Niccolò Paganini

Niccolò Paganini, (Genoa, October 27, 1782 – May 27, 1840 in Nice) was a violinist, violist, guitarist and composer. He is one of the most famous violin virtuosi, and is considered one of the greatest violinists who ever lived, with perfect intonation and innovative techniques. His influence in violin music, and the musical world in general was unequalled.

Paganini and the development of violin technique

The french violinist Ivry Gitlis once said, "Paganini is not a development ... there were all these and then there was Paganini." Though some of these violinistic techniques employed by Paganini were already present at his time, progression on violin technique was slow up to this point. Arcangelo Corelli (1653-1713) was considered the father of violin technique, transforming the role of the violin from a continuo instrument to a solo instrument. Johann Sebastian Bach (1685-1750), with his Sonate e Partite per violino solo (BWV 1001-1006) firmly established the polyphonic capability of the violin. The first exhaustive exploration of violin technique was found in the 24 caprices of Pietro Locatelli (1693-1746), which at the time of writing, proved to be too difficult to play (although they are now quite playable). Most accomplished violinsts of the time focused on intonation and bowing techniques (the so-called right-hand techniques for string players), the two issues that are most fundamental and also critical for violinists.

Related Topics:
Ivry Gitlis - Arcangelo Corelli - Continuo - Johann Sebastian Bach - Sonate e Partite per violino solo - Pietro Locatelli

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Paganini brought forth new techniques for violinists and composers. The writing of violin music, and piano music to some degree, were drastically changed through Paganini. His music often called for a wide range of advanced fingering and bowing techniques that proved sensational to audiences and challenging to colleagues of the period. His concert music often called for a combination of staccato, harmonics, pizzicato (on both hands), and wide musical intervals (as much as a major tenth). Though Paganini's composition was not considered truly polyphonic (Eugène Ysaÿe once criticised, that the solo/instrumental accompaniment to Paganini's music was too "guitar like", lacking any character of polyphonism), he expanded the timbre and colour of the instrument to levels previously unknown.

Related Topics:
Staccato - Harmonics - Pizzicato - Musical intervals - Eugène Ysaÿe - Timbre

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Paganini was capable of playing three octaves across four strings in a hand span, an impossible feat even by today's standards. His flexibility was believed to be a result of Marfan Syndrome or Ehlers-Danlos Syndrome. His almost inhumanly-possible fingering techniques such as harmonic double-stops, parallel octaves (and tenths), and left-hand pizzicato, are now routine exercises for aspiring violinists. Such leaps in the evolution of violin techniques are only paralleled by the likes of Josef Joachim, and Eugène Ysaÿe, almost half a century later.

Related Topics:
Marfan Syndrome - Ehlers-Danlos Syndrome - Josef Joachim - Eugène Ysaÿe

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It was also believed, that virtuoso pianists and composers like Liszt and Chopin are themselves influenced by Paganini, in performance and composition. Johannes Brahms considered a complete masterpiece. A number of virtuoso pianists, including Franz Liszt, Sergei Rachmaninoff and Brahms himself, paid homage to Paganini by composing variations on the last of his caprices (theme and variations in a minor) for the piano.

Related Topics:
Johannes Brahms - Franz Liszt - Sergei Rachmaninoff

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