Search - Pasini, Hummel, Moscheles :: Tribute to Paganini

Entertaining Virtuosic Homages to Paganini

Hexameron | 10/27/2006

(5 out of 5 stars)

"Before initiating my review, I'd like to list what compositions are included on this disc since Amazon's product page is lacking such information:



* Hummel's Fantasia "Recollections of Paganini" (10:02)

* Moscheles's Fantasia No. 1 "Gems à la Paganini" (8:11)

* Moscheles's Fantasia No. 2 "Gems à la Paganini" (9:11)

* Kuhlau's Rondeau Brilliante on "La Clochette" (9:23)

* Liszt's Paganini Etudes 1-6

* Busoni's "Introduzione e Capriccio Paganinesco" from 'An die Jugend' (6:34)

* Dallapiccola's "Sonatina Canonica on Caprices of Paganini" (8:09)



This Dynamic label release is the first volume in one of the most fascinating series I've encountered (Volume 2: Tribute to Paganini, Vol. 2). Many are familiar with the more mainstream composers such as Liszt, Brahms, and Rachmaninov who integrated Paganini themes into their works. Every concert pianist will practice Liszt's Paganini Etudes, especially No. 3 "La Campanella" at some point in their career. But what about Kuhlau's rapturous little rondo on the same theme? Or Busoni's sublime "Introduzione e Capriccio" based on the main theme from Paganini's eleventh caprice? Both are worthy of revival.



Johann Hummel's (1778-1837) "Recollections of Paganini" appeared in 1832 and may be among the first piano fantasies incorporating Paganini melodies. Hummel adopts many: two caprices, the violin concerti Rondos, and the Guitar Quartet No. 7. Even by the 1830s Hummel's language is still classical. Alberti basses and tasteful embellishments are prevalent. There is also emphasis on beautiful filigree akin to early Beethoven without the drama. Madoka Inui recorded this on the Naxos label (Johann Nepomuk Hummel: Fantasies), but I like Pasini's vibrant and polished delivery better. Ignaz Moscheles's (1794-1870) two fantasias nicknamed "Gems à la Paganini" are not solely inspired by Paganini themes. These two works are essentially potpourris of famous operatic tunes with a few Paganini melodies surfacing occasionally. Moscheles's piano-writing is not so flamboyant as Herz or Thalberg and instead anticipates Mendelssohn. Some may scoff at such piano bonbons, but Moscheles's fantasias are pretty cohesive and generally attractive; one never knows what Rossini, Mozart, Bellini, or Paganini tune will suddenly pop up next.



Like Hummel, Friedrich Kuhlau (1786-1832) also cashed in early on the booming popularity of Paganini's music. Kuhlau's Rondo on "La Clochette" (or "La Campanella") is one of his last works (Op. 121) and brims with energy, melodiousness, and dramatic virtuosic material typical of pieces by the transitional composers like Dussek, Czerny, Field, or Ries. Liszt's Paganini Etudes need no introduction and are a definite staple in the repertoire. I've heard Brendel, Howard, Hamelin, and others, but I must say Pasini executes each etude with extraordinary command and dynamic power. His touch, technical precision, and overall brio is truly stellar, especially in the first G minor "Tremolo" and the last A minor "Theme and Variations" etudes. Pasini studied with Lazar Berman and the master's influence shows.



Of all pieces exhibited on this volume, Ferrucio Busoni's (1866-1924) contribution is the most compositionally substantial. His "Introduzione e Capriccio Paganinesco" is from a larger collection of pieces, 'An die Jugend.' Busoni's treatment of the gorgeous main theme from Paganini's eleventh and fifteenth caprices is magnificently lyrical and passionate. But this work also features high-octane virtuosic passages that easily outclass Liszt's own etudes; of course, Pasini makes everything sound like an easy nocturne with some pyrotechnical outbursts. The last work on this CD is an engaging modern Sonatina by Luigi Dallapiccola (1904-1975). Although he was Italian, Dallapiccola's idiom is similar to the composers of the Second Viennese School. Dallapiccola's Sonatina clearly uses motifs from Paganini melodies to suit his own serialist procedures. Honestly, it is the least interesting specimen on this disc, but more attractive (and Romantic) than much of Webern or Hindemith.



Bottom line: This CD is a treasure chest of neglected homages to Paganini. Marco Pasini has the colossal technique needed to pull off every composition. Moreover, he has the artistry to interpret Busoni and the panache to make Hummel and Liszt shine. Any pianophile should find this disc appealing. Completists should also appreciate the world-premiere recordings of the Moscheles and Kuhlau pieces."