Stephen S. Stratton

There remains the consideration of Paganini as a composer. It is a truism to say that a composition has primarily to be judged from the standpoint of the age in which it was written. A Genius, we are told, is not only before his own age, but before all ages. All the same, the great Geniuses come into the world precisely at the right moment. To some music one may fitly apply the epithet "Immortal"; for it seems to be written, "not for an age, but for all time." That title is not claimed for the music of Paganini, but, in view of what has been written for the violin, it is necessary to take into consideration the date of Paganini's compositions. Take the two greatest surviving forms—the symphony and the concerto—and compare works in those forms, belonging to different periods. Mendelssohn and Schumann were innovators, so it was said, in regard to symphonic form. Both wrote symphonies of which the movements were connected, and Schumann by the recurrence of themes anticipated the "organic whole" of the symphonic poem. But in 1776, Carl Philipp Emanuel Bach composed symphonies in the modern one-movement style. This is not the time to discuss them, but just taking the first, in D, I may point to the coda of the opening movement, which effects a modulation to E flat, the key of the slow movement. In this the subject enters, for the second time, in B flat; and a deceptive cadence is followed by a passage ending on the dominant of D, and so returning to the primary key for the last movement. The score is for flutes, oboes, one bassoon, horns, first and second violins, viola, violoncello, violone, and cembalo. Now, here is a work quite modern in its disregard of key relationship, and in the linking together of the different movements. Yet it would not be right to judge it by comparison with the symphonies of the last half century.

With regard to the concerto, take that form for the violin only. To go no further back than the works of the great Leipzig Cantor, Johann Sebastian Bach, we find his two concertos, in A minor, and E major, are scored only for strings, though the "continuo" implies the harpsichord. The concerto in D minor for two violins is scored in the same manner; and in all there is evidence that the soloist took part in the tutti sections. Then there is the Symphony movement, from an unknown church cantata, for violin concertante, with accompaniment of two oboes, three trumpets, drums, two violins, viola and continuo. In all these the basic principle is the contrasting of the tutti and solo sections, which sustain a kind of dialogue. Much the same form is observed in Mozart's violin concertos, which, with one exception, are scored for oboes, horns and strings. The exception is the sixth, in E flat, which is scored for one flute, two oboes, bassoons, and horns. In this the form approaches that of the sonata, though the tutti and solo contrasts still remain, and evidently the soloist played in the tutti sections. To Viotti, born in 1753, three years before Mozart, must be assigned the honour of giving the violin concerto its fullest classical form. His orchestral background was rich in colour, he having adopted the complete Haydn Combination; and his solo parts were of prime importance. Beethoven's concerto (1806), and Mendelssohn's (finished in 1844), employ the same orchestra. Beethoven links the slow movement to the Finale, and Mendelssohn connects the whole. The latest concerto form is in part a reversion to the earliest type. The solo part is but a more elaborate line in the orchestral column, and the soloist is scarcely distinguishable from his orchestral colleagues.

In view of the question I wish to raise, I hope the reader will pardon this digression. Paganini sometimes played pieces by Kreutzer and Rode, but I have not been able to find evidence of his acquaintance with the concertos of Viotti. The reason may not be far to seek. Paganini remained in Italy until 1828; Viotti, born in Italy, left his country, and only once returned to it—in 1783, and that for a very short time. His long residence in Paris led to his being identified with the French School of violinists. His works were played by other performers during his life-time, but it is questionable whether they were known to Paganini. What I want to ask is simply this:—upon what work, or whose work, was Paganini's first concerto modelled? It was written in 1811, according to the Musical World (Vol. for 1851, p. 822), or in 1820 according to the "Oxford History of Music" (Vol. VI., p. 225). The form of the work will be dealt with later; here the question is one of instrumentation. Berlioz wrote: "It was said of Weber, 'He is a meteor!' With equal justice it may be said of Paganini, 'He is a comet!'" I would paraphrase Berlioz and say Paganini's First Concerto came upon the world as a comet—a comet with a most portentous tail! Paganini was the Richard Strauss of his day. Fancy, in the scoring of a concerto, trombones, double-bassoon, cymbals, and bass-drum! and that in the year 1811, possibly. Why, it only requires a few more horns and trumpets, some tubas, a rattle and other percussion instruments, to come up to the latest twentieth century scoring. But a truce to badinage. A big score, of itself, is not necessarily a thing to be praised; however, Paganini's full scoring never obscured the solo part, and that is more than can be said of some violin concertos of later date. I do not pretend to a knowledge of the whole of the literature for the violin, but I have heard much of it; yet I can recall no violin concerto going beyond the orchestral resources adopted by Beethoven in his work, of earlier date than Paganini's first concerto. I have further to confess that I have never seen an original score of any of Paganini's works, but I have written out a score from what I believe to be authentic band parts. I have heard the First Concerto, "reduced to one act," with the exordium cut out; and however much such a rendering may be in accordance with modern taste, I can only regard it as unjust to the composer. In the present day Paganini's music is looked upon with pity not far removed from scorn; how did his contemporaries esteem it?

Rossini is reported to have said: "Truly, it is fortunate that Paganini did not devote himself exclusively to lyric composition; he would have become a very dangerous rival."[52] Moscheles wrote: "His concertos are beautiful, and have even their grand moments; but they remind me of a brilliant firework on a summer's eve, one flash succeeding the other—effective, admirable—but always the same. His 'Sonate Militaire,' and other pieces, have a southern glow about them, but this hero of the violin cannot dispense with the roll of the drum; and completely as he may annihilate his less showy colleagues, I long for a little of Spohr's earnestness, Baillot's power, and even Mayseder's piquancy."

Very little was said of Paganini's compositions—I mean by way of description, orchestration, or even criticism—when the composer was in England. The writers seemed always engrossed and absorbed by the performance and personality of the man.

Schumann repeats what was said of Paganini; that he, himself, rated his merit as a composer more highly than his talent as a virtuoso. We know that Rubinstein desired to have his name handed down to posterity as a composer rather than as a pianist. The fates have been unkind to both. To return to Schumann. He remarks that "if general opinion has not, until now, agreed with him (Paganini), it must at least be allowed that his compositions contain many pure and precious qualities, worthy of being firmly fixed in the richer setting required by the pianoforte." This of course referred to the caprices, Op. 1, but the observation is a curious illustration of the way in which individual minds regard things from their own standpoint.

