01 La Risata del Diavolo
02 La Campanella
03 Capriccio per violino solo n.5
04 Adagio flebile con sentimento
05 Rondo galante Andantino gaio
06 Inttoduzione e variazioni su
07 Capriccio per violino solo n.24
08 Polacca Andantino vivace
09 Capriccio per violino solo n.1
10 Rondo Allegro spirituos0
11 Capriccio per violino solo n.13
12 Sonata Moto Perpetuo

Salvatore Accardo – violin
London Philharmonic Orchestra
Charles Dutoit – conductor

Charles Dutoit and the London Philharmonic Orchestra give a splendid, warm performance without overwhelming violinist Salvatore Accardo's playing. Salvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of these works of Niccolo Paganini. The Italian violin virtuoso and conductor, Salvatore Accardo, is highly regarded for his interpretations of Paganini. He studied violin in the southern Italian city of Naples in the 1950s and gave his first professional recital at the age of 13, performing Paganini's Capricci. He won the Geneva Competition in 1956 and in 1958 became the first prize winner of the Paganini Competition in Genoa. The Swiss conductor, Charles Édouard Dutoit, is known for his interpretations of French and Russian 20th century music. Dutoit studied in Switzerland where he was born and graduated from the Geneva Conservatory where he won first prize in conducting. In his youth, he frequently attended Ansermet's rehearsals and had a personal acquaintance with him. He has been guest conductor for the Orchestre de la Suisse Romande and the Lausanne Chamber Orchestra as well as conducting for Radio Zurich, the Bern Symphony Orchestra, the National Symphony Orchestra of Mexico, Sweden's Gothenburg Symphony and the Minnesota Orchestra. "Stepping back to the early nineteenth century, the violinist Niccolo Paganini was famously believed to have sold his soul to the Devil in exchange for technical virtuosity on the violin the likes of which Europe had not previously seen. A random survey of Paganini’s violin compositions illustrates his command of the instrument." - Jennifer Hambrick, wosu.org

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1.Theme And Variations No. 1 - 20 	20:30
2.Variations No. 21 - 40 	19:05
3.Variations No. 41 – 60	21:07

Gidon Kremer – violin

Paganini's variations on the Genoese melody Barucaba were written in 1835 and dedicated to Luigi Germi, a friend and lawyer who was of great assistance to him in financial matters. The sixty variations, three sets of twenty in the original version for unaccompanied violin, provide an opportunity for technical virtuosity from the violinist, while demonstrating the composer's ingenuity in his varied treatment of a very simple tune, repeated in conclusion. --- naxos.com

