Nicolo Paganini: His Life and Work - Tapa blanda

Nicolo Paganini: His Life and Work is a classical music biography by Stephen Samuel Stratton. There are some names, the mere mention or thought of which conjure up distinct personalities; such are Handel, Bach, Beethoven, Wagner; but not one has the extraordinary individuality of that of Paganini. Though few can be living who ever saw the man, though his portraits are not now commonly to be met with, the name of Paganini at once calls up a picture--weird, uncanny, demoniacal; brings back the faint echo of performances long lost in the corridors of time; and excites the imagination in a manner altogether unique. Niccolo Paganini 27 October 1782 – 27 May 1840) was an Italian violinist, violist, guitarist, and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions, and have served as an inspiration for many prominent composers. Paganini was in possession of a number of fine string instruments. More legendary than these were the circumstances under which he obtained (and lost) some of them. While Paganini was still a teenager in Livorno, a wealthy businessman named Livron lent him a violin, made by the master luthier Giuseppe Guarneri, for a concert. Livron was so impressed with Paganini's playing that he refused to take it back. This particular violin came to be known as Il Cannone Guarnerius.[9] On a later occasion in Parma, he won another valuable violin (also by Guarneri) after a difficult sight-reading challenge from a man named Pasini. Other instruments associated with Paganini include the Antonio Amati 1600, the Nicolò Amati 1657, the Paganini-Desaint 1680 Stradivari, the Guarneri-filius Andrea 1706, the Le Brun 1712 Stradivari, the Vuillaume c. 1720 Bergonzi, the Hubay 1726 Stradivari, and the Comte Cozio di Salabue 1727 violins; the Countess of Flanders 1582 da Salò-di Bertolotti, and the Mendelssohn 1731 Stradivari violas; the Piatti 1700 Goffriller, the Stanlein 1707 Stradivari, and the Ladenburg 1736 Stradivari cellos; and the Grobert of Mirecourt 1820 (guitar).[10][11] Four of these instruments were played by the Tokyo String Quartet. Of his guitars, there is little evidence remaining of his various choices of instrument. The aforementioned guitar that he gave to Berlioz is a French instrument made by one Grobert of Mirecourt. The luthier made his instrument in the style of René Lacote, a more well-known Paris-based guitar-maker. It is preserved and on display in the Musée de la Musique in Paris. Of the guitars he owned through his life, there was an instrument by Gennaro Fabricatore that he had refused to sell even in his periods of financial stress, and was among the instruments in his possession at the time of his death. There is an unsubstantiated rumour that he also played Stauffer guitars; he may certainly have come across these in his meetings with Giuliani in Vienna.

There are some names, the mere mention or thought of which conjure up distinct personalities; such are Handel, Bach, Beethoven, Wagner; but not one has the extraordinary individuality of that of Paganini. Though few can be living who ever saw the man, though his portraits are not now commonly to be met with, the name of Paganini at once calls up a picture--weird, uncanny, demoniacal; brings back the faint echo of performances long lost in the corridors of time; and excites the imagination in a manner altogether unique.