Paganini's music appealed to Liszt as a means of creating a new school of pianoforte technique, as well as composition; very little can be gleaned from Liszt as to his Æsthetic views regarding it. FÉtis says great worth is revealed in the compositions of Paganini, as much by the novelty of the ideas as by the elegance of the form, the richness of the harmony, and the effects of the instrumentation. These qualities shine above all in the concertos; but, he adds, these works require the magic of his talent to produce the effect he intended. Berlioz was, perhaps, the most appreciative of Paganini's contemporaries. In his SoirÉes de l'Orchestre he says: "A volume might be written in telling all that Paganini has created in his works of novel effect, ingenious contrivances, noble and grandiose forms, and orchestral combinations unknown before his time. His melodies are broad Italian melodies, but full of a passionate ardour seldom found in the best pages of dramatic composers of his country. His harmonics are always clear, simple, and of extraordinary sonorousness. His orchestration is brilliant and energetic, without being noisy. He often introduces the bass drum into his tutti with unusual intelligence."

During Paganini's lifetime no one else seems to have played his music, although one of his imitators is said to have reproduced some pieces from memory. After Paganini's death, the propagandist of his works was his nephew and pupil, Ernesto Camillo Sivori. He made his dÉbut at the Leipzig Gewandhaus Concerts, October 3, 1841, and a week later introduced there Paganini's Variations on the Prayer from MosÉ in Egitto. In all, some dozen pieces by Paganini were given at those famous concerts from 1841 to 1876. Sivori also introduced Paganini to the then very conservative concerts of the Philharmonic Society, London, in 1844. But they did strange things in those days. The first movement of the Concerto in B minor was included in the first part of the concert on April 29, 1844; the Adagio and Rondo coming in the middle of the second part! Poor Sivori had to submit to similar treatment of his own concerto at the Society's concerts in 1845. It would be interesting to know how Paganini's music fared at the concerts of the Paris Conservatoire, but I have not been able to procure any reliable data relating to the subject.

Rumour was long busy with the project entertained by Paganini's son, the Baron Achilles, of publishing a complete edition of the compositions of the great violinist; and in 1887 a paragraph in the AthenÆum announced on apparently good authority that the Baron was preparing for immediate publication the whole of the works of his father which still remained in manuscript. Several of those were named, but nothing more has been heard of the undertaking. I have scrutinised the musical press from that date to the present time, and have failed to gather any further information on the subject.

From every available source I have compiled the following list of Paganini's compositions:—

Op. 1. Twenty-four Capriccios, for violin alone.

Op. 2. Six Sonatas, for violin and guitar.

Op. 3. Six Sonatas, for violin and guitar.

Op. 4. Three Grand Quartets, for violin, viola, violoncello and guitar.

Op. 5. Three Grand Quartets, for the same.

Op. 6. Concerto, No. 1, in E flat (D), for violin and orchestra.

Op. 7. Concerto, No. 2, in B minor, for the same.

Op. 8. "Le Streghe." Introduction and Variations.

Op. 9. "God Save the King." Variations.

Op. 10. "Carnaval de Venise." Variations.

Op. 11. "Allegro de Concert." "Moto Perpetuo."

Op. 12. "Non piÙ mesta." Introduction and Variations.

Op. 13. "Di tanti palpiti." Introduction and Variations.

All for violin and orchestra.

Op. 14. Sixty Studies in Variation form, on the Air "Barucaba," for violin alone.

Sonata in A, for violin, with accompaniment of violin and violoncello.

Bravura Variations on a theme from Rossini's "Moses in Egypt," for violin and string quartet, or pianoforte.

Bravura Variations on an Original Theme, for violin and guitar, or pianoforte.

Introduction and Variations on the Theme, "Nel cor piÙ non mi sento," for violin alone.

Duo in C major, for one violin. Solo.

Recitative and Variations, on Three Airs, for the fourth string.

"Le Charme de Padua," Divertissement, for violin and pianoforte.

Concertos in D minor, E minor, E major.

Concerto in two movements. Violin and orchestra.

Four Concertos, the scoring unfinished.

Concerto, for bassoon, with string trio accompaniment.

Nine Quartets, for violin, viola, violoncello and guitar.

Fantasia. Violin and orchestra.

Dramatic Sonata, "The Storm," for the same.

Military Sonata on Mozart's "Non piÙ andrai."

Napoleon Sonata for the fourth string.

Sonata on a Theme by Haydn. Ditto.

Sonata di un Canto Appassionata, e variazioni sopra un Tema Marziale. Ditto.

Sonata with variations on a Theme from Jos. Weigl's "L'Amor Marinaro."

Sonata Amorosa Galante, e Tema con variazioni.

Sonata for viola and orchestra.

Sonata Sentimentale.

Sonata, "Varsovie."

Sonata for violin alone.

Preludio e Rondo brilliant, violin and orchestra.

Chant of the Monks of the Monastery of St. Bernard.

"La Primavera," Sonata for violin alone.

Preludio e Fandango, con Variazioni.

"La ci darem la Mano," Variations.

Cantabile, violin and pianoforte.

Polonaise avec variations.

Cantabile e Valse.

Cantabile, for two strings.

Three duos, violin and violoncello.

Duets and small pieces for guitar.

Variations sur un thÈme comique.

"The Vagaries of a Farm Yard."

Romance pour le Chant.

Fantasie Vocale.

Op. 1. The full title reads:—Ventiquattro Caprici per Violino solo, dedicati agli artisti; Opera prima. It is not necessary to refer to these pieces in detail; they are in the repertory of the leading violinists, and have been played by Joachim and many others. They embrace almost every kind of violin technique, and have merits apart from that standpoint. Schumann in his EtudÉs d'apres les Caprices de Paganini, Op. 3, has transcribed for the pianoforte six numbers. They are, No. 5, Agitato, in A minor, without the alteration of a single note; No. 9, Allegretto in E, quite as closely; the Andante of No. 11, in C; No. 13, Allegro, in B flat, beautifully harmonized; No. 19, Lento, Allegro assai, in E flat, more freely treated; and No. 16, Presto, in G minor, the melody assigned to the left hand, and written two octaves lower. These studies were the result of Schumann's hearing Paganini at Frankfort in 1830. The impression the great violinist made on the susceptible youth was so deep, that Wasielewski stated that it was more than probable Schumann's decision to devote himself to music dated from that experience. So here is another debt the musical world owes to Paganini. Schumann's Op. 3 bears the date of 1832. The next year he returned to the Italian master, and his Six Studies, Op. 10, are further transcriptions of the Capriccios. The first is a very free arrangement of No. 12, Allegro molto, in A flat; next is a paraphrase of No. 6, Adagio, in G minor, in which different figuration was absolutely necessary for the keyboard instrument. In No. 10, Vivace, in G minor, he divides the melody for the two hands, and accompanies with bold harmonies. The transcription of No. 4, Maestoso, in C, is almost literal, but there are "cuts," as also in No. 12. No. 2, Moderato, in B minor, with its "leaps and bounds," is altered to bring the intervals more within reach of the hand. The bare octaves which form the opening of No. 3, have been filled in with rich harmonies, and to the Presto movement a counterpoint in semiquavers has been added, making it a very attractive piece of the Tocatta order. It will be remembered that one short movement of Schumann's "Carnival" is entitled Paganini, but it is a reflexion of his style rather than an adaptation of his music. Liszt has borrowed much, in regard to form and melodic outline, from the Capriccios, in his EtudÉs d'exÉcution transcendante. Of his Grandes Etudes de Paganini notice will be taken later. Brahms has written two sets of variations on the theme of the Capriccio, No. 24, Quasi presto, in A minor. These are extraordinarily difficult and brilliant. They were published in 1866, and Carl Tausig was fond of playing them. Paganini's Op. 1, was published by Ricordi about the year 1820.

