In order to move others, I must be moved.

Now I am a genius; before that I was a drudge.

The violin is my mistress, but the guitar is my master.

I am not handsome, but when women hear me play, they come crawling to my feet.

I love the guitar for its harmony; it is my constant companion in all my travels.

The variations I've composed on the graceful Neapolitan ditty, 'Oh Mamma, Mama Cara,' outshine everything. I can't describe it

At a grand evening service in a church, my concerto created such a furor that the worshippers rushed out to keep the crowd outside the church quiet.

When I attained my seventh year, my father, whose ear was unmusical but who was nevertheless passionately fond of music, gave me my elementary lessons on the violin; in a very few months, I was able to play all manner of compositions at sight.

At Vienna, one of the audience affirmed publicly that my performance was not surprising, for he had distinctly seen, while I was playing my variations, the devil at my elbow, directing my arm and guiding my bow. My resemblance to the devil was a proof of my origin.

On December 12, 1829, Paganini wrote his friend Germi: "The variations I've composed on the graceful Neapolitan ditty, 'Oh Mamma, Mama Cara,' outshine everything. I can't describe it!" He was writing from Karlsruhe, in the midst of his triumphal tour through Germany. That letter marks the earliest known mention of the variations that would become famous as "The Carnival of Venice." At the time of his letter, Paganini had already performed the piece in at least four concerts. From then on, it would be one of his most popular compositions.

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