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1. Sonata concertata M.S. 2 per chitarra e violino in A major - Allegro spiritoso	7:53
2. Sonata concertata M.S. 2 per chitarra e violino in A major - Adagio, assai espressivo	3:42
3. Sonata concertata M.S. 2 per chitarra e violino in A major - Rondeau. Allegretto con brio, scherzando	2:40
4. Sei sonate M.S. 27 (op.3) per violino e chitarra / Sonata n.1 - in A major - Larghetto	2:06
5. Sei sonate M.S. 27 (op.3) per violino e chitarra / Sonata n.1 - in A major - Presto Variato - Variazione	1:18
6. Sei sonate M.S. 27 (op.3) per violino e chitarra / Sonata n.4 - in A minor - Andante largo	3:04
7. Sei sonate M.S. 27 (op.3) per violino e chitarra / Sonata n.4 - in A minor - Allegretto	1:27
8. Sei sonate M.S. 27 (op.3) per violino e chitarra / Sonata n.6 - in E minor - Andante	2:35
9. Sei sonate M.S. 27 (op.3) per violino e chitarra / Sonata n.6 - in E minor - Allegro vivo e spiritoso - Minore	1:51
10. Grand Sonata M.S.3 per chitarra e violino - in A major	4:35
. Centone di sonate M.S.112 per violino e chitarra - Lettera A: / Sonata n.2 - in D major - Adagio cantabile	2:54
12. Centone di sonate M.S.112 per violino e chitarra - Lettera A: / Sonata n.2 - in D major - Rondoncino. Andantino,
 Tempo di Polacca - Minore	4:08
13. Centone di sonate M.S.112 per violino e chitarra - Lettera A: / Sonata n.4 - in A major - Adagio cantabile	2:43
14. Centone di sonate M.S.112 per violino e chitarra - Lettera A: / Sonata n.4 - in A major - Rondo. Andantino.
 Allegretto - Minore - Maggiore	5:51
15. Cantabile M.S.109 - in D major - per violino e chitarra (pianoforte)	3:48
16. Sonata a preghiera M.S.23 - in F minor per violino IV corda e chitarra - transcrip. f. guitar L.Hannibal
 - 1. Introduction. Allegro	2:51
17. Sonata a preghiera M.S.23 - in F minor per violino IV corda e chitarra - transcrip. f. guitar L.Hannibal
 - 2. Thème. Tempo alla Marcia -	1:09
. Sonata a preghiera M.S.23 - in F minor per violino IV corda e chitarra - transcrip. f. guitar L.Hannibal
 - Var. I -	0:58
19. Sonata a preghiera M.S.23 - in F minor per violino IV corda e chitarra - transcrip. f. guitar L.Hannibal
 - Var. II. Vigoroso -	1:13
20. Sonata a preghiera M.S.23 - in F minor per violino IV corda e chitarra - transcrip. f. guitar L.Hannibal
 - Var. III.	0:33
21. Sonata a preghiera M.S.23 - in F minor per violino IV corda e chitarra - transcrip. f. guitar L.Hannibal
 - 3. Finale	0:31
22. Allegro vivace a movimento perpetuo M.S.72 (op.11) in C major - per violino e chitarra
 - Revision of guitar part Lars Hannibal	3:22

Gil Shaham – violin
Goran Sollscher – guitar

This is a delightful cd that still sets the standard for these varied violin/guitar pieces even though they were recorded in November '92. Gil Shaham plays with an aristocratic charm that makes every piece sound so refreshing and witty; he has imbued into these Paganini works the purest violin tones and cleanest approach of everyone who has tackled the same works including Monica Huggett's recordings on Harmonia Mundi and the inexpensive Naxos recordings. Indeed while listening to both Huggett's and Shaham's interpretations of the "Sonata Concertata", I prefer the latter simply because it is so much more refined; Huggett's playing seems more raw and less polished even though there may appear to be more energy. Huggett plays the piece as if it was a Baroque Miniature Masterpiece; Shaham plays it in the Classical Mold full of romance and feeling- imparting a greater degree of mystery and spirituality. Shaham makes every note sound just right and no quips with the interpretation; his refinement of technique reminds me of a young Arthur Grumiaux but with a even greater sense of mastery and control.

It is an interesting fact that Paganini wrote over 100 solo pieces for the guitar even though he is now known primarily for his violin works. Paganini is believed to have used the guitar as the instrument of choice during composition. Although his guitar pieces do not approach the virtuosic exuberance of the more famous violin counterparts such as the "24 Caprices", they define an intimate and private Paganini; one who indulges in a more relaxed and quiet setting- away from the fireworks of the stage performances. However make no mistake- many of these pieces from this recording are meant to be played with a lot of fire and splendid bowtapping such as the "Moto Perpetuo" (the last selection) and Shaham's rhythmic attack never slackens even in the most demanding passages.

"Paganini for Two" on first glance sounds like any other recording made especially for background dinner music (even the tiny sticker on the packaging highlights this point!)but there is a lot of lyrical refinement for even the serious Paganini collector and classical music lover. A number of Sonatas are included although at times the guitar plays a lesser role. I would have preferred to see the entire "Grand Sonata" appear in this recording but only the "Romance" from it- a very short four and a half minute piece is included. The rest of the programme if not generous is still varied and interesting- stretching slightly over 60 minutes.

