Paganini: Caprices for solo violin, Op. 1 Nos. 1-24
James Ehnes (violin)
Awards:
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Gramophone Magazine, January 2010, Disc of the Month
…Ehnes has returned to these coruscating 'finger-breakers' (as Ricci once described them), playing with the same glowing tonal finesse as before, but with a new lyrical intensity… Beguilingly...
Paganini: Caprices for solo violin, Op. 1 Nos. 1-24
James Ehnes (violin)
Purchase product
Awards:
-
Gramophone Magazine, January 2010, Disc of the Month
…Ehnes has returned to these coruscating 'finger-breakers' (as Ricci once described them), playing with the same glowing tonal finesse as before, but with a new lyrical intensity… Beguilingly...
About
James Ehnes revisits the most demanding work in the violin repertoire, and delivers an astonishing new interpretation, focusing on the lyrical rather than the pyrotechnics in the Caprices – though there is ample virtuosity on display here! These works have never been exceeded in the challenges they present for the performer, and as such are the ultimate studies for solo violin. Upon hearing Paganini play the Caprices for the first time, Liszt had serious doubts about his own abilities as a composer. In contrast, they inspired Schumann to abandon his chosen career as a writer, and take up composition.
" a masterclass in how to transform virtuosic acrobatics into sensitive 'scenes' for the violin, each one telling its own little story." Salzburger Nachrichten after Salzburg Festival performance 2009
Insightful booklet essay by Ehnes on the composer and the music.
Contents and tracklist
Awards and reviews
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Gramophone MagazineJanuary 2010Disc of the Month
December 2009
…Ehnes has returned to these coruscating 'finger-breakers' (as Ricci once described them), playing with the same glowing tonal finesse as before, but with a new lyrical intensity… Beguilingly played and expertly engineered, this deserves a place on anyone's shortlist of the Caprices.
January 2010
Ehnes has recorded the Caprices before, in 1995, at the age of 19. Since then his view of the music hasn’t changed a great deal… There's the same daring, bold approach, relying on exceptional technique to deliver an inner vision of each piece… what has changed is that Ehnes's technique has got even better, the intonation more precise, the bow control more sensitive. And the new recording adds an extra degree of clarity so that the playing makes a more vivid impact. Even a solitary listener will feel the desire to applaud the Presto section of No 11, with its jaunty rhythms and extraordinary leaps, or the quick staccato scales at the end of No 21.
