plete without some account of Paganini's art beyond that given in the story of his life. Here I do not venture to write as a violin expert, and I shall only quote

surpassed by Locatelli. We have to take into consideration the concert-pitch in use at the time of Paganini's public career. That, I take it, corresponded very closely with the Diapason normal now coming into general use. Paganini employed t

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is compositions as well as of his performances. Then there was his particular kind of staccato, produced by throwing his bow forcibly on the string, "letting it spring while he runs through the scales with incredible rapidity, the tones rolling like pearls" (Guhr). The Rev. Dr. Fox said the bow seemed to act with the elasticity of a spring fixed at one end, and made to vibrate. The combination of bowing

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e pupil of his age, and fell from his high estate. On the other hand, he may be said to have discovered the powers of the fourth string, to which, by the employment of harmonics, he gave a compass of three octaves. He was censured for his partiality in this direction, but in these days every violinist plays a solo on the G string. Is not Bach's "Aria" played everywhere as a fourth string solo? Yet, as musicians know, it was not written for that string, nor as a solo, forming, as it does, the theme of the slow movement of the "Overture in D," for strings, two oboes, three trumpets, and drums. Moreover, in Mozart's Viol

mport of the composition itself.[45] In many concertos the chorus violins-if I may so call them-sometimes play the same notes with the soloist, and so absorb the tone of the latter that the listener can only hear the mass of violin tone. It is on record that Paganini was never overpowered by the tutti in any of the pieces he played, though some writers say his tone was not remarkable for volume. The explanation may be found in what follows. Paganini had an almost morbidly keen musical organisation, an acute sense of hearing, in which he resembled Mo

r declined. He afterwards explained to Spohr that his style of playing was calculated for the great public only; and that if he were to play to Spohr he must play in a different manner, for which he was not then inclined. So it was not until 1830 that Spohr heard Paganini at Cassel. This is what he wrote: "In June, 1830, Paganini came to Cassel and gave two concerts in the theatre, which I heard with great interest. His left hand, and his constantly pure intonation were to me astonishing. But in his compositions and his execution, I found a strange mixture of the highly genial and childishly tasteless, by which one felt alternately charmed and disappointed, so that the impression left as a whole was, after frequent hearing, by no means satisfactory to me." Paganini was playing to his "great public," and in that respect lost Spohr's esteem; but can a great violinist, of strong personality, be perfectly just to a contemporary of a different temperament? Schumann, as a composer, could look upon Paganini from a different point of view. This is what he says: "When I heard him for the first time, I expected him to begin with a tone such as had never been heard before. But with how small, how thin a tone he commenced! Then he began to weave his spells; invisibly he threw out his magnetic chains among the public; they oscillated above and around. And then the rings became more and more intricate; even the audience seemed to contract, while he interlaced his tones until they seemed melted into one-one with the master himself, all counterbalancing each other with sympathetic influence."

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er stated that Paganini often assured him that his talent was the result of a secret discovered by himself, a secret he intended to reveal, before his death, in a method for the violin, which should have but few pages, but which should throw all violinists into confusion. Fétis questions the existenc

"There was no trick in his playing; it was all fair, scientific execution, opening to

g beyond technique. I have heard many persons, professional and amateur, speak of his playing as something beyond conception, not only in regard to execution, but in the power of swaying an audience, playing upon their emotions; the whole man was an instrument. No other artist was so widely quoted by his contemporaries. Mendelssohn, Chopin, and others make reference to Paganini whenever anythin

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n in his own. The Rev. Dr. Cox heard Paganini play the first movement of Beethoven's Concerto-in fact it was performed for his special edification. This is what he said of it: "Never shall I forget the smile on that sad, pale, wan, and haggard face, upon every lineament of which intense pain was written in the deepest lines, when I caught his eye, or the playing, into which a spirit and sympathy were thrown that carried one wholly away. As soon as he had concluded, and

the hands of a Paganini, came forth at a bound. This illustrious violin was often credited with the charm which belonged to the performer; the magical effects and sublime strains that he drew forth from it, must, it was thought, rest in the violin. Every would-be violinist, whose means permitted him to indulge in the luxury, endeavoured to secure an instrument by th

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and Mlle. Neumann, who gave concerts in Venice and elsewhere, in 1838. But all these were of small account. The question remains. Did Paganini influence the art of violin playing, and in what direction? Let a very recent writer contribute an answer. "We would not miss this greatest of fiddlers in the annals of violin playing-no, not for a Spohr or any other great modern violin master; but his influence can hardly be called beneficial. It forced violin playing into a Procrustean bed unsuited to its true nature and mission. Paganini had temporarily transformed the angel into a devil, and the angel did not escape unscathed-Lucifer burned his wings. Violin-playing will never be quite what it was before Paganini. He helped to hurry the growing old process-brought out the lines, the spots, and the wrinkles on the once fair face. He, before all others, established the iron rule of technique, with its train of other evils, in the place of the gentler r