All this talk of Shaham certainly does not detract from the wonderful accompaniment provided by veteran guitarist Goran Sollscher who was known previously for his luminous recordings of the Bach Lute suites (also on DG)and refreshing interpretations of even the music of the Beatles! You can hear every one of Sollscher's notes and this partnership is certainly a very successful one. To cap it all off, the sound is crystal clear with a lot of depth and proper soundstaging. The violin and guitar sound very holographic and on a good hi-fi equipment, this disc can be worthy of demonstration material. -- Jason Liu

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Violin concerto No. 1 in D major, Op. 6
1. Allegro maestoso 
2. Adagio 
3. Rondo (Allegro spirituoso)

Violin concerto No. 2 in B flat minor, Op. 7 "La Campanella"
1. Allegro maestoso
2. Adagio
3. Rondo à la clochette

Salvatore Accardo, violin
London Philharmonic Orchestra
Charles Dutoit, conductor

The first violin concerto of Paganini's has been recorded by the best violinists (and more) by now, and sometime more than once by the same. Fortunately, this give us a wide choice of good recordings, each of which can be singled out for some different feature. However, reading reviews about this concert will reveal that almost always a comparison with this Accardo's recording is present. And the reason is quite simple: this is the best overall recording.

The performance by Accardo is simply flawless. He keeps is known style of simplicity and clarity. For example he doesn't use any doubling of voice where others like Perlman does, or he prefer the pizzicato where some others stick with a staccato. Anyway, in my personal view of the Paganini stile's, I think that Accardo's is the closest I've heard. As a note he plays an elaboration of the full cadenza by Emile Sauret while virtually all the others (Perlman and Vengerov with them) use the abbreviated Sauret. This result in a much longer first movement: more than 22 minutes instead of the average of 19-20 (the rhythm is quite the same in most respected recordings).

This recording benefits too from a wonderful performance by the LPO directed by Charles Dutoit. Differently from other concertos like Beethoven's, the Paganinian idea of a violin concerto was to place the violin over everything else, and the LPO perfectly respect this idea playing a secondary but perfect role. They have played the integrale of Paganini's violin concertos with Dutoit and Accardo, and the overall feeling is so evident.

The coupling with the second violin concerto is a classic, but for me always good choice. Paganini has his idiosyncratic style and it's not so simple to couple it with other concerts. Another good coulping, too, is the one with the "Carmen Fantasy" by Sarasate, in the EMI Perlman's recording.

The disc is an ADD, and the difference with better and more modern DDD is not so hidden, especially in the "tutti". Anyway, among the ADD this is surely one of the good ones, in this DG has done a good work. ---G. Avvinti, amazon.com

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Violin concerto No. 1 in D major, Op. 6
1. Allegro maestoso 
2. Adagio 
3. Rondo (Allegro spirituoso)

Violin concerto No. 2 in B flat minor, Op. 7 "La Campanella"
1. Allegro maestoso
2. Adagio
3. Rondo à la clochette

Jean-Jacques Kantorow, violin
Orchestre de Chambre Bernard Thomas
Bernard Thomas, conductor

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Violin Concerto No. 5
1	Allegro Maestoso 
2	Andante, un poco sostenuto 
3	Finale. Rondo. Andantino quasi Allegretto 
		
4	La Primavera 
5	Maestosa Sonata sentimentale 

Salvatore Accardo – violin
London Philharmonic Orchestra
Charles Dutoit – conductor

With Accardo's perfect command of Paganini's music and the uncommon devotion of Dutoit and the LPO, there can be no higher praise than to say this recording matches the other volumes in this series.

