Nicolo Paganini: His Life and Work

viduality of that of Paganini. Though few can be living who ever saw the man, though his portraits are not now commonly to be met with, the name of Paganini at once calls up

e theory or doctrine of reincarnation, and to make one fancy that the great Genoese is once again in the flesh. These violinists, too, are all playing Paganini's music; they seem to glory in it, and so do the audiences, although to many serious and wor

and-father were musicians; there were four Mozarts, musicians; and more than twenty Wagners of some standing in the musical world. No one seems to have traced the pedigree of Paganini, but he was preceded and f

the weather was fine," adds the Doctor, who witnessed this uncommon spectacle. "The Paganini" thus anticipated the extraordinary triumphs of the more famous artist of half a century later. Signor Paganini, the husband, was only "a coarse first man," and sang almost without a voice. Next comes Ercole Paganini, born at Ferrara, about 1770, the composer of several operas, produced at La Scala, Milan, and at Florence, from 1804 to 1810. A tenor singer named Paganini appeared in opera at Florence in 1830, was decidedly successful and became highly popular in Genoa in 1836. After Francesco Lamperti was appointed (in 1850) professor of singing at the Conservatorio, Milan, among the good pupils he turned out was one named Paganini, of whom, however, no particulars are forthcoming. In 1865, Cesare Paganini, a theoretical writer, published a treatise at Florence; and in November, 1898, Signora Francesch

rts-threatened with imprisonment and mobbed within an ace of being lynched. As a child of four, Paganini narrowly escaped being buried alive; from youth up he was a constant sufferer from physical disorders; he had no real home till he was fifty-two; after death his remains were refused burial for five years; and when his

devastated the Continent, and Italy became a mere appanage of the French Empire. The political upheaval was accompanied by a revolution in art. The romantic school in music arose, and Beethoven, Schubert, Berlioz, Chopin, Schumann, L

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e child's evident disposition for the art excited the father's avarice, which found little scope for gratification in his small business undertakings. He indulged in golden dreams of the future, and to hasten their realisation was unremitting in his work of instruction. His method was cruel in the extreme. The poor child was kept to his task from morn till night; slight faults were punished with rigour, even blows and starvation being resorted to in order to force the talent which nature had bestowed. This unnatural treatment must have wrung the heart of the gentle mother, and doubtless by way of encouragement she told the poor little fellow of her wonderful dream. An Angel had appeared to her, and promised her the fulfilment of any desire. She asked that her son might become the greatest of violinists, and her prayer was to be granted. This disclosure may have fired the ambition of the child, for he was the hardest of workers, and needed no spur. Already, at six years of age, he was a tolerable player, and was even beginning to find out new paths. His performances excited the admiration and amazement of the neighbours, and even the Maestro Francesco Gnecco visited the little house by the harbour to listen to the w

upon him by hearing that Mozart, at the age of six, had composed a pianoforte concerto, with parts for orchestra, and so difficult that only a virtuoso could