Customer Reviews

Paganini by Accardo: Complete Recordings

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This is a really masterpiece for collector. For the people that love the "virtuoso-violin", this is yours. If you are a fanatic of Paganini's music like me, this is your collection, because you will find the Maestosa sonata sentimentale, the Duo Merveille, "God save the King", in a perfect interpretation, only by Accardo, that are very difficult to find. The 6 Concertos, are amazing, if it is your first time hearing Paganini, you will find absolutely incredible, and remember, is only one violin performing those sounds. Double-Stops, Harmonics, Double-Harmonics, and the most colorful bowing performance. Paganini is very romantic and sentimental, the six, second movements are a jewel in your collection. I recomend you that adquire this for your personal collection, the case is beautiful, and the sound is powerful, like the recorders of the Deutsche Grammophon, Accardo plays Paganini transmiting to the listener the feeling of his performance. The 24 Caprices are interesting, and Accardo plays very clear, if you are playing the caprices, this is a good guide, please try to listen the sound of Accardo, you could find many tips in his performance. If you like the music in general, these concertos will give you a different vision and nature of the power of a violin with the London Philarmonic Orchesta. PROs - Excelent Violinist (Accardo), Excelent Presentation (CDs, book and case),Excelent Recorder, each CD has a number, the people take your time making this CD - Each Piece has a good explanation CONs - No are biography of Salvadore Accardo.

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. The caprices are more technical excercises for this new revolutionary style and are the cornerstones of all Romantic traditions of violin including the Romantic German and, to a much lesser extent, the Polish/Klezmer tradition of Joseph Joachim.

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. Accardo 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 performance of the caprices is also legendary in which he performs all of the most difficult pieces briliantly without effort: they are truly divine in every respect!

Although it's extremely difficult to make a judgment call between these three undisputed virtuosos of the violin and Paganini, Perlman and Heifetz would not be my first choices because they are not really masters of the Italian Romantic style as that of the German/Polish/Klezmer traditions. However technical the differences might be, they do make a significant difference and so I prefer Accardo for Paganini as he is simply the foremost expert with this composer and the Italian Romantic style which Heifetz and Perlman are not. This album is a great buy where you can get all of Paganini's passionate violin concerti and caprices at a good price. There are really few if any performances equal to this one on the market other than those of Perlman and Heifetz. Such other performances, even by child prodigies, are simply beneath them in every respect to the point that they actually sound amateurish in comparison. No matter which of the three you choose, you can't really go wrong with any of them but I would really look no further than them as everything else is far beneath their legendary talents. Enjoy!

Salvatore Accardo has played magnificently! I am not a classical music critic; I don't know what it really means to be a great violinist, but I certainly enjoy listening to every song in this 6 cd set. I am fifteen years old, but Paganini's music has a great impact on me. My mother bought me this album for Christmas, and I couldn't have received a more wonderful collection of music. I tend to have a preference for the first recording I ever hear of certain songs, and I have heard several of these songs performed by different artists. Let me tell you, these recordings are fantastic. My favorites are the 21st Caprice, the second movement of the 6th concerto, and the entire 4th concerto. Accardo's tone is rich and robust, and the orchestra behind him compliments him perfectly.
Utterly Satisfied,
Bobby

P.S. The title for my review was what Franz Liszt (classical pianist and composer) exclaimed when he heard Paganini perform.:)

Salvatore Accardo performs Paganini's scores with much elegant grace and warmth. Deutsche Grammophon has successfully assembled all of Accardo's recordings of Paganini's music. Undoubtedly, the highlights are Accardo's riveting accounts of Paganini's violin concerti. Charles Dutoit and the London Philharmonic Orchestra give splendid, warm performances of their own, without overwhelming Accardo's playing. Yet Accardo also shines in Paganini's solo works, such as the Caprices. This is absolutely an essential set of CDs for those who are unfamiliar with Paganini's music. Is it a surprise that these performances are still regarded as definitive in classical CD guides issued by Grammophone and Penguin?

Paganini the first million dollar musician; anyone who loves the violin as much as I do, should purchase this set without hesitation. Accardo blows everyone away with these performances; his fingerboard is on fire. Accardo is one of the best today, if not the best. The range, tone, dynamics, and profoundness of his violin is only rivaled by a few of the greats. These performances are as the master, Paganini, would have played them. They are some of the most dynamic displays of violin playing the world has ever experienced. They are definitely in a class of their own. Also, the recording is excellent; it's crystal clear with Accardo's violin capturing an unbelievable sound quality; such range-WOW!. I know why Beethoven only wrote one violin concerto; how can you compete against Niccolo.

Salvatore Accardo in his mid thirties committed to disc his vision on the whole Paganini oeuvre (including the 6 violin concertos, the 24 caprices and some works for violin and orchestra). Paired by the London Philharmonic under Charles Dutoit, Accardo achieved - beyond any doubt - a truly benchmark for ages. His technical perfection and inspired musicianship contributed to a wonderful moment of great music. Although considered as simply virtuosity-oriented pieces, favouring soloist's bravura and responding to public's need for stage wizardry, these works gain here a noble finesse and musical value. Not only the violinist shines, but also the orchestra which takes the risk of dealing with a bombast atmosphere or lamenting melodies, here and there. Of course, Accardo is the star in all these 6 CDs and determines the listener to play these recordings again and again. Surprisingly, the sound is alive and full of colour, assuming the performances took place more than three decades back.
Not to be missed by any collector who loves music played in grand style!

I really enjoy this CD set very much. Accardo is phenomenal in playing violin. I listen to thisevery morning and sometimes while I am cooking.

Paganini foi um compositor fantástico (dizem até que fez pacto com o diabo) mas essa caixa com 6 cd's é simplesmente fantástica e ninguém melhor que Salvatore Accardo para interpretá-lo de maneira divina.
Essa compra compensa cada dólar investido.

The following is my review of the six violin concertos, as recorded by Mr.Accardo under the direction of Charles Dutoit with the London Philharmonic. 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 gurgling sounds from the solo violin. The sound level of the violin in the extended gurgling episode is subdued, compared to the sound level of the orchestra. 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.

CONCERTO No. 6. Overall, 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).

Excellent work from Accardo. 30 years old recording sesions on this cds. Good price from 6 high quality cds. Remember that they're from Deutsche Gramophon's Label!
Some concerts have any variations respect "Works from violin and orchestra" played also by Accardo. I stronlgy recommend this cd too. Pure class A!
Regards.