Niccolo_Paganini

Niccolò Paganini



Coal drawing by Jean Auguste Dominique Ingres, circa 1819.


Background information


Birth name

Niccolò Paganini


Born

October 27, 1782
 
Genoa, Italy



Died

May 27, 1840 (age 57)
 Nice, France


Genre(s)

Romantic


Occupation(s)

Composer, violinist


Years active

1793–1840


Notable instrument(s)


Violin
Antonio Amati 1600
Nicolò Amati 1657
Paganini-Desaint 1680 Stradivari
Maia Bang Stradivari 1694
Guarneri-filius Andrea 1706
Vuillaume 1720c Bergonzi 
Hubay 1726 Stradivari
Comte Cozio di Salabue 1727
Il Cannone Guarnerius 1764

Viola
Countess of Flanders 1582 da Salò-di Bertolotti
Mendelssohn 1731 Stradivari

Cello
Piatti 1700 Goffriller
Stanlein 1707 Stradivari
Ladenburg 1736 Stradivari
Guitar
Grobert of Mirecourt 1820




Niccolò (or Nicolò) Paganini (October 27, 1782 – May 27, 1840) was an Italian violinist, violist, guitarist, and composer. He is one of the most famous violin virtuosi, and is considered one of the greatest violinists who ever lived, with perfect intonation and innovative techniques. Although nineteenth century Europe had seen several extraordinary violinists, Paganini was the preeminent violin virtuoso of that century. It was rumored by his contemporaries that he had made a deal with the Devil for his unbelievable ability.

Contents

1 Early years
2 Signature violin
3 Works

3.1 New techniques
3.2 Paganini and the evolution of violin technique


4 Legacy
5 Listing of compositions
6 Works inspired by Paganini
7 Fictional portrayals
8 References
9 Further reading
10 External links
11 Credits



Early years
Niccolò Paganini was born in Genoa, Italy, on October 27, 1782, to Antonio and Teresa, née Bocciardo, Paganini. Paganini first learned to play the mandolin from his father at the age of five, moved to the violin by the age of seven, and began composing before he turned eight. He gave his first public concert at the age of 12. In his early teens he studied under various teachers, including Giovanni Servetto and Alessandro Rolla, but he could not cope well with his success; and at the age of 16 he was gambling and drinking. His career was saved by an unknown lady, who took him to her estate where he recovered and studied the violin for three years. He also played the guitar during this time.
He reappeared when he was 23, becoming director of music to Napoleon's sister Elisa Baciocchi, Princess of Lucca, when he wasn't touring. He soon became a legend for his unparalleled mastery of the violin, with debuts in Milan in 1813, Vienna 1828, and both London and Paris in 1831. Paganini was one of the first musicians, if not the first, to tour as a solo artist, without supporting musicians. He became one of the first superstars of public concertizing. He made a fortune as a touring musician, and was uncanny in his ability to charm an audience.

Signature violin
Paganini's signature violin, Il Cannone fabricated in 1742 by Giuseppe Antonio Guarnieri del Gesù, was his favorite. He named it "The Cannon" because of the powerful and explosive resonance he was able to produce from it. Its strings are nearly on the same plane, as opposed to most violins, the strings of which are distinctly arched to prevent accidentally bowing extra strings. The stringing of Il Cannone may have allowed Paganini to play on three or even four strings at once. Il Cannone is now in the possession of the City of Genoa where it is exhibited in the town hall. It is taken out and played by its curator once monthly, and periodically loaned out to virtuosi of today.

 Niccolò Paganini
In Paris in 1833, he commissioned a viola concerto from Hector Berlioz, who produced Harold in Italy for him, but Paganini never played it.
His health deteriorated due to mercury poisoning by a mercury compound. Mercury was used to mechanically clear intestinal obstructions (due to its great weight and fluidity) in the early nineteenth century. Because elemental mercury often passes through the GI tract without being absorbed, it was used medically for various purposes until the dangers became known. The disease brought on by mercury poisoning caused Paganini to lose the ability to play violin, and he retired in 1834. He died of throat cancer in Nice May 27, 1840.

