Constitutional Whig. [volume] (Richmond, Va.) 1824-1832, 1831-08-04
PAGANINrs CONCERT. .

LoNpoN, June This performance, rospec,-
ing which public curiosity has been so highly ex-
cited, ok place yesterday evening at the kings
hsare The CHI f. or rather he sole Interest
If the concert oen'er"d in Paganini himself The
artists engaged, and the music selrcrd wi h
the exception of his COMPOSITIONS ana p,rf,rrn-
anc"s. complying n" novelty, nor any thing be-
yond rhr ntfraciIcn of an ordinary concert Pa
ganin per'nrn'd three pieces. The first was
Grand Concerto, with orchestral aocompau-
nents, Consisting IF an All gr' Maentoso, an
Adh9'o Appassiona O, and q Rondu Brilsnte
The second vas Socata Mllitairr, petformed
on one string, (thc fourthl and the last n vari-
azone ON Mel Cor Pin, played without accompa-
lnents; the whole being coDlpnsedas we'll at
peIf'rmed by Paganini.
VI PaS"ninl'S performance description cal
convey to our readers adequate conception
Indeed 1t were task Of almost equal ficuity
10 give an liea of the delight manifesto by he
ahd'eucc. we meyer saw, and never thought l.
possible we should see, an audience so generally
-Xc.ted. fsuch players as Llndey aid Drag
on u are unabta To describe, or even comprrhe nd
the mysteries OF his exhibition, hpY is IL to te
expected firm any other person, Dazzling and
astonishing as Is lis execution fihe music we
lo"K upon him as man Of great musical mind
fertility OF imagination, and a susceptibility of
feeling, so apparent both To the beInder aud lis
tencr. that lie at once seizes hold of Tie syrnps-
thy OF his audience, and leaves them to vent their
1eeIngs of astonslment and delight IN bursts oil
enthusiasm. In his style are united the lnaiesly
OF Rode, The vgor of Baile, the sentiment OF
Sp 'hr, the sensbity Of Kicsewettcr the suavi,y
Of Va carl, The mastery of Maurer, the iustes.e
OF Lafont, and The elegant expression of De
Beriot Hence, and il is but justice TO say so
much OF thIs extraordinary man, all the an
tlcPatlons ormed Of him, however highly
coloured, have fallen short of the realty
tie Is not only the finrsr player perhaps, that
has ever existed, on tiIBt INSTRUMENT but he
forms ciass by himself and produces EFFECTS
which he has been he first to discover, ard in
which few, ifany, iIn:tntors will be able to follow
him. The difficulty and complexity of the pas
sages played by Pagann are truly wonder full
and the ease with which he conaners them l.
Perfec'. Phey do not, however, form that
hich IS most to be admir- ed in him. His peni
us s displayed in far greater degree in his slow
movements in which he dew lopes, as 1t may
without exsggeration be SAID, every shade and
gradatioD Of feeling. His violin in such passa-
ges, seems to be a part of himself ana to be come
that medium IN which he can best portray the
workings OF his mind-I1is mind as it were
oozes out at his fingers ends with an Intelligence
utterly indescrbable. Ii the instrument could
be sad to speak and 10 feel, it docs So in his
hands. The dcllcacy and truth Of his intona-
ton are IN all cases c0pspIcious.-The note, at
tennated aImns, TO thread, is still heard as dis
t'ncily as wden he draws forth the whole power
of the instrument.
The mns remarkable parts of Papnninis mr.
chanlsm ore, his ps- of Dotes rroducrt by the
hngefs IF the LETT hand, simultaneously with
rhUse produced by the bow; and his bafmnn,c
notes. WI ich made by the slightest poss bile
pressure ofthe string, and ressnibie from their
clearness and swe,GDess, The very hrh notes OF
The flute. The formation Of these latter is fam-
liaT TO a certain extent, to- ali musicigps bat |
they seldom, or ever travel ont Of the common !
chord PaEsEnl, however gives long and diff |
cut passages, double notes, and even shake & IN |
this medium. He changes also with ,op.diy
from the harmonic to the Common passs eos |
WITHOUT any sensible break in the rythm 3, |
0 ne use Of lie pizzicaio at the sane time with |
TIE bowed m es. he may BE- said to combine The |
vi'i'n aud the guitar IN the same insfrnncnf,-
Ills APP aggnIs are gwen with q negtpcss and |
precision which is altogether without parallel
Ills execution Of double shakes and octave mas |
ages is highly beautiful The latter are oiyen
With such perfect iutoualioD. that thew arne.r |
unless one listens viii extreme attention ~ be |
the same note. Pseanini does The stacca,o !; |
a manner quite diffeIeDi from oil other erfor-
mPrs. He strikes his bow 0nce ON Tho s,rirg /
and II seems to ron by treinulons n,.tion over
81 many notes rs he chooses TO include IN tho /
siacca'o passage. Tbis, TOO, he does wnh The
qmekness almost ofthoUght ITSELF His manner
of striking chords was quito peculiar. lie al
ways used either end Of The bow f,r that pur-
pose, and IN such way, that before it touched /
'bs s;TIngs, one might have thought That the eF !