The virtuosity of the legendary violinist Niccolo Paganini is known to us only from the opinions of contemporaries and the opinion of music experts. We can only trust this assessment, which is also confirmed by his compositions for violin. After all, their performance is only possible for real musical talents. This short biography of Niccolo Paganini presents the main events of his eventful life.
early years
The best violinist of all times and peoples Niccolo Paganini was born on October 27, 1782 in the small alley of the Black Cat in the Italian city of Genoa. He was the third child in the family. His father, Antonio Paganini (1757-1817), worked as a port loader in his youth, and then opened a small shop. During the census of the population during the occupation of Italy by Napoleon, he was recorded as "mandolin holder". Mom, Teresa Bocciardo, was engaged in raising children and kept house. In total, the Paganini family had six children. Nicollo was born a little premature, was a sickly and fragile child. Health problems in many ways were then exacerbated by the severity of education.
Studying the biography of Paganini, it is impossible to find information about whether he received a systematic education. Letters written by him already in adulthood have numerous spelling errors. Many people think that he learned to write quite late. However, the letters testify to the knowledge in literature, mythology and history that an educated person of that time should have.
First musical experiences
Antonio Paganini was very fond of music, he often played the mandolin, annoying his wife and neighbors. Having not achieved much success in music, he hoped that one of the children would become a famous musician. The eldest son, Carlo, loved music, but showed little ability. Then the father took up Niccolo, who from an early age showed a unique musical talent.
In the biography of Niccolo Paganini it is written that his first acquaintance with music happened at the age of five. His father began to teach him to play the mandolin, and a year later they switched to the violin, Niccolò's favorite instrument. According to the late memoirs of a celebrity, his father was very strict if he did not see due diligence in art. Sometimes the boy was left without food if he did not have time to learn the next sketch in time. However, Niccolo gradually became interested in music himself, trying to extract sounds from the instrument that would amaze listeners. To do this, he had to come up with his own unique violin playing technique.
Family legends and myths
There are also two mythical stories in the biography of Paganini, a summary of which is presented below.
When Niccolo was still very young, his mother, Teresa Bocciardo, had a dream that his parents considered prophetic. In a dream, a beautiful angel appeared to her, saying that their third son was destined for the greatest musical future. Father immediately believed in this good dream. In order to realize his dream and prediction, he began to work hard with his son.
After the first lessons with Niccolò, he realized that he was gifted with subtle hearing and amazing flexibility in the joints. The son spent almost all his time doing exhausting exercises, honing the technique of playing the violin. When a child ran away or did not have time to learn another piece of music, he was locked in a dark barn and not fed. Once, after many hours of study, he had catalepsy. A visiting doctor diagnosed death. The grief-stricken parents began to prepare for the funeral. But a real miracle happened - Niccolo "came to life" and showed signs of life in the coffin. This was his second birth, which is described in the biography of Paganini.
First teacher
After his recovery, his father presented Niccolò with a violin, decided to finish his independent studies and sent him to study with the professional Genoese violinist Giovanni Cervetto. Nicollo himself never talked about this, but as noted in Paganini's biography on Wikipedia, many researchers of the great violinist's work mention this.
The boy began to compose music early. Already at the age of eight, he pleased his relatives with the performance of his own sonata for violin. Paganini's children's works have not been preserved. Although they required a fairly sophisticated technique, he successfully performed them. No one else was able to play his violin exercises.
Masters training
From 1793, Niccolo began to constantly play during services in the best churches in the city of Genoa. During this period of history in Genoa and other Italian regions, both sacred and secular music were played in cathedrals. Once his game was heard by the local violinist and composer Francesca Gnecco, who began to help Niccolò hone his skills and more fully reveal the talent of the young musician.
Gradually, a large (by the standards of that time) city was filled with rumors that a musical genius was growing in the family of a small shopkeeper Paganini. Giacomo Costa, bandmaster and leading violinist of the chapel of the Cathedral of San Lorenzo, also learned about this. After the audition, he invited Niccolò to play in the musical ensemble he led. For six months he studied with Costa the secrets of violin art. In the biography of the violinist Paganini, this was an important period of staging a unique performance technique.
First concert
Classes with Giacomo, known and respected in the city, gave the young virtuoso the opportunity to communicate with creative people. Niccolo meets professional musicians who sincerely admire him. He began to think about starting a concert activity. Once Niccolò attended a concert of the famous Polish violinist August Duranowski, who performed in Genoa in 1794. After that, he firmly decided to start a solo career. With great enthusiasm, the young violinist began to prepare his concerto.
In the biography of Niccolo Paganini, it is noted that his first public concert (then called the academy) took place on July 31, 1795. The maestro was only 12 years old, the performance took place in the city theater. The pro-French Genoese audience especially warmly welcomed the performance of the young violinist and composer's own composition "Variations on a Carmagnola Theme". The concert was a resounding success. After that, the richest patrons of the city paid attention to the young talent. The money collected for the concert was planned to be spent on a trip to Parma to enroll in the studies of the famous teacher and composer Alessandro Rolla.
Looking for a teacher
Impressed by the musical talent, the famous music lover Marquis Giancarlo di Negro, having learned that the talented boy is growing up in a poor family, takes Niccolò under his protection. The patron organizes a trip for the young musician, accompanied by his father, to Florence. Here, at an audition with the famous local violinist Salvatore Tinti, he performed his composition "Variations ...". According to the compiler of the first biography, N. Paganini Conestabile, he was struck by the amazing skill of the young Genoese, his unusual technique and purity of execution.
