Lyrics & Music Paganini, Niccolò (1782-1840) - 24 Capricci per violino solo, op.1 - Thomas Zehetmair (B002LPYGW0)

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Lyrics & Music Paganini, Niccolò (1782-1840) - 24 Capricci per violino solo, op.1 - Thomas Zehetmair

Posted on 2010-08-03

Name:	Lyrics & Music Paganini, Niccolò (1782-1840) - 24 Capricci per violino solo, op.1 - Thomas Zehetmair
ASIN/ISBN:	B002LPYGW0
File size:	340 Mb
File Size:	1 Cd, 340 Mb
Other Info:	Classical; Eac, Ape+cue, log; covers+booklet; 3 % Recovery

Lyrics & Music Paganini, Niccolò (1782-1840) - 24 Capricci per violino solo, op.1 - Thomas Zehetmair

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Paganini, Niccolò (1782-1840) - 24 Capricci per violino solo, op.1 - Thomas Zehetmair

07 septembre 2009 | ECM | RapidShare

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Conductor, chamber musician, ardent pioneer of contemporary composition and an adventurous soloist, Thomas Zehetmair is equally at home with violin concerti from Mozart to Karol Szymanowsky, and from Schumann's chamber music to Heinz Holliger's most recent works. In addition, as his thought-provoking 2004 ECM recording of the complete sonatas for unaccompanied violin by Eugène Ysaÿe proved, virtuoso pyrotechnics can be surprisingly multi-faceted and complex when tackled by a musician with a rare awareness of stylistic layers and expressive traditions. Zehetmair now brings a similar dazzling approach to the Caprices for solo violin by Niccolò Paganini (1782-1840), a set of 24 hair-raisingly difficult studies which, when first published in 1820, immediately established new standards of violin technique.

Zehetmair's (long deleted) Teldec version of the "Capricci" dating from the early nineties quickly won the status of a new benchmark recording and in December 2007 he went to the Austrian monastery of St. Gerold to record a second - even more ambitious - interpretation. Its improvisational freedom conveys all the demonic and haunting aspects of the music. Zehetmair: "As a violinist you grow up with the Caprices; like the cycles by Bach and Ysaÿe, they are one of the main challenges you have to face as a violinist - and a creative musician," says Zehetmair in the CD booklet liner notes. "I've often performed the complete cycle in concerts, and I also enjoy combining the Caprices with solo works by other composers. In order to recreate something of that intensity in the recording, I played the complete cycle twice in three days. The second performance was to an audience. While these live versions are the backbone of the recording, I also recorded the Caprices in groups of four to six per day."

Zehetmair's tempi are always flexible, his array of sound-colours is uniquely imaginative and in the "Da-capo" repeats he offers stunning variations and embellishments. "I really do think that there is scope for this kind of interpretation. Modifications of this kind and a greater level of virtuosity can add a whole new dimension to what would otherwise simply be literal repetition. Sometimes I just feel like taking the game to an even higher level. There's no getting away from it, in Paganini's music there has to be something of the circus ring. The Caprices are absolutely wonderful improvisations; they all very much have a character of their own. But they don't hit the mark unless there's also that hint of the circus." Although Zehetmair's enormous stylistic scope certainly informs his interpretation of Paganini's Caprices his basic approach is marked by gripping physicality. "Above all I approach them as a violinist, this is where the violinist is in his element."

The title of Niccolò Paganini’s op. 1—Caprices—suggests a sort of, well, capriciousness, that’s not often—maybe even hardly ever—heard in performances. Ruggiero Ricci, who first recorded them whole unaccompanied (Ossy Renardy had already recorded them with Schumann’s piano accompaniments) set a standard for slashing machismo, and the young Michael Rabin set one not too long thereafter for astonishing perfection. But Paganini himself must have added something to the mix in his own performances (although not of the caprices, which I believe he never played, at least as a set, in public—he knew his audiences better than that), something that held audiences spellbound and left a lasting impression on musicians as eminent as Liszt, Rossini, and Schubert, as well as on the hoi polloi, whose fancy he tickled with barnyard imitations. Alexander Markov captured some of the wizardry in his damn-the-torpedoes-full-speed-ahead recording (and I remember Paul Zukofsky’s LPs (Vanguard 10093) as offering a real, if quirky, alternative to the mainstream), but Thomas Zehetmair, in his second recording of the works, has upped the ante. In the First Caprice, for example, he combines Markov’s willfulness with Ricci’s cut-and-thrust. Tempos change abruptly (capriciously?), off-the-string passages crackle with static electricity, and double-stops almost crumble in the face of a ferocious onslaught. Rabin’s perfection may be lost in the shuffle, but those who wonder why Paganini made such a deep impression on his listeners may find some clues in just this kind of performance. After all, did Paganini play perfectly? I don’t remember reading “perfect” in descriptions of his playing—reserve that for competition winners, and who knows if Paganini could have won the Paganini Competition?

