Customer Reviews

Paganini: The 6 Violin Concertos

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I have had an opportunity to listen to Paganini's 1st (less freq. the 2nd) concerto many times(Markov,Perlman,Francescatti, Gitlis,Ricci,Menuhin,Grimaux etc.) and I can assure you that Accardo - especially his cadenza - is far the best I have ever heard and you can hear today. Accardo doesn't plays his fastest and doesn't show off his amazing technique like most of the other violinist (although he is able to play twice as fast as he shows here...) but he devotes all the technique to the needs of music and this is what's so amazing about him. He prizes precision and lyricism mostand his fascinating technique is just the servant, not the lord of music. Also notice that he never skips anything or never just plays something messily - even in the most difficult and fastest parts you can hear simply every single tone. By the way, no other violinist in the world has ever recorded (and played) so much of Paganini's music...well,to tell you the truth,Accardo played and recorded everything that came down from Paganini's time! If you don't know yet, you can find more in Deutche Grammophon catalogue (Accardo play various variations - "God Save the King" etc. - when you hear it, you will believe that he is the same "devil" as Paganini was thought to be) or check the EMI's title "Works for violin and orchestra" where Accardo for instance plays Paganini's Carnevale di Venezia" the way that keeps your mouth opened... As for his concertos again, I really do wonder who else next dares to record all the 6 concertos, Capprices and all the other works of Paganini. I consider Mr.Accardo to be one of the best violin player that were ever born.

Most musicologists consider Paganini to be the greatest violinist the world has ever known. He essentially created techniques for his instrument that were unheard of before him, and to this day, his compositions define the technical limitations of the violin. In essence, he was the first virtuoso of any instrument. He made Liszt want to make the piano sound like his violin and made others so jealous of his abilities that they said he was possesed. Paganini is a paragon of the 19th century Romantic virtuoso. Unfortunately, his violin concertos have not received the same attention as his brilliant technical gifts and his famous cappricios. What one finds on these 3 cd's is perhaps some of the most wonderful, and dramatically challenging pieces ever written for the violin. In fact, Schubert admired Paganini's compositional abilities so much that he once said that Paganini's compositions made the violin sing like an angel. These cd's show that Paganini was more than just a technical wizard. He created beautiful violin concertos that stand up musically on their own. The pure joy and brilliance of these pieces will astonish you. Salvatore Accardo's playing is flawless and simply mind boggling! I have found myself enjoying and playing these 6 concerti far more often than violin concerti by Beethoven, Mozart, etc., etc. It was only until the 1970's when any of Paganini's 6 violin concerti were recorded on a major label! Paganini is slowy gaining more popularity and is destined to get the respect he deserves in musical history as a first rate composer thanks to releases like this one. Now, when will the concert halls of Europe and America wake up and start performing Paganini's music? I predict that once you here these recordings, you will realize that it is just a matter of time. After all, this music once completely dazzled and entranced audiances all across Europe and made Paganini famous and much respeted.-----NO CLASSICAL LIBRARY SHOULD BE WITHOUT THIS RECORDING.

Wonderful performance of wonderful music. Salvatore Accardo not only performs it perfectly but also with the necessary amount of emotion and abandon required for playing Paganini. Any soloist recording for DG or EMI, RCA, etc. is required to give a flawless performance but this music demands more. Lets say, for us car nuts, that a proper performance of this music should make you feel like your driving a Ferrari. A bright red Ferrari. A 12-cyl, adrenaline injected, 600 hp, Italian piece of art. It should make you feel like your driving through the Alps, at 150 mph, with the top down, and yes, Cindy Crawford in the passenger seat just begging you to slow down! Salvatore Accardo's performance does this for me, not all performers can. The volume begs to be turned up.

By contrast, Sarah Chang's performance of the first Concerto makes me feel like I'm driving a Camry, at the speed limit, across Iowa, with Julia Childs politely asking me to speed it up a little. Don't get me wrong it's perfectly nice, played with Sino-perfection, but it's the acoustical equivalent of Sominex.