Op. 2, and Op. 3. The house of Ricordi publish the Twelve Sonatas for violin and guitar, and Breitkopf and HÄrtel publish an edition for violin and pianoforte, edited by Ferdinand David. There is no clue as to the arranger of the pianoforte part, but it may be the work of Moscheles, who, it will be remembered, was induced "to make a pianoforte accompaniment for twelve small violin pieces," but who refused to have his name affixed to the title-page. Anyway, the pianoforte accompaniment is the work of a good musician. The title page of Op. 2 runs thus: Sei Sonate per Violino e chitarra, Composte e Dedicate Al Signor Dellepiane, Da Nicolo Paganini. The pieces are sonatas in the primitive sense of the term. Each contains two movements only. No. 1, Minuetto, Adagio in A, three-four, the violin part in the nature of a florid cadenza but very clear in rhythm, the guitar accompaniment in semiquaver groups of broken chords. Second movement, Polonese, Quasi allegro, A major, three-four, tuneful, all derived from a short motive, not difficult. No. 2, Larghetto expressivo, C major, six-eight, lyrical, melody highly embellished after the first phrase, varied bowing. Allegro spiritoso, same key and measure, in the style of a Canto popolare. No. 3, Adagio maestoso, D minor, two-four, principal motive of a dramatic kind, with brilliant passages intervening. Andantino gallantement, a crisp, staccato melody, with middle section in D major. No. 4, Andante calcando, A major, four-two, theme, in sixths, thirds and octaves. The movement is entitled La Sinagoga, but I can trace no Jewish melody corresponding to its subject. The second movement, Andantino con brio, in two-four measure is as bright and sparkling as the corresponding movement in No. 3. No. 5, Andante moderato, D major, two-four, two strains of eight bars, with a lyrical theme. The second movement in six-eight rhythm, is another specimen of the Italian Cantilena. No. 6, Largo, A minor, six-eight, a combination of recitative and Cadenza passages. Tempo di Valse, in three-eight measure, a tripping, fluent theme, for light bowing. The music altogether is light and pleasing, abounding in showy passages, and with the real Italian gift of melody. The accompaniments are in no way difficult.

The Six Sonatas, Op. 3, have rather a curious dedication: Alla Ragazza Eleonora. "Ragazza" is a familiar term for a girl, and may be translated as "lass," or even "wench." The Eleonora it may be impossible now to identify, though the lady possibly was connected with the period of Paganini's disappearance when Napoleon invaded Italy. Sonata, No. 1, is in two movements, as are all the others. The first, Larghetto, A major, six-eight measure, has a theme resembling a popular melody, the close of each strain being highly embellished. Ricordi's edition gives an alternative reading of the penultimate bar, in the style of a cadenza. The second movement, Presto variato, in two-four rhythm, has a dance-like theme, with one variation. The two bars preceding the final cadence have semiquaver groups to be played pizzicato, each note with right and left hand alternately. No. 2, Adagio, con dolcezza, G major, three-eight, theme, pure Italian cantilena, in thirds or sixths throughout. Andantino scherzoso, two-four, crisp, tripping melody, chiefly for staccato bowing, ending with arpeggios extending to four octaves. No. 3, Andante sostenuto, D major, two-four, theme for six bars to be played on the second string. Rondo, Molto allegro, six-eight, bright and spirited; the opening might have been inspired by the Irish air "Garyone"—the lilt is so much the same. The movement ends with a rapid descending chromatic scale of three octaves. No. 4, Andante largo, A minor, two-two, the opening bars of the theme for the third string, declamatory, sad. Allegretto mottegiando, two-four, light, tripping melody, to be delivered in a spirit of banter. No. 5, Adagio amorosa, A major, two-four, theme, Italian melody embellished, in thirds throughout, with some semi-staccato bowing. Allegretto energicamente, two-four, a merry, quick-step movement of two eight-bar periods. The second part, in the tonic minor, has the theme divided equally for guitar and violin, in each strain. A coda of four bars, major, is added by way of close. In the arrangement for pianoforte, the violin has the theme throughout. No. 6, Andante innocentemente, E minor, four-four, a pathetic melody, simple, but touching. Allegro vivo e spiritoso, six-eight. One could imagine an Italian peasant singing this melody; it has all the characteristics of a folk-song. It is written throughout in double-notes, mostly thirds. The second part, in the minor, is in a different manner to the first part, which is repeated after it. The guitar accompaniments, with the exception named, are all in chords or arpeggios. The pianoforte part has more variety. It may be observed that the movements in two-four measure have much of the spirit of Haydn's Allegros.

Op. 4, Three Quartets for violin, viola, violoncello and guitar. These were once in the Circulating Music Libraries of the firms of Novello and Augener, but are no longer to be met with. I have failed to obtain copies elsewhere.

Op. 5, Tre Quartetti a Violino, Viola, Chitarra e Violoncello. Composti e Dedicati Alle Amatrici Da NicolÒ Paganini. Milano. Presso Gio. Ricordi. By the courtesy of the firm of Novello, I have been enabled to examine this set, the title page of which I quote. The copy I examined is evidently of the original edition. Each quartet is in four movements. No. 1, Presto, D major, sixteen-eight, a peculiar signature, but apparently adopted by reason of the "figures" in quavers. This movement is very much in Rossini Overture form. Andante sotto voce e staccato, D minor, three-four, Canone a tre. The violin begins, the viola answers one bar later, an octave lower, and the violoncello follows in like manner. The guitar is silent. The Canon is kept up strictly to the end. The Trio—not in Canon—is in B flat major, and the guitar supports the strings with full chords. Tema con variazioni, Cantabile quasi Larghetto, D major, two-four, two strains of eight bars, the theme in each begun by the viola, and repeated by the violoncello. Three variations follow, the theme being allotted to each instrument in turn, the guitar included. Finale, Prestissimo, D major, three-eight, a brilliant, showy movement.

No. 2, Allegro, C major, four-four measure, in binary form, the subjects given to the violin and violoncello. Minuetto, Allegretto, A minor, three-four, with Trio in two sections, F major and D minor. The violin has the theme, the others accompany with chords. Cantabile, Larghetto, A major, six-eight, the melody, floridly embellished, for violin, the other instruments accompanying. Polacca, Quasi presto, C major, six-four. The violin has the chief melody, subordinate parts being given to the viola and violoncello. The guitar has full chords throughout.

