Paganini, Nicolò. (1782–1840). Broadside: Signor Paganini's Farewell Concert (1832). 1832. Broadside, tipped on to card. Loss at upper left corner, affecting one word (Theatre), some chipping and creasing at edges.
Playbills for Paganini's concerts are scarce, especially from his 1831-32 series in London, where he was rapturously received. Of one of these concerts , William Ayrton, editor of The Harmonicon, wrote that " his powers of execution are little less than marvellous, and such as we could only have believed on the evidence of our own senses; they imply a strong natural propensity for music, with an industry, a perseverance, a devotedness and also a skill in inventing means, without any parallel in the history of his instrument."
Playbills for Paganini's concerts are scarce, especially from his 1831-32 series in London, where he was rapturously received. Of one of these concerts , William Ayrton, editor of The Harmonicon, wrote that " his powers of execution are little less than marvellous, and such as we could only have believed on the evidence of our own senses; they imply a strong natural propensity for music, with an industry, a perseverance, a devotedness and also a skill in inventing means, without any parallel in the history of his instrument."
Paganini, Nicolò. (1782–1840). Broadside: Signor Paganini's Farewell Concert (1832). 1832. Broadside, tipped on to card. Loss at upper left corner, affecting one word (Theatre), some chipping and creasing at edges.
Playbills for Paganini's concerts are scarce, especially from his 1831-32 series in London, where he was rapturously received. Of one of these concerts , William Ayrton, editor of The Harmonicon, wrote that " his powers of execution are little less than marvellous, and such as we could only have believed on the evidence of our own senses; they imply a strong natural propensity for music, with an industry, a perseverance, a devotedness and also a skill in inventing means, without any parallel in the history of his instrument."
Playbills for Paganini's concerts are scarce, especially from his 1831-32 series in London, where he was rapturously received. Of one of these concerts , William Ayrton, editor of The Harmonicon, wrote that " his powers of execution are little less than marvellous, and such as we could only have believed on the evidence of our own senses; they imply a strong natural propensity for music, with an industry, a perseverance, a devotedness and also a skill in inventing means, without any parallel in the history of his instrument."