Anyway you will not regret buying this CD, and besides for all 6 Concertos, it's a bargain.

This set of recording must be the 'gold standard' of Paganini's violin concertos. Each concerto is as technically demanding as any other violin work on Earth and Accardo plays all of them with such ease and perfection. Although Paganini is not known for depth of composition, each of these concertos is beautiful, lyrical and romantic in its own way. The partnership between Dutoit and Accardo is also perfect. It is fortunate now that the 6 concertos come as a set because they used to come in 4 separate discs. It is a collector's item and a must for Paganini's fan.

I'm not old enough so I could compare with Paganini own playing, but I was at the right time for discovering Salvatore Accardo. The least I can say is that I didn't know violin could sound like this, and what put it perfect is that Ch. Dutoit and London P.O. are more than a good support, as well with a flawless recording quality.

It takes guts for any violinist to record Paganini. The great
Heifetz recorded very little of the wizard of the violin; he had a reputation to maintain; recording Paganini may have dimmed it. Paganini can be very intimidating. In these recordings, at times, Mr. Accardo does seem intimidated, slowing down the tempo in difficult passages. The auditor should be sweating, not the violinist. I've heard most of the performers in the first two works. You need Accardo, Ilya Kaler or Ruggiero Ricci for the rest of them. There are two violinists who played the first two (and best) concertos whose recordings have never been surpassed. The best recording of Concerto #1 is by Leonid Kogan (Francescatti's is neck-and-neck with it - it's just a matter of whose style you prefer)and the best recorded performance of Concerto #2 is the 1964 recording by Ricci, a hair-raiser. In the last 4 concerti it's a toss-up between Accardo and Kaler, but I give a slight nod to Kaler. He has something of Kogan in him, maybe needing a bit more fire. Kavakos is up and coming. I just heard one of the Paganini studies he played that blew my socks off. I haven't heard him play the concerti yet.

Paganini's writing for the violin can hypnotize. His intent was to beguile the listener. One is not listening to merely a violin. One is listening to a passionate outpouring that transfixes the listener to a state of swaggering over-self confidence. That is what Salvatore Accardo conveyes in his playing of these six concerti. His mastery allows the passion come through as strongly as a late autumn blaze of afternoon sunshine. This is a must have for any listener who enjoys violin virtuosity.

This compilation contains three discs containing all six of Paganini's violin concertos. The soloist, Salvatore Accardo, has at least 150 recordings, according to the Amazon.com web site.

CONCERTO No. 1. The opening theme of ALLEGRO sounds somewhat like the Lone Ranger theme in Rossini's WILLIAM TELL OVERTURE. While Paganini admired Rossini, and had actually performed the WILLIAM TELL OVERTURE (performance of July 17, 1833 in Theater Royal Drury Lane, according to Stratton's book), it should be noted that Paganini composed his Violin Concerto No.1 in 1818, and Rossini composed his overture much later, in 1829. At one minute, 30 seconds, the orchestra provides a "dreamy tune." Then, the faux Lone Ranger theme is repeated. The violin solo makes its entrance at 3 min, 10 sec. The solo provides the "dreamy tune". At 6 min, 35 sec, the violin plays a rapid cat & mouse chasing sequence. In this sequence, the violin uses an interesting jagged technique for descending, from the high register down to the low register. At 11 min, 40 sec, comes a jig motif, where the violin plays 2 notes simultaneously. The "dreamy tune" returns at 14 minutes. At 19 minutes, the violin solo provides an interesting wiggly-squiggly motif, and the solo continues until the very end, providing skittering motifs and glissandos. ADAGIO is slow and exudes a feeling of pathos and drama. The violin plays in the lower register. At 2 min, 30 sec, the full orchestra provides a brief crescendo, reminiscent of an approaching hurricane. RONDO provides, for the first minute, the violin bow bouncing on the strings, while the orchestra generally provides a regular scheme of chugging chords, each chord separated by a tiny interval of silence. At 4 minutes, the violin solo provides a pizzicato motif, sounding like firecrackers. On occasion, a horn provides a 2-note motif that goes, "Ta-taa." RONDO lacks any tunes that might be apparent or discerned by a layperson. (This is in striking contrast to the RONDO in Paganini's Violin Concerto No. 2.)

