6. Germany, 1829–30.

Paganini's German tour started in January 1829 and lasted about two years, including an extension to Poland, during which he gave more than 100 concerts in 40 different towns. In Germany he met again Spohr and Hummel, who invited him to perform in Kassel and Weimar. He was in touch also with Schumann, Clara Wieck and Goethe. In Berlin he obtained the sponsorship of Spontini, who was responsible for the musical activities of the Prussian king. In spite of his heavy schedule, Paganini completed his Fourth Violin Concerto, in D minor. In this work he achieved a perfect balance of musical content and technique, especially in the poignant and almost Chopinesque character of the slow movement, and in the Finale, which is reminiscent of ‘La campanella’. Two new works soon followed, both sets of variations: on Il Carnevale di Venezia and God Save the King. The former, consisting of 20 variations preceded by an introduction, is in the same tonality and key signature throughout, but through the skilful use of displaced accents and changes in note values a great variety of moods and rhythms is attained. The main feature of the variations on God Save the King is the intermingling of left-hand pizzicato with bowed notes, probably the first example of such a complicated technique.

Having set up his general headquarters in Frankfurt, Paganini acquainted himself with the leader of the local theatre orchestra, Karl Guhr. Guhr was allowed to watch closely Paganini's technique, on which he wrote his treatise Über Paganinis Kunst die Violine zu spielen (1831). The book is an interesting and fully informative survey of all the technical aspects of Paganini's playing style.

Although Paganini won the general acclaim of the German audiences, reviewers and professional musicians often complained about the eccentricity of his playing. For instance, Spohr's conservative outlook led him to maintain that ‘flageolets’ (harmonics) did not belong to the violin as they originated from the flute. The German sojourn having come to an end, Paganini was now anxious to proceed to Paris, which he did via Strasbourg in February 1831.

Paganini, Nicolò

7. France and Great Britain, 1831–4, and last years, 1835–40.

Paganini's appearance in Paris for the first time was hailed as a major event. The opening concert included his First Concerto, Sonata militare (variations on Mozart's aria ‘Non più andrai’) and the variations on ‘Nel cuor più non mi sento’, from Paisiello's La molinara. Notwithstanding the prices of admission, which were doubled, the house was crammed. The conductor was F.-A. Habeneck, who was doing much to introduce Beethoven's works to France. The reactions of the press were extremely favourable; music critics such as Castil-Blaze, Jules Janin and F.-J. Fétis were unanimous in their praise of Paganini's extraordinary style and technique. His stay in Paris was, however, cut short by an invitation from the manager of the King's Theatre in London, Piere-François Laporte, to give concerts in England. He readily accepted and on 14 May 1831 arrived in London. But the announcement that ticket prices would be doubled (a box in the grand tier was initially advertised at ten guineas) aroused general indignation, which was widely circulated in the London newspapers. As a result of such a difficult situation Paganini asked Laporte to postpone his first concert on account of an illness, which was nothing but an excuse. The prices of admission were subsequently reduced by a considerable extent. His first appearance at the King's Theatre took place on 3 June 1831 (seefig. 1) and was an immediate success. The Times critic wrote: ‘He is not only the finest player that ever has existed on that instrument, but he forms a class by himself’. William Ayrton, editor of The Harmonicon, remarked that

his powers of execution are little less than marvellous, and such as we could only have believed on the evidence of our own senses; they imply a strong natural propensity for music, with an industry, a perseverance, a devotedness and also a skill in inventing means, without any parallel in the history of his instrument.

The programme included Paganini's First Violin Concerto, the Sonata militare, Beethoven's Symphony no.2 and a selection of operatic arias.

