Nicolo Paganini: His Life and Work. Stephen S. Stratton

of expression that seemed to impart a novelty even to so familiar a theme. He did some wonderful things on the G string, astonishing and delighting all present, especially rivetting the attention of the Emperor, who led the applause.

      The Court Gazette announced that His Majesty, as a testimony of his admiration, had sent Paganini a diploma, appointing him one of the Emperor's chamber musicians, and exempting him from the usual fees of office; this was accompanied by a splendid gold snuff-box set with brilliants. The chief magistrate of Vienna presented Paganini with the gold medal of San Salvador; and, to crown all, a medal was struck in Paganini's honour. This, the work of J. Lang, has on the face a portrait in relief of the violinist, with the inscription:—

      NICOLAO PAGANINI Vindobona

      MDCCCXXVIII.

      and on the back the words:—

      Perituris Sonis non Peritura Gloria.

      surrounding an open music book with the theme of the "Bell Rondo," upon which lies the famous Guarnerius wreathed with laurel. This was the city's parting gift to the great artist.

      These doings were too good to escape the notice of the caricaturist, and a two-act piece was produced at the Theater an der Wien, entitled "The Counterfeit Virtuoso; or, the Concerto on the G string," the music by Kapellmeister Franz Gläser. The overture was ingeniously made up of the principal subjects of Paganini's concertos, ludicrously contrasted with counter subjects of a popular kind. Several of the quodlibets were full of humour, and, with the bon mots and anecdotes, tended to make it a very amusing production for the moment.

      It was at Vienna that the rumour spread abroad of Paganini being in league with the Devil, which accounted for his marvellous performances. The great violinist was much disturbed and annoyed by these calumnies, and had to appeal to the press for aid in refuting them. It may be that his estrangement from the world, his love of solitude, morose temper, and the avarice which displayed itself, all had their origin in the hostile attitude assumed by a section of the public during his foreign tours, for when in Italy Paganini seems to have lived much as others did. Paganini was accompanied by his companion Signora Bianchi, and the son born to them, when he visited Vienna.

      It was in May the little party left Vienna. The concerts had quite prostrated Paganini, and the family went to Carlsbad. After resting there some time Paganini departed for Prague, but an abscess in the face kept him a prisoner for three weeks. Here is a contemporary account which is interesting. Paganini was obliged to place himself under the care of two celebrated medical men, Krumblholz and Nusshardt, and they were the only visitors he received during his lonely residence up three pair of stairs. After a successful operation on the jaw-bone, one of his physicians expressed a desire which was cherished in vain by the whole city—that of hearing some notes from the hitherto silent instrument of the great master; and he entreated him to try if he could rest his violin on his hardly healed chin. Paganini confirmed what has long been said, that even before friends he was very niggardly in the display of his talents. He took his instrument, played one stroke with his bow, and said, "Es geht schon" (that will do). "For eight days before the first concert," continues the writer, "every place was engaged. When I reached the theatre at four o'clock in the afternoon, it appeared as if the house was about to be stormed, so great was the throng on the outside. Many magistrates and people of the first rank were amongst the crowd, and shared my anxious expectation. At last I found myself, I scarcely know how, in the pit, and there awaited for two hours and a half the opening of the concert." The writer then goes on to describe the violinist, his appearance, his smile that made everyone shudder, and the extraordinary performance which roused the audience to the wildest enthusiasm. He then quotes the saying of a Vienna critic: "Paganini has nothing in common with other players but the violin and the bow," and regrets that his friend will not for some time have the opportunity of hearing the superb performer, for he learns that Paganini does not yet intend to visit Paris or London.[18]