CONCERTO No. 2. ALLEGRO begins with a "perky tune" played by the woodwinds. At one minute, the strings take over and play the "perky tune." The violin solo makes its entrance at 2 min, 50 sec. At 3 min, 50 sec, the bow bounces on the strings. At 4 min, 40 sec, the violin solo provides the "perky tune" again. At 5 min, 50 sec, the violin solo provides an eerie motif, where two dissonant notes are simultaneously played. Fluttery woodwinds provide a colorful interlude at 7 min, 30 sec. At 9 min, the violin solo provides a sequence sounding like chopping wood (one can almost see the wood chips flying). The "perky theme" returns at 10 min, adn the chopping wood episode returns, and the 2-note dissonant motif is repeated. ADAGIO starts with a cluster of mellow horns. Later, we hear a gentle whispy violin solo. Accompaniment takes the form of an orchestral string pizzicato. The tune of the violin solo is a bit like Borodin's "neverending melody" of Polovtsian Dances - Dance of the Maidens. RONDO is the reason I bought this compilation of the six Paganini violin concertos. RONDO, also known as "La Campanella," contains a tune made famous by Franz Liszt in his SIX GRAND ETUDES AFTER PAGANINI. I have the recording by Andre Watts on the SERAPHIM label. Anyway, RONDO features a little bell (an actual bell). At 3 minutes, 50 seconds, we hear an interesting descending motif. (I like descending motifs in music.) At 4 min, 15 sec, the famous La Campanella tune returns, and stays with us for one minute. La Campanella returns one last time at 8 minutes.

CONCERTO No. 3. ALLEGRO begins with an orchestral pizzicato motif. A jaunty oboe begins a happy tune at 40 seconds into the piece. At 2 minutes, 5 seconds, the jaunty oboe returns with its cocky little tune. At 3 min, 30 sec, comes a dramatic descending episode featuring the full orchestra. At 4 min, 20 sec, we are treated to a lively violin solo punctuated by orchestral pizzicato thumps. The ALLEGRO movement is distinguished by its multitude of special effects from Mr.Accardo's violin: (1) The bow bouncing up and down on a string while bowing; (2) A note changing to another note, by way of a glissando; (3) Violin playing in the extreme upper register, so high that only a dog can hear; (4) Pizzicato episodes; and (5) An almost indescribable special effect that I call a "jiggley-slinky." ADAGIO. This movement also begins with an orchestral pizzicato. The violin plays mainly in the lower register. An orchstral pizzicato goes, "Tra-dah-dah-dah." There is no real tune or melody in this movement. POLACCA. This movement starts out sounding like music for a contra dance. From time to time, there is a brief pizzicato motif that sounds like crackling fireworks. In the entire CONCERTO No. 3, there is no real melody or tune that a layperson could distinguish or hum. However, I very much like the ALLEGRO movement because of the continual array of imaginative posturings by the violin.

