<ul><li><p>CHAPTER I</p><p>NICCOLO PAGANINI</p><p>Op.1</p><p>TWENTY-FOUR CAPRICES FOR VIOLIN SOLO</p><p>Dedicated to the Artists</p><p>'These perennial companions to the violinist, together with the 6 Sonatas and Partitas of 1.5.Bach, form the foundation of the violinist's manual, both Old and New Testament',</p><p>Yehudi Menuhin writes in his preface to the facsimile edition of the</p><p>manuscript of Paganini's 24 Caprices. 1</p><p>This 'New Testament of the Violinist' was first published in 1820, creating asensation in musical circles. With the Caprices, Paganini's contribution to therepertoire can now be seen as one of unchallengeable importance, bothviolinistically and musically. The Caprices stimulated creative exploration inviolin playing by extending the limits of the instrument and encouraged theelaboration of new pedagogical approaches. They still exert their influence onthe instruction of violinists of all countries. There is no conservatoriumstudent who has not become acquainted, at least didactically, with thisfundamental work (even when dully defined as 'required repertoire'). InPoland and some other countries, the Caprices have made their appearance inthe syllabus of secondary schools and are increasingly often played by violinstudents under fourteen years of age.2</p><p>1Facsimile of the autograph manuscript of Paganini's 24 Caprices, ed. by FedericoMompellio, Milano, Ricordi, 1974, p.5.2See Tadeusz Wronski's preface to his edition of the 24 Caprices, Krak6w: PolskieWydawnictwo Muzyczne, 1977,p.3.</p><p>I</p></li><li><p>Thanks to many recent performances and recordings, the listener too hasbecome familiar with the Caprices, enjoying these products of a remarkableperiod in the evolution of Italian music above all for their musical content.However, questions about their origins and history still remain, not tomention the enigma of their extraordinary inspirational powers exerted oncomposers up to the present time. There is also an influence which can betraced in literature, poetry and fine arts (Heine, Goethe, Stendhal, Ugo Foscolo,Ludwig Peter Lyser, Eugene Delacroix, Theophila Gautier, Franz Grillparzer,Felix Ziem, Louise de Vilrnorin, Frantisek Tichy, etc.). A long-standingcontroversy about the Caprices and Paganini's music in general also needsclarification. While Paganini's contribution to the development ofinstrumental technique is acknowledged una voce, his true worth as amusician (as opposed to a technical 'wizard') and his real stature as acomposer have often been questioned. This applies particularly to theCaprices which are not infrequently looked upon simply as studies ofadvanced technique, indispensable for the highest development of themechanism, but devoid of 'real musical content'. This attitude, interestinglyenough, is essentially that of violinists and violin teachers. Thus, each Capriceis seen as possessing specific therapeutic virtues and is selected for study as acure for certain technical deficiencies or in order to develop one aspect of themechanism or the other. The twenty-four Caprices, each in itself a particulartechnical discipline, constitute undoubtedly a masterly practical lesson ofinstrumental playing. But this would not suffice to explain their uncommoninspirational potential and the tremendous creative impetus they have given -and still give - to violinists and composers (notably Robert Schumann, FranzLiszt, Hector Berlioz, Frederic Chopin, Johannes Brahms, SergeiRachmaninoff, Ferruccio Busoni, George Rochberg), all of whom consideredthem as masterpieces.</p><p>Virtuosity and Music</p><p>The very concept of virtuosity is central to this controversy. The true natureof this particular manifestation of musical expression, which obviously plays a</p><p>2</p></li><li><p>key role in Paganini's works, is regrettably often misunderstood. As FranzLiszt wrote:</p><p>'VirtuoSity, far from being a monstrous excrescence, is an indispensable element of musical. ,3</p><p>composition.</p><p>Virtuosity is seen here as one of the parameters of musical composition,standing on equal terms with other co-ordinates such as harmony, melody,counterpoint, timbre, and structures such as variation, fugue, all of themhaving in tum characterised various periods in musical history. There areprinciples ruling each of these parameters which have been determined anddeveloped by great composers through the ages. One could say that Paganinicontributed to the definition of the laws of virtuosity. By exploring theextreme possibilities of the violin he not only extended the limits of theinstrument, but, as Claudio Casini points out, he opened up a new dimensionin musical language.4 Paganini's compositions are founded on one precisestructural criterion: the exploitation of the instrumental resources of theviolin. One could say that everything in his flamboyant compositions issubordinated to this criterion; but melody, rhythm, harmony, ideas and form,are all vivified by a breathtaking technical brilliance and by an unconstrainedpoetical and lyrical inventiveness.