“Debates concerning Paganini’s controversial virtuosity raged throughout European bourgeois and aristocratic circles. He himself reportedly started the legend that he had obtained his unparallelled skill from the Devil, continuing a centuries-old trope of violinists’ deals with Satan. His fourth string, which was rumored to be composed of the intestine of his mistress whom he purportedly murdered, elicited wondrous melodic tones. The rumors continued. He supposedly spent twenty years in prison for his murderous deed, accompanied only by his violin. During this time in solitary confinement, he was able to ferret out the secrets of his instrument, inventing a new fingering technique. As fantastic as these tales are, they seem to pale in insignificance to his very real performances. Whenever he broke a string from his passionate and forceful playing, he compensated without missing a beat, by continuing the piece with only three strings. Should another break, he could play with two. Indeed, his coup de grace was his uncanny ability to play an entire piece on only one string.”
Jackson, Myles. (2006) Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany. Cambridge: The MIT Press. 253.