No. 3, Allegro, D minor, four-four rhythm, Coda in D major, principal themes for the violin, the viola and violoncello taking up portions here and there with chords and arpeggios for the guitar. Allegro moderato, D minor, three-four, Canone a tre, theme for violin, answered by viola and violoncello at one bar interval, an octave below, as in No. 1. Guitar tacet. Tema Cantabile, Quasi adagio, B flat major, two-four. The movement consists of two periods, the theme for viola and violin alternately, in each. Variation I., florid, violoncello and violin in response; II., in G minor, more elaborate, theme for violoncello and violin, rapid arpeggios for guitar; III., in B flat major, theme for viola and violin, alternately, and finally for guitar. Polacchetta, Allegro con brio, D minor, three-four, a brilliant movement, with themes for the violin; the viola and violoncello share in the figurated passages, and the guitar has an accompaniment in chords and arpeggios.

Paganini is said to have repudiated this work, although according to FÉtis, the quartets were published at Genoa under his very eyes. I should rather say that the Milan edition was the first, and perhaps the only one. Paganini's assertion was that some one had taken a few of his themes, and badly arranged them. FÉtis further states that various pieces published before, and up to, 1851, must be considered as "commercial frauds." Some of them are named, and will be referred to in due course. The music of Op. 5 cannot be regarded as in any way great, but there are graceful melodies, and the movements in Canon form are ingeniously worked out.

Op. 6, Premier Concerto (Mi BÉmol), pour le violin avec accomp. de l'orchestrÈ. This was the first of the posthumous works, published by the firm of Schott and Co., Paris, in 1851. It is scored for two flutes, oboes, clarinets, bassoon, double bassoon, two horns, trumpets, three trombones, kettle drums, bass drum, cymbals, and the usual quintet of strings. The solo violin is tuned a semitone higher, and the part is in D, while the orchestra plays in E flat. Breitkopf and HÄrtel publish the orchestral parts in the key of D. There is an arrangement of the first movement, by August Wilhelmj, but with that I have nothing to do here. First movement, Allegro maestoso, E flat, four-four. The orchestral exordium extends to ninety-four bars, six more than in the introduction of Beethoven's Concerto. The movement—so it may be termed—is symphonic in form, with second subject in the dominant, and it is richly scored. The exception I take to it is the persistent employment of the cymbals with the bass drum. There is a delightful little touch in the canonic imitation for first violins and violoncellos. The solo has a principal theme scarcely indicated in the introduction, and also several important episodes. The slow movement, Adagio, C minor, four-four, was inspired, as already mentioned, by the Italian tragedian, Demarini. Paganini witnessed his performance in a prison scene, where, after recapitulating his misfortunes, he supplicated Providence to relieve him of the burden of his life. Paganini retired to rest still under the influence of the emotions excited by the actor. He could not sleep: he rose and sought through his violin a means of expression by which he could pour out the feelings that consumed his soul. Thus, genius tortures and produces. It must have been this movement in which William Gardiner heard "tones more than human, which seemed to be wrung from the deepest anguish of a broken heart." Observe, especially, the recitative passages that close the movement. Finale, Rondo, Allegro spiritoso, E flat, two-four. This is the longest concerto movement known to me, running on to four hundred and eighty-three bars, but the "measure" is short. The concerto is not so long as that of Beethoven, the first and second movements containing fewer bars. It may be noted that in the first and last movements Paganini introduces harmonics, and passages in tenths, most probably for the first time in a concerto. In the slow movement there is no double stopping. The Cadenzas were improvised, and Paganini, like Beethoven, in his improvisations surpassed anything he ever committed to paper.

Op. 7, Concerto No. 2, in B minor. Allegro maestoso, B minor, twelve-eight. Adagio, D major, two-two. Rondo, Andantino allegretto moderato, B minor, six-eight. This is not so long as the first concerto by some two hundred bars, and is not so fine a work, but it is a piece worthy of being occasionally heard. In the principal theme of the Rondo occur the passages where the silver bell three times echoes the violin note—the top F sharp of the pianoforte keyboard. Failing the bell, the violinist produces the sound by an artificial harmonic. It is this Rondo that Liszt has included in his Grosse EtÜden von Paganini. His treatment of Paganini must be briefly described. There are six "studies," the first a transcription of Paganini's Caprice, No. 6, Adagio, G minor. To this Liszt adds a prefix, the arpeggio prelude of No. 5. The Caprice itself is very literally copied, the whole being an octave lower, and at first assigned to the left hand alone. After the sixteenth bar the treatment becomes more free, while the figuration is much the same. The study ends with the arpeggio passage as at the beginning. The second takes for subject No. 17, Andante, E flat. Scarcely a note is omitted, but the passages are placed higher or lower, and the runs given to either hand. This is a marvel of ingenuity, forming a most brilliant pianoforte solo. It is followed, as by a second sonata movement, by the "Campanella" Rondo, the two being intended to be performed in succession. For this purpose the Rondo from the Concerto is transposed to G sharp minor, the closing E flat of the previous movement changing enharmonically to D sharp.

The first exposition of the subject follows Paganini very closely, but in the development and further progress of the movement Liszt follows his own bent, repeating the principal theme again and again with ever varying treatment. This is a piece for the virtuoso, and one of the most showy in the pianist's repertory. The fourth study is an extremely clever transcription of the Caprice No. 1, Andante, E major. Not a note of Paganini's piece is left out, and the arpeggios are ingeniously set out for interwoven fingering, causing the performance to be something to look at as well as to hear. It is nearly all cross-handed work. The fifth study is an arrangement of the Caprice No. 9, Allegretto, E major. On paper it appears easier than the setting by Schumann, but it is more difficult to play. Here, again, the phrases are divided for both hands. The glissando passages in sixths are impossible on modern instruments. The sixth and last study, on the Caprice, No. 24, Tema, con variazioni, A minor, is the most ingenious of all. The theme is simply harmonised at first, then used as a counterpoint to the arpeggios in the first variation. The next is more simply treated, and in the third variation Paganini's theme forms the bass upon which the figuration of the initial motive is superposed. To the end Liszt shows what possibilities in keyboard execution were latent in Paganini's violin figures; and if the latter had written only these Capriccios he would survive as the cause of the most original inventions in pianoforte technique that have yet seen the light.

