Note 38 — Chapter III

It is right to add here, that M. Guhr has subsequently reduced to a system the results of his investigation into the peculiarities of Paganini’s playing, and, illustrating the whole with copious examples, has published it in a special work, of which an English version, under the title of “Paganini’s Method of Playing the Violin,” has been put forth by Messrs. Cocks and Co. The work is a curiosity in its kind, and lays open, perhaps, as many of the great Artist’s labyrinthine recesses, as could well be traced upon paper, for the guidance of those who would toil in his track. Many of the difficulties thus exhibited to view, are truly astounding—difficulties that look as inexpugnable as the fortifications of Gibraltar! The simultaneous four A’s flat, do “puzzle the will,” while the artificial double harmonics, and other eagle-flights, cause an aching of “the mind’s eye,” in the attempt to follow them. Ordinary students, in beholding such things, may well experience a double shake of apprehension; but those of more energetic fibre, and devoted patience, should by no means despair of attaining, at least, a partial success in the undertaking.

Among the mechanical resources employed by Paganini, as essential for the production of his extraordinary effects, M. Guhr mentions the peculiar smallness or thinness of his strings—a quality the reverse of advantageous, as regards the usual course of playing,—and his frequent habit of screwing up his G string to B flat, through which device certain passages, otherwise unmanageable, were brought within the scope of possibility. Ordinary strings would resent this freedom of treatment by a snap; but those of Paganini were, it seems, expressly fitted and prepared for their higher duty, in a way which M. Guhr minutely explains.