained enthusiastic success throughout Europe.

The allegro of the sonata for Violin and orchestra, entitled “Movimento perpetuo,” is only remarkable as a study for detached bowing of exceedingly rapid movement, which continues until the last bar. This species of difficulty exacts great suppleness of arm to avoid fatigue, and a perfect ensemble of the left hand and the bow. In this piece there are no less than 170 bars without a single rest. Considered as a composition, it is unimportant, but interesting as a study.

Few musical compositions ever obtained such universal fame as the “Streghe” (the Witches), either from the prodigious execution of the great violinist, or perhaps because some superstition attached to the title. The original manuscript indicates that the introduction and the variations are composed upon an original air; however, if tradition is to be depended upon, the air was taken from the ballet of “Il Noce di Benevento.” The introduction is short. The first variation, in double and triple notes, is extremely difficult. It may be regarded as a valuable study for playing in tune. In the second there is a mixture of harmonics and pizzicato which produces a very original effect. The third is a dialogue between the fourth string and the double harmonics; a novel effect which never failed to draw down the loudest acclamations of the auditory. The finale, which joins this variation, terminates with rapid passages upon the fourth string, and in harmonics of extreme difficulty.

In the variations upon “God save the King,” Paganini seems to have intended concentrating all the new effects he had discovered, and all the enormous difficulties over which he had triumphed. The subject is written in three and in four parts; the melody is played with the bow, and the other parts of the accompaniment is pizzicato. The first variation, in double notes, presents successions of thirds and tenths, which require a large hand and a great certainty of intonation. Paganini played it in a light and rapid manner, which greatly increased its difficulty. The second variation is a complication of rapid triplets, intermingled with passages of double notes and bounding staccatos. The execution of this variation requires extraordinary dexterity. In the third the subject is sustained in a slow movement, during which the accompaniment is going on in extremely rapid passages on the third and fourth strings. The fourth is peculiarly quaint; it consists in rapid passages pizzicato in the upper part, while the accompaniment is played upon the lower, with the bow staccato. The fifth, written in double notes, is an echo effect on the upper octave, the bass is by pizzicato on the lower strings. The sixth and last consists in staccato arpeggios, difficult of execution, arising from the complex positions of the left hand.

In the fantasia with variations, on “Di tanti palpiti,” the orchestra is written in B flat, the solo a semitone higher; in the second variation the fourth string is lowered to B flat. Paganini effected this change with so much address, that it was never perceived at his concerts. The piece commences by an introductory larghetto, followed by a recitative. The subject which follows is quite simple, and the first variation without very remarkable difficulties, with the exception of a very rapid descending scale in harmonics. In the second, where the fourth string is lowered to B flat, passages occur in double notes of great difficulty for the bow. The third is the most curious and difficult; it consists of arpeggios with double notes in a presto movement, and combinations of harmonics and ordinary notes in a new and quaint style.

The air with variations, on “La Cenerentola” (Non più mesta), is written in E flat for the Orchestra; the Violin is tuned a semitone higher. The first variation contains nothing remarkable; the second, a combination of bounding staccato harmonics and pizzicato, recalls similar passages found in other works of the author. The third, in a minor mood, is composed nearly of octaves. The fourth is an echo, the effects are double harmonics. It is followed by a finale in thirds and octaves, brilliantly effective, but fraught with difficulty.

The twenty variations upon the popular air “Oh, Mamma,” known as the “Carnaval de Venise,” which has been so frequently imitated, are remarkable for the distinct character given to each; all the bow and finger effects imagined by Paganini are concentrated in it. Good taste is sometimes departed from in a few of the variations, but it will not be denied that some extraordinary effects are produced in those strange freaks, to which the marvellous dexterity of the artist lent an irresistible charm.

The last work to which I have to allude is the collection of sixty variations, in the form of studies, upon the popular air “Barucaba.” Paganini purposed in each of these studies to give every style of bowing, all the difficulties of fingering, and all the combinations of harmony, upon which his school is founded. By a singular notion, nearly all these variations are written in different keys.

If the astonishing success of Paganini, the immense popularity of his name, and the influence he exercised over the talent of some of the violinists of the younger school, be considered, the high interest attached to the publication of the works with which the great artist astonished Europe, will be understood. At all events, these considerations will afford but a very imperfect idea of the importance of their long-withheld publication. Their value can only be understood after a long and close examination. For more than twenty years every violinist has looked forward to the production of these works with anxiety and curiosity, under the impression of being able, with them, to “do the Paganini,” and establish himself, if not in imitation, at least as a pupil of that illustrious man. But few imagined the great truths which would manifest themselves by the revelation of the secret of his music—none could foresee how much this great man would be elevated in their esteem when the prodigious difficulties he executed while playing, were placed before them. Some of his effects, the most easy of execution, were hastily copied, and the mystery of his talent was supposed to have been discovered. How much illusion will be dissipated by the examination and study of these anxiously expected works! I will not speak of the simply curious effects by which Paganini dazzled the million—of his pizzicato and bow feats—of the modifications in tuning the instrument, and of the thousand combinations, the merit of which consisted principally in perfect execution. These will only have an exceptional existence, and will never hold a place in serious music. Besides, the sagacity of Guhr, a skilful violinist, and the able conductor of the Frankfort Theatre, has penetrated, to a certain extent, the secret of these things, and has cleverly exposed the theory in a work especially devoted to this purpose.Q That which most struck me on reading the MSS. of Paganini, that which raised him immensely in my estimation, was the conviction that the mechanism of the art was never carried to the same extent—that he was never equalled in surmounting difficulties—and never was such infinite variety displayed in brilliant passages. The double notes for instance, always the test of great Violinists, as respects true intonation and precision—particularly when the left hand descends to its natural position—form a salient feature in the rapid passages of his compositions. The intervals are ever varying—sometimes in thirds, sometimes in sixths, eighths, and tenths—passing with rapidity from one kind of interval to another—jumping incredible distances—always in double notes—with unerring certainty and perfect intonation. His hand was a geometrical compass which divided the finger board with mathematical precision—his fingers falling exactly where the intonation of the intervals of the double notes was to be found. I do not speak of the varieties of bowing, by which he rendered these difficulties more complicated, I merely look at the double-note passages alone,—I therefore say, that these passages, which were trifles to Paganini, will be impracticable to any other violinist whomsoever he may be, if he would execute them with the same rapidity and with the perfect intonation of the author. As a study, it is a new world for the perseverance of young artists, the results of which will be the acquisition of certainty, which only a small number of performers possess, and the enlargement of the great resources of the instrument.

It may be asked why new difficulties are introduced into art; and it may be remarked, with reason, that the aim of music is not to surprise with marvellous feats, but to delight the feelings. This principle I perfectly coincide with; yet I would observe, on the one hand, that certain artists will never be prevented from endeavouring to overcome difficulties, however apparently insurmountable, nor the public from applauding the happy result of their efforts: on the other hand, that the study of difficulties conduces to certainty in what is more simple. If any violinist can play, with perfect intonation, and in the prescribed time, the passages of Paganini’s concertos, he will necessarily attain imperturbable certainty in ordinary music.

Is it imperative, I may ask, that these new and varied forms of passages in Violin concertos are to be excluded? Admirable in sentiment, as avowedly the concertos of Viotti are, their weakness consists in the monotony of the rapid passages—and the same may be said of nearly all other known concertos. Art is evidently limited in this species of composition, to things which cannot be considered as the last essay of the artist’s skill—more may be boldly attempted, and that by varied means. Let the happy darings of Paganini be studied, and it will be found that something is gained.