Op. 8, Le Streghe. Variations on the "Witches' Dance," theme from the Ballet, "Le Nozze di Benevento," by Vigano, music by SÜssmayer. It has already been stated that Paganini witnessed a performance of this ballet, at La Scala, Milan, in 1813. He took the theme from a fantastic scene where the witches appear. In his London programmes Paganini thus described the piece; "Variations on the Country Dance Della Streghe alla Noce di Benevento (or the comic dances of the Witches under the walnut tree of Benevento), composed and performed by Signor Paganini." The piece is in the key of E flat, and the violin is to be tuned a semitone higher, the soloist playing in D. There is an orchestral prelude of eighteen bars, Maestoso, followed by a solo, Larghetto, a beautiful Italian melody, embellished, in two short strains. The theme is simply set forth, and the variations serve for the display of bravura playing with pizzicato and harmonics in the second movement, fourth string melody, and double harmonics in the third, and with the Finale resembling a Galopade. Orchestral parts are published, as well as the arrangement with pianoforte.

Op. 9, Variations on "God save the King." ThÉme, Andante, G major, with Six Variations. One principal feature is the intermingling of left hand staccato with bowed notes. At the close there are sustained open notes on the G and D strings, bowed, with double pizzicato, in sixths, above.

Op. 10, Variations on "The Carnival of Venice." For this the violin is tuned a semitone higher, the solo being played in A, and the accompaniment in B flat. The theme is a popular Venetian air, "O Mamma!" Paganini heard it when in Venice in 1816, but whether he then composed the variations is not certain. It was not long, however, before Paganini made the air a favourite everywhere he went, and it is to him the melody owes its world-wide popularity. The composer of the air remains unknown. Joseph Ghys published, at Paris and Berlin, what purported to be Paganini's variations; Ernst and Sivori played versions more or less exactly in accordance with the original; but the text was finally settled by the publication of the piece in 1851. There are twenty variations. The 9th and 14th are for the fourth string; the 11th has alternate bowed and pizzicato notes; the 15th and 18th are pizzicato throughout; the 19th is in tenths and thirds; and the piece ends with a short brilliant coda.

Op. 11, Moto Perpetuo. Allegro vivace, C major. FÉtis terms this piece a movement from a Sonata for violin and orchestra. It is in the repertory for all violinists, and its running passages of staccato semiquavers need no description.

Op. 12, Introduction and Variations on the air "Non piÙ mesta accanto al fuoco." The theme is from Rossini's opera "La Cenerentola" (Cinderella), produced at Rome during the Carnival season of 1817, and forms the concluding number of the work. Paganini again directs the violin to be tuned a semitone higher, writing the solo part in D, and the accompaniment in E flat. The Introduction, Adagio Cantabile, is another example of Paganini's pure Italian style of melody. The theme seems to have appealed to him—doubtless he witnessed the premiÈre of the opera—for the variations have a spontaneity and brilliance of their own. There are four variations, and a Finale full of dashing bravura.

Op. 13, Introduction and Variations on the air "Di tanti palpiti," from Rossini's first serious opera, "Tancredi," produced at Venice in 1813. Rossini is said to have taken the theme from a Greek Litany he heard sung in a church on one of the Islets of the Laguna, near Venice. A Signora Righetti, a singer, writing in 1823 (?), stated that there was no truth in the assertion. Be that as it may, "Di tanti palpiti" made the opera, and Paganini's variations extended its popularity. The introduction is an elaborate movement, the violin tuned a semitone higher, and the part written in A, with accompaniment in B flat. There are three variations, the second being almost throughout in harmonics, single and double, and excessively difficult. This piece is very rarely played.

Op. 14, Sixty Studies in Variation form, on the air known at Genoa as "BarucabÀ," for violin alone. This is one of the composer's latest works, and was written at Genoa in February 1835, and dedicated to Paganini's friend the Advocate, L. G. Germi. The theme is short, in simple ternary form, the opening sentence of four bars being repeated after the middle period of eight bars. The theme is in A major, Maestoso. The variations are studies upon various species of difficulties, and a special feature is the order of keys. Of the fifteen possible major keys, Paganini employs thirteen, and he is quite modern in the way in which he causes the one to succeed the other. Thus the second variation is in D, the third in B flat, the fourth in F sharp, and the fifth in D—in each case the drop of a major third or its enharmonic equivalent. Then he starts a new series, from D to B, thence to G, E, C, A flat, F, D flat, back to A. In 1835 such a sequence was very uncommon; even Beethoven, in his Variations, only has one such, in the Variations in F, Op. 34. The Variation form is again in full vogue; at this distance we can afford to be just in our estimate of Paganini's achievements. He was not a Beethoven, but his Variations are not to be despised.

Sonata in A major. As published in the collection of posthumous compositions, this Sonata is for violin, with pianoforte accompaniment. The piece consists of an Introduction, Theme, Three Variations and Coda, the term "Sonata" being employed quite in its primitive sense:—a piece to be played. The Introduction is only eight bars in length, ending with a short cadenza leading to the theme, Andantino, A major, two-four measure. The first part consists of two four-bar phrases, repeated; the second has a phrase extended, by a Codetta, to six bars, and ends with a repetition of the first phrase, with close in A. The first variation has a more florid version, in triplets, of the melody; the second begins with a simple form of the theme for the fourth string, and introduces harmonics; the third is a bravura movement, chiefly for staccato bowing in demisemiquaver passages. The coda, termed Finale, is made up of cadences, on a tonic pedal for eight bars. The accompaniment is easy. Messrs. Schott also publish the Sonata for violin, with accompaniment of violin and violoncello, very easy parts for these last.

Variazioni di bravura sopra Temi del MosÈ di G. Rossini, per Violino sulla quanta corda, di Nicolo Paganini. This was originally for violin and orchestra. Berlioz has a reference to this piece, in which he states that Paganini employed the bass-drum with better effect than did Rossini himself in the accompaniment to the prayer, "Del tuo stellato soglio." Paganini placed the stroke of the drum on the syncopated beat to which the verbal accent was assigned, whereas Rossini gave the drum stroke on the first beat of the bar. Some one, complimenting Paganini upon his composition, added; "It must be confessed that Rossini furnished you a very beautiful theme." "That's very true," replied Paganini, "but he didn't invent my bang of the big drum." It is said that in this piece Paganini produced a tone that dominated the whole orchestra even in fortissimo passages.

The firm of Ricordi publish an arrangement, for string quintet, and for pianoforte accompaniment. The G string of the solo violin is raised to B flat, and the Adagio is played in C minor and major, while the accompaniment is in E flat minor and major. The strain in the minor key is played three times. The second time, the first eight bars are to be played an octave higher then the first time; the third in harmonics. The Introductory Adagio is the celebrated Prayer. Then follows a Tema, Tempo alla Marcia, E flat, four-four, the violin part in C. This is a different theme, and appears to be a paraphrase of part of the March and Chorus (in the Oratorio), "Hail, happy day!" There are three variations, and a short coda. Harmonics are sparingly introduced. Rossini's opera, "MosÈ in Egitto," was produced at Naples in 1818, and was remodelled by the composer some years later, for performance at the Grand Opera, Paris (1827). It is not known when Paganini wrote his variations, but his themes were most probably taken from the first version of the opera.

