Ilya Gringolts - Nicolo Paganini: 24 Caprices, Op. 1 (2013)

Tracklist

01. 24 Caprices, Op. 1: No. 1 in E Major: Andante
02. 24 Caprices, Op. 1: No. 2 in B Minor: Moderato
03. 24 Caprices, Op. 1: No. 3 in E Minor: Sostenuto-Presto-Sostenuto
04. 24 Caprices, Op. 1: No. 4 in C Minor: Maestoso
05. 24 Caprices, Op. 1: No. 5 in A Minor: Prelude-Agitato-Finale
06. 24 Caprices, Op. 1: No. 6 in G Minor: Lento
07. 24 Caprices, Op. 1: No. 7 in A Minor: Posato
08. 24 Caprices, Op. 1: No. 8 in E-Flat Major: Maestoso
09. 24 Caprices, Op. 1: No. 9 in E Major: Allegretto
10. 24 Caprices, Op. 1: No. 10 in G Minor: Vivace
11. 24 Caprices, Op. 1: No. 11 in C Major: Andante-Presto-Primo tempo
12. 24 Caprices, Op. 1: No. 12 in A-Flat Major: Allegro
13. 24 Caprices, Op. 1: No. 13 in B-Flat Major: Allegro-Minore-Allegro
14. 24 Caprices, Op. 1: No. 14 in E-Flat Major: Moderato
15. 24 Caprices, Op. 1: No. 15 in E Minor: Posato
16. 24 Caprices, Op. 1: No. 16 in G Minor: Presto
17. 24 Caprices, Op. 1: No. 17 in E-Flat Major: Sostenuto-Andante-Minore-Andante
18. 24 Caprices, Op. 1: No. 18 in C Major: Corrente-Allegro-Corrente
19. 24 Caprices, Op. 1: No. 19 in E-Flat Major: Lento-Allegro assai-Minore-Allegro assai
20. 24 Caprices, Op. 1: No. 20 in D Major: Allegretto-Minore-Allegretto
21. 24 Caprices, Op. 1: No. 21 in A Major: Amoroso-Presto
22. 24 Caprices, Op. 1: No. 22 in F Major: Marcato-Minore-Marcato
23. 24 Caprices, Op. 1: No. 23 in E-Flat Major: Posato-Minore-Posato
24. 24 Caprices, Op. 1: No. 24 in A Minor: Tema quasi presto-11 Variations-Finale



In a booklet interview included with Ilya Gringolts’ recording of Paganini’s 24 Caprices, the violinist explains how he aims to treat these works as music rather than showpieces. Indeed, Gringolts’ heavily italicized phrasings, varied accentuations, wide dynamic contrasts, and avoidance of glitter for glitter’s sake might baffle listeners accustomed to the more straightforward surface panache of Perlman, Ehnes, and Midori. Certain gestures, to be sure, cross that thin line between expression and mannerism, such as No. 1’s arguably artificial crescendos and diminuendos, No. 2’s little breath pauses between phrases, or the teasing rhythmic holdbacks that disrupt No. 14’s marching pulse.

Yet more often than not, Gringolts sheds new light on familiar ground. The offhand quality characterizing his asymmetrical phrasing of No. 24’s famous theme makes the first variation’s descending triplets sound even fiercer by contrast, while the octave variation is imaginatively inflected. By largely emphasizing the zigzagging pattern’s top notes, Gringolts creates a lithe and shimmering impression throughout No. 12. He spices up No. 16’s dazzling arpeggiated figurations with accents that underline the music’s harmonic tension to an arresting degree. In No. 13, many violinists milk the “laughing” effect implied by the detached descending chromatic thirds, whereas Gringolts’ light touch and animated pace treats them as a lead-in to measure four’s accented down beat, which is more in keeping with Paganini’s “dolce” indication. Whether or not this release will appeal to all tastes, Gringolts undoubtedly conveys his conceptions with a probing musical mind and effortless technical authority that command attention and respect.

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