On this day, 185 years ago, on May 27, 1840 (April 26, 1840), Paganini, the "king of the violin" of the 19th century, died. When Paganini died in Nice, France, on May 27, 1840, the famous Hungarian musician Franz Liszt wrote in his obituary with infinite grief: "I have no hesitation in saying that there will never be a second Paganini." Liszt's words may be too absolute. But in the history of music, it is indeed rare for someone to be praised as warmly as Paganini for a long time before and after his death. Since his successful performance in Vienna, the music capital of the world, in 1828, the Italian violinist has become an almost idolized icon. In 1831, he caused a huge sensation in Paris and London, and his pomp has lasted forever since then. In the history of music, Paganini is known as the "King of the Violin" of the 19th century and the founder of Romantic music. He revolutionized the technique of violin playing and expanded its expressive power. His music and performances have deeply inspired and influenced the writing and acting of Liszt, Schumann, Brahms, Berlioz, Rachmanilov and others. Therefore, as an exception, Paganini broke a law that has always been accepted in the music industry: immortal greatness can only be achieved by composers. On the contrary, Paganini has won eternal acclaim not so much for his many famous violin pieces, but for his performance. For example, Paganini wrote a very difficult piece called "Infinite Movement". It is said that until now, only the best violinists could play it, but it also took 3 minutes and 30 seconds to complete. Paganini himself played it in just 3 minutes. What does this mean? According to calculations, this means that Paganini must play 126 beats per minute, or 1,008 music notes. More importantly, Paganini explained the piece with perfect timbre, as the German violinist Ludwig Spohr said: "He is very harmonious even when he is playing very fast!" Paganini's remarkable skill naturally drew the attention of researchers to his hands. In Marseilles, Dr. Silas Pirondi observed that Paganini's collarbone had developed such a shape that he could hold the violin firmly in proper position by relying only on his chin and not on his left hand, allowing him to play skillfully. Pirondi pointed out that it was once a big misunderstanding that some people thought his fingers were particularly long. When his fingers were not moving, they were of normal length, but they were exceptionally slender. But "when playing, he was able to stretch out a little longer..." Pirondi was particularly amazed by "the unique appearance and softness of his left hand, for example, he was able to turn his thumb back to an unusual point without effort." Paganini "can make the first phalanx of the fingers of the left hand... make a strange flexion, which can flexion the fingers to the side without moving the whole hand - and easily, accurately and nimbly..." Benatti marvels: "The Creator must have asked him to perfect this tectonic property in practice." Benatti's words are quite interesting. But it is not because of the "Creator", but because of labor - long and diligent practice that Paganini's hand was produced. In proposing the epoch-making proposition that "the hand is not only an organ of labor, it is also a product of labor", Engels once pointed out that it is only because of labor, because it is adapted to the ever-changing movements, because the special development of muscles, ligaments and bones caused by this is inherited, and because these inherited dexterity is applied in new and more complex movements in new and more and more complex ways, "The human hand has reached such a high degree of perfection, and on this basis it can produce... Paganini's music as if by magic." This is the mystery of Paganini's hand. If you think about it, before the age of 6, the little Paganini was instructed by his music-loving father and practiced the violin hard in his room for more than ten hours every day, except for one critical illness. Therefore, at the age of 9, he played solo in his hometown and Florence, and at the age of 13 he became a violinist. Since then, Paganini has never relaxed his practice during his travels in Europe and his settlement in Paris. Therefore, it is not difficult to understand his excellent playing skills after decades of hard work.