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Updated: May 23, 2025
Rode's Caprices, for instance, are particularly suited for such a purpose, and many of Paganini's famous Caprices have found a lasting place in the concert repertory, with piano accompaniments by artists like Kreisler, Eddy Brown, Edward Behm and Max Vogrich the last-named composer's three beautiful 'Characteristic Pieces' after Paganini are worth any violinist's attention.
The singular personality of Paganini displayed itself in his private no less than in his artistic life, and a few out of the many anecdotes told of him will be of interest, as throwing fresh light on the man. Paganini was accused of being selfish and miserly, of caring little even for his art, except as a means of accumulating money.
He dismounted upon arrival opposite the camp, and approached with his usual foppish bow; but we looked on in astonishment: it was not our Paganini, it was ANOTHER MINSTREL! who was determined to sing an ode in our praise. I felt that this was an indirect appeal to Maria Theresa, and I at once declared against music.
Both had a talent for music, but when "a thing like Paganini, length without breadth" was introduced, and they were ordered to learn the violin, Richard rebelled, flew into a towering rage and broke his instrument on his master's head. Edward, however, threw his whole soul into the work and became one of the finest amateur violinists of his day.
At one time Paganini astonished the world by making to Hector Berlioz the magnificent present of twenty thousand francs. Berlioz was at that time almost in a state of despair. His compositions were not appreciated, and he was at a loss to know which way to turn. He made a final effort and gave a last concert, at which Paganini was present and congratulated him.
In 1805 Paganini accepted the position of director of music and conductor of the opera orchestra at Lucca, under the immediate patronage of the Princess Eliza, sister of Napoleon and wife of Bacciochi. The prince took lessons from him on the violin, and gave him whole charge of the court music.
Paganini also gave Berlioz a commission to write a concerto for his Stradivarius viola, which resulted in a grand symphony, "Harold en Italie," founded on Byron's "Childe Harold," but still more an inspiration of his own Italian adventures, which had had a strong flavor of personal if they lacked artistic interest.
The son, Antonio, began to learn the violin at the age of three, in which he was a year or two ahead of the average virtuoso, and he made great progress. By and by he heard Spohr, and after that his diligence increased, for he practised, during seven months, not less than fourteen hours a day. Even Paganini used to sink exhausted after ten hours' practice.
Quackery as this is, it is enormously run after by no small proportion of the public. Not that they do not appreciate the art of the device at its proper level, but that the trick is curious and novel; and most people, even the dignified classicists, have a gentle toleration for a little just a little outré amusement of the kind in question. Paganini was the founder of this school.
He had been previously seduced by the example of Paganini, and in the attempt to master the more strange and remote difficulties of the instrument had often laid himself open to serious criticism. But Ole Bull gradually formed a style of his own which was the outcome of his passion for descriptive and poetic playing, and the correlative of the mode of composition which he adopted.
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