Salvatore Accardo - Paganini: 24 Capricci

It would be sufficient to list the direct and indirect legacies set off by the 24 Capriccios (amongst which the "simple harmonizations" i.e. the piano accompaniments added by Schumann to a few Capriccios: a singular act of devotion and of affection towards the author-performer to whom he owed the revelation of his authentic musical vocation, after having heard Paganini play at a concert in Frankfurt in 1820) to assess their historical and stylistic importance. Fully justified is the author’s dedication "Alli artisti" (to artists) (as if to say: it is not stuff for amateurs, as opposed to the contemporary Quartets for strings and guitar) with which they were published in 1820, and the role of forerunner that he had in the Romantic virtuoso literature (specifically in relation to the violin, mostly unexpressed since the times of Bach’s Sonatas) which otherwise found especially in the piano the natural means to express itself. Paganini’s ingenious ideas in the Capriccios are astounding and recognizable also by those who do not know the violin technique. But for instrumentalists, the surprising (and problematic) moments are numerous.

Disc 1

1. Andante in mi magg.

2. Moderato in si min.

3. Sostenuto Presto Sostenuto in mi min.

4. Maestoso in do min.

5. Agitati in la min.

6. Lento in sol min.

7. Posato in la min.

8. Maestoso in mi bemolle magg.

9. Allegretto in mi magg.

10. Vivace in sol min.

11. Andante Presto Tempo I in do magg.

12. Allegro in la bemolle magg.

Disc 2

1. Allegro in si bemolle magg.

2. moderato in mi bemolle magg.

3. Posato in mi min.

4. Presto in sol min.

5. Sostenuto Andante in mi bemolle magg.

6. Corrente Allegro in do magg.

7. Lento Allegro Assai in mi bemolle magg.

8. Allegretto in re magg.

9. Amoroso Presto in la magg.

10. Marcato in fa magg.

11. Posato in mi bemolle magg.

Tema. Quasi Presto Variazioi Finale in la min.

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