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Updated: May 1, 2025
It was five years after Paganini's death that this occurred, and permission was obtained to have the body removed to holy ground in the village churchyard near the Villa Gajona. During this long period the dishonored remains of the illustrious musician were at the hospital of Nice, where the body had been embalmed, and afterward at a country place near Genoa, belonging to the family.
On that occasion he executed Paganini's B minor concerto, and aroused immense enthusiasm, although he played immediately after Alard, who was at that time a prime favourite. During his later years Sivori lived in retirement, and he died February 18, 1894. He was the first person allowed to play on the celebrated violin which Paganini bequeathed to the city of Genoa.
They obey him as if in fear; they dare not turn aside from the straight path; for their whole aim is to get to the end of the journey, having done their task faultlessly. Sometimes, but without relaxing his learned gravity, he plays a difficult game, as in the Paganini variations of Brahms, which were done with a skill as sure and as soulless as Paganini's may have been.
There are anecdotes told of Paganini's artistic contests with rival violinists, chief among whom were Lafont and Lipinski, both of whom he eclipsed, and of his playing a concerto in manuscript at sight, with the music upside down on the rack.
He made the best of the gamble, as he usually did when he gambled; for the poor, innocent Lucifer got only a fourth-rate soul, while Paganini secured a fame that will not be surpassed while fiddlers fiddle. Gambling was not Paganini's only vice. In spite of the fact that he will always be almost as famous for his multiplex ugliness as for his skill, women found him fascinating, and kept him busy.
On one sublime theme after another he executed variations, putting into them sometimes Chopin's sorrow, Chopin's Raphael-like perfection; sometimes the stormy Dante's grandeur of Liszt the two musicians who most nearly approach Paganini's temperament.
The instrument vibrated with these new, nameless effects like the violin in Paganini's hands. It was ravishing. He was called the Ariel, the Undine of the piano. There was something imponderable, fluid, vaporous, evanescent in his music that eluded analysis and illuded all but hard-headed critics.
Becomes Wieck's Pupil. Injury to his Hand which prevents all Possibilities of his becoming a Great Performer. Devotes himself to Composition. The Child, Clara Wieck Remarkable Genius as a Player. Her Early Training. Paganini's Delight in her Genius. Clara Wieck's Concert Tours. Schumann falls deeply in Love with her, and Wieck's Opposition. His Allusions to Clara in the "Neue Zeitschrift."
I don't to this day see why I should have told a story about it do you? 'Now you shall play it, said somebody. 'Hear him! hear him! cried my uncle and the rest of them. I did try it, and played the allegro. All of them applauded save the leader, who looked mad. "'You think you can play anything, then? asked the leader. He took a caprice of Paganini's from a music stand.
Pasini, a well-known painter, living at Parma, did not believe the stories told of Paganini's ability to play the most difficult music at sight. Being the possessor of a valuable Stradiuarius violin, he challenged our artist to play, at first hand, a manuscript concerto which he placed before him.
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