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Italian musician, Niccolò Paganini from the Classical era

Niccolò Paganini was undoubtedly the most famous “violin virtuoso” of the late 18th century, if not the greatest ever. The Italian composer, guitarist, and violinist born on the 27th of October 1782 in the Republic of Genoa. He is heralded as a pioneer of the “modern violin technique” and still remains an inspiration among modern violin composers.

Niccolo Paganini's with his violin - portrait

Early life

Niccolò Paganini was the third child of Teresa and Antonio Paganini. Niccolò had started learning the mandolin at the tender age of five from Antonio, who used to play it commercially to cater to his family. He subsequently moved to the violin when he turned seven, and his raw talent earned him numerous plaudits and scholarships.

Paganini studied as an apprentice under various local violinists during his youth, including  Giacomo Costa and Giovanni Servetto. However, his remarkable progress soon outpaced his teachers. The Paganini’s then decided to seek the counsel of Alessandro Rolla, based in Parma. He was subsequently referred to Rolla’s teacher Ferdinando Paer, who further recommended him to his tutor, Gasparo Ghiretti. Paganini duly mastered the guitar and was already playing in public concerts at the age of 17. By the time he turned 18, he had quite a reputation of being an exceptional violinist and also as a womanizer and gambler.

Music 

Niccolò had developed a close friendship with composers Hector Berlioz and Gioachino Rossini during his career, which was developed through their common interest in musical instruments. In 1818, he met Rossini in Bologna and even became a substitute conductor for the former’s opera titled “Matilde di Shabran.”

He met Hector Berlioz in Paris. They soon struck a chord and became frequent penfriends. Niccolò often referred to his friend as the second coming of Ludwig van Beethoven. The duo shared an active interest in the usage of guitar, which was frequently utilized by both in their compositions. He also gave a French guitar crafted by Grobert of Mirecourt to Berlioz. The instrument is now preserved in Paris at the “Musée de la Musique.”

During Paganini’s time in Livorno, Livron, a wealthy businessman, lent him a violin crafted by the legendary Giuseppe Guarneri. Such was Paganini’s impact, Livron refused to take the violin back. This violin became famous “Il Cannone Guarnerius.” Paganini was also associated with various illustrious instruments, namely the “Nicolò Amati 1657,” “Le Brun 1712 Stradivari,” “Piatti 1700 Goffriller,” and “Antonio Amati 1600.”

Paganini's compositions were imaginative from a technical viewpoint. His works greatly expanded the tonal range of instruments that he utilized. He also incorporated the sounds of animals in his music. “The Spanish Dance” is full of humorous imitations of various farm animals. His solo composition “Duetto Amoroso” was a more outrageous attempt considering his time, as he depicted the intimate groans and sighs of lovers through the violin. A manuscript of Duetto is still available and has been safely recorded. He often used thin strings while also setting his violin on a higher semitone than the accompanied band. This further helped him to produce harmonics with ease.

Paganini will always be remembered for the introduction of harmonics, and especially for the initiation of double shakes, double notes, and melodies in harmonics. His contemporaries were aware of natural harmonic progressions, but he was the first composer to explore, if not invent, artificial harmonics, which later became integral features of his music. However, he was often criticized for a palpable lack of polyphony in his music. This may be down to his over-reliance on the guitar as an accompaniment. The majority of his concertos, especially the orchestral works, were mostly unadventurous and polite - clearly suited for a soloist. His style is more influenced by other Italian composers from Naples, with Gaetano Donizetti, Rossini, and  Giovanni Paisiello, to name a few.

His Best Works

Centone di Sonate, Vol. 1 (1828-29)

This piece was crafted during his brief halt in Prague, with the music evoking a sense of musical finesse. He has relied less on the bluster and frenzy of his youth, concentrating more on gentle melodies. The guitar accompaniment plays the perfect foil, creating a calm Mediterranean mood.

Moses Fantasy (1818)

This composition has a tale attached to it. Paganini was performing at a concert when his violin's strings started to break until only the lowest one remained - “G string.” He took this mishap in his stride and crafted this piece based exclusively on the “G string.”

Moto perpetuo (1835)

Paganini composed this during his bygone years, as a reference to his already failing health and the subsequent adverse effects on his left hand. This composition demands co-ordination and stamina than athletic prowess. However, it remains one of his most difficult numbers, with its unceasing, breathless flow of semiquavers.

24 Caprices for Solo Violin (1802-1817)

This piece is crafted utilizing the “form of Etudes.” It represents solo, short musical compositions which are extremely intricate and are designed solely to perfect a distinct component of playing. The “24 Caprices for Solo Violin” is still considered an imposing prospect for even the most fearless concert violinists.

Violin Concerto No. 1 (1818) 

His first “Violin Concerto” is an amalgamation of the pioneering techniques Paganini had developed while touring Italy. The orchestral parts are crafted in “E flat major” while the violin is set in “D major.” The composer has utilized a clever usage of hand with the music's key and the violin's tuning, making sure that the solo lines stood out from the orchestra.

A Monologue of Elaboration

Paganini's astounding control, power, and technique collaborated with his unrelenting romantic energy concocted some absolute musical marvels. And his virtuosity further set him apart, as he was adept at tuning up a string of his guitar or violin by a semitone. He even severed the strings of his instruments on stage with a pair of scissors live.

In 1836, the composer had returned to Paris to invest in a casino. However, the failure of the project forced his hand to auction off his personal properties, including musical instruments. During the winter of 1838, he visited Nice and subsequently fell ill. he eventually passed away from internal hemorrhaging on the 27th of May, 1840.

Critics claim that Paganini rarely performed any other form of music than his very own creations. During his time, composers had to moonlight as their own interpreter and rarely used the music of their contemporaries - Paganini did. He played concertos by Kreutzer and Rode, though not under the same fanfare.

The question remains, is it worth the while to refer to the complex playing style deployed by Paganini? Does it curate any permanent benefit for the art of music? Niccolò Paganini didn’t belong to any musical school, nor did he established one. Future composers imitated him, but nobody can claim to be his successor. However, even if the higher considerations and aesthetics are left aside, and sole attention is paid to his technical prowess, the avenues explored are absolutely futuristic. His music traveled beyond Italy; his performances revolutionized the execution and composition of “pianoforte music.” If “sonata” is more about the procedure of reaching a destination, variation can be considered as the pleasure acquired from the journey itself, and Paganini curated both to perfection. His musical eccentricity and extravagances can be kept aside, as his virtuosity shines through them all.

Niccolo Paganini's statue

 

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