CONCERTO No. 4. ALLEGRO begins with a distinctive tune, embellished with a peppering of horn toots, and pizzicato string plucks. The solo violin makes its entrance at 3 minutes and 20 seconds. But for the next few minutes, there is no discernable tune to speak of. At 7 min, 20 sec, there is a clever build-up and climax. At 8 min, 10 sec, there is an attractive descending motif (I like descending motifs). This intriguing descending motif is repeated two minutes later, and yet again at 11 min, 40 sec. At 11 min, 10 sec, there is an attractive jiggley-wiggly motif. At 13 min, 40 sec, there is a pizzicato display, followed by an eerie display of ultra-high notes, a swooping glissando, squiggly-jiggly motifs, and another glissando. ADAGIO begins like a Mahlerian funeral march. The orchestra provides a pizzicato background. At 4 minutes, the sound level picks up, involving horns and drums. All along, the orchestral pizzicato continues. At 5 min, 40 sec, we are again subjected to the brief storm of horns and drums. In RONDO, the solo violin provides a little romping tune, reminiscent of Gilbert & Sullivan's THE FLOWERS THAT BLOOM IN THE SPRING, TRA-LA, HAVE NOTHING TO DO WITH THE KING. At 3 minutes, there is an extended part where the violin plays two notes at once, in the manner of a violin duet. On three occasions, we are treated to an intriguing descending motif (I like descending motifs). The motif of FLOWERS THAT BLOOM IN THE SPRING regurns, and stays with us for a few mintues. From 8 minutes on, comes an intriguing violin episode, sounding like space aliens in flying saucers, where the space alien attack is interrupted at various points by a domestic-sounding 3-note horn toot motif. The space alien motif seems especially suited for the soundtrack of the classic film, THE DAY THE EARTH STOOD STILL.

CONCERTO No. 5. ALLEGRO starts with drum rolls and a bombastic operatic melody, provided by the orchestra. Little solos are provided by the flute, then oboe. At 3 min, 35 sec, the bombastic operatic tune returns. At 4 min, 45 sec, the violin solo makes its entrance (with that dang-blasted bombastic tune). At 8 min, 55 sec, the violin-provides a unique jiggley-effect. At 9 min, 10 sec, the orchestra provides a much nicer tune. This tune is one that whisks and whirls. At 14 minutes comes a gentle tune similar to that of LET IT BE ME, by the Everly Brothers. At 16 minutes, the whisking and whirling tune returns. But the final seconds of ALLEGRO conclude with a repeat of that irritating bombastic theme. ANDANTE sounds a bit ahead of its time. It sounds like it might have been written in the early 20th century. There is more variety here, and no reliance on musical cliches from Mozart's time. In ANDANTE, the violin provides mainly extended notes (there are no high-velocity lightning-speed riffs to be seen or heard). ANDANTE does not really contain any distinctive tune. Now, are you ready for a description of FINALE? FINALE provides a distinctive dance tune, first from the solo violin, then the same tune from the woodwinds. FINALE is in 3/4 time. At 1 min, 50 sec, we are provided with a little marching band piece, lasting some ten seconds. At 4 min, 20 sec, comes an unusual melange of violin swirls hovering over an orchestral maelstrom. This unusual episode sounds like something from a Carl Stalling cartoon piece. At 7 min, 20 sec, comes a flute episode embellished by strange and relatively quiet gurgling sounds from the solo violin. At 8 min, 20 sec, the flute episode with the gurgling violin is repeated. And again, at 9 min, the flute episode with the gurgling violin repeats once more. The distinctive dance tune returns at the ten minute mark. At any rate, the FINALE has quite a bit of gurgling.

CONCERTO No. 6. RISOLUTO. RISOLUTO is mellow, and the violin doesn't show off too much. At 5 minutes, 45 seconds, the violin engages in a vigorous half-minute jig, which is repeated at 6 min, 45 sec. At 7 1/2 minutes, the orchestra takes over, and Mr.Accardo gets a well-deserved break. At 13 min, 15 sec, the orchestra takes over, providing a galloping motif. At 14 minutes, there is a quiet interlude, and at 14 min, 15 sec, the violin solo returns. This movement has no discernable tune or melody. ADAGIO. The ADAGIO movement begins slowly, sounding Mozartian. The violin often plays in the lower register. At 6 minutes, the full orchestra provides an ominous-sounding wake-up call. RONDO. This movement is a masterpiece of thematic development. The entire piece has this motif: "DA-DAA, 1-2-3-4-5-6, POW-di-di-di-DEE-DEE-DEE." This particular motif is an engaging one, and the listener will delight in the dozens of fascinating variations of this motif. RONDO is an addictive movement.