In London Paganini met several Italian musicians, including Pio Cianchettini, Michael Costa (fig.2), Dragonetti, Michele Lablache, Nicolas Mori, Giuditta Pasta and Paolo Spagnoletti. Early in August 1831 Paganini embarked on a tour to Ireland and Scotland with the pianist Cianchettini and Costanza Pietralia, a singer who had to fill the vocal part of his programmes. In Dublin he gave the première of a new work for violin and orchestra, variations on the Irish folktune St Patrick's Day, which was obviously conceived to please the Irish audience. The solo part is lost, but from the orchestral material it appears that the familiar tune was quoted in the second section of the work (Allegretto–Vivace). From Ireland Paganini went to Scotland and then returned to London, playing in several towns on the way back and arriving at the beginning of March 1832. His stay in London, however, was short as he decided to go to Paris and resume his contacts with the music circles there. In a letter he wrote from Paris to his loyal friend and administrator Germi he stated that in one year he was able to give 151 concerts and travelled 5000 miles by coach, a staggering record. His unstable health was consequently affected and he composed less. In fact, while in Paris he produced only two works, and those were transcriptions of earlier compositions: the Moto perpetuo for violin and string orchestra, from the Guitar Quartet no.14 (sometimes confused with the Moto perpetuo op.11), and Le couvent du Mont Saint Bernard for violin, male choir and orchestra, a reworking of a version which had been performed in 1829. The Allegro vivace 2 movimento perpetuo (also known as ‘Perpetuela’) was conducted by Habeneck. The 2272 semiquavers were executed in three minutes and 30 seconds, at the rate of 11 notes per second. Le couvent was not rescued from oblivion in spite of its striking originality. The work aims at depicting in almost a pre-Impressionist manner life in a remote convent. It uses Gregorian chant and, in the last part, the ‘Campanella’ rondo from the Second Violin Concerto is unexpectedly introduced.

During the years 1832–4 Paganini became interested in the viola as a solo instrument. In London he played it at a private concert where his Terzetto for viola, cello and guitar was performed with Robert Lindley as cellist and Mendelssohn playing the guitar part on the piano. When in Paris, Paganini asked Berlioz to write a viola concerto for him but after having examined the first sketches he rejected the work as unsuitable; Berlioz later rearranged it as the symphony Harold en Italie. Paganini felt that he had no alternative but to compose a more ‘suitable’ work for himself, which he did. In 1834 he performed his Sonata per la grand viola (for viola and orchestra) at the Hanover Square Rooms. The instrument used was a large-size viola which he had borrowed from his friend Germi, hence the title ‘grand viola’; the work was received with a succès d'estime. Since then the sonata has seldom been performed owing to its inherent difficulties. However, in spite of (or because of) these difficulties the work ranks as a major contribution to the repertory of the viola's 19th-century virtuoso literature.

During his last stay in England Paganini had fallen in love with Charlotte Watson, the daughter of his piano accompanist, and he was determined to marry her in Paris. He arranged for her to meet him at Boulogne, but she found her suspicious father there instead of her fiancé. The ensuing scandal was echoed by the press on both sides of the Channel, and Paganini had to spend over two months in Boulogne writing letters to newspapers in a desperate attempt to defend himself. On his return to Paris he was fiercely attacked by Jules Janin, music editor of the Journal des débats. Paganini had now become a shadow of himself. Embittered, he soon left Paris for Italy, where he was anxious to take possession of a villa near Parma which he had bought in the meantime with the help of his friend Germi. But early in 1835 he was back in Genoa after a six-year absence. There he composed within a month the 60 Variations on Barucabà for violin and guitar, as a present for Germi, who was also an amateur violinist. The text of this song (also known as Gnora Luna) is a parody of the complicated ceremonies connected with the Jewish marriage service. (‘Baruch-aba’ is a Jewish expression meaning ‘be blessed’.) The tune (also called ‘Minuetto del Re di Sardegna’), stated after every 20 variations, is perhaps the least interesting of all those chosen by Paganini for his numerous variations. The work was published posthumously in 1851 with the French title Etudes en 60 Variations sur l'air Barucabà pour violon solo, the guitar part (wholly uninteresting) being omitted. The French publisher was right, however, when he labelled the variations ‘Etudes’ since this work is in effect an appendix to the Caprices in so far as technique is concerned, with the exception of harmonics (the production of which Paganini did not wish to disclose).

