Rossini is reported to have said: "Truly, it is fortunate that Paganini did not devote himself exclusively to lyric composition; he would have become a very dangerous rival."[52] Moscheles wrote: "His concertos are beautiful, and have even their grand moments; but they remind me of a brilliant firework on a summer's eve, one flash succeeding the other--effective, admirable--but always the same. His 'Sonate Militaire,' and other pieces, have a southern glow about them, but this hero of the violin cannot dispense with the roll of the drum; and completely as he may annihilate his less showy colleagues, I long for a little of Spohr's earnestness, Baillot's power, and even Mayseder's piquancy." Very little was said of Paganini's compositions--I mean by way of description, orchestration, or even criticism--when the composer was in England. The writers seemed always engrossed and absorbed by the performance and personality of the man. Schumann repeats what was said of Paganini; that he, himself, rated his merit as a composer more highly than his talent as a _virtuoso_. We know that Rubinstein desired to have his name handed down to posterity as a composer rather than as a pianist. The fates have been unkind to both. To return to Schumann. He remarks that "if general opinion has not, until now, agreed with him (Paganini), it must at least be allowed that his compositions contain many pure and precious qualities, worthy of being firmly fixed in the richer setting required by the pianoforte." This of course referred to the caprices, Op. 1, but the observation is a curious illustration of the way in which individual minds regard things from their own standpoint. Paganini's music appealed to Liszt as a means of creating a new school of pianoforte technique, as well as composition; very little can be gleaned from Liszt as to his æsthetic views regarding it. Fétis says great worth is revealed in the compositions of Paganini, as much by the novelty of the ideas as by the elegance of the form, the richness of the harmony, and the effects of the instrumentation. These qualities shine above all in the concertos; but, he adds, these works require the magic of his talent to produce the effect he intended. Berlioz was, perhaps, the most appreciative of Paganini's contemporaries. In his _Soirées de l'Orchestre_ he says: "A volume might be written in telling all that Paganini has created in his works of novel effect, ingenious contrivances, noble and grandiose forms, and orchestral combinations unknown before his time. His melodies are broad Italian melodies, but full of a passionate ardour seldom found in the best pages of dramatic composers of his country. His harmonics are always clear, simple, and of extraordinary sonorousness. His orchestration is brilliant and energetic, without being noisy. He often introduces the bass drum into his _tutti_ with unusual intelligence."