</p><p>A lesson to be learned from the history of music is not to use the words'invented' or 'discovered' too readily. Anne Penesco, in her stillunpublished work L'apport de Pag-anini a la technique du violonS hasconvincingly demonstrated that most aspects of violin technique developed byPaganini existed before his time. However, he systematically exploited andextended the use of elements which had appeared only in a limited, sporadicway. In doing so, he pioneered new avenues for the development ofinstrumental virtuosity and, with his admirably structured and coherent set of</p><p>3'La virtuosite, loin d'etre une excroissance monstrueuse, est un element indispensable alacomposition musicale' Liszt, Franz, Gesammelte Schriften. Leipzig: Breitkopf & Hartel1881-1910, vol. N (1855-59).4'Paganini ha impresso un'evoluzione allinguaggio musicale 0, se si preferisce, ha creatoin esso una dimensione nueva' Casini, Claudie, raganini. Milan: Electa 1982, p.635penesco, Anne. I:apport de Paganini a1a technique du vielen. Maitrise de musicologie,University of Paris N, 1974.</p><p>3</p></li><li><p>twenty-four Caprices, he made a significant contribution to the evolution ofmusical cornposition.P The Caprices can be compared to several greatcollections of compositions where one co-ordinate of the musical languageassumes 'archetypal' functions. A famous example is Das WohltemperierteKlavjer of j.S. Bach which is entirely founded on the application of the laws ofharmony and counterpoint and explores the interaction of these two forces,the vertical with the horizontal. The concertos of Antonio Vivaldi constituteanother example: in II Cjmento dell' Armonia con l' Invenzione, theconfrontation between harmony and melodic invention - as the titleproclaims - is at the origin of the Venetian priest's remarkable musicaldiscoveries. In works such as Das Wohltemperjerte Klavier or II Cimentodell' Armonia con rInvenzione, the composers chose to select one or a fewaspects of musical language and succeeded in integrating the totality of theirexpression. Something similar happened with Paganini and his twenty-fourCaprices. There, one dimension of musical language, virtuosity, issystematically explored: the musical ideas, their syntactic and structuraltreatment, everything is, as it were, submitted to its laws. As a result, thework, far from giving the impression of a one-sided perspective, reveals thepower of suggestion of the virtuoso gesture and, beyond it, or maybe at thevery origin of it, a pure form of poetical insight, One could say by analogy thatPaganini's approach was similar to that of painters who select a specific qualityon which the general logic of their work will depend (e.g. colour forimpressionists, geometry for cubists, etc..). Paganini's brilliant intuition abouta fundamental aspect of musical composition, and the clarity and coherencewith which he formulated it in his twenty-four Caprices, had profoundrepercussions in the conception of instrumental playing and repertoire in theRomantic era. The attention of the musical world was drawn to thesignificance of virtuosity as an element in Art.</p><p>60 ne could perhaps say that technique - instrumental as well as compositional - is themeans which enables the musician to deliver his message. Virtuosity could be thus definedas the adequation of a great message and the perfection of its expression. In an homage toPaganini, Paul Valery wrote that: 'Le virtuose est celui qui, par excellence, donne vie etpresence reelle tl ce qui n'etait qu'une ecriture lioree tl l'ignorance, tl la maladresse, tl!'insuffisante comprehension de qui que ce soit. Le virtuose incarne l'oeuure.' (Esqyisse d'unEloge de la Yirl!!QsM Nice, 1940, p.5).</p><p>4</p></li><li><p>Artiste Qr Charlatan?