Violino guarneri paganini biography

Niccolò Paganini is one of the most legendary performers in the history of music. His musical talent and extraordinary skills, along with his unique performance style, made him a shining star in the 19th-century music world. His favorite violin was the Guarneri Del Gesú Il Cannone 1743 violin.

I: The Bond between Paganini and the Guarneri Del Gesú Il Cannone 1743 Violin

It is said that Paganini, at the age of 15, lost his original instrument in a gambling bet and was distraught over not having a violin to play. At that moment, a violin dealer generously offered him the Giuseppe Guarneri Del Gesú violin, made in 1743. From then on, for 40 years, Paganini never used any other violin for his performances, demonstrating his deep affection for this instrument. Paganini described the sound of the Guarneri violin as resonant as a "cannon," hence its nickname "Il Cannone."

II: Paganini's Protection of the Il Cannone 1743 Violin

Paganini took meticulous care of his beloved violin. Only repair craftsmen he completely trusted were allowed to handle it. According to historical records, during one tour, when the Cannone suffered slight damage due to collision, Paganini had no choice but to seek the assistance of the renowned violin maker and repairer Jean Baptiste Vuillaume. Paganini made a special request that he must sit nearby and observe the entire repair process. Throughout the repair, which lasted for just a few hours, Paganini would jump up and scream nervously whenever the Cannone made any sound due to the repair tools' contact. By the time the repair was complete, he was drenched in sweat and turned to his accompanying friends, saying, "I feel like my soul has been devoured."

III: The Final Destination of the Il Cannone 1743 Violin

In 1837, sensing his deteriorating health, Paganini left behind his only handwritten will, specifying that upon his death, the "Cannone" should be donated to the Genoa city government, his hometown, for permanent preservation. Three

Biography

Niccolò Paganini (born October 27, 1782, Genoa, Italy — died May 27, 1840, Nice, France) was an Italian composer and principal violin virtuoso of the 19th century. A popular idol, he inspired the Romantic mystique of the virtuoso and revolutionized violin technique.

After initial study with his father, Paganini studied with a local violinist, G. Servetto, and then with the celebrated Giacomo Costa. He made his first appearance in 1793 and then studied with Alessandro Rolla and Gaspare Ghiretti at Parma. In 1797, accompanied by his father, he toured Lombardy, where with each concert his reputation grew. Gaining his independence soon after, he indulged excessively in gambling and romantic love affairs. At one point he pawned his violin because of gambling debts; a French merchant lent him a Guarneri violin to play a concert and, after hearing him, gave him the instrument.

Between 1801 and 1807 he wrote the 24 Capricci for unaccompanied violin, displaying the novel features of his technique, and the two sets of six sonatas for violin and guitar. He reappeared in Italy as a violinist in 1805 and was appointed director of music at Piombino by Napoleon's sister, Élisa Bonaparte Baciocchi. He later gave recitals of his own compositions in many towns in Italy and about 1824 formed his long attachment with the singer Antonia Bianchi. In 1828 Paganini experienced great success in Vienna, and his appearances in Paris and London in 1831 were equally sensational. His tour of England and Scotland in 1832 made him a wealthy man.

In 1833 he settled in Paris, where he commissioned Hector Berlioz to write his symphony Harold en Italie. Paganini thought that the challenge of its viola solo was too slight, however, and he never played it. Following the failure of the Casino Paganini, a gambling house in which he had invested, he went to Marseille in 1839, then to Nice.

Paganini's romantic personality and adventures created in his own day the legend o

In the 1960s the ‘Cannon’ was refitted and set up for modern playing conditions. From the late 1970s up to the first years of this century it then went through quite an intense period of use and some of the world’s best players had the privilege to play it. More recently this has been reduced and the ‘Cannon’ now enjoys a more retired life in the refurbished Sala Paganiniana in Genova’s Palazzo Tursi, under the supervision of the Museums of Strada Nuova. It was refitted in 2004 with copies of the fingerboard, pegs, bridge and tailpiece used by Paganini and is exhibited with a set of plain gut strings, as the great virtuoso would have played it.

The ‘Cannon’ has also recently undergone a non-invasive scientific project of monitoring in order to get as much information as possible about the elasticity and physical properties of the wood, and about the physical reaction of the violin while being played. The aim of this research is to monitor the static condition of the violin in order to reduce the risks of use. Luckily the whole construction of the ‘Cannon’, with its thick and structurally sound plates, still forms the most important conservation feature of the violin: this relationship between its bold structure and its powerful sound is an intriguing matter that is mysteriously difficult to investigate.

The ‘Cannon’ possesses a number of features that would seem to complicate its playability. The string length of the violin is 330 mm: long, but within the normal range. It also has a long stop length of 198 mm (the standard is 195 mm), yet the neck is slightly shorter at 128.5 mm than the modern standard of 130 mm and is thicker at the heel, which may create a sense of discomfort for modern players. The neck of the violin was extended from its original length of 125 mm and re

Violin made in 1743

Il Cannone Guarnerius of 1743 is a violin created by the Italian luthierGiuseppe Bartolomeo Guarneri of Cremona (1698–1744).

Il Cannone is also known by the variants Il Cannone del Gesù, and the Cannon, often appended with Guarneri del Gesù, the Guarneri trademark. The violin received its name from a former owner, the Italian violin virtuoso Niccolò Paganini (1782–1840), because of its power and resonance. So associated is Paganini with Il Cannone that it is common for the violin to be referenced as Il Cannone, ex Paganini.

Paganini lost a valuable Antonio Amati violin as a result of his penchant for voracious gambling. He was given a neglected Guarneri violin, a gift from an amateur violinist and businessman. Paganini played on this instrument for the rest of his life, fondly calling it “my cannon violin,” referring to the explosive sound that he was able to make it produce. He bequeathed it to the city of Genoa, Italy upon his death, and it is now considered a national treasure.

When in need of repair, Il Cannone would be sent to the Paris workshop of Jean Baptiste Vuillaume (1798–1875), the greatest luthier of his day. Not only did Vuillaume repair the Guarnerius, but he also made an exact replica. The copy was so exact, that not even Paganini could distinguish one from the other. It was not until Paganini noticed subtle differences in tone that he could identify the original. Paganini presented the copy to his only student, Camillo Sivori, who would later bequeath the instrument to the Municipality of Genoa, where it now is exhibited with the original Il Cannone.

Il Cannone is exhibited alongside other Paganini memorabilia within the Paganini room of the Palazzo Doria-Tursi, the Genoa town hall. The original violin is maintained in playable condition, and is taken out and played monthly by its curator.^[