Niccolò Paganini

Paganini's music is built on technical effects that he essentially invented: left-hand pizzicato while bowing, extensive harmonics, ricochet bowing, double-stop passages of inhuman difficulty, and scordatura tuning. But beneath the fireworks lies genuine musical substance — his melodies are frequently beautiful, his variation technique is inspired, and his sense of dramatic pacing is masterly. The technique serves the music, even when the technique is the point.

He drew on the Italian violin tradition (Locatelli, Tartini) but pushed it beyond all previous limits. His virtuosity directly inspired Liszt to transform piano technique in similar fashion — Liszt attended Paganini's concerts and resolved to become the 'Paganini of the piano.' Schumann, Brahms, Rachmaninoff, and Lutosławski all wrote variations on his famous 24th Caprice theme.

He burst onto the Italian concert scene as a teenager of extraordinary ability. His European tours in the 1820s and 30s caused sensations wherever he played. His compositions were mostly vehicles for his own performances and were often not published until after his death, when other violinists finally attempted to play them. His health declined in his later years — possibly from mercury treatments for syphilis — and he died at 57.

The rumors about Paganini's pact with the devil were so persistent that when he died, the Church initially refused to allow his burial on consecrated ground. His body was moved multiple times over 36 years before finally receiving a proper burial. His gaunt appearance, dark clothing, and uncanny abilities all fed the demonic mythology — which he did nothing to dispel, since it was excellent for ticket sales.

Paganini was also a superb guitarist — he composed extensively for the instrument and for guitar-string chamber combinations. His guitar works are elegant, lyrical, and surprisingly intimate, revealing a completely different musical personality from the demonic violin showman.

The Caprices are essential repertoire for every serious violinist, and the first two concertos are regularly performed. Individual caprices appear constantly on recitals. The variations on his 24th Caprice theme by other composers (Brahms, Rachmaninoff, Lutosławski) are also frequently programmed. His guitar music and chamber works are underperformed but gaining attention from adventurous musicians.