</p><p>In Paganini's posthumous celebrity, three elements have played - and are stillplaying - a role: the legend, the glamour of an exceptional destiny, the artisticevent. The first two have often tyrannised the third. Paganini's extraordinarytechnique, his charismatic personality, to say nothing of the commercialsuccess of his concert tours, cast a shadow on the deeper, more lasting aspectsoi his work:</p><p>'As for no other musician [Sergio Martinotti writes], any critical discourse on Paganini shouldmove away from his singular personal life, sift out a large corpus of more or less bad literature,pass many fictionalised episodes through the sieve..in order to arrive at his secret signature asa composer and to understand his art',7 [trl. PXBI</p><p>The creation of the Istituto di Studi Paganiniani8 in 1972 has given freshstimulus to biographers and musicologists and, with the publication Qf theCatalQgQ TematicQ delle Musiche di NiccQlo Paganini9, a fair evaluation oiPaganini's contribution to the field of musical composition is now possible,Next to the masterworks such as the 24 Caprices [M.5.25], the Three StringOuartets [M.S.20J, the Concerto in E flat MajQr[M.5.21] that place Paganiniamong the innovators of the early nineteenth century in Italian music, thereis also the 'utility' music he wrote and performed in large quantities to satisfythe demands of the public at large. It consists mostly of pieces in mezzocarattere style ('pots-pourris', variations on a single string, etc.) where theviolin emulates, as it were, and even surpasses, the prowess of a coloraturasinger. Often based on themes taken from the operatic repertoire of the time,</p><p>7'Come per nessun altro rnusicista, ogni discorso critico su Paganini dovra muoversi dallasua vita singolare, vagliare tanta piu 0 meno cattiva letteratura, tanto dettaglio romanzato..per raggiungere la sua cifra di compositore, la sua arte.' Martinotti, Sergio, OttocentoStrumentale Italiano, Bologna, Forni, 1972,p.276.Bnte Institute of Paganinian Studies (Instituto di Studi Paganiniani) was founded in Genoaon June 22, 1972. Founding members: Dr Alma Brughera Capaldo, Dr. Pietro Berri, FedericoM. Boero, Mario Cifatte, Gino Contilli, Luigi Cortese, Enrico Costa, Dr. Edward Neill, Prof.Salvatore Pintacuda (Conservatorium of Palermo), Dr. Carlo Marcello Rietmann. Director:Prof. Dr. Alma Brughera Capaldo.9Catalogo Tematico delle Musiche dj Niccolo PaganiDi.compiled by Maria Rosa Morettiand Anna Sorrento, Genoa, Comune di Genova, 1982. This publication constitutes the mostcomplete classification of Paganini's compositions to date. The works are arranged inchronological order in groups entitled: LDatable works, II. Undatable works, Ill.Sketches,IV. Lost works, V.Works of dubious origin, VI. Works erroneously attributed. All the worksclassified under I and II are distinguished by catalogue numbers preceded by the initials M.s.(for Moretti and Sorrento), which will be mentioned in further references.</p><p>5</p></li><li><p>these compositions received an enthusiastic reception by the Italian public,but, taken out of their historical/musical context, they may have offered apretext to those who tried to minimise Paganini's stature as a composer. Thereis also a large corpus of chamber music works, in which the guitar has asignificant presence (solo pieces, duets, trios and quartets). Last but not least,there are the works that one may define as 'experimental': short preludes,Caprices, or exercises often written on the spur of the moment for students,friends or admirers. Among these pieces - in which special instrumental andcompositional techniques are employed - one could mention the Sonata aViolino e Viola [M.S.108], the Capriccio a Ouattro Corde dedicated to MauriceDietrichstein [M.S. 54], the Sei Prelil~for 2 violins and cello, the Scala per 'fpianoforte dedicated to Clara Wieck,~e Preludio per Violino dated Leipzig 16October 1829, and the Scala obliqua e contraria per Chitarra dated Prague 4January 1829. The many facets of Paganini's output reflect a very rich artisticpersonality which does not readily submit to definition. There have been andthere still are many different - and often conflicting - interpretations of hiscontribution. The composer and music critic Francois Joseph Fetis accusedPaganini of being a 'charlatan', an impostor who wrote unplayable music.He later changed his mind and called him the greatest of living violinists.I'For Robert Schumann, the sixth Caprice alone was 'sufficient in itself toassure Paganini's position as one of the first Italian composers.r U LouisSpohr, who found in Paganini's compositions 'a strange mixture ofconsummate genius, childishness and lack of taste', was alternately 'charmedand repelled' by his style of playing.l2 Heinrich Heine, more perhaps thanany literary and music critic of his time, was preoccupied by the problem ofvirtuosity in relation to both musical and poetical expression. In a mostinteresting passage of Lutetia. he wrote that he had 'never heard anyone playbetter but also, at times, play worse than Paganini.'13 Hector Berlioz, the</p><p>10' ..Mr Felis. qui, en vertu des principes infaillibles de l'ecole a