422. EBB to Hugh Stuart Boyd
As published in The Brownings’ Correspondence, 2, 313–315.
Hope End
Wednesday. [22 June 1831] [1]
My dearest friend,
I send you a long description of Paganini & his performances, to help your imagination in his apotheosis. [2] After reading it, of course the whole scale of immortalized intellect,—from the lowest step, on which poor Homer happened to set his foot, up to the highest, where Sir Humphry Davy has placed his safety lamp, [3] —will be thrown to the ground, & Paganini, like another Marius, [4] established on the ruins. I hope I shall soon see you again.
Ever affectionately yours
E B Barrett.
Address, on integral page: H S Boyd Esqr / Ruby Cottage / Malvern Wells.
Publication: Diary, p. 273.
Manuscript: Huntington Library.
1. Dated by Diary, pp. 27–29, entry for 22 June.
2. EBB’s enclosure has not been preserved with the letter, but in view of her daily reading of The Times it seems reasonable to infer that she sent Boyd the critique which appeared in the issue of 4 June 1831; it is this that is here reprinted.
paganini’s concert
This performance, respecting which public curiosity has been so highly excited, took place yesterday evening at the King’s Theatre. The chief, or rather the sole, interest of the concert centred in Paganini himself; the artists engaged, and the music selected, with the exception of his compositions and performance, comprising no novelty, nor any thing beyond the attraction of an ordinary concert. Paganini executed three pieces. The first was a concerto of three movements, described in his own programme—an Allegro Maestoso, an Adagio Appassionato, and a Rondo brillante. The second piece was a Sonata militaire, performed wholly on the first string. These two pieces had the accompaniment of the orchestra. The third piece was a solo, an air with variations on the theme of “Non piu Andrai,” from Mozart’s Figaro.
Nothing can be more difficult than to describe Paganini’s performance on the violin, so as to make the effect of it intelligible to those who have never heard him. Hence, and it is but justice to say so much of this extraordinary man, all the anticipations formed of him, however highly coloured, have fallen short of the reality. He is not only the finest player perhaps that has ever existed on that instrument, but he forms a class by himself, and produces effects which he has been the first to discover, and in which few, if any, imitators will be able to follow him. The difficulty and complexity of the passages played by Paganini are truly wonderful, and the ease with which he conquers them is perfect. They do not, however, form that which is most to be admired in him. His genius is displayed in a far greater degree in his slow movements, in which he develops, as it may without exaggeration be said, every shade and gradation of feeling. His violin in such passages seems to be a part of himself, and to become that medium in which he can best portray the workings of his mind. If the instrument could be said to speak and to feel, it does so in his hands. The delicacy and truth of his intonation are in all cases conspicuous. The note, attenuated almost to a thread, is still heard as distinctly as when he draws forth the whole power of the instrument.
The most remarkable parts of Paganini’s mechanism are, his use of notes produced by the fingers of the left hand, simultaneously with those produced by the bow; and his harmonic notes, which are made by the slightest possible pressure of the string, and resemble, from their clearness and sweetness, the very high notes of the flute. The formation of these latter is familiar to a certain extent to all musicians, but they seldom or ever travel out of the common chord. Paganini, however, gives long and difficult passages, double notes, and even shakes, in this medium. He changes also with rapidity from the harmonic to the common passages, without any sensible break in the rythm. By the use of the pizzicato at the same time with the bowed notes, he may be said to combine the violin and the guitar in the same instrument. There is more of trick and mere dexterity in this than in any other part of his performance, and it is that on which we should be disposed to place the least value, though it appears to have excited the most wonder. His arpaggios [sic] are given with a neatness and precision which is altogether without parallel. His execution of double shakes and octave passages is highly beautiful. The latter are given with such perfect intonation, that they appear, unless one listens with extreme attention, to be the same note. Paganini does the staccato in a manner quite different from all other performers. He strikes his bow once on the string, and it seems to run by a tremulous motion over as many notes as he chooses to include in the staccato passage. This, too, he does with the quickness almost of thought itself. His manner of striking chords was quite peculiar. He always used either end of the bow for that purpose, and in such a way, that before it touched the strings, one might have thought that the effect must be decidedly bad, instead of being, as it was, perfect. The personal appearance of Paganini is remarkable. He is a tall thin man, with features rather emaciated, pale complexion, a sharp aquiline nose, and a keen eye, the expression of which is greatly heightened when he is animated by his performance. His hair, which is dark, is worn long behind, and combed off his forehead and temples in a manner that gives an air of great simplicity to his countenance. He seems to be about 50 years of age. There is a singularity in his manner, which, though partaking of the grotesque, denotes a man of no ordinary stamp, and rivets attention in a very extraordinary degree. This interest which he excited was a good deal increased by his appearing to be in a very weak state of health. Indeed, up to a late hour in the day, it was doubtful, we understand, whether he would be able to perform; and his appearance altogether is said to have been contrary to the judgment of his medical advisers.
The enthusiasm which his performances excited last night among the audience, certainly surpassed any thing of the kind within these walls. Every tour de force and striking passage was not only applauded but cheered by the whole audience, and some of the variations were encored. At the end of every performance, and especially after the last, the applause, cheers, and waving of handkerchiefs and hats, altogether presented a most extraordinary scene.
On the whole, the reception experience by Paganini last night must have convinced him that the opposition encountered to the scandalous attempt to double the prices, in which it is very probable he himself had no share, did not arise from any prejudice against this distinguished artist, or the ability to appreciate his performance as it deserves. Foreigners who have been present at his concerts in several other parts of Europe, remarked that the applause bestowed and the enthusiasm excited last night, was greater than they had ever witnessed before.
The grouping on the stage when Paganini played his concluding piece was extremely striking. All the veterans of the orchestra, Spagnoletti, Dragonetti, Lindley, and others, had placed themselves so as to watch his performance to the best advantage, and they marked strongly by their countenances the lively impression it made upon them. They were not the least fervent in their applause of what they of course were the best able to form a judgment.
There were some vocal performances during the intervals of Paganini’s playing, by Madame Lalande, Mademoiselle Beck, Curioni, Lablache, and Santini.
The pit and gallery were crowded at an early hour. The boxes were not well filled.
3. Sir Humphry Davy (1778–1829), poet, philosopher and scientist, Fellow and later President of the Royal Society, invented a safety lamp (1815) for use in coalmines that was instrumental in saving much loss of life by minimizing the risk of explosions due to firedamp.
4. Caius Marius (157–86 B.C.), Roman general, consul, and leader of republican Rome’s popular party, was the enemy of Sulla.
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