Customer Reviews

24 Caprices

5 star:		(3)
4 star:		(0)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

As you would expect, Perlman plays with gorgeous tone, rock-solid technique, (mostly) very good intonation, and pleasing if conventional phrasing. But often he sounds pedestrian, careful, unwilling to max out his technical endowment, diligently keeping within his capabilities. What is missing here is the excitement of someone noticeably pushing themselves to and beyond their own limits, someone taking existential risks as, say, Horowitz and Callas have often done to such great effect. But that is what these pieces are really all about: achieving things that are seemingly physically impossible. Compare, for example, Perlman's Caprice #5 to Ruggiero Ricci's (in his earlier recordings): the difference is staggering. Ricci has the daredevil, take-no-prisoners approach that these pieces call for and that Perlman largely lacks. Beyond that, Ricci plays faster, is more precise, and has a better intonation than Perlman, especially in the most difficult passages.

This ranks among the best of Paganini's caprices recordings. Each caprice dwells on one aspect of violin technique and Perlman plays each with clarity and ease. A must-buy for Paganini's fan. The other alternatives are Shlomo Mintz's and Salvatore Accardo's recordings, both with DG.

Well, my ear cannot tell whether or not Perlman plays as fast as Ricci. But his technical prowess and tonal quality are matchless. Also, the sound quality is better, as to be expected. Both Perlman and Ricci are masters, but to me, if Perlman isn't pushing himself (not sure what that means), it's simply because he doesn't have to. He's that good. And to be able to add the creative flair and touches as he does to these, it just is... well magic. Both Perlman and Ricci are in a class by themselves. But Perlman sees into this music... makes it flow into you. Listen to the samples and decide for yourself.

I first heard this one 13 years ago when I was about 20 and it remains one of my favorite. I even learned to play one of 'em on my harmonica and guitar. You'd be surprised how well some of his "Caprices" translate into folk music. But I didn't come here today to talk about that. I came here to point out the obvious influence of Paganini on rock guitarist Jimmy Paige. Who did Paige think he was fooling with his tight black leather pants, long black hair and his association with black magic? He even went so far to play guitar with a bow. But Paganini was doing the same thing 250 years ago; and while both composers were known dabblers in the black arts, unlike Paganini, nobody ever accused Paige of murder, unless you count those groupie rumors of how the members of Led Zepplin ate gropies and threw the bones out the tour bus windows. Still, I'd prefer the Caprices over The Song Remains the Same any day of the week. Have you ever seen the sheet music for the "Caprices"? There's more black than white. One listening of this album, will explain better than any other I can think of why the violin is truly the instrument of The Devil, and you don't even have to suffer through Robert Plant's obnoxious paroxysms.