The second concert, which was warmly received by the local audience, helped raise the money needed for a trip to Parma. When Paganini (father and son) came to Rolla, he did not receive anyone because of illness. In the living room where they were taken, there was a violin and sheet music of a work written by the owner on the table. Niccolo, using the instrument, played from the sheet the concerto written the day before. Rolla, surprised by the sounds of his work, went out to the guests. Seeing the boy playing the violin, he said that he could no longer teach him anything.
Mastery Cut
Alessandro Rolla sent them to consult Ferdinando Paer. Busy with opera productions in many Italian cities, he did not have time to study with Niccolo. He recommended him to the cellist Gaspare Ghiretti. Thanks to the financial support of his patron, who became his true friend, Paganini continued his musical education. A new teacher teaches him to write music using only pen and paper, gives lessons in harmony and counterpoint. An interesting fact in Paganini's biography is that he first composed in his "mind" (without using any instrument) 24 four-voice fugues and several violin pieces and concertos. None of these works have survived. Niccolo did not want to reveal the secrets of his skill, so he hardly advertised the works he wrote.
The beginning of a concert career
Paganini's biography notes that his first concert tour took place in 1797. It passed through several Italian cities, including Milan and Florence. After the tour, he and his family went to his father's house in the Polcevera Valley, where he practiced on his own, trying to bring his playing technique to perfection.
In December 1801, he got rid of his father's guardianship, receiving the position of first violin in the orchestra of the city of Lucca. In this city, Niccolo falls in love with a noble lady. Soon they leave for her estate. There he lived for three years, doing agriculture and playing the guitar; for her, in a duet with a violin, he wrote 12 sonatas. In the first years of his independent life, he had two passions - women and card games. Niccola could have lost everything. Only music allowed me to improve my financial condition later.
court musician
Returning to Lucca at the invitation of Elisa Bonaparte, with whom he had an affair, Paganini becomes court musician and orchestra conductor. For his beloved, he composes and performs the play "Love Scene" for two strings - la and mi. Later, with great success, he performs at court a sonata dedicated to her brother's birthday - "Napoleon", which he wrote for the G string. At the same time, Paganini wrote the Grand Violin Concerto in E minor.
In 1808, Paganini went on a concert tour of Italy, striking everyone not only with his incredible playing technique, but also with his mysterious appearance, and sometimes even with an eccentric command. At one of the concerts, he broke a string, but he continued to perform, astonishing the audience. Then he worked in Florence, where Eloise moved, having received the Duchy of Tuscany from her brother. At the end of 1812, he leaves the disgusted court service and actually runs away to Milan.
Last years
Around 1813, under the influence of the witches' dance from the ballet "Nut of Benevento", Paganini composed his most famous work "Witches" for violin and orchestra, variations on the fourth string. He gave 11 concerts at La Scala, performing variations with overwhelming success. The audience was shocked by the impeccable and unusual performance.
In 1825, Nicollo and the young singer Antonia Bianchi had a son, Akhil. The relationship was strange, they cheated on each other a lot and did not hide it. In 1828 they parted, but the son stayed with him. Niccolo gave many concerts in different countries of Europe, demanding the payment of large fees in order to ensure a prosperous future for his son, to whom he left several million francs as an inheritance. His work was admired not only by ordinary music lovers, but also by famous composers. These were the best years in Paganini's creative biography. Franz Liszt briefly described his impression of Niccolò's game. It consisted of just two words: "supernatural miracle."
In 1834, Niccolo decided to end his touring career and returned to his homeland, as his poor health was finally undermined by exhausting tours. Paganini's biography records that his last concerts took place in 1836 in Nice, despite the maestro's poor health. Then he fell completely ill. He no longer had the strength to even hold the violin. Niccolo didn't go anywhere. The great violinist died on May 27, 1840 in Nice, a little short of his 58th birthday.
Would there be another such artist, whose life and fame would shine with such a bright sunshine, an artist whom the whole world would recognize in their enthusiastic worship as the king of all artists.
F. List
In Italy, in the municipality of Genoa, the brilliant Paganini's violin is kept, which he bequeathed to his hometown. Once a year, according to the established tradition, the most famous violinists of the world play on it. Paganini called the violin "my cannon" - this is how the musician expressed his participation in the national liberation movement in Italy, which unfolded in the first third of the 19th century. The frantic, rebellious art of the violinist raised the patriotic mood of the Italians, called them to fight against social lawlessness. For sympathy with the Carbonari movement and anti-clerical statements, Paganini was nicknamed the "Genoese Jacobin" and was persecuted by the Catholic clergy. His concerts were often banned by the police, under whose supervision he was.
Paganini was born into the family of a small merchant. From the age of four, the mandolin, violin and guitar became the musician's life companions. The teachers of the future composer were first his father - a great lover of music, and then J. Costa - a violinist of the Cathedral of San Lorenzo. Paganini's first concert took place when he was 11 years old. Among the compositions performed, the young musician's own variations on the theme of the French revolutionary song "Carmagnola" were also performed.
Very soon the name of Paganini became widely known. He gave concerts in Northern Italy, from 1801 to 1804 he lived in Tuscany. It is to this period that the creation of the famous caprices for solo violin belongs. In the heyday of his performing fame, Paganini changed his concert activity for several years to court service in Lucca (1805-08), after which he again and finally returned to concert performance. Gradually, the fame of Paganini went beyond Italy. Many European violinists came to measure their strength with him, but none of them could become his worthy competitor.
Paganini's virtuosity was fantastic, its impact on the audience is incredible and inexplicable. For contemporaries, he seemed a mystery, a phenomenon. Some considered him a genius, others - a charlatan; his name began to acquire various fantastic legends during his lifetime. However, this was greatly facilitated by the originality of his “demonic” appearance and the romantic episodes of his biography associated with the names of many noble women.