Works
The orchestral parts of Paganini's works are polite, unadventurous in scoring, and supportive. Critics of Paganini find his concerti long-winded and formulaic: one fast rondo finale could often be switched for another. During his public career, the violin parts of the concertos were kept secret. Paganini would rehearse his orchestra without ever playing the full violin solos. At his death, only two had been published. Paganini's heirs have cannily released his concertos one at a time, each given their second debut, over many years, at well-spaced intervals. There are now six published Paganini violin concerti (although the last two are missing their orchestral parts). His more intimate compositions for guitar and string instruments, particularly the violin, have yet to become part of the standard repertoire.

New techniques
Paganini developed the genre of concert variations for solo violin, characteristically taking a simple, apparently naïve theme, and alternating lyrical variations with a ruminative, improvisatory character that depended for effect on the warmth of his phrasing, with bravura extravagances that left his audiences gasping.

Paganini and the evolution of violin technique
The Israeli violinist Ivry Gitlis said in Bruno Monsaiegnon's film, The Art of Violin, "Paganini is not a development … there were all these [violinists before Paganini] and then there was Paganini." Though some of these violin techniques employed by Paganini were already present, most accomplished violinists of the time focused on intonation and bowing techniques (the so-called right-hand techniques for string players), the two issues that are most fundamental for violinists even in the present day.
Arcangelo Corelli (1653-1713) was considered the father of violin technique, transforming the role of the violin from a continuo instrument to a solo instrument. At around the same period, the Sonaten und Partiten for solo violin (BWV 1001-1006) of Johann Sebastian Bach (1685-1750) firmly established the polyphonic capability of the violin. Other notable violinists included Antonio Vivaldi (1678-1741) and Giuseppe Tartini (1692-1770). Although the role of the violin in music has been drastically changed through this period, progress on violin technique was slow up to this point.
The first exhaustive exploration of violin technique was found in the 24 caprices of Pietro Locatelli (1693-1746), which at the time of writing, proved to be too difficult to play, although they are now quite playable. Rudimentary usage of harmonics and left hand pizzicato could be found in the works of August Durand, who allegedly invented these techniques. Whilst it was questionable whether Paganini pioneered many of these "violinistic" techniques that made him famous, it was certain that he was the one popularized them and brought them into regular compositions.
Paganini was capable of playing three octaves across four strings in a hand span, a seemingly impossible feat even by today's standards. His flexibility and exceptionally long fingers may have been a result of Marfan syndrome or Ehlers-Danlos syndrome. His fingering techniques included double-stops, parallel octaves (and tenths), and left-hand pizzicato, which are now routine exercises for aspiring violinists. Such leaps in the violin technique development were only paralleled by the likes of Josef Joachim, and Eugène Ysaÿe, almost half a century later.

Legacy
 Tomb of Paganini in Parma, Italy
The composition and performance of violin music was dramatically changed because of Niccolo Paganini's contributions. As a youth, he was able to imitate other sounds (such as horn, flute, birds) through the violin. Though highly colorful and technically imaginative, Paganini's composition was not considered truly polyphonic. Eugène Ysaÿe once criticized that the accompaniment to Paganini's music was too much like a guitar's," lacking any character of polyphonism. Nevertheless, he expanded the timbre of the instrument to levels previously unknown.
Paganini was also the inspiration of many prominent composers. Both his La Campanella and A minor caprice (Nr. 24) have been an object of interest for a number of composers. Franz Liszt, Johannes Brahms, Sergei Rachmaninoff, Boris Blacher, Andrew Lloyd Webber, George Rochberg and Witold Lutosławski, among others, wrote well-known variations on its theme.
In performance Paganini enjoyed playing tricks, like tuning one of his strings a semitone high, or playing the majority of a piece on one string after breaking the other three. He astounded audiences with techniques that included harmonics, double stops, pizzicato with the left as well as the right hand, and near-impossible fingerings and bowings.
When he died in 1840, Paganini left behind a series of sonatas, caprices, six violin concerti, string quartets, and numerous guitar works.