Here is another extract from Accardo's admirable boxed series of the Paganini concertos. This is, indeed, the only current version of No. 5, though I cannot tell why the sleeve refers to it as his "last", for the complete DC Set also contains an account of No. 6 (already available separately on 2530 467, 11/74). The composer did not orchestrate No. 5 himself, although he laid down the lines of the tuttis, with indications of harmony and instrumentation. It was finally orchestrated, and excellently too, by Federico Mompehlio in 1958, and first heard in modern times the following year. One might add, however, that for that performance, in Siena, some cuts were made, whereas here, as in all the recordings of this series, the Concerto is heard absolutely complete. By now Accardo's perfect command of Paganini's music, the uncommon devotion of Dutoit and the LPO, and the high quality of the recording will be well known from previous reviews of this series, and it is sufficient to say that this disc is up to the level of its predecessors. There could be no higher praise.

As with their previous separate reissues of the concertos, DG have coupled-No. 5 with a little-known Paganini work that was not in the original box. They have not on this occasion, though, linked it with a previously unavailable piece, for the Maestosa sonata sentimeniale appeared last December, together with four other 'miscellaneous' items. As usual when Paganini calls a work a sonata, this is no such thing, but turns Out to be an engaging Set of variations on Haydn's Gott erhalte Franz, den Kaiser. --- Gramophone [4/1978]

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Violin Concerto No. 6
1 1. Risoluto
2 2. Adagio
3 3. Rondo Ossia Polonese

4 Sonata con Variazioni On A Theme By Joseph Weigl
5 Vars On A Theme From 'La Cenerentola'
6 Le Streghe, Op.8

Salvatore Accardo – violin
London Philharmonic Orchestra
Charles Dutoit – conductor

Violin Concerto No.6. Paganini wrote this concerto to flaunt his violinistic virtuosity as no other music of his time could. In and around melodies that are ardently if not profoundly expressive the soloist gets to show off lines in the violin's highest compass, wide leaps of register, dashing scales and arpeggios, strings of trills, =saltando= bowing, and passages in double stops . The orchestra accompanies discretely and sometimes speaks up in =tutti= passages of its own. Much of the music recalls opera, and the tone is predominantly plaintive. The structure is episodic and the music often jumps rather than flows from section to section.

Although this work carries the number 6 it is actually the earliest of Paganini's surviving concertos. For a long time only a version for violin and guitar was available and Federico Mompellio provided the orchestral accompaniment (published in 1973) on which this description is based.

Violins and flutes lead the the initial melodic statement of the opening =Risoluto= with straightforward ardor. An oboe leads second theme, still expressive although less ardent than the first. Violins soon resume the major melodic responsibility, and the soloist enters with the movement's first theme and wastes no time extending its expression through virtuosic embellishments.

The central =Adagio= holds forth in the major mode with a somewhat hymnal feel. The soloist projects a straightforward singing line with a minimum of virtuosic interpolations, and the orchestra introduces a brief moment of agitation near the end.

The concluding =Rondo ossia polonese= dances for joy (if sometimes cautiously) although it is well aware of the concerto's concerns. The solo violin starts out over a discreet accompaniment. The orchestral violins briefly take up its tune, and then the soloist offers the second strain. Some playfully amusing pauses show up in the refrain's final statement. --- Aaron Rabushka, Rovi

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Violin Concerto No.3 in E
1.1. Introduzione (Andante) - Allegro marziale - cadenza: Salvatore Accardo 18:08
2.2. Adagio (Cantabile spianato)	7:07
3.3. Polacca (Andantino vivace)		11:33

Violin Concerto No.4 in D minor
4.1. Allegro maestoso - cadenza: Salvatore Accardo	17:07
5.2. Adagio flebile con sentiment	6:50
6.3. Rondo galante (Andantino gaio)	11:06

Salvatore Accardo – violin
London Philharmonic Orchestra
Charles Dutoit – conductor

Composed in Naples in 1826, Niccolò Paganini's Concerto No. 3 in E major for violin and orchestra (MS 50) is not one of the man's more frequently played concertos; No. 1 is, of course, the best known, and No. 2 and No. 4 are more or less tied for second place. But there are many people, including such luminary violinists as Henryk Szeryng, who felt and feel that No. 3 is the most impressive of the set, both from a composition point of view and, as always with Paganini's violin music, from a technical show-off point of view. It is also usually the longest of the set, lasting better than half an hour in performance.