At the age of 46, at the height of his fame, Paganini traveled outside of Italy for the first time. His concerts in Europe caused an enthusiastic assessment of leading artists. F. Schubert and G. Heine, W. Goethe and O. Balzac, E. Delacroix and T. A. Hoffmann, R. Schumann, F. Chopin, G. Berlioz, J. Rossini, J. Meyerbeer and many others were under hypnotic influence violins of Paganini. Her sounds ushered in a new era in the performing arts. The Paganini phenomenon had a strong influence on the work of F. Liszt, who called the game of the Italian maestro "a supernatural miracle."
Paganini's European tour lasted 10 years. He returned to his homeland already seriously ill. After the death of Paganini, the papal curia for a long time did not give permission for his burial in Italy. Only many years later, the ashes of the musician were transported to Parma and buried there.
The brightest representative of romanticism in Paganini's music was at the same time a deeply national artist. His work largely comes from the artistic traditions of Italian folk and professional musical art.
The composer's works are still widely heard on the concert stage today, continuing to captivate listeners with endless cantilena, virtuoso elements, passion, boundless imagination in revealing the instrumental possibilities of the violin. Paganini's most frequently performed works include Campanella (The Bell), a rondo from the Second Violin Concerto, and the First Violin Concerto.
The famous “24 Capricci” for violin solo are still considered the crowning achievement of violinists. Remain in the repertoire of performers and some variations of Paganini - on the themes of the operas "Cinderella", "Tancred", "Moses" by G. Rossini, on the theme of the ballet "The Wedding of Benevento" by F. Süssmeier (the composer called this work "Witches"), as well as virtuosic compositions "Carnival of Venice" and "Perpetual Motion".
Paganini mastered not only the violin, but also the guitar. Many of his compositions, written for violin and guitar, are still included in the repertoire of performers.
Paganini's music inspired many composers. Some of his works have been arranged for piano by Liszt, Schumann, K. Riemanovsky. The melodies of Campanella and the Twenty-fourth Caprice formed the basis for arrangements and variations by composers of various generations and schools: Liszt, Chopin, I. Brahms, S. Rachmaninov, V. Lutoslavsky. The very same romantic image of the musician is captured by G. Heine in his story "Florentine Nights".
Born in the family of a small merchant, music lover. In early childhood, he learned from his father to play the mandolin, then the violin. For some time he studied with J. Costa, the first violinist of the Cathedral of San Lorenzo. At the age of 11, he gave an independent concert in Genoa (among the performed works - his own variations on the French revolutionary song "Carmagnola"). In 1797-98 he gave concerts in Northern Italy. In 1801-04 he lived in Tuscany, in 1804-05 - in Genoa. During these years, he wrote "24 Capricci" for solo violin, sonatas for violin with guitar accompaniment, string quartets (with guitar). After serving at the court in Lucca (1805-08), Paganini devoted himself entirely to concert activity. During concerts in Milan (1815), a competition took place between Paganini and the French violinist C. Lafont, who admitted he was defeated. It was an expression of the struggle that took place between the old classical school and the romantic trend (subsequently, a similar competition in the field of pianistic art took place in Paris between F. Liszt and Z. Thalberg). Paganini's performances (since 1828) in Austria, the Czech Republic, Germany, France, England, and other countries evoked enthusiastic appraisal from leading figures in the arts (Liszt, R. Schumann, H. Heine, and others) and established for him the glory of an unsurpassed virtuoso. The personality of Paganini was surrounded by fantastic legends, which was facilitated by the originality of his "demonic" appearance and romantic episodes of his biography. The Catholic clergy persecuted Paganini for anti-clerical statements and sympathy for the Carbonari movement. After the death of Paganini, the papal curia did not give permission for his burial in Italy. Only many years later, the ashes of Paganini were transported to Parma. The image of Paganini was captured by G. Heine in the story Florentine Nights (1836).
Paganini's innovative work is one of the clearest manifestations of musical romanticism, which became widespread in Italian art (including in the patriotic operas of G. Rossini and V. Bellini) under the influence of the National Liberation. movements of the 10-30s. 19th century The art of Paganini was in many ways related to the work of the French. romantics: comp. G. Berlioz (whom Paganini was the first to highly appreciate and actively supported), the painter E. Delacroix, the poet V. Hugo. Paganini captivated the audience with the pathos of the performance, the brightness of the images, the flight of fantasy, dramas. contrasts, extraordinary virtuoso scope of the game. In his lawsuit, the so-called. free fantasy manifested features of Italian. nar. improvisation style. Paganini was the first violinist to perform conc. programs by heart. Boldly introducing new techniques of the game, enriching the coloristic. the possibilities of the instrument, Paganini expanded the sphere of influence of the Skr. lawsuit, laid the foundations of modern. violin playing techniques. He widely used the entire range of the instrument, used finger stretching, jumps, a variety of double note techniques, harmonics, pizzicato, percussive strokes, playing on one string. Some products Paganini are so difficult that after his death they were considered unplayable for a long time (Y. Kubelik was the first to play them).
Paganini is an outstanding composer. His Op. are distinguished by plasticity and melody of melodies, courage of modulations. In his creative heritage stand out "24 capricci" for solo violin op. 1 (in some of them, for example, in the 21st capriccio, new principles of melodic development are applied, anticipating the techniques of Liszt and R. Wagner), 1st and 2nd concertos for violin and orchestra (D-dur, 1811; h-moll, 1826; the final part of the latter is the famous "Campanella"). A large place in the work of Paganini was occupied by variations on opera, ballet and bunks. themes, chamber-instr. prod. and others. An outstanding guitar virtuoso, Paganini also wrote ca. 200 songs for this instrument.