Variazioni di Bravura per Violino sopra un tema originale con accompagnamento di Piano o Chitarra. The theme is that of the Twenty-fourth Caprice, from Op. 1, and the variations are the same, only the notation of the eighth is different. The accompaniment, for either guitar or pianoforte, is extremely simple. There is a short interlude (called Tutti in Ricordi's edition) of six bars to be played between the variations.

Introduzione e Variazioni sul Tema nel cor piÙ mi sento per Violino solo di NicolÒ Paganini. So runs the title in the edition published by Ricordi and Co. The theme is the duet in Paisiello's opera, La Molinara, which Beethoven also took as a subject for variations (in 1795). Ricordi's publication agrees in every particular with the version to be found in Guhr's treatise on Paganini's "Art of Playing the Violin," published in 1831—preface dated Frankfurt, November, 1829. Guhr[53] heard Paganini many times, closely watched his playing, and frequently conversed with him on the subject. This piece was written from memory, and is certainly a great accomplishment; but it can scarcely be regarded as an authentic version. The introduction is brilliant, the theme, Andante, G major, six-eight measure, is profusely ornamented, and each of the seven variations—No. 6 is in G minor, the others in G major—has some special form of virtuosity. In the third there are double shakes in harmonics, which Guhr explains. The last is in widespread ascending and descending arpeggios throughout. The theme and third variation are written on two staves, one for bowed melody, the other for left hand pizzicato.

That Paganini did not always play the piece in the form in which Guhr wrote it down, is proved by the existence of another manuscript, which is, perhaps, very little known. It was written by the late Mrs. Tom Taylor, who gave it to Mr. Alfred Burnett many years ago, and that gentleman has kindly permitted me to examine it. For this the violin is tuned a whole tone higher. The Introduction is altogether different, and the theme much less floridly embellished. The first variation corresponds to Guhr's No. 2, but the harmonics are not quite the same. In this the melody floats above tremolando chords. The second, in outline, resembles Guhr's No. 4, but whereas the latter has alternate natural notes and harmonics, Mrs. Taylor gives alternations of detached bowed notes and pizzicati. The third is like Guhr's No. 3, in that it has short figures in double notes, alternately for fundamental and harmonic sounds. Guhr's variation consists of twenty-five bars; Mrs. Taylor's of thirty-one, there being a short cadenza. The fourth resembles Guhr's No. 7 in the wide-spread arpeggios, but the harmonics are differently distributed, and the coda is not the same as in Guhr.[54]

In the Imperial Library, Berlin, there is a manuscript by Paganini, inscribed "Capriccio a Violino Solo di Nicolo Paganini In cor piÙ non mi sento," in which the embellished theme differs from both those already described. The first page is reproduced in facsimile in Paul Stoeving's "Story of the Violin," p. 213. Then there is an autograph copy in the British Museum with this inscription: "In cuor piÙ non mi sento, Thema con variazioni per Violino, con Accompagnementi di Violino e Violoncello Composta da Niccolo Paganini." The piece consists of an Introduction, Theme and four Variations, and, so far, agrees with Mrs. Taylor's copy. Finally, Paganini played the piece with the orchestra, as will be seen from this extract from a programme: "Prelude and Variations on the Tema, 'Nel cor piÙ non missento,' with orchestral accompaniment, by Signor Paganini." This was played at the concert of June 27th, 1831, at the King's Theatre, and the programme from which this extract is taken is in possession of Mr. Richard Harrison, of Brighton, who most obligingly copied it for me.

Duo pour le violon seul. This begins with an Adagio, C major, three-four measure, with a melody for the bow, and left hand pizzicato accompaniment. A short Allegro molto follows, in square time, the pizzicato accompaniment being chiefly in double notes, with occasional chromatic harmonics. This little piece must have been on sale in London a year before Paganini arrived, for the following anecdote was in print in May, 1830. "A few days since, a footman went into Mori's music shop to buy a fiddle string. While he was making his choice a gentleman entered the shop, and began to examine various compositions for the violin. Among the rest he found Paganini's celebrated Merveille—duo pour un seul Violon and, perceiving the difficulties in which it abounded,[176]
[177]
[178] asked the shopman if he thought that Mori himself could play it. The young man, a little perplexed and unwilling to imply that his master's powers had any limits, at length replied, that he had no doubt he could perform it, provided he practised it for a week. Upon which the footman, who stood intent upon the conversation, broke in on the discourse and swore that Mori could do no such thing, for that he himself had been practising the piece for three weeks and could not play it yet."

Trois Airs VariÉs pour le Violon, pour Étre ÉxÉcutes sur la Quatrieme Corda seulement, avec accompagnement de Piano par Gustavo Carulli. FÉtis says these are merely souvenirs arranged by the author of the accompaniments.[55] Antonio Minasi includes them in the lists of works performed by Paganini in England. The fourth string is to be raised to A, for all three. The first is in C, with two easy variations; the second, in G, resembles a folk song, and has three variations; the third, in C, also has three variations. The first two are marked Andante; the third, Andantino. The accompaniments are of the easiest song kind.

Le Charme de Padua, Divertimento pour Violon et Piano concertant, composÉ par Nicolo Paganini. This piece was published in London before the date of Paganini's first concert, and possibly before the arrival of that artist in England. It was issued by a firm of repute, Wessel and Stodar, who were the first publishers in England of the works of Chopin. The music was reviewed in The Harmonicon, June 1831, the notice concluding thus: "It perhaps is a bagatelle on which he (Paganini) has bestowed little time and less thought. It certainly is a flimsy affair, and might have been produced by the dullest and most mechanical repieno in the band of a suburb (sic) theatre." The piece consists of a Larghetto and Presto, in C major, the slow introduction being in six-eight rhythm, the Presto in six-four. There is one principal theme in the first part, given out by the violin and repeated by the pianoforte, a simple melody, with embellishments. The Presto is in Rondo form, with leading theme for pianoforte, continued by violin, and relieved by an episode contrasted in character. The music is not great, but unprejudiced musicians will scarcely endorse the captious remarks of the reviewer. The firm of Edwin Ashdown (successor to Wessel) publish the composition, also a version by S. GodbÉ for viola and pianoforte. In this the themes are written an octave lower, and modifications occur in double-stops, and so forth, to suit the viola. There is likewise an arrangement for flute and pianoforte, by J. Sedlazek. It is not stated by whom the pianoforte part was written, but it is very well done, and is not a mere accompaniment.

