Luca Fanfoni - Paganini: European Unpublished Works (2024) [Hi-Res]

Tracklist

01. Prelude for Clara Wieck
02. Sonata a Preghiera for Violin and Orchestra, MS 23
03. Le Streghe for Violin and Orchestra, MS 19
04. Cantabile in D Major For Violin and Guitar, Op. 17 MS 109
05. Sonata for Violin and Guitar in E monor, Op. 3, No. 6, MS. 27: I. Andantino Innocentemente
06. Sonata for Violin and Guitar in E monor, Op. 3, No. 6, MS. 27: II. Allegro vivo e spiritoso
07. Sei Alessandrine for solo Violin, Londra 1831
08. 2 Duetti in forma di Canone for 2 Violins: I. Duetto No. 1 in A Major
09. 2 Duetti in forma di Canone for 2 Violins: II. Duetto No. 2 in Si bem. Major
10. Sonata for Violin principale, MS 139
11. Aria variata with Finale, for Violin and Piano
12. Violin Concerto No. 4, MS 60: I. Adagio Flebile
13. Caprice d’Adieu for Violin, MS. 68

The “Prelude for Clara Wieck”, a tribute dedicated to her by Paganini, is presented here in a transcription for strings. The "Sonata a Preghiera" with the IV^ string of the solo violin tuned to C, and recorded with the original orchestra parts, supports the claim that the solo violin passages in the introduction, recitative, and allegro, stemming from Franzoni's inheritance, are original. This assertion is grounded on two fronts: first, in the striking resemblance to Paganini's style, suggesting authenticity and their inclusion in the orchestral score; second, in the documented relationship between Achille, Paganini's son, and Romeo Franzoni. Correspondence from Franzoni dated September 8, 1939, reveals that on August 2, 1885, Achille entrusted him with some of his father's manuscripts on the “special condition that no one would be allowed to play them or be shown them and that they remain unpublished.” Franzoni's frequent visits to Paganini's villa in Gaione suggest he had access to various manuscripts, potentially including the “Sonata a Preghiera”, and was able to reproduce its original parts - introduction, recitative, allegro - in the original version. While the variations remain faithful to known themes, adjustments were made to harmonize