In his compositional work, Paganini acts as a deeply national. artist based on folk Italian traditions. music lawsuit. The works created by him, marked by independence of style, boldness of texture, and innovation, served as the starting point for all subsequent development of skr. lawsuit. Associated with the names of Liszt, F. Chopin, Schumann and Berlioz, the coup in FP. performance and art-ve instrumentation, which began in the 30s. 19th century, was in means. least caused by the impact of the claim of Paganini. It also affected the formation of a new melodic. language characteristic of romanticism. music. The influence of Paganini is indirectly traced into the 20th century. (1st concerto for violin and orchestra by Prokofiev; such skr. works as “Myths” by Szymanowski, conc. fantasy “Gypsy” by Ravel). Some Skr. prod. Paganini edited for piano. Liszt, Schumann, J. Brahms, S. V. Rachmaninov.
Since 1954, the Paganini International Violin Competition has been held annually in Genoa.
Compositions:
for violin solo- 24 capricci op. 1 (1801-07; ed. Mil., 1820), introduction and variations How the heart stops (Nel cor pisch non mi sento, on a theme from Paisiello's La Belle Miller, 1820 or 1821); for violin and orchestra- 5 concertos (D-dur, op. 6, 1811 or 1817-18; h-minor, op. 7, 1826, ed. P., 1851; E-dur, without op., 1826; d-moll, without op., 1830, ed. Mil., 1954; a-moll, begun in 1830), 8 sonatas (1807-28, including Napoleon, 1807, on one string; Spring, Primavera, 1838 or 1839), Perpetual Motion (Il moto perpetuo, op. 11, after 1830), Variations (The Witch, La streghe, on a theme from Süssmayr's Marriage of Benevento, op. 8, 1813; Prayer, Preghiera, on a theme from Rossini's Moses , on one string, 1818 or 1819; I no longer feel sad at the hearth, Non piu mesta accanto al fuoco, on a theme from Rossini's Cinderella, op. Rossini's Tancred, op.13, probably 1819); for viola and orchestra- sonata for large viola (probably 1834); for violin and guitar- 6 sonatas, op. 2 (1801-06), 6 sonatas, op. 3 (1801-06), Cantabile (d-moll, ed. for skr. and fp., W., 1922); for guitar and violin- Sonata (1804, ed. Fr./M., 1955/56), Grand Sonata (ed. Lpz. - W., 1922); chamber instrumental ensembles- Concert trio for viola, vlc. and guitars (Spanish 1833, ed. 1955-56), 3 quartets, op. 4 (1802-05, ed. Mil., 1820), 3 quartets, op. 5 (1802-05, ed. Mil., 1820) and 15 quartets (1818-20; ed. quartet No. 7, Fr./M., 1955/56) for violin, viola, guitar and vocals, 3 quartets for 2 skr., viola and vlc. (1800s, ed. quartet E-dur, Lpz., 1840s); vocal-instrumental, vocal compositions, etc.
Literature:
Yampolsky I., Paganini - guitarist, "SM", 1960, No 9; his own, Niccolò Paganini. Life and creativity, M., 1961, 1968 (notography and chronograph); his own, Capricci N. Paganini, M., 1962 (B-ka listener of concerts); Palmin A.G., Niccolo Paganini. 1782-1840. Brief biographical sketch. Book for youth, L., 1961.
I. M. Yampolsky
In 1837 Niccolo Paganini still gave concerts in Turin, but the following year his health deteriorated sharply. Consumption, the scourge of the 19th century. In 1839, by order of doctors, Paganini settled in Marseille. To the suffering from the disease were added problems associated with a lawsuit, as a result of which the violinist had to pay 50 thousand francs - a very significant amount for those times.
Paganini spent the last months of his life in Nice. In letters to friends, he complained: “The chest cough that torments me is very upsetting, but I hold on more than I can and eat well what the “great cook” prepares for me ... I fall apart and I am infinitely sorry that I cannot see our good friend Giordano again..." It was to Giordano that Paganini's last letter of May 12 was addressed: "My dear friend, it is also possible not to answer a friend's heartfelt letters. Blame it on stubborn and endless illnesses ... The reason for all this is fate, which pleases me to be unhappy ...
Dr. Binet is considered the best doctor in Nice, and he alone treats me now. He says that if I manage to reduce the catarrh by a third, I can stretch a little more; and if it succeeds by two-thirds, then I will be able to eat, but the medicines that I started taking four days ago are of no use.
And yet, before he died, he once again played the violin ... One evening, at sunset, he was sitting at the window in his bedroom. The setting sun lit up the clouds with golden and purple reflections; a light, gentle breeze carried the intoxicating scents of flowers; many birds chirped in the trees. Well-dressed young men and women strolled along the boulevard. After observing the lively audience for some time, Paganini turned his gaze to the beautiful portrait of Lord Byron hanging by his bed. He was inflamed and, thinking of the great poet, his genius, fame and misfortune, began to compose the most beautiful musical poem that his imagination had ever created.
"He seemed to follow all the events of Byron's turbulent life. At first it was doubt, irony, despair - they are visible on every page of Manfred, Lara, Giaura, then the great poet issued a cry of freedom, urging Greece to throw off the shackles, and finally the death of a poet among the Hellenes." The musician had barely finished the last melodic phrase of this amazing drama, when suddenly the bow suddenly froze in his chilling fingers... This last burst of inspiration destroyed his brain...
It is difficult to say how reliable this evidence is, but there is also the story of Count Chessole, who claims that Byron's improvisation of Paganini on the verge of death was amazing.
The poet's prophecy, unfortunately, came true: Paganini, like Byron, knew the full depth of suffering, and before the end, life appeared before him in all its cruel reality. Fame, wealth, love - he had it all, and with all this he was sickened to the point of disgust. Now his soul was completely empty, only endless loneliness and great weariness remained in it. Success left him bitter. And his dying body shuddered convulsively before freezing in the icy stillness of death.