Zehetmair opens the Second Caprice with a sort of spectral timbre, suggestive of sul ponticello, but allows the tone to blossom in the middle section, in which he makes sure the melodic design always remains paramount. (He achieves a similar pointing of the tune in the Third Caprice with strong accents, as he does as well in the middle section of the Fourth.) In the return of the first section of the Fourth Caprice, Zehetmair introduces what seem to be improvised changes (he did so as well, he states in the accompanying interview, in his first set), and these also fit well with the personality of a composer who supposedly improvised profusely during performances of the concertos, the written score of which we now consider almost scriptural in its authority. Other violinists, like Milstein, may make a stunning impression in the fast runs of the Fifth Caprice, but Zehetmair virtually hisses and spits at the tops of the scales before swooping down again. The off-the-string middle section brings, however, a slow tempo in this performance that doesn’t enhance the effectiveness of the gymnastics. As in the Second Caprice, Zehetmair begins the Sixth quietly; he ends it similarly, and the Seventh’s opening octaves sound correspondingly bolder and more bracing, and its double-stops ring out stunningly. In the Eighth, he alternates what almost sounds like understatement with rapier-like thrusts. Double harmonics may be the only signature effects Paganini didn’t incorporate into the caprices, but Zehetmair has introduced them, albeit somewhat lumberingly, into the Ninth (Harold Berkley’s edition suggests them), and he does the same thing upon the return of the opening section of the 13th. He plays the dotted rhythms of the 11th with a gusto that could serve as a model for many limper performances, and varies the return of the opening material. Into the 15th, he inserts a fantastic flight of fancy that provides modern audiences with a unique opportunity to hear Paganini’s music as he himself might have approached it; and he imparts an edge to the characteristic Paganinian figures of the 17th and 19th. The familiar 20th also assumes a new character in his performance, perhaps even more revealing than Szymanowski’s piano accompaniment, which mined a vein of harmonic expressivity buried beneath Paganini’s surface. The 22nd and 23rd bring more of Zehetmair’s improvisations, while he plays the 24th, the trickster’s magic kit, straight.

According to the notes accompanying the prerelease, Zehetmair recorded the caprices in December 2007 in the Monastery of St. Gerold; he sounds close-up, with only enough reverberation to keep his sound humidified. In all, it seems that what period-instrument groups did for (or against) Vivaldi, Zehetmair has done for (or against) Paganini, and everyone, from performers, students, and violin aficionados to general collectors, should take note. Strongly recommended.--FANFARE: Robert Maxham

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No. 1 E major Andante

No. 2 b minor Moderato

No. 3 e minor Sostenuto - Presto

No. 4 c minor Maestoso

No. 5 a minor Agitato

No. 6 g minor Lento

No. 7 a minor Posato

No. 8 E-flat major Maestoso

No. 9 E major Allegretto

No. 10 g minor Vivace

No. 11 C major Andante - Presto

No. 12 A-flat major Allegro

No. 13 B-flat major Allegro

No. 14 E-flat major Moderato

No. 15 e minor Posato

No. 16 g minor Presto

No. 17 E-flat major Sostenuto - Andante

No. 18 C major Corrente - Allegro

No. 19 E-flat major Lento - Allegro assai

No. 20 D major Allegretto

No. 21 A major Amoroso - Presto

No. 22 F major Marcato

No. 23 E-flat major Posato

No. 24 a minor Tema con variazioni. Quasi presto

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