Paganini : Musique de chambre pour cordes

Description

Paganini, during a rather disjointed musical training, with Alessandro Rolla (1757-1841) as the main figure in Parma, quickly distanced himself from any stylistic influence to create his own recognizable language. A few lessons with cellist Gaspare Ghiretti (1747-1797) and with Ferdinando Paër (1771-1839) do not seem to have left much of an impact… However, it was from Rolla that he acquired the brilliant technique of the violin (as well as the viola and guitar), which would later make him famous during concert tours that made headlines across Europe, each of his appearances being a true event, even for other famous composers such as Rossini, Schubert, and Liszt. Alongside the famous and spectacular concertos (and the Sonata per la Gran Viola), the Genoese composer wrote throughout his life small pieces for violin and guitar, solo guitar, or other small ensembles. This delightful recording begins with three "Ritornelli" for two violins and a cello, which are in fact lively and playful dances with a carnival flavor, a sort of resurgence of the countless Ländler, German Dances, and other Redoutentanzen written, among others, by Haydn, Mozart, and Beethoven in the previous generation. The following "Sonate Concertante" indeed establishes a dialogue between the two instruments, but the supremacy of the violin is, predictably, very clear; this characteristic of Paganini's music for violin and guitar is less pronounced in the Variations on the Prayer from Rossini's Moïse, but more so in the Moto Perpetuo and the Cantabile, which utilize the same formation. After these sparkling little pieces (which require an experienced violinist), a series of 6 small preludes for solo violin, with a distinctly didactic character, conclude this picturesque series of delightful Paganini gems, to which the performers bring color and exuberance. (Jean-Michel Babin-Goasdoué)