Word: paganinis
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...around 1800, an already notorious teen-age violinist arrived in Leghorn to play a concert-with no violin. His name was Nicolo Paganini, and he had pawned his fiddle to pay off a pressing gambling debt. A wealthy merchant offered to lend him a matchless Guarneri del Gesu and, when the performance was over, refused to take it back. "The Guarneri is yours," he cried. "My hands shall never profane the violin which you have touched...
...Have to Swing It (Ella Fitzgerald; Decca). The versatile Ella remakes one of Martha Raye's oldies ("Mr. Paganini, please play my rhapsody"), slips from sweet to husky to artless scat-singing without losing her solid beat...
...Grand Prix, Le Mans, the Mille Miglia. Superstitious, he liked always to have a hunchback friend nearby when he raced, for good luck. He always wore the same yellow sweater, blue pants and tricolored scarf. Italians said of Nuvolari, as they had long before said of their spellbinding violinist, Paganini. that he had "a pact with the devil." This belief was strongly supported by Nuvolari's chief European rival, Achille Varzi. In the 1930 Mille Miglia, Varzi was coasting along the homestretch at night, confident that he was far in the lead. For miles, he had noticed no headlights...
...experience and finesse, the budding LaSalles are no match for such famed international quartets as the Budapest, Griller or Paganini. But where these majestic ensembles tour the cosmopolitan concert circuits, quartets like the LaSalle are digging themselves in as hinterland institutions. The LaSalle finds that it has literally built a new audience. Moreover, by going out of its way to play for young listeners, it is building up chamber-music interest for the time when the youngsters will be buying their own concert tickets...
...performance of Brahms's virtuoso Variations on a Theme by Paganini swept along like a fresh breeze in a musty corridor, slamming doors on heavy-handed traditions and uncovering the fine old structure. Listeners heard more details than they believed possible, played in tones of pastel shading. Then the pianist flashed through Schoenberg's tortuous Suite, Op. 25 and surprised even hardened modern music lovers: its improbable burblings came through almost as easily as a Viennese waltz. After that came Beethoven's Sonata, Op. 110 and, for a dazzling change of pace, Ravel's Gaspard...