Paganini experienced indescribable torment in the last days of his life - from May 15 to May 27. For many hours he stubbornly tried to swallow at least the tiniest pieces of food, and, already completely losing his voice, he could not even explain himself to his son and wrote his requests on sheets of paper ... Julius Kapp in his book gave a facsimile reproduction of the last sheet on which Paganini wrote : "Red roses... Red roses... They are dark red and look like damask... Monday 18th."
From that day on, he no longer took up the pen. A lot of fantastic things have been written about the last hour of the great musician. One poetic story paints the following picture: Paganini dies on a moonlit night, holding out his hand to his violin. In fact, it wasn't all that poetic. One of the violinist's friends, who did not leave him in recent days, Tito Rubaudo, said that neither he nor anyone else who was around these days thought "that his end was so close, when suddenly Paganini , who agreed to dine, began to cough painfully. This attack cut short the moments of his life.
This is confirmed by another eyewitness - Escudier. According to his testimony, when Paganini sat down at the dinner table, he suddenly began to have a strong attack of coughing. He coughed up blood and immediately choked on it. It happened on May 27, 1840, at 5 o'clock in the afternoon.
In Paganini's will it was written: "I forbid any magnificent funeral. I do not want artists to perform a requiem for me. Let a hundred masses be performed. I present my violin to Genoa so that it will be kept there forever. I give my soul to the great mercy of my Creator ".
Chronicles of Charon
Niccol Paganini (born October 27, 1782) is an Italian violinist and composer.
The Italian virtuoso violinist and composer Niccolo Paganini was born on October 27, 1782 in the city of Genoa (Italy) in the family of a small merchant.
The young musician performed with great success in Italian cities - Florence, Pisa, Livorno, Bologna and Milan. From 1801 to 1804 Paganini lived in Tuscany. It is to this period that the creation of the famous capricci for solo violin belongs.
In 1805, at the height of his performing fame, the musician changed his concert activities to court service in Lucca as a chamber pianist and orchestra conductor, but in 1808 he returned to concerts.
In 1811 he composed the First Concerto in D major for violin and orchestra, in 1826 the Second Concerto in B minor for violin and orchestra.
The originality of the manner of playing, the ease of owning the instrument soon brought him fame throughout Italy. Paganini repeatedly performed at the La Scala Theatre.
From 1828 to 1834, he gave hundreds of concerts in the largest cities of Europe, which caused an enthusiastic assessment of composers Franz Schubert, Robert Schumann, Frederic Chopin, Gioacchino Rossini, poet Heinrich Heine, writers Johann Goethe, Honore Balzac, Theodor Hoffmann. The Paganini phenomenon had a strong influence on the work of the composer Franz Liszt, who called the Italian maestro's performance "a supernatural miracle."
Paganini's creative path was abruptly interrupted in 1834, the reasons for which were the musician's failing health and a number of public scandals that arose around his figure. He returned to his homeland in Genoa in 1837 as a seriously ill man.
In the last days of his life, Paganini was tormented by bouts of severe coughing, because of which the musician could not eat and speak - he wrote his requests on pieces of paper. Paganini died in Nice on May 27, 1840. After the death of Paganini, the papal curia for a long time did not give permission for his burial in Italy. Only many years later, in 1876, the ashes of the musician were transported to Parma and buried there.
Paganini possessed a precious collection of violins made by Antonio Stradivari, the Guarneri and Amati families, of which Giuseppe Guarneri bequeathed his most beloved and famous violin to the city of Genoa.
The name Niccolo Paganini has become a symbol of the highest virtuosity in musical performance. He laid the foundations of modern violin technique, influenced the development of pianism and the art of instrumentation. Paganini was also a major composer, one of the founders of musical romanticism. Especially popular are his 24 capricci for violin solo, two concertos for violin and orchestra. He also owns various pieces and variations for violin, instrumental ensembles, and numerous pieces for guitar. Many violin works of the greatest violinist have been processed by Franz Liszt, Robert Schumann, Johannes Brahms, Sergei Rachmaninov. The image of Niccolo Paganini is captured by Heinrich Heine in the story "Florentine Nights".
The material was prepared on the basis of information from open sources
Niccolo Paganini(Italian Niccolò Paganini; October 27, 1782, Genoa - May 27, 1840, Nice) - the great Italian virtuoso violinist, composer.
early years
Niccolò Paganini was the third child of Antonio Paganini (1757-1817) and Teresa Bocciardo, who had six children. His father was at one time a loader, later had a shop in the port, and during the census of the population of Genoa, carried out on the orders of Napoleon, he was called "mandolin holder."
When the boy was five years old, his father, noticing his son's abilities, began to teach him music, first on the mandolin, and from the age of six on the violin. According to the memoirs of the musician himself, his father severely punished him if he did not show due diligence, and this subsequently affected his already poor health. However, Niccolo himself became more and more fond of the instrument and worked hard, hoping to find still unknown combinations of sounds that would surprise listeners.
As a boy, he wrote several works (not preserved) for the violin, which were difficult, but he himself successfully performed them. Soon, Niccolo's father sent his son to study violinist Giovanni Cervetto ( Giovanni Cervetto). Paganini himself never mentioned that he studied with Cervetto, but his biographers, such as Fetis, Gervasoni, mention this fact. From 1793 Niccolo began to play regularly at divine services in Genoese churches. At that time in Genoa and Liguria there was a tradition to perform in churches not only spiritual, but also secular music. Once he heard the composer Francesco Gnecco (Francesco Gnecco), who undertook to advise the young musician. In the same year, he was trained by Giacomo Costa, who invited Niccolò to play in the Cathedral of San Lorenzo, of which he was bandmaster. It is not known whether Paganini attended school, perhaps he learned to read and write later. In his letters, written in adulthood, there are spelling errors, but he had some knowledge of literature, history, mythology.
