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... Paganini's artistry in composition and performance were tinted by "rose-colored memories." There is nothing "rose-colored" in the genius of such contemporaries of Paganini as Schubert, Mendelssohn, Liszt, Chopin, Schumann, Berlioz and others, whose reports claim his total mastery as a composer and genius as a performer in absolute terms. It is important to understand Paganini's music in the context of his cultural heritage and his enthusiastic adherence to traditional compositional values. His studies, in addition to violin, included guitar, counterpoint, music history, theory, harmony, and orchestration.
His compositional gifts were widely recognized from an early age, as is reflected by the many commissions for chamber music and concertos he received from well known string and wind players. Paganini's 24 Caprices for violin alone and his Concerti represent a quintessential accomplishment, presenting the violin solo artist with enough technical and musical challenges to inspire a lifetime of dedication to the highest level of mastery. Beneath the mere notes lies a most profound vehicle for the evocation of mysteries that potentially define the human spirit. Thus is the sublime mystery of the violin as Paganini knew it, like no other -- that most noble, powerful, yet intimate of solo instruments. Through the medium of these works, the artist, in dedicating a life to mastery of the instrument, has the opportunity of revealing mesmerizing musical wizardry through contrapuntal harmonies of visceral power set in dramatic thematic material of the highest order. Utilizing extended passages in double and multiple stopping, Paganini has provided complete support for expressing the unique, heartfelt reflection of his deep musical inspiration.
The stunning inventiveness of the Caprices and Concerti goes so far beyond mere technical display, that one cannot overstate their merit. How were these miraculous pieces devised? I believe these works were the products of Paganini's life-defining genius -- discipline, complete dedication to expanding the boundaries of violin playing, immersion in the company of great musicians, musicianship and fiery passion for his art. In his Caprices, Paganini's countless unprecedented, ingenious effects are revealed, and remain the ultimate challenge in violin playing. Among these are rapid, arpeggiate d passages with ricochet bowing, presenting thematic modulation; themes and counterpoint in continuous intervals of between one and three octaves, requiring continuous rapid string crossings, complete with double stopping; extended octave playing of beautiful themes and double trills; an entire Caprice in double stop trilling; usage of thirds, sixths, fingered and normal octaves, and tenths, in every conceivable combination. In total, an incalculable contribution to the scope and advancement of violin playing as well as to musical inspiration.
Paganini's Concerti for violin and orchestra can be eerily mesmerizing in their wonderful complexity, mystery, beautiful themes and counterpoint. Their iridescent beauty is complemented by the amazing originality and harmonic appeal of the musical ideas, such as the Rondo "La Clochette", the Adagio inspired by a tragic Italian stage play, and the nobility of the large scale "Maestoso" first movements. One additional and remarkable effect in his concerti is in the development section of the first movements, combining a beautiful cantilena or recitative, building and leading to a chordal, highly charged rhythmic figure of extreme virtuosity, at first giving the impression of merely technical acrobatics, but quickly and magically transforming itself into high musical merit, while climaxing to even more technically dazzling heights. The double harmonics and left hand pizzicati present an incredible effect, impossible to describe, but their difficulty limits their success to only a chosen few artists able to play them. This is also true for many passages for the G string in his concerti.
I believe firmly in playing all these notes solid, with vibrato, instead of using the much easier open harmonics in many of the upper notes on this string. I addition, I am compelled to play significant notes on the upper G string (as I am sure Paganini did) for the rich sound it produces, rather than the commonly accepted manner of using the upper strings in first, second or third position. One must recognize the powerful effect that Beethoven had on Paganini's works, especially so in continuity of rhythm. Just as in Beethoven's music and for that matter, the works of any great composer, an indulgence in rhythmic aberration for technical convenience renders the music ineffective. The human body has to feel a continuing pulse in thematic and developmental presentation for true satisfaction. The obvious exception to this, of course, lies in certain recitative passages and in cadenzas of many works.
But in general, the most inexperienced listener will completely enjoy (provided it is played in tune, with good tone) or psychologically reject great music based on the stability of rhythm, often not knowing why. Paganini's music has often been erroneously criticized for a lack of depth. I believe this is so because of the manner in which it is sometimes played. Without a rock solid basis of rhythmic consistency, it does indeed fall flat. the tremendous variety of figuration gives way to the impression of technical display only, when passages are not unified with precisely the same tempo. I have heard this often, especially in orchestral tuttis, performed by qualified and even major orchestras, rushed by unsympathetic conductors.
Even Mozart's music becomes cheap if subjected to excessive tempos in order to speed things along or in an effort to impress. For the sake of the soloist's convenience, the type of distortion most often occurring is in themes being played faster in tempo (beats per minute) than rapid passages in double and multiple stopping, extended fast runs and arpeggios as well as double harmonics. The slower tempi make these passages more playable but degrade their integrity to a less than exciting level. This distortion is sadly, seldom recognized by the public or critics, but all music's effectiveness is dependent on rhythmic stability more than any other single factor. The works of Nicole Paganini provide a standard by which all other solo violin music can be measured in terms of difficulty and integrity of virtuosity.
Instead of being shallow, as some critics ignorantly characterize Paganini's compositions, these works can be recognized, when played with technical mastery, rhythmic precision, enthusiasm and musical maturity, as powerful resources of inspiration for better interpreting the other great masterpieces of the solo violin repertoire -- the great architecture of Bach, the vast warmth of Brahms and Tchaikovsky, the glorious charm of Mendelssohn, the Latin fire of Lalo, the invincible solidity of Beethoven or the glowing intensity of Sibelius, Nielsen and Bartok.
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Research essay sample on Double And Multiple Stopping Passages In Double And Multiple Violin