Concerto in D minor. FÉtis terms this a magnificent concerto; it was performed by Paganini at the first concert he gave in Paris, March 25th, 1831, and that seems to be all that is known about the piece. Concerto in E minor. This was in three movements; Allegro maestoso; Adagio flebile, con sentimento; Rondo, Andantino GÀjo, "with a triangle accompaniment." It was played by Paganini at the King's Theatre, June 13th, 1831. Concerto in E major. The three movements of this piece were; Allegro Marziale; Cantabile Spianato; and Polacca brillante. Paganini played this concerto at his concert, July 4th, 1831. Concerto in two movements. This was a medley. The one movement, Cantabile a doppie corde, was by Paganini; the other, Ronda scherzoso, by Rodolphe Kreutzer. Played, August 17th, 1831.

Four Concertos, of which the instrumentation was not written. Of these nothing seems now to be known. FÉtis says that the last of the four was composed at Nice a short time before the death of Paganini.

Concerto for bassoon, with string trio accompaniment. This was discovered at Stockholm in 1890, and the manuscript was said to be in the composer's hand-writing. The announcement of the discovery will be found in The Musical Times, of November, 1890, page 681. I have found no further reference to the subject.

Nine Quartets for Violin, Viola, Violoncello and Guitar. These are in the list drawn up by Constabile as being among the manuscripts preserved by the son of the composer. It is impossible now to say where these manuscripts are; the first three seem completely lost. A copy, probably unique, of the Quartets, Nos. 10 to 15, is among the treasures in the possession of Mr. Alfred Burnett, and by his kindness I am enabled to give a description of the music. Five of the Quartets, Nos. 10 to 14, were composed and dedicated "Al suo Amico Il Sig. Avvocato Luigi GugliÈlmo Germi." No. 14 was composed "expressly" for that friend. The Quartets dedicated to Germi might be designated "house music," for though they are difficult, they do not seem to have been written for the "great public." They contain the most lovely music Paganini ever penned. If only the guitar were once more in fashion, these pieces might be heard, and I feel certain they would charm lovers of pure melody.[56] But this is to anticipate.

Quartet, No. 10, in A major, in four movements (as indeed are five out of the six). Allegro, A major, four-four rhythm, in free sonata form, with first and second subject—both lyrical—middle modulatory section, and recapitulation. The violin has the melody, the other instruments accompanying. Minuetto Scherzo, Allegretto, A major, three-four measure, with first short strain on a figure in triplets. Trio in D major, Cantabile theme for violin, doubled by the viola in the octave below. Adagio Cantabile, D major, two-four rhythm. A melody that might be signed Haydn or Mozart, but embellished with a grace peculiar to Italian art. Here the violin is the solo instrument, the others supporting with rich harmonies, the 'cello emphasising the rhythm with frequent pizzicato notes. Rondo Andantino con brio, A major, two-four measure, a bright, sparkling principal theme, staccato, with contrasting episodes, one in D, with fourth string phrases, also with brilliant passages in thirds for the violin, which again has all the thematic work. This is a well developed movement.

Quartet, No. 11, in B major. For this the guitar is tuned a tone higher, the capo tasto raising the E strings to F sharp, and the guitar part is written in the open key of A. The first movement, Allegro moderato, B major, four-four rhythm is free in form, with repeat of the first part. The thematic material is assigned chiefly to the violin, but in the second part there is an episode, a sort of folk-tune, given to the violoncello. Minuetto, Allegretto, B major, three-four, with Trio in G major. The melodies are fresh, and move step-wise, very much like those in the Minuet of Beethoven's first Symphony. They are in scale formation, up and down, and there is only one skip of a third in the first sixteen bars. Again the violin takes all the themes. Larghetto con passione, F sharp minor, six-eight measure, a Lament, a fine expressive theme, opening nobly, but with the elevated style not maintained throughout. The viola and violoncello parts are in keeping with the pathetic feeling of the movement, but the rhythmic figure of the guitar part detracts from its dignity. Polacca, Andantino mosso, B major, three-four measure, a well-written movement, with three clearly defined subjects, two of which are taken up by the viola and violoncello. The violin part in this quartet is brilliant, but not particularly difficult; there is no double-stopping, excepting in chords of accompaniment.

Quartet, No. 12, in A minor. This number is in three movements only. The first, Allegro giusto, A minor, four-four rhythm, is quite orchestral in character, and opens with a theme of symphonic breadth. There is science displayed in the development of this movement. In the first part the second subject is in C major, and in the recapitulation in A major. The slow movement, Adagio tenuto, con precisione, C major, three-four measure, has at first a very broad and declamatory theme for the violin. The writing becomes very elaborate, and the rhythmic figuration complex, passages with four and five-stroke notes occurring. The Finale, Minuetto, Allegretto mosso, is a fully developed movement quite in sonata form, with first part repeated. The exposition has a first subject of two extended members, the second in the major mode. The second subject, in E, is well contrasted. There is a long working out section, with episodial matter, and the recapitulation is very happily led up to. The music has a lilt that is irresistible, and the writing is interesting for each instrument.

Quartet, No. 13, in F. The first movement, Allegro con brio, F major, four-four time, opens with a theme of a declamatory type, and the expression is dramatic. The second subject in C, is in the style of the Italian aria, concluding with the lively Cabaletta strain. A short Coda ends the first part. In the working out section there is an important episodial theme for the violoncello, and in the recapitulation the second subject, now in F, is allotted to the viola, the violin taking up the Cabaletta. Both parts are marked for repetition. Minuetto, Allegretto, F major, three-four measure. The violin has the theme of the first strain of eight bars repeated; the violoncello responds with the subject of the next strain of twenty-five bars, one phrase lengthened to five bars. The Trio in B flat has a tripping theme for the viola, legato and staccato bowing in the same "figure." Later the phrases are broken into dialogue for violin and viola. In the Minuet the guitar has a "second" to the violin melody. Larghetto tenuto, con anima, D flat major, six-eight rhythm, a broad, cantabile theme for the violin, with spare embellishment. The movement must be slow, for there are arpeggios of eight notes to the quaver beat in the guitar part. Finale, Prestissimo, F major, two-two measure. The theme for the violin resembles very much some of those merry "tributary" motives found in Mozart's symphonies towards the close of the first part of a movement—the "Jupiter," first movement for instance. The second subject affords contrast. The whole is most spirited and light-hearted. Paganini must have been in a happy mood when he wrote this quartet.