The first public concert (or, as they said then, the academy) Niccolo gave on July 31, 1795 at the Genoese theater of Sant'Agostino. The proceeds from him were intended for Paganini's trip to Parma to study with the famous violinist and teacher Alessandro Rolla. The concert included Niccolò's "Variations on a Theme of Carmagnola", a piece that could not fail to appeal to the Genoese public, which at that time was pro-French. In the same year, the philanthropist Marquis Gian Carlo Di Negro took Niccolò and his father to Florence. Here the boy performed his "Variations ..." to the violinist Salvatore Tinti, who, according to the first biographer of the musician Conestabile, was struck by the incredible skill of the young musician. A concert given by Niccolò at the Florentine theater made it possible to raise the missing funds for a trip to Parma. On the day when Paganini's father and son visited Roll, the latter was ill and was not going to see anyone. In the room next to the sick man's bedroom, on the table were the sheet music of Rolla's concerto and a violin. Niccolo took the instrument and played from the sheet the piece he had created the day before. Surprised, Rolla went out to the guests and, seeing that a boy was playing his concerto, declared that he could no longer teach him anything. According to the composer, Paganini should have consulted Ferdinando Paer. Paer, busy staging operas not only in Parma, but also in Florence and Venice, having no time for lessons, recommended the young violinist to the cellist Gaspare Ghiretti. Ghiretti gave Paganini lessons in harmony and counterpoint; at the time of these lessons, Niccolo, under the guidance of a teacher, composed, using only pen and ink, "24 four-voice fugues." In the autumn of 1796 Niccolo returned to Genoa. Here, in the house of the Marquis Di Negro, Paganini performed, at the request of Rodolphe Kreutzer, who was on a concert tour, the most difficult pieces from the sheet. The famous violinist was amazed and "predicted extraordinary fame for this young man."
At the beginning of 1797, Paganini and his father undertook the first concert tour, Milan, Bologna, Florence, Pisa, Livorno were included in their itinerary. In Livorno, Niccolo gave a few concerts, the rest of the time he devoted to improving his technique and studied on his own without teachers. According to him, in this city he wrote music for the bassoon at the request of a Swedish amateur musician, who complained about the lack of difficult works for this instrument. Due to hostilities, the tour had to be interrupted, Paganini returned to Genoa, and soon, together with the whole family, he left for his father's house in the Polcevera valley. Here he took up the improvement of performing and composing skills. Paganini invented for himself and performed complex exercises similar to those of the 17th century violinist Walter. Having adopted the techniques of the masters of the past, Paganini tirelessly improved in the performance of transitions, staccato, pizzicato (including scales, simple and double trills and harmonics), unusual chords, dissonances, and strove for the correct extraction of sounds at the highest speed. He practiced the exercises for many hours a day until he was completely exhausted.
The beginning of an independent career. Lucca
In 1801, his father's guardianship over Paganini was terminated. He resumed his concert activity in December 1800 in Modena. His fame as an outstanding violinist grew extraordinary. In the autumn of 1801 he arrived in Lucca. Two speeches by Paganini in the Lucca Cathedral were enthusiastically received by the public. In the local handwritten journal Lucca Literary Mixture, Paganini, called the "Genoese Jacobin", was paid tribute as a master, but the author of the message pointed out with disapproval that there was no place in the cathedral for imitation of bird singing, the sound of a flute, horn, trumpet, which so struck the audience that "everyone laughed, admiring the skill and fluency of the instrument." In December 1801, Paganini received the post of first violin of the Lucca Republic. He spent several years in this city. According to the son of the composer Domenico Quilici, Bartolomeo, Paganini also taught in Lucca and worked with the musicians of the orchestra. Probably the most serious love interest of Paganini is connected with the Lucca period. A noble lady, whose name the musician hid all his life, retired with him in his Tuscan estate. Paganini lived there for three years, doing agriculture. During the years of reclusion, he developed a passion for playing the guitar and wrote 12 sonatas for this instrument and violin (Op. 2 and 3). According to the memoirs of Paganini himself, the first time of independent life, in addition to passion for women, he was possessed by love for the card game. Often he lost everything, and "only my own art could save me," but he managed to give up gambling and never touched cards again. For a short while Paganini left Lucca and returned to Genoa. He was invited back to Tuscany by Elisa Bonaparte, who, thanks to her brother, became the princess of Piombino, Lucca, Massa, Carrara and Garniafo. Paganini received the title of "court virtuoso" and at the same time was appointed captain of the princess's personal guard. For a small salary, he performed the duties of the princess's personal musician, conducted performances, regularly arranged concerts and gave violin lessons to the prince. According to Paganini himself, at that time he had an affair with Eliza.
1808-1812 years. Turin, Florence
In 1808, Paganini received a long vacation and went to Italy with concerts. Gradually, he formed his own, different from other violinists, performing style. He became famous for his unusual appearance and behavior during concerts. The halls at his performances were filled not only by connoisseurs of high art, but also by the public, attracted by the external effects and incredible playing techniques that Paganini demonstrated. He kept himself emphatically mysterious and at first did not stop the spread of the most fantastic rumors about himself. Before one of the concerts in Livorno, he injured his leg and, limping, went on stage. There were chuckles in the hall, and when candles fell from the music stand, they grew into friendly laughter. Paganini, keeping a straight face, began to play, but suddenly a string broke on the violin, without stopping, he continued the concert and tore a storm of applause. It was not new for him to play not only on three, but also on two, and even on one string. So, while serving at the court of Eliza Bonaparte, he wrote and performed the play “Love Scene” for the A and E strings, and later, on the birthday of the emperor, the sonata for the G string “Napoleon”. Paganini spent some time at the Turin court of Pauline Bonaparte. Here he became friends with the musical manager of the Princess Borghese, Felice Blangini. Blangini became one of Paganini's most ardent admirers. In one of the letters to friends in Paris, he speaks of Niccolò as follows:
“No one can express in words the charm that his noble performance evokes. No one has ever dared to even dream that one can hear something like this in reality. When you look at him, listen to him, you involuntarily cry or laugh, you involuntarily think about something superhuman. With other violinists, he only has a violin and a bow in common.
