VI.

Dr. Ludwig Spohr's fame as a composer has far overshadowed his reputation as a violin virtuoso, but the most capable musical critics unite in the opinion that that rare quality, which we denominate genius, was principally shown in his wonderful power as a player, and his works written for the violin. Spohr was a man of immense self-assertion, and believed in the greatness of his own musical genius as a composer in the higher domain of his art. His "Autobiography," one of the most fresh, racy, and interesting works of the kind ever written, is full of varied illustrations of what Chorley stigmatizes his "bovine self-conceit." His fecund production of symphony, oratorio, and opera, as well as of the more elaborate forms of chamber music, for a period of forty years or more, proves how deep was his conviction of his own powers. Indeed, he half confesses himself that he is only willing to be rated a little less than Beethoven. Spohr was singularly meager, for the most part, in musical ideas and freshness of melody, but he was a profound master of the orchestra; and in that variety and richness of resources which give to tone-creations the splendor of color, which is one of the great charms of instrumental music, Spohr is inferior only to Wagner among modern symphonists. Spohr's more pretentious works are a singular union of meagerness of idea with the most polished richness of manner; but, in imagination and thought, he is far the inferior of those whose knowledge of treating the orchestra and contrapuntal skill could not compare with his. There are more vigor and originality in one of Schubert's greater symphonies than in all the multitudinous works of the same class ever written by Spohr. In Spohr's compositions for the violin as a solo instrument, however, he stands unrivaled, for here his true _genre_ as a man of creative genius stamps itself unmistakably.

Before the coming of Spohr violin music had been illustrated by a succession of virtuosos, French and Italian, who, though melodiously charming, planned in their works and execution to exhibit the effects and graces of the players themselves instead of the instrument. Paganini carried this tendency to its most remarkable and fascinating extreme, but Spohr founded a new style of violin playing, on which the greatest modern performers who have grown up since his prime have assiduously modeled themselves. Mozart had written solid and simple concertos in which the performer was expected to embroider and finish the composer's sketch. This required genius and skill under instant command, instead of merely phenomenal execution. Again, Beethoven's concertos were so written as to make the solo player merely one of the orchestra, chaining him in bonds only to set him free to deliver the cadenza. This species of self-effacement does not consort with the purpose of solo playing, which is display, though under that display there should be power, mastery, and resource of thought, and not the trickery of the accomplished juggler. Spohr in his violin music most felicitously accomplished this, and he is simply incomparable in his compromise between what is severe and classical, and what is suave and delightful, or passionately exciting. In these works the musician finds nerve, sparkle, _elan_, and brightness combined with technical charm and richness of thought. Spohr's unconscious and spontaneous force in this direction was the direct outcome of his remarkable power as a solo player, or, more properly, gathered its life-like play and strength from the latter fact. It may be said of Spohr that, as Mozart raised opera to a higher standard, as Beethoven uplifted the ideal of the orchestra, as Clementi laid a solid foundation for piano-playing, so Spohr's creative force as a violinist and writer for the violin has established the grandest school for this instrument, to which all the foremost contemporary artists acknowledge their obligations.

Dr. Spohr's style as a player, while remarkable for its display of technique and command of resource, always subordinated mere display to the purpose of the music. The Italians called him "the first singer on the violin," and his profound musical knowledge enabled him to produce effects in a perfectly legitimate manner, where other players had recourse to meretricious and dazzling exhibition of skill. His title to recollection in the history of music will not be so much that of a great general composer, but that of the greatest of composers for the violin, and the one who taught violinists that height of excellence as an excutant should go hand in hand with good taste and self-restraint, to produce its most permanent effects and exert its most vital influence.

NICOLO PAGANINI.

The Birth of the Greatest of Violinists.--His Mother's Dream--Extraordinary Character and Genius.--Heine's Description of his Playing.--Leigh Hunt on Paganini.--Superstitious Rumors current during his Life.--He is believed to be a Demoniac.--His Strange Appearance.--Early Training and Surroundings.--Anecdotes of his Youth.--Paganini's Youthful Dissipations.--His Passion for Gambling.--He acquires his Wonderful Guarnerius Violin.--His Reform from the Gaming-table.--Indefatigable Practice and Work as a Young Artist.--Paganini as a _Preux Chevalier_.--His Powerful Attraction for Women.--Episode with a Lady of Rank.--Anecdotes of his Early Italian Concertizing.--The Imbroglio at Ferrant.--The Frail Health of Paganini.--Wonderful Success at Milan, where he first plays One of the Greatest of his Compositions, "Le Streghe."--Duel with Lafont.--Incidents and Anecdotes.--His First Visit to Germany.--Great Enthusiasm of his Audiences.--Experiences at Vienna, Berlin, and other German Cities.--Description of Paganini, in Paris, by Castil-Blaze and Fetis.--His English Reception and the Impression made.--Opinions of the Critics.--Paganini not pleased with England.--Settles in Paris for Two Years, and becomes the Great Musical Lion.--Simplicity and Amiability of Nature.--Magnificent Generosity to Hector Berlioz.--The Great Fortune made by Paganini.--His Beautiful Country Seat near Parma.--An Unfortunate Speculation in Paris.--The Utter Failure of his Health.--His Death at Nice.--Characteristics and Anecdotes.--Interesting Circumstances of his Last Moments.--The Peculiar Genius of Paganini, and his Influence on Art.