In 1798, the father escaped because of the begotten mother. It's difficult to decide, while reading different encyclopedias and a published biography of Paganini, which are reality and legend regarding his life.
The decline of the tradition of instrumental music in Italy during the 19th century, the first signs of which had appeared late in the previous century, resulted from a number of related and complex events: the dispersion of Italy's leading composers throughout Europe, the gradual and unrelenting decline of Italian orchestras and, most importantly, the evolution and spread of the operatic style.
Whereas instrumental music on German Romanticism assumed a completely autonomous and dominant position, Italian composers felt more and more captive to the wiles of opera, gradually abandoning thematic elaboration and a classical sense of form for a dramatic stage style.
The nature of the 19th century concerto is inseparable from the idea of virtuosity. The new audiences and institutions that promoted popular concerts contributed to the transformation of the musician into an actor. It is within the framework that one must consider the violin concertos by Niccolo Paganini, the violin virtuoso who mesmerized such as Franz Liszt, Robert Schumann and Johannes Brahms.
Paganini elevated the dying tradition of improvisation to a transcendental level with his dazzling performances,a and, he gave rise to a star worship comparable to that which vocalists enjoyed, colored, however, by a "demonic" aspect unique to instrumental music. In fact, Paganini's concertos for violin show strong ties to operatic tradition in the form of numerous Rossini-like cadenzas - something in common to most Italian instrumental music of that time.
The "Concerto or Violin in d-major", composed in 1817-18 (an earlier concerto was dated 1815), gives wonderful expression to the musical charm of this epoch. From a convential and rather superficial point of view, it anticipates the 19th century tradition. The central "Adagio espressivo" transforms operatic elements of an aria to a moving and personal romance, modest, yet dignified.
The "Concerto for Violin No. 4 in d-minor", composed in 1829-30 and first performed in Frankfurt/Main on the 16th April 1830 (and revived by Gallini in Paris in 1954!), displays a pronounced balance between melody and virtuosity.
Pagaini's play, many times, was described as "devil's play". He composed many pieces for the g-string, maybe, because during many performances his violin strings have been cut because of this "devil's play"... .
His sonatas and compositions for guitars have been forgotten since long, even wonderful to be listening. I am glad, I still have some pieces in my music library... .