laquelle il appartient,avait accuse Paganini de charlatanisme, vient, loujours en verlu des memes principes, de Ieproclamer un grand violonisle' 1mbert de Laphaleque, G. Notice sur Ie celebre vjo!jnjsleNicolo Paganjni, Paris E.GuyOI,1830, p.61.n'Die Nummer halte ich iibrigens fur besonders schon und zart und sie allein furhinreichend, Paganini eine erste Stelle unter den neueren ilalienischen Komponisten zusichem.' Schumann, Robert. Gesammelte Scltriften fiber Musik pud Musiker Berlin:Wegweiser Verlag, 1922, p.165.12Spohr, Louis. Letter to W. Speyer, June 5, 1830 (quoted by de Courcy, vol. I, p.392).13'Ich habe niemand besser, aber auch zuzeiten niemand schlechter spielen genort alsPaganini..' Heine, Heinrich. Siimtlicbe Scbrifen, Munich: Carl Hanser Verlag, 1979,</p><p>6</p></li><li><p>author of the Traite d'Instrumentation, maintained that:</p><p>'It would take a book to enumerate all the new effeets that Paganini has found in his works, theingenious devices, the grand and noble forms, the orchestral combinations never, before him,employed or dreamed of.. His harmony is always clear and of extraordinary sonority' 14[trl.PXBl</p><p>Yet, quite the opposite view is held by the musicologist Leon Plantiga who</p><p>patronizingly descr..</p></li></ul>
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Michael Barenboim
lets music, in its diverse and enduring ways, speak for itself through his violin. Born in Paris and brought up in Berlin, with studies at the Hochschule für Musik und Theater Rostock under Axel Wilczok and at L’Université Paris-Sorbonne in philosophy, Barenboim knows no language or artistic boundaries.
Alongside his commitment to the core repertoire of the classical and romantic periods, Barenboim is deeply invested in contemporary music. His performance of Schönberg’s Violin Concerto with Wiener Philharmoniker deserves a special mention, as he was the soloist in the orchestra’s first performance of the piece. He has also recorded this concerto with the orchestra and his father, Daniel Barenboim, conducting.
Barenboim celebrates a long history of collaboration with the late Pierre Boulez. At the celebrations of Boulez’s 90th birthday in 2015, he performed several of the composer’s works at the Berliner Philharmonie, Konzerthaus Dortmund, Londons Barbican Centre, Opéra National de Paris and Salzburger Festspiele. He continues to perform these pieces regularly in his recitals and recently recorded both Anthèmes 1 and 2 for a new recording to be released this season by Accentus.
His 2016/17 season brings him further international debuts, including Gürzenich-Orchester Köln, for the orchestra’s season opening concert, BBC Philharmonic and Philharmonia orchestras and Orchestre Philharmonique du Luxembourg, as well as returns to Komische Oper Berlin, Deutsche Staatsphilharmonie Rheinland-Pfalz and Orchestre Philharmonique de Nice. While on tour in Asia, he performs in concert with the Shanghai and Guangzhou symphony orchestras and makes his recital debut in Tokyo, at the Musashino Cultural Foundation. With the Boulez Ensemble, he also performs at New Yorks Carnegie Hall; in Berlin, for the opening of the Boulez Saal; and at the Wiener Konzerthaus.
Last seasons highlights included a season-long residency with Orchestre symphonique de Bretagne, debuts with Orchestra dell’Accademia Nazionale di Santa Cecilia (under Antonio Pappano), Orquesta Nacional de España (under Juanjo Mena), Auckland Philharmonia and Los Angeles Chamber orchestras, as well as a tour with Deutsche Staatsphilharmonie Rheinland-Pfalz and Karl-Heinz Steffens, with whom he often works in concert. Barenboim also made his orchestral debut in Berlin, with Komische Oper Orchestra, and gave several solo recitals in Australia, including at the Sydney Opera House.
Chamber music is an important focus for Barenboim and he is a founding member of the Erlenbusch Quartet and a frequent guest at such festivals as Rheingau Musik, Beethovenfest Bonn, Lucerne, Jerusalem and Verbier. Barenboim performs more regularly this season with his pianist mother Elena Bashkirova and cellist Julian Steckel, appearing together at Munichs Herkulessaal der Residenz, Brussels Palais des Beaux Arts, Paris Cité de la Musique and the Lucerne Festival.
Parallel to his solo concert and recital performances, Barenboim also serves as concertmaster with the West-Eastern Divan Orchestra and cultivates a continuous and strong involvement in educational activities. He regularly coaches chamber music in the newly founded Barenboim-Said Academy and has given masterclasses in Spain, Australia and New Zealand.
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