CONCLUSION. More information on Paganini can be found in a book, NICOLO PAGANINI by Stephan Stratton (1907). The book is available from Amazon.com. It is also provided by Google. From this book, we learn that in the first violin concerto, the solo violin is tuned a semi-note higher and the part is in D, while the orchestra is in E flat (page 164). The book also provides a quote from Berlioz, "He [Paganini] has known how to render distinct and dominating the tones of a solo violin by tuning its four strings a semitone above those of the orchestra, which enabled him to play in the brilliant keys of D and A." (page 138). The author, Mr.Stratton, believes that it is improbable that Paganini or Berlioz were aware that Mozart had used the same technique in Mozart's CONCERTANTE FOR VIOLIN AND VIOLA, where the viola part is in D, but where the orchestra is in E flat(page 138).

I have listened to this record innumerable times and still have as much fun as the first time.
If I have to review each performance indivudually I would rate the 5th concerto the best of the performances. It is simply the jewel of this 3-disc set.
1st concerto: Great performance but possible to find even better performances since this is (if I'm not terribly wrong) the most recorded Paganini concerto. I have watched Sarah Chang with Zubin Mehta perform the first movement of this piece and that was a bit better than this one.
2nd Concerto : One of the most known concertos. Liszt even composed an etude on this one which is called La Campanella, same name with the concerto. I have first listened to the 3rd movement from Menuhin and I still find that performance to be the best ever recorded.
3rd, 4th and 6th concertos: These are again great, I especially like 3 and 4. Don't get me wrong 6 is another great record.
5th concerto: As I have said the jewel of this collection. It is destined to be the jewel of every music collection containing this performance. The playful touch of the bow on the strings is amazing. Sometimes that touch becomes more tender almost pleading. And at the end it literally dances on the strings then gives way to one of the most beautiful endings of all concertos in history.

There's no way you can go wrong with this one. If you have listened to the 24 caprices and want to listen some more Paganini this is the way to go. Also recommended is Accardo plays Paganini (DG again) which contains these performances along with some other works.

Nicolo Paganini is primarily a virtuoso composer who did not compose anything other than for the violin in the early 19th century. He was a true prodigy of the instrument whose ferocious and innovative style of playing frightened many of the credulent folk into thinking he was the devil. With the increasing popularity of the waltz, he along with other romantics such as Beethoven completely revolutionized the concept of violin concertos that were still then mostly in the antiquated Roccoco menuet formulas of Mozart and Haydn.

Salvatore Accardo is an accomplished violinist who performed many times with the most reputable groups such as I Musici di Roma and the English Chamber Orchestra. He was a long-time mentor of Anne-Sofie Mutter who performed with Karajan. Despite working often with various Baroque styles, Salvatore Accardo is primarily a specialist at Paganini and the Italian Romantic period and this is the main reason this recording is one of the best you can obtain for Paganini. Charles Dutoit is also an accomplished orchestral conductor and generally works very well with Rossini whose light romantic style in his operatic overtures have overlaps with the style in Paganini's contemporary symphonic arrangements for his violin concerti. Acardo and Dutoit were therefore a perfect match in performing Paganini and this ablum is a great example along with their other collaborations for the composer available on single CD. The music is light and joyful in its interpretation while many others tend to be heavy and sluggish. Accardo's performance is filled with vitality as he has complete mastery over the instrument and feels at ease in his performance without ever faltering. His performance brings out the fluidity and full range of Paganini's style very well. Salvatore Accardo's solo performance of the caprices is also one should put on their must-have list of Paganini virtuoso performances without question: they are divine.

This album is a great buy where you can get all of Paganini's passionate violin concerti at a good price. There are really few if any performances equal to this one on the market other than those of Perlman perhaps but most are simply beneath it in every way and amateurish in comparison.