Listing of compositions
24 caprices, for solo violin, Op.1
No. 1 in E major (The Arpeggio)
No. 2 in B minor
No. 3 in E minor
No. 4 in C minor
No. 5 in A minor
No. 6 in G minor (The Trill)
No. 7 in A minor
No. 8 in E-flat major
No. 9 in E major (The Hunt)
No. 10 in G minor
No. 11 in C major
No. 12 in A-flat major
No. 13 in B-flat major (Devil's Laughter)
No. 14 in E-flat major
No. 15 in E minor
No. 16 in G major
No. 17 in E-flat major
No. 18 in C major
No. 19 in E-flat major
No. 20 in D major
No. 21 in A major
No. 22 in F major
No. 23 in E-flat major
No. 24 in A minor (Tema con variazioni)
Concerto for violin No. 1, in D major, Op. 6 (1817)
Concerto for violin No. 2, in B minor, Op. 7 (1826) (La Campanella, 'The little bell')
Concerto for violin No. 3, in E major (1830)
Concerto for violin No. 4, in D minor (1830)
Concerto for violin No. 5, in A minor (1830)
Concerto for violin No. 6, in E minor (1815?) — last movement completed by unknown hand.
6 sonatas, for violin and guitar, Op. 2 and 3
Op. 2, No. 1 in A major
Op. 2, No. 2 in C major
Op. 2, No. 3 in D minor
Op. 2, No. 4 in A major
Op. 2, No. 5 in D major
Op. 2, No. 6 in A minor
Op. 3, No. 1 in A major
Op. 3, No. 2 in G major
Op. 3, No. 3 in D major
Op. 3, No. 4 in A minor
Op. 3, No. 5 in A major
Op. 3, No. 6 in E minor
18 Centone di Sonate, for violin and guitar
Arranged works
Introduction, theme and variations from Paisiello's 'La bella molinara' (Nel cor più non mi sento) in G major (Violin Solo)
Introduction, theme and variations from Paisiello's 'La bella molinara' (Nel cor più non mi sento) in A major (Violin Solo with violin and cello accompaniment)
Introduction and variations on a theme from Rossini's 'Cenerentola' (Non più mesta)
Introduction and variations on a theme from Rossini's 'Moses' (Dal tuo stellato soglio)
Introduction and variations on a theme from Rossini's 'Tancredi' (Di tanti palpiti)
Maestoso sonata sentimentale (Variations on the Austrian National Anthem)
Variations on God Save the King
Miscellaneous works
I Palpiti
Perpetuela (Sonata Movimento Perpetuo)
La Primavera
Theme from "Witches' Dance"
Sonata con variazioni (Sonata Militaire)
Napoleon Sonata
Variations, Le Streghe
Cantabile in D major
Moto Perpetuo in C major
Romanze in A minor
Tarantella in A minor
Grand sonata for violin and guitar, in A major
Sonata for Viola in C minor
Sonata in C for solo violin
60 Variations on Barucaba
12 Quartets for Violin, Guitar, Viola and Cello, opus 4
No. 1 in A minor
No. 2 in C major
No. 3 in A major
No. 4 in D major
No. 5 in C major
No. 6 in D major
No. 7 in E major
No. 8 in A major
No. 9 in D major
No. 10 in A major
No. 11 in B major
No. 12 in A minor
No. 13 in F minor
No. 14
No. 15 in A Major
Works inspired by Paganini
The Caprice No. 24 in A minor, Op.1 (Tema con variazioni) has been the basis of works by many other composers. For a separate list of these, see Caprice No. 24 (Paganini).
Other works inspired by Paganini include:

Arban - Carnival of Venice
Ariya - Igra s Ogneom ("Play with Fire") from the album of the same name.
Michael Angelo Batio - No Boundaries
Jason Becker − 5th Caprice
Mario Castelnuovo-Tedesco − Capriccio Diabolico for classical guitar is a homage to Paganini, in reference to Paganini supposedly making a pact with the devil
Frédéric Chopin − Souvenir de Paganini for solo piano (1829; published posthumously)
Luigi Dallapiccola - Sonatina canonica in mi bemolle maggiore su "Capricci" di Niccolo Paganini, for piano (1946)
Eliot Fisk - transcribed all 24 Caprices for solo guitar
Bela Fleck − "Moto Perpetuo (Bluegrass version)," from Fleck's 2001 album Perpetual Motion, which also contains a more standard rendition of the piece
Fritz Kreisler − Paganini Concerto in D Major (recomposed paraphrase of the first movement of the Op. 6 Concerto) for violin and orchestra
Franz Lehár − Paganini, a fictionalized operetta about Paganini (1925)
Franz Liszt − Six Grandes Études de Paganini, S.141 for solo piano (1851) (virtuoso arrangements of 5 caprices, including the 24th, and La Campanella from Violin Concerto No. 2)
Yngwie J. Malmsteen − Far Beyond The Sun
Nathan Milstein − Paganiniana, an arrangement of the 24th Caprice, with variations based on the other caprices
Cesare Pugni - borrowed Paganini's themes for the choreographer Marius Petipa's Venetian Carnival Grand Pas de Deux (aka the Fascination Pas de Deux from Satanella)
George Rochberg − Caprice Variations (1970), 50 variations for solo violin
Uli Jon Roth − "Scherzo Alla Paganini" and "Paganini Paraphrase"
Robert Schumann − Studies after Caprices by Paganini, Op.3 (1832; piano); 6 Concert Studies on Caprices by Paganini, Op.10 (1833, piano). A movement from his piano work "Carnaval" (Op. 9) is named for Paganini.
Marilyn Shrude − Renewing the Myth for alto saxophone and piano
Karol Szymanowski − Trois Caprices de Paganini, arranged for violin and piano, Op.40 (1918)
Steve Vai − "Eugene's Trick Bag" from the movie Crossroads. Based on 5th Caprice.
Philip Wilby - Paganini Variations, for both wind band and brass band
Eugène Ysaÿe − Paganini variations for violin and piano
Fictional portrayals
Paganini's life inspired several films and television series. Most famously, in a highly acclaimed Soviet 1982 miniseries Niccolo Paganini the musician is portrayed by the Armenian stage master Vladimir Msryan. The series focuses on Paganini's persecution by the Roman Catholic Church. Another Soviet Union era cinematic legend, Armen Dzhigarkhanyan plays Paganini's fictionalized arch-rival, an insidious Jesuit official. The information in the series was generally accurate, however it also played to some of the myths and legends rampant during the musician's lifetime. In particular, a memorable scene shows Paganini's adversaries sabotaging his violin before a high-profile performance, causing all strings but one to break during the concert. An undeterred Paganini continues to perform on three, two, and finally on a single string.
In 1989 German actor Klaus Kinski portrayed Paganini in the film Kinski Paganini.

ReferencesISBN links support NWE through referral fees
Paganini, Niccolo. Niccolo Paganini: his story and his music. Fall River, MA: Sine Qua Non, 1974. OCLC 10727846
Sachs, Harvey. Virtuoso: the life and art of Niccolo Paganini, Franz Liszt, Anton Rubenstein, Ignace Jan Paderewski, Fritz Kreisler, Pablo Casals, Wanda Landowska, Vladimir Horowitz, Glenn Gould. NY, NY: Thames and Hudson, 1982. ISBN 0500012865
Sugden, John. Niccolo Paganini: supreme violinist or devil's fiddler? Neptune City, NJ: Paganniana Publications, 1980. ISBN 087666642X
Further reading
Leopold Auer. Violin playing as I teach it. (original 1921) reprint New York: Dover, 1980.
Alberto Bachmann. An Encyclopedia of the violin. Da Capo, 1925.
Boscassi Angelo. Il Violino di Niccolò Paganini conservato nel Palazzo Municipale di Genova. Fratelli Pagano, 1909.
Yehudi Menuhin and William Primrose. Violin and viola. MacDonald and Jane's, 1976.
Yehudi Menuhin and Curtis W. Davis. The Music of man. Methuen, 1979.
John Sugden. Paganini. Omnibus Press, 1980.
Bruno Monsaingeon. The Art of violin. NVC Arts (on film), 2001.
Masters of the Nineteenth Century Guitar, Mel Bay Publications.
External links
All links retrieved November 14, 2022.

Viola in music - Niccolò Paganini
Free scores for guitar

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