Only a few of Paganini's concertos survive intact. He was a tight-fisted man when it came to distributing copies of his pieces, and eagerly snatched the orchestral parts back up as soon as a performance of one of his concertos was finished. Thus, the orchestral parts and scores for several of the concertos are missing, and must be reconstructed if a performance is wished. Not so with the Concerto No. 3, whose autographed manuscript solo parts and orchestral score are intact and carefully preserved in a Roman library.

The concerto is in the usual three-movement format, and, as always in Paganini's concertos, Classical concerto form and turn-of-the century Italian opera style meet head-on. The first movement, "Introduzione" (Andante - Allegro marziale), begins playfully, with a series of pizzicato chirps from the orchestral strings; the winds and percussion, however, beg to differ, and, after a brief exuberant outburst, a stately, wholly operatic tune (complete with rhythmic blasts from the cymbal) is presented. Silken melody and jaw-dropping pyrotechnics take turns after the violinist enters. And, just as happens in the famous Concerto No. 1, there are episodes dedicated entirely to the playing of difficult parallel thirds.

The second movement is an Adagio that Paganini describes as Cantabile spianato, while the finale is a happy Polacca (in the polonaise's standard triple meter) that, at better than ten minutes, is quite a bit more bulky than most of Paganini's finales. Paganini gave the world premiere of this concerto in Vienna on July 24, 1828. --- Blair Johnston, Rovi

Niccolò Paganini composed his Violin Concerto No. 4 in D minor between the autumn of 1829 and the winter of 1830. He had already made his triumphant Viennese debut in 1828 using his astoundingly difficult first three Violin Concertos to demonstrate his unequaled virtuosity. But feeling a need for new repertoire while touring Germany, Paganini wrote his Fourth between performances, and although he wrote to his publisher that he intended to "deflower" the work in Paris, he actually performed it several times in Germany. In his review of the work, Ludwig Spohr wrote "in his composition and his style there is a strange mixture of consummate genius, childishness, and lack of taste that alternately charms and repels." Writing of the Parisian premiere, critic Castil-Blaze said that the work had a "most original form" and had "several highly picturesque effects." Cast in the standard three-movement form, Paganini's Concerto No. 4 opens with a stormy Allegro maestoso in D minor followed by a highly emotional Adagio flebile con sentimento in F sharp minor and closes with a racing Rondo galante in D minor with a novel obbligato triangle that no doubt elicited Castil-Blaze's comment on "picturesque effects." ---James Leonard, Rovi

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1 	24 Caprices for Solo Violin, Op. 1 No. 1 in E major 		1:40 	
2 	24 Caprices for Solo Violin, Op. 1 No. 2 in B minor 		2:43 
3 	24 Caprices for Solo Violin, Op. 1 No. 3 in E minor 		2:54 	
4 	24 Caprices for Solo Violin, Op. 1 No. 4 in C minor 		6:23 	
5 	24 Caprices for Solo Violin, Op. 1 No. 5 in A minor 		2:27 	
6 	24 Caprices for Solo Violin, Op. 1 No. 6 in G minor 		3:27 
7 	24 Caprices for Solo Violin, Op. 1 No. 7 in A minor 		3:52 
8 	24 Caprices for Solo Violin, Op. 1 No. 8 in E flat major 		2:39 	
9 	24 Caprices for Solo Violin, Op. 1 No. 9 in E major 		2:32 	
10 	24 Caprices for Solo Violin, Op. 1 No. 10 in G minor 		2:24 
11 	24 Caprices for Solo Violin, Op. 1 No. 11 in C major 		3:27 	
12 	24 Caprices for Solo Violin, Op. 1 No. 12 in A flat major 		2:46 	
13 	24 Caprices for Solo Violin, Op. 1 No. 13 in B flat major 		2:32 
14 	24 Caprices for Solo Violin, Op. 1 No. 14 in E flat major 		2:02 
15 	24 Caprices for Solo Violin, Op. 1 No. 15 in E minor 		2:31 	
16 	24 Caprices for Solo Violin, Op. 1 No. 16 in G minor 		1:26 	
17 	24 Caprices for Solo Violin, Op. 1 No. 17 in E flat major 		3:10 	
18 	24 Caprices for Solo Violin, Op. 1 No. 18 in C major 		2:25 	
19 	24 Caprices for Solo Violin, Op. 1 No. 19 in E flat major 		2:47 	
20 	24 Caprices for Solo Violin, Op. 1 No. 20 in D major 		3:38 	
21 	24 Caprices for Solo Violin, Op. 1 No. 21 in A major 		2:54 	
22 	24 Caprices for Solo Violin, Op. 1 No. 22 in F major 		2:28 	
23 	24 Caprices for Solo Violin, Op. 1 No. 23 in E flat major 		4:44 	
24 	24 Caprices for Solo Violin, Op. 1 No. 24 in A minor 		4:25