In the second half of 1808, Paganini, at the invitation of Eliza Bonaparte, came to Florence. Luigi Picchianti told Conestabile, the first biographer of Paganini, about an event that occurred during the musician's stay in Florence, fully demonstrating his exceptional skill. Paganini was supposed to perform in the house of one of the courtiers, to the accompaniment on the piano, Haydn's Sonata. The musician was very late, and when he arrived, without making the listeners wait any longer, he began to play without checking the violin's tuning. He played superbly, introducing improvised graces at his own discretion. After the first part of the work, Paganini discovered that "la" on the violin differed from "la" on the piano by a whole tone. Picchianti, who was well versed in music, was, by his own admission, amazed: for the correct performance of the Sonata, with such an arbitrary mood of the violin, Paganini had to instantly redo the entire fingering, but the audience did not notice anything.
At the end of 1812, he left the court service that weighed on him and left Florence.
Foreign tours
Around 1813, the musician was present at La Scala at one of the performances of Vigano-Süssmeier's ballet The Nut of Benevento. Inspired by the scene of the unrestrained dance of witches, which struck his imagination, Paganini wrote an essay that became one of the most famous in his work - "Witches", variations on the theme of the ballet "Nut Benevento" for violin and orchestra (Variations on the fourth string).
The work was premiered at his solo concert at La Scala on October 29, 1813. The Milan correspondent of the Leipzig music newspaper reported that the public was deeply shocked: the variations on the fourth string so amazed everyone that the musician repeated them at the urgent request of the public. Following this, Paganini gave eleven concerts in the course of six weeks at La Scala and at the Teatro Carcano, and the variations called The Witches were invariably a special success.
Paganini's fame increased after traveling through Germany, France and England. The musician was very popular everywhere. In Germany, he bought the title of baron, which was hereditary.
On December 27, 1808, in the Masonic lodge of the Great Orient, Paganini sang the Masonic hymn, written by him to the words of Lanchetti. The protocols of the lodge confirmed Paganini's Freemasonry.
At the age of 34, Paganini became interested in the 22-year-old singer Antonia Bianchi, whom he helped with the preparation of a solo performance. In 1825, Niccolo and Antonia had a son, Achilles. In 1828, the musician broke up with Antonia, having achieved sole custody of his son.
Working a lot, Paganini gave concerts one after another. Wanting to provide his son with a decent future, he asked for huge fees, so that after his death his inheritance amounted to several million francs.
Constant touring and frequent performances undermined the health of the musician. In September 1834, Paganini decided to end his concert career and returned to Genoa. He was constantly ill, but at the end of December 1836 he performed in Nice with three concerts.
Throughout his life, Paganini had many chronic diseases. Although no definite medical evidence exists, it is believed that he had Marfan syndrome. Despite the fact that the violinist resorted to the help of eminent doctors, he could not get rid of his ailments. In October 1839, ill and in an extremely nervous state, Paganini came to his native Genoa for the last time.
For the last months of his life, he did not leave the room, his legs constantly hurt, and the diseases were no longer curable. The exhaustion was so strong that he could not take the bow in his hand, his strength was only enough to finger the strings of the violin lying next to him.
Music
The name of Paganini was surrounded by a certain mystery, which he himself contributed to, speaking about some extraordinary secrets of his game, which he would reveal only at the end of his career. During Paganini's lifetime, very few of his works were printed, which his contemporaries explained by the author's fear of discovering many of the secrets of his virtuosity. The mysteriousness and unusualness of Paganini's personality evoked the assumption of his superstition and atheism, and the Bishop of Nice, where Paganini died, refused a funeral mass. Only the intervention of the pope reversed this decision, and the ashes of the great violinist finally found peace only by the end of the 19th century.
The unsurpassed success of Paganini lay not only in the deep musical talent of this artist, but also in the extraordinary technique, in the impeccable purity with which he performed the most difficult passages, and in the new horizons of violin technique discovered by him. Working diligently on the works of Corelli, Vivaldi, Tartini, Viotti, he was aware that the rich means of the violin had not yet been fully guessed by these authors. The work of the famous Locatelli "L'Arte di nuova modulazione" led Paganini to the idea of using various new effects in violin technique. Variety of colors, wide use of natural and artificial harmonics, rapid alternation of pizzicato with arco, amazingly skillful and varied use of staccato, wide use of double notes and chords, a remarkable variety of use of the bow, compositions for performance on the G string, dedicated to Napoleon's sister, Princess Elisa Baciocchi " Love Scene" on the A and E strings - all this surprised the audience, who got acquainted with hitherto unheard of violin effects. Paganini was a true virtuoso, possessing an extremely bright personality, basing his playing on original technical techniques, which he performed with infallible purity and confidence. Paganini possessed a precious collection of Stradivari, Guarneri, Amati violins, of which he bequeathed his wonderful and most beloved and famous violin by Guarneri to his native city of Genoa, not wanting any other artist to play it.
The violin, which the great master played, after his death received the name "Paganini's Widow".
Artworks
- 25 caprices for solo violin, Op.1, 1802-1817
- No. 1, E major
- No. 2, B minor
- No. 3, E minor
- No. 4, C minor
- No. 5 in A minor
- No. 6, G minor
- No. 7 in A minor
- No. 8, E flat major
- No. 9, E major
- No. 10, G minor
- No. 11, in C major
- No. 12, A flat major
- No. 13, B Flat Major
- No. 14, E flat major
- No. 15, E minor
- No. 16, G minor
- No. 17, E flat major
- No. 18, in C major
- No. 19, E flat major
- No. 20, D major
- No. 21, in A major
- No. 22, F major
- No. 23, E flat major
- No. 24 in A minor
No. 25 in B minor and A la major
- 6 sonatas for violin and guitar, Op. 2
- No. 1, in A major
- No. 2, in C major
- No. 3, D minor
- No. 4, in A major
- No. 5, D major
- No. 6 in A minor
- No. 1, in A major
- No. 2, G major
- No. 3, D major
- No. 4 in A minor
- No. 5, in A major
- No. 6, E minor
- No. 1 in A minor
- No. 2, in C major
- No. 3, in A major
- No. 4, D major
- No. 5, in C major
- No. 6, D major
- No. 7, E major
- No. 8, in A major
- No. 9, D major
- No. 10, in A major
- No. 11, B major
- No. 12 in A minor
- No. 13 in F minor
- No. 14, in A major
- No. 15, in A minor
Musical works based on the works of Paganini
- I. Brahms, Variations on a Theme of Paganini.
- S. V. Rachmaninov, Rhapsody on a Theme of Paganini.
- 6 studies by F. Liszt.
- F. Chopin, Variations in A-dur, "Souvenir de Paganini"
- R. Schumann, studies on Paganini's caprices, Opus 3.
- Luigi Dallapiccola, Canonical Sonatina in E flat major on Paganini's Caprices, for piano
- Alfredo Casella, Paganiniana, for orchestra
- Witold Lutoslavsky, "Variations on a Theme of Paganini", for 2 pianos (theme - Caprice N. Paganini No. 24).
- I. Ya. Berkovich. Etudes on the theme of Paganini (theme - Caprice N. Paganini No. 24).
- N. Milstein, "Paganiniana", for violin solo.
- G. Brehme, Paganiniana: Concert Etudes for Accordion, op. 52.
- Group "Aria", the song "Playing with Fire" from the album of the same name (used by Caprice No. 24 in A minor).
- The group "Grand Courage", the song "Paganini's Violin" (used by Caprice No. 24 in A minor).
- Grouping Leningrad, song "Paganini" from the album Aurora
- P. Necheporenko, "Variations on a Theme of Paganini", for solo balalaika (theme - Caprice N. Paganini No. 24).
In art
- Anatoly Vinogradov. book "The Tale of the Turgenev Brothers. Condemnation of Paganini". - Minsk: Second-hand book. Mastatskaya literature, 1983. - (1936 novel "The Condemnation of Paganini").
- Elena Vorobieva. the book "Chronicles of Arvanda. Legends of the Sleeping City". - St. Petersburg: ITD "SKIFIA", 2010. - (play "The Burnt Road by Niccolo Paganini"). 2.
- Tatiana Burford. book "Nicolo Paganini. Stylistic origins of creativity". - St. Petersburg: Publishing house named after N. I. Novikov, 2010. - (Abstract).
- The fourth album of the rock band Aria is called Playing with Fire. The song, which became the title of the album, tells that Paganini sold his soul to the devil for a virtuoso game.
- The Czech group XIII stoleti dedicated the song Upir s houslemi to N. Paganini.
In cinema
- Das Dreimäderlhaus (1918). Germany. Rayol Lang
- Paganini, made in Germany, starring Conrad Veidt, 1923
- Franz Schuberts letzte Liebe (1926) Germany. Otto Schmul.
- Die lachende Grille (1926) Germany. Hans Wasatko.
- Paganini in Venedig (1929) Germany. Andreas Weisgerber.
- Gern hab "ich die Frau'n geküßt (1934) Germany. Ivan Petrovich.
- Casta diva (1935) Italy. Gualtiero Tumiati.
- The Divine Spark (1935) England. Hugh Miller
- Fantastic symphony / La symphonie fantastique (1942) France. Maurice Schultz.
- Rossini / Rossini (1942) Italy. Cesare Fantoni.
- Heavenly Music (1943) US. Fritz Feld
- A Song to Remember (1945) US. Roxy Roth.
- The Magic Bow (1946) England. Stuart Granger.
- Housle a sen (1947): Bohemian Rapture (1948) Czechoslovakia. Karel Dostal.
- Chopin's youth / Mlodosc Chopina (1952) Poland. Frantisek Jamry.
- Casta diva (1956) Italy - France. Danilo Berardinelli.
- Justification of Paganini (1969, USSR). Vsevolod Yakut
- Paganini / Paganini (1973) (FRG) Antonio Teba.
- Paganini / Paganini (1976) (Italy) Tino Shirintsi.
- Niccolo Paganini, USSR-Bulgaria, 1982 (Information about the film) Starring Vladimir Msryan
- Spring Symphony / Frühlingssinfonie (1983) FRG. Gidon Kremer.
- Zygfryd / Zygfryd (1986) Poland. Christoph Stop.
- Paganini Horror / Paganini Horror - Italian horror film (1989). Luigi Cozzi.
- "Paganini", made in Italy - France, 1989. Starring Klaus Kinski.
- Napoleon (2002) England - France. Starring Julian Rakhlin.
- Moi, Hector Berlioz (2003) France. Claude Josto.
- Paganini: violinist of the devil (2013) Germany, Italy. Starring virtuoso violinist David Garrett.
