THE GREATEST OF FIDDLERS.

New Zealand Herald, Volume XXVIII, Issue 8670, 12 September 1891, Page 2 (Supplement)

THE GREATEST OF FIDDLERS.

rAGAXIXIAXA, FROM TIIF. CORNIIILL JUGAZINK.

Was Nicolo Paganini a son of Satan ? This question, which has been gravely asked, lias been as gravely answered. Pagan in i himsolf was upon one occasion forced to publish a letter from his mothor to prove that ho was really of flesh and blood as other men. The publication was quite a serious affair ; but it was evidently without the desired effect, since later on he considered it advisable- to furnish Fetis, his biographer, with the necessary material and dates to refute publicly the numerous absurdities circulated regarding him. Thero ■ can bo no doubt that many people regarded l'aganini's perfect command over the most, perfect of musical instruments as something supernatural. His lifo, moreover, was mysterious, and his appearance cccentric —two facts which, coupled with tho extraordinary skill with which lie played the violin, go a long way towards accounting for the popular theory of Satanic origin to which wo have referred. The current, number of the Cornhill Magazine contains an interesting article called " Paganiniana." It must be admitted that the article sets out little that is new ; but at tho same time is bright and roadable. It is made up of a number of amusing anecdotes about the greatest of all violin virtuosi, and comprises several stories which it may bo worth while to quote. PAGAN VISIT TO KN'OI.AXD. Paganini visited England at least once during the course of his brilliant career. This was in IS;!'-', when he played in London and made a tour through the provinces : —

People characterised his appearance as more like that of a devotee about to suffer martyrdom than one likely to delight with his art. There is a curious letter of his own, written at this time, in which he complained of the excessive and noisy ad-, miration" to which ho was a victim in London, which left him no rest, and actually blocked his passage from the opera house every time he played. " Although the public curiosity to see me," says lie, "is long since satisfied, though I have played in public at least thirty times, and my likeness has been reproduced in all possible stylos and forms, yet I can never leave my house without being mobbed by people who are not content with following and jostling me, but actually get in front of mo and prevent me going either way, address me in English, of which 1 do not know a word, and even feel me, as if to find out if lam flesh and blood. And this not only the common people, but even the upper classes."

"TIIK POWER OF TAKING INKIMTK TAINS." Paganini was a thorough believer in Carlylo's dictum that genius is tho capacity for taking infinite pains. He was known to have tried the same passage in a thousand different ways during ton or twelve hours, and to bo completely overwhelmed at the end of the day. Nothing seemed beyond his marvellous powers, as tho following anecdoic will show :— The word " difficulty" had no place in his vocabulary. The most, intricate music of the day was but child's play to him, as a certain painter at Parma once found, much to his chagrin. This gentleman discredited the common belief that Paginini could get through the most --.difficulty music at first sight. lie possessed a valuable Cremona violin, which he offered to present to the virluoxo if he could perform, straight off, a manuscript concerto which ho placed before him. " This instrument is yours, 1 said he, "if you can play in a masterly manner that concerto at first siirht." "In that case, my friend," replied Paganini, " you may bid adieu to it at once," which tho painter, according to the bargain, found he had to do in a few minutes later.

TJIK SCOTCH I'KOPLK TERUIFIKD. While in this country Paganini visited Scotland, where the inhabitants, who had not yet forgot ton one of their own performers, Neil Gow—a "mon who played ho fiddle wed''—were almost terrified by his cleverness and appearance. In one town (says the writer of tho article under notice) ho came on the platform, cast a ghostly glance around the crowded hall, and extending his right arm, held tho bow pointing to the right, and immediately began to send forth mysterious music with the fingers of his left hand. Softer and softer grew the music, until at last he brought down the bow on the strings with such force that several people fainted with fear. So intense was the excitement that at the close of the performance the audience felt, a painful relief. Paganini looked pretty carefully after his money; but, at the same time, ho was not a miser. Indeed, he was wildly generous upon occasion. He gave Berlioz '20,000f., simply as a mark of admiration for the hitter's " Symphonic Fantastique." But better than this was the manner of his befriending a little Italian whom he found playing on the streets of Vienna. The boy confided to him that he supported his sick mother by his playing, and that he had come from the other side of the Alps. Paganini was touched at once. He literally emptied his pockets into the lad's hand, and, taking his poor instrument from him, began "the most grotesque and extraordinary performance possible." Presently there was quite a crowd around the curious pair, and Paganini, concluding his solo, went, round with the hat. A splendid collection was the result, and after handing this to the boy, Paganini walked off with his companion, remarking, " I hope I have done a good turn to that little animal." With Paganini anyone belonging to the lower orders was always addressed as an "animal." When such an individual dared speak to him lie would turn his back and inquire of his companion, " What does this animal want with mo?"

I'AOANINI AND ASTON IA P. IA N'C r il. The great violinist had a liaison with a famous cantatriee named Antonia Bi.-uichi (the Corn hill Magazine calls her Antonio Bianehi, but this is obviously a misprint), who lived at (Jomo. By her lie had a. son whom he familiarly addressed by the affectionate diminutive " Aehillino," and of whom ho was passionately fond. Antonia seems to have possessed anything but a pleasant temper. Of this lady (says the Cornhill) I'aganini himself tells us that, after many years of a most devoted life, her temper bee im-; so violent that a separation was neces.-wrv. " Antonia," he says, was constantly tormented by the most fearful jealousy ; one day site happened to be behind my chair when I was writing some lines in the album of a great pianiste, and when she read the few amiable words I had composed in honour of ho artiste to whom tho book belonged, she tore .it from my hands, demolished it on the spot, and so fearful was her rage that alio would have assassinated me."

FIVE YKARS UN'IiIJiUKV). Paganini refused upon his death-bed to receive the lust sacraments of the Church of Homo, and, an a consequence, his corpse lay for five years practically unburied. The circumstances.,' of the case were peculiar. It seems that a week before his death the Bishop of Nice sent a priest to administer the usual rite?, but l'aganini, not believing that his end was so near, would not receive them. The Bishop accordingly refused him burial in consecrated ground, and, pending some arrangement, the colfin lay for a lonjj time in the hospital at Nice. The body was afterwards removed to Villa Franca, near Genoa, but still it was not to rest. Reports got abroad that piteous cries were heard at night, and the young Baron Pnganini at last, by making a direct appeal to the Tope, obtained leave to bury his father's remainslive years after the decease !—in the village church near Villa Gaiona. Strantra irony of fate ! Ho who had been decorated with honours by the I'opo himself was in the end refused by that same Pope the rites of Christian burial!