Early in November 1835 Paganini was again in Parma, where the Archduchess Marie-Louise of Austria (Napoleon's second wife and a keen musician) appointed him adviser to the ducal orchestra, which he reorganized on the strength of his contacts with the best European orchestras. He also resumed conducting, directing Bellini's I puritani and the overtures to Rossini's Guillaume Tell and Beethoven's Fidelio. But it seems the court did not approve of all his plans, which included replacing certain players who did not meet with his expectations. The ducal orchestra had been increased by 47 members and was to become the best in Italy. His plans were frustrated and, after resigning his post, he left Parma for Turin, where he played for the king, Carlo Alberto, and for some charitable concerts in order to obtain a certificate of legitimacy for his son, Achille; it was eventually granted. After his Turin appearances he moved to Marseilles and Nice, where he gave a few concerts, returning to Genoa at the beginning of 1837. There he made his final will, appointing Achille his sole heir.

Paganini's friend Lazzaro Rebizzo approached him with a view to persuading him to become stockholder of a new music establishment in Paris bearing his own name, Casino Paganini. Paganini was in Paris again late in June 1837 and two months later the Casino Paganini was founded. He undertook to give concerts twice a week, but his wretched state of health precluded the fulfilment of his duties and this new enterprise soon failed. Paganini had to face proceedings for breach of contract before the Paris tribunal and, having lost the case, he was condemned to pay a large sum in settlement of the plaintiffs' claims.

Even if he was no longer a star as a performer, he had not abandoned the idea of himself as a composer. In Paris he produced two works for violin and orchestra which were only partly orchestrated: the Sonata ‘La primavera’ and Balletto campestre. Once again Paganini felt that variations would be the most suitable means to achieve a perfect balance between virtuoso technique and expressive content. The amoroso first theme, Larghetto cantabile, stated after the introduction of Sonata ‘La primavera’, followed by one variation, is a significant example of such procedure. In Balletto campestre there are 49 variations on what appears to be a folktune. After every three variations Paganini introduced an orchestral interlude which was probably meant to allow a rest for the soloist. With this work, his last, which he mistakenly intended for public performance – the audience was expected to listen to nearly 50 variations – Paganini's intention to demonstrate his skill as a composer was by no means affected by his moral and physical decline (the devastating effects of his illness had caused him to lose his speech).

Before leaving Paris (at the end of 1838), he sent a cheque for 20,000 francs to Berlioz along with a short message:

Beethoven being dead only a Berlioz could reincarnate him. I who have fed on your divine compositions worthy of a genius as yours, feel it my duty to ask you to accept in homage the sum of 20,000 Francs, which Baron Rothschild will remit on presentation of the accompanying note.

Although the opinion that Berlioz was the reincarnation of Beethoven was exaggerated, there is no doubt that Paganini was more appreciative of the music of the French composer than the latter's own countrymen. Berlioz responded to his friend's generous gift by dedicating to him his symphony Roméo et Juliette.

Having lost the case started against him by the administrators of the casino, Paganini filed an appeal and left Paris for Marseilles. His career as a performing artist and as a composer had come to an end. He then thought it would be profitable to invest large sums in acquiring valuable string instruments, which he ordered from one of his Milan correspondents, Vincenzo Merighi, and which he hoped to sell with the guarantee of his own name.

Fearing that the legal proceedings in Paris would be unsuccessful, he took the advice to set up his residence in Nice, a town belonging to the Kingdom of Sardinia and where a foreign judgment could not be legally enforced. There Paganini resumed his activity as a dealer in string instruments until his health worsened to such an extent that his son sent for a priest, whom he mutely but amply dismissed. His failure to fulfil the church requirements was immediately reported to the Bishop of Nice, who charged him with impiety and forbade a religious funeral and interment in consecrated land. Paganini died in Nice on 27 May 1840, but his remains were not finally interred until 36 years later, in a cemetery at Parma.

Paganini, Nicolò