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THE Paganini.....He practice 10 hours a day................

niccolo Paganini

They say he sold his soul to the Devil to be able to play so well. Some like to say that the Devil was sure to have been in attendance at every one of his recitals. On a list of violin virtuosity, no one is allowed to top Paganini. Robert Schumann once said, “Who is most responsible for the foundation of Christianity? Paganini must stand on the same rung of the violin’s ladder.”

He lived from 1782 to 1840, and traveled Europe leaving the public in abject awe after every recital. He practiced 10 hours a day, by his own admission, and, coupled with his talent, he had no choice but to become as fluent on the violin as he was in Italian.
He became rich by his performances, of course, but did not have a special violin made for him. In the field of violins, the extremely rich are able to acquire an instrument made by the most famous two luthiers in history: Antonio Stradivari and Giuseppe Guarneri.

Paganini owned several fine instruments, but his favorite, and the one on which he played for most of his career, was made by Guarneri, in 1743. Paganini endearingly referred to it as his “cannon violin,” and the nickname has stuck. It is Il Cannone Guarnerius, and is housed in the town hall of Genoa, Italy, Paganini’s home town, and is taken out now and then to be played on by the best in the world.

Il Cannone has an extremely shallow bridge under the strings, enabling the player to play 4 notes at once with ease, but at the price of an extreme demand for technical precision. Paganini never missed a note. He wrote what remain, by far, the most difficult pieces of violin music of the world’s repertory. His very first opus number is comprised of his 24 Caprices for solo, the 24th of which, in a minor, is the most well known, having been transcribed for other instruments, and set to variations, by many great composers.

Paganini could, according to Mendelssohn, who went to several of his recitals, play this caprice on one string. A violin has four strings, and the performer is supposed to use any one of them to facilitate scale runs, octave leaps, etc. Otherwise, very long fingers, and extraordinary dexterity and accuracy are required. Paganini would walk out, take his bows, then ask a random lady in the front row to pick a string. He would then play the 24th Caprice, which was very popular, on that string. He could also play his Moto Perpetuo, or Perpetual Motion, on one string.

His influence on modern violin technique is more profound than any other such influence in music, save perhaps Liszt on the piano.

He boggled so many minds with his breathtaking wizardry, that, on his death, doctors dissected his hands and wrists to see if he had been born a freak: they expected to find more cartilage than usual, but actually found less, because he had played so much he had worn it down, just like a marathon runner’s knees. His fingers were quite long, but there had been no cheats or tricks of any kind. He was simply well practiced.

Honorable mentions: Eugene Ysaye, Isaac Stern and Itzhak Perlman, Francesco Maria Veracini; Joseph Joachim; Nathan Milstein, Yehudi Menuhin, Anna-Sophie Mutter, Wolfgang A. Mozart (yes, he was that goo

How To Practice a Musical Instrument

First, here are some basic principles that apply to all levels:

• You are your own best teacher. Only you can make yourself into a better and better player. You absolutely must understand this!

• Practicing should be fun. It’s fun to be good at something, and it’s fun to be constantly improving your skills.

• Practice with your brain turned on and you will learn twice as fast.

• Part of good practicing is developing your ability to concentrate. If you always try to focus to the best of your ability, you will actually get better at focusing!

• When you identify a problem spot in a piece, turn that spot into an exercise. Play it as slowly as necessary to eliminate the mistake, then gradually increase the tempo. A metronome can be useful for this.

• Practice being correct. When you are working on a difficult piece or section, don't try for a fast tempo until you are ready. If you try to play it too fast, you will make the same mistakes over and over, and you will get better at making those mistakes. You don’t want that!

• Try to practice every day, or nearly every day. Find a time of day that works for you, and stick to it.

• Find a place to practice where you can concentrate - no TV, or anything else bothering or distracting you.

• Be patient with yourself. Learning to play an instrument is a long-term project.

Carol George (Best Classical violinist in India )

Violin Quote

Life is like playing a violin solo in public and learning the instrument as one goes on.

Samuel Butler

Itzhak Perlman