Niccolo Paganini (1782-1840) was called “The Devil’s Son,” and “The Witches’ Brat,” with regards to his “supernatural” abilities as a violinist. The “Satanic” accusation is one that never seems to lose its luster in explaining the extraordinary talents of some musicians. In the Twentieth Century, both Robert Johnson and Jimmy Page were said to have sold their souls as well.
Paganini set the template for what we would recognize today as the decadent rock-star lifestyle. In his time, he was as famous for his womanizing and gambling skills as he was for his playing. Complications from syphilis and a host of other health problems acquired along the way took him prematurely. But he left behind an astounding body of work.
I mention the travails of Paganini’s life not to sensationalize it, but to provide context. The man who many claim was the greatest violinist who ever lived continues to exert a powerful impact on classical music. His contributions to the form were truly revolutionary. Witness the variations on his “A Minor (No. 24),” by such masters as Lizst, Brahms, and Rachmaninoff, to name but three.
That caprice (piece of music) is taken from his most famous work, 24 Capricci For Solo Violin, published in 1820. Mastering the Capricci has long served as the equivalent of a PHD for violinists. They are among the most challenging pieces ever written.
Although the majority of the Capricci fall into the moderato (moderate) tempo, Paganini seemingly filled every bar with as many notes as possible. Frank Zappa composed some similar pieces for guitar, and titled them with variations on “The Black Page.” This was because the sheet-music contained so much ink as to render it’s appearance nearly pure black.
Possibly the trickiest of the 24 is “B-Flat Major (No. 13).” Nicknamed “The Devil’s Laughter,” this is a stunningly complicated work, and a great example of why people were in such awe of Paganini’s talent.
Article comments