Itzhak Perlman – violin

This slam-bang, take-no-prisoners account of the Paganini Caprices is just the thing for a rainy day. Considered the last word in virtuoso violin technique when they were composed--and still quite a challenge today--these delightful miniatures each get played to the hilt by Perlman, reveling in their technical intricacies while also making the most of their lively charm and musicality. This is simply one of the best solo violin recordings available, and it belongs on any Perlman fan's shortlist. ---David Hurwitz, amazon.com

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01.	No. 1 in E
02.	No. 2 in B minor
03.	No. 3 in E minor
04.	No. 4 in C minor
05.	No. 5 in A minor
06.	No. 6 in G minor
07.	No. 7 in A minor
08.	No. 8 in E flat
09.	No. 9 in E
10.	No. 10 in G minor
11.	No. 11 in C
12.	No. 12 in A flat
13.	No. 13 in B flat
14.	No. 14 in E flat
15.	No. 15 in E minor
16.	No. 16 in G minor
17.	No. 17 in E flat
18.	No. 18 in C
19.	No. 19 in E flat
20.	No. 20 in D
21.	No. 21 in A
22.	No. 22 in F
23.	No. 23 in E flat
24.	No. 24 in A minor

Patrick Gallois - flute

Nicoló Paganini, violinist extraordinaire, being one of the pioneering virtuoso propagandists, was often thought to be in league with the devil. Patrick Gallois has approached his own flute transcription of Paganini's 24 Caprices Op. 1 with suitable dare-devilry. Gallois's game is not laboriously to sound off every note, but rather to recreate the spirit of the individual Capriccios as suits a wind instrumentalist clutching a quick-speaking, modern flute. He sets a mass of avant-garde flute techniques over and above the initial romantic virtuosity. Fortunately, Gallois has the necessary pyro-gymnastic control and creative musicality to carry this off with flair. Most impressive are the double-stop imitations. Not only does he simultaneously sing and play, as in the eerie tremolo study (No. 6) or the evocation of a hunt (No. 9), but he alternates the melody between voice and flute with assured mobility. Harmonics and double articulation add further meat to his range of timbral colours, as does his medley of varying articulations. Double, triple and flutter-tonguing are effortlessly executed, employing a ghost-like buzzing in the Variations of No. 24, hysterical, staccato skitterings in the Allegretto of No. 20, but also lackadaisical articulation in the Andante of No. 11. Although circular breathing plays a major role in creating long melodic lines, Gallois is never afraid to take breathing time when the mood allows. His dramatic inhalations in the Amoroso of No. 21 are welcomed, as is the noise of rapid key clicks heard in Allegro assai of No. 19. Gallois likes to speak directly, without any artificial cleansing. He leaves us exhausted, but exhilarated. ---Kate Sherriff, classical-music.com

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