Quartet, No. 14, in A major. The first movement, Allegro maestoso, A major, four-four measure, is very brilliant, opening with a theme in which arpeggio and scale figures abound. This closes in B, and the second subject begins in E. Here occurs some very free chromatic writing, suggestive of Richard Strauss, as, for instance, D sharp for violoncello against E flat for guitar and viola; and C natural opposed to B sharp. But it is a mere matter of spelling. The first part ends in E, and is marked for repetition. Then, with a single prefatory chord of E minor, the working out section begins in C, with a new motive, which passes through a number of keys, the primary returning with the second subject. Minuetto, Scherzo affettuoso, A major, three-four. The subject is based on a three-note figure, giving, by cross accents, to the four-bar phrase the effect of a six-bar phrase in duple measure—Tempo rubato. The Trio, in D, has a theme in triple measure, but the middle sentence has the displaced accents of the Minuet. Largo, con sentimento, G flat major, four-four measure. For this the pitch of the guitar is raised a tone, and the part written in E major. The movement is in song form, the melody opening in stately fashion, but the writing soon becomes florid. At the second entry the theme begins in A major, the return to G flat being ingeniously effected. There are some rapid pizzicato passages for the violoncello. Finale, Allegro vivace, A major, four-four rhythm. This is a moto perpetuo, sempre staccato, for the violin. The theme is quite unlike that of the movement known as Op. 11. After the exposition of the subject, the violin has figure-playing of an easy kind, while the violoncello has a Cantabile theme. This recurs, and snatches of it are heard in the brief coda. The other instruments merely accompany. This quartet has distinct character.

Quartet, No. 15. The title simply runs: "Composto da Nicola Paganini," without any dedication. Note the copyist's spelling of the Christian name. In the first movement, Maestoso, A minor, four-four measure, the first subject is given out by the viola. It begins with a mournful, somewhat stern motive, bold, and with an embellished subordinate theme. The second subject, also assigned to the viola, is an impassioned lyrical theme in C major. In the working out section, the violin takes the first subject, and joins the violoncello in an episodial theme, the viola contributing a florid counterpoint. There are modifications in the recapitulation, but the viola again has the second subject now in the tonic major. The guitar is busy throughout the movement, with full chords and extended arpeggios. Minuetto a Canone, Andantino, A major, three-four measure. The Canon is confined to the violin and viola, the latter starting with a theme in short, detached figures, the violin following, an octave higher, one beat later. Guitar and violoncello give supporting harmonies. In the Trio, in D major, the melody is given to the guitar, with a pizzicato accompaniment for the other instruments. At the seventeenth bar, there are again four bars of canon, this time in the unison, staccato bowing. The Minuet, abbreviated, is then repeated. The canon is not continuous, a cadence occurring at the end of each eight bars. Next comes an Interlude, Recitative, Andante sostenuto, con sentimento, D major. This is for the viola, and extends to twenty-one bars, the expression being dramatic. The other instruments have a rather elaborate accompaniment. The slow movement immediately ensues, Adagio Cantabile, D major, two-four rhythm. The viola has the melody, in the form of the Italian aria, embellished with prima donna fioriture. The movement is short, only running to forty-six bars. Rondo, Allegretto, A minor, two-four. The leading theme, marked by syncopations, is given to the viola, the violin joining in the repetition. The tonality is constantly changing from the minor to the major and back again. There is a new theme in the middle section, and some elaboration before the first subject returns. The close is abrupt. The viola has the chief part in this quartet, which is quite different to the others.

I have only a few notes concerning some of the works yet to be considered. Dramatic Sonata, "The Storm," for violin and orchestra. This was evidently a piece of programme music, for it was thus described:—Part I., the approach of the storm; II., the commencement of the tempest; III., the prayer; IV., the fury of the sea; V., the hurricane; VI., the tumult at its height; VII., the stilling of the tempest; VIII., an outburst of the most lively joy. It was played at Paganini's third and last concert at Prague, December 20th, 1828, and one account refers to it as a "dramatic sonata for a full orchestra, with analogous embellishments and solos and variations, by Paganini on the fourth string."[57]

"Sonata Militaire," in G, for the fourth string, theme, the air "Non piÙ andrai," from Mozart's opera "Le Nozze di Figaro." This piece was composed expressly for the second of the two concerts Paganini gave in Genoa in 1824, when the young singer, Antonia Bianchi, made her dÉbut. The Sonata was played by Paganini at his first concert in London. All traces of it appear to have been lost.

"Napoleon Sonata," for the fourth string. Paganini gave an account of the origin of this piece to his friend, Julius Schottky, and to what has already been related in connection therewith may now be added the further statement he made. Paganini sang to his friend the first movement of this Sonata "in an animated though feeble tone," and said that Rossini transferred the theme into one of his earlier operas. It would be interesting to know the opera in question, but the early works of Rossini would be searched in vain without the clue afforded by the Sonata, which appears to have vanished completely.

"Sonata Maestosa Sentimentale," with variations on a theme by Haydn, for the fourth string. It is probable that the theme for these variations was the well-known Emperor's Hymn, and that this Sonata was performed by Paganini before the Austrian Court in 1828.

Sonata with variations on a theme from the opera "L'Amor Marinaro." Nothing is now known of this Sonata, nor of the particular theme chosen from the opera. "L'Amor Marinaro" (the Corsair in Love) was one of the early productions of Joseph Weigl, being written in 1798. An opera buffa, it was distinguished by natural charm, freshness of colouring and beauty of melody, and to the latter quality Paganini's choice of it must doubtless be attributed.

"Chant of the Monks of the Monastery of St. Bernard." This was the title given to a piece in the programme of a concert at Covent Garden Theatre. It was performed on a darkened stage and the solemn character of its music was emphasized by a beautiful scene representing a monastery with stained glass windows. The introduction, a movement of some length of the basses in unison, was followed by a chant "of lovely harmonies, performed in harmonics (I believe, on the fourth strings) in combination with the wood instruments." Minasi, who gives this account of the piece, states that he believes it to be merely the second movement of the Concerto in B minor, Op. 7.

Cantabile for two strings. This piece was performed at the King's Theatre, on June 13th, 1831. Possibly it was the same as the musical fantasia already referred to as played at Lucca under the title of "A Love Scene." Of the remaining pieces, except the one mentioned below, nothing seems now to be known save the names.

The one exception is the piece entitled "The Vagaries of a Farmyard," which contained a wonderful series of imitations of farmyard sounds. In this connection the following anecdote, illustrating Paganini's extraordinary power of portraying curious sounds on his violin, may be worth repeating. One fine night, when staying at a little inn just outside Frankfort, he was sitting at his window lost in the contemplation of the glorious heavens. The striking of a clock broke through his reverie and called back to his mind an occurrence of which he had but recently been an ear-witness. He seized his violin, and there arose on the stillness of the night the moans and cries of a mother and her new-born babe. The landlord of the inn, awakened by the unusual sounds and wondering how such visitors had found their way into his house without his knowledge, called his son and hastened to the room whence the plaintive cries proceeded; and he found Paganini, too deep in thought to perceive his entrance, making his violin bring forth these human sounds. It is stated of Paganini that he was wont to produce his animal cries under the stress of special excitement or during an access of fever, and that with his farmyard piece he electrified the audience at one of the last of his concerts in London.