Catapulting into Classical

A headlong leap into music, history, and composing

Haiku Wednesday:  Paganini, the Devil’s Violinist

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NiccoloPaganini

Did he sell his soul?
Did he have extra fingers?
No; he was that good.

They swooned when they saw
His flying fingers and heard
Songs played from the soul.

Niccolò Paganini (27 October 1782-27 May 1840) was the premier violinist of his time and an outstanding composer.  His 24 Caprices for Solo Violin have been the inspiration and bedevilment of generations of violinists.  And that was his Opus 1!  He composed solos, duos, trios, and quartets, including works for the violin, viola, and guitar.  He is also well known for his works on violin technique.

Although he was employed at various times in his career by nobility, most of the time Paganini was a freelance virtuoso.  He performed his own works in concerts, and his fame spread far beyond his native Italy.  His themes have been used by numerous composers as the basis for sets of variations.  His work has also been incorporated into performances by guitarists far outside the classical realm, namely rock guitarists Yngwie Malmsteen and Steve Vai.

Ever the showman, it is said that Paganini intentionally used worn strings in performance so that they would break, at which point he would continue playing on the remaining strings as if nothing had happened.  Paganini even wrote a violin piece to be played on only one string. (Jazz fans: check out the video of bass player Victor Wooten playing with a broken string–like a boss. String breaks at about 2:45.)

Paganini’s appearance only added to the mesmerizing effect of his playing.  Tall, gaunt, dressed in black, many suspected that the only way one could play so rapidly and so well was through a pact with the devil.  But a human source of his great flexibility and appearance is more likely.  It is believed that Paganini had Ehlers-Danlos syndrome or Marfan syndrome, a symptom of which is abnormal flexibility of the joints.  But a period during which he is said to have played up to 15 hours a day may also have had something to do with it.

Here is Jascha Heifetz playing Caprice No 24.

You can hear all 24 caprices here.

Here is Paganini’s La Campanella (Violin Concerto No 2 in B Minor, Op. 7, third movement).

Here is Paganini’s Duetto Amoroso for violin and guitar.

Want to hear a 1615 viola?  Here is Paganini’s Sonata per Gran Viol played on the Amati viola “La Stauffer.”

References

https://en.wikipedia.org/wiki/Niccol%C3%B2_Paganini

http://www.guitarramagazine.com/nicocolopaganini

http://www.violinstudent.com/biographies/paganini.html

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1071620/

http://www.guitarworld.com/yngwie-malmsteen-pays-tribute-worlds-first-shredder-niccolo-paganini

Nicolo Paganini: His Life and Work, Stephen Samuel Stratton. NY: Scribner’s, 1907. http://www.gutenberg.org/files/39571/39571-h/39571-h.htm

_____

Image attribution:  Niccolò Paganini  by Jean Auguste Dominique Ingres [Public domain], via Wikimedia Commons https://commons.wikimedia.org/wiki/File%3ANiccoloPaganini.jpeg

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4 thoughts on “Haiku Wednesday:  Paganini, the Devil’s Violinist

  1. Connective tissue disorders often lead to disability in the affected joints, because they are hyperextensible, meaning they can bend the wrong way — IMHO, it’s highly unlikely that either Ehlers-Danlos or Marfan’s was responsible!

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    • Historical remote-post-mortem diagnoses are never certain, and I’m not a doctor, but I thought the abundance of journal articles on the subject and the evidence presented made it worth mentioning.

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  2. What fun stuff! Of course, his work is often attacked as compositionally trashy and show-offy (like lots of Liszt)- but that ignores the great tradition of virtuoso show-off pieces, which goes way back and continues even today. As they say, the first Rock Star (well, he and Liszt). And those devil stories are universal (Faust and Robert Johnson both).

    Thanks!

    Tom

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    • I think it’s interesting that Paganini could be attacked as being compositionally trashy as you noted and yet have his themes used by the likes of Liszt, Schumann, Brahms, Rachmaninoff and Lutoslawski. I guess there must have been something there of substance!

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