Michael Alec Rose - The Unvarnish’d Truth - for the Paganin/Sivori Vuilaume

Michael Alec Rose - The Unvarnish’d Truth
Dedicated to the Commune di Genova
Peter Sheppard Skærved - Violin
Jean-Baptiste Vuilaume - 1833 ‘Sivori’ (ex-Paganini)
Palazzo Rosso
Nuova Strada Genova
June 10th 2024
Director - Malene Sheppard Skærved
Camera & Editing - Immo Horn
More information here: www.peter-sheppard-skaerved.c...
Peter writes:
On his first visit to Paris, Paganini met the greatest of all French luthiers, Jean-Baptiste Vuillaume, and like every musician who met him admired his craftsmanship and knowledge. Most importantly, he trusted him. In November 1833, he brought his great del Gesù to him. In 1896, in an obituary for Sivori, Madame Jullien, opined that this was because the violin had been damaged falling from a carriage: but most likely he wanted routine maintenance. However Vuillaume had a trick up his sleeve: it should be remembered that Vuillaume was an accomplished, well, forger. Indeed, some of his instrumental forgeries were so successful that, in at leas one case, they were not uncovered until the 21st century (the so-called ‘Dumas’ Maggini - that - is - not - a Maggini is a case in point). In 1940, Franz Farga told the following story:
‘[…] Sivori once played to the Paris violin-maker Vuillaume on a Stainer. Vuillaume was enthusiastic, and said that the tone of the instrument had charmed him greatly. But Vuillaume was a brilliant imitator […] after Sivori’s instrument, so the story goes, he dissected, in the presence of some friends, an Amati violin of a similar pattern to the Stainer and ‘discovered’ a label with the words ‘Stainer; insider the body under the place where the note was glued in […] Stainer made a copy of the Stainer which Sivori had asked him to repair, and fitted it with an Amatic label, as well as the Stainer label under the neck.'(Franz Farga, Violins and Violinists)
Well, you’ve guessed it, not being content to simply repair Paganini’s violin, il Cannone, Vuillaume made such a beautiful copy that Paganini, was so enthusiastic that he asked to buy it, to which the maker responded that, no, he wanted to give it to him as a mark of his esteem. Some less than commentators have noted that he was flattered by Paganini’s offer to play it in public, that he refused the money. However, it is interesting that Paganini’s deathbed words, gifting the instrument to his sole pupil, mirrored the words of Vuillaume.
The actual truth is another instance of facts belying Paganini’s completely unearned reputation for tightfistedness (which often smacked of Northern European racism. Seven years after the violin was given him, Paganini’s lawyer and lifelong friend and confidant, Guiglermo Germi, suggested to him that he should give the instrument to Sivori. Paganini acceded to the suggestion with one proviso - he told Germi to send 500 Francs, as he wanted to assure Vuillaume of his admiration and friendship. This was the violin which, from this point onwards, was the most treasured performing instrument of Sivori.
Three years after Paganini’s death, Sivori finally took his advice, and went (returned) to Paris. It was an extraordinary homecoming for the violin - here’s a report:
‘Sivori knocked at the door of the Conservatoire and showed Paganini’s violin, the violin which his master had left him as to the most worthy. Open your gates, make room for the relics of the prince of violinists! M. Sivori played. Paganini’s instrument has not been disgraced in his hands. It quivered beneath his bow, as in the days of the illustrious artist. It did not feel astonished at the correctness of its intonation: it deceased owner had instructed it too well.’ (Messager - Ed. Thierry 1843)
Michael Alec Rose’s response the the challenge of the instruments and culture of the Genova, is, as ever, rich. The piece which was particularly inspired by the ‘Sivori’ (above) proved to be perfectly fitted for the delicate lyricism of this wonderful instrument. It ends with a particularly watery spray of harmonics - on the manuscript, a homunculus francally holding a violin over his head sinks into the waves which represent the bowing effect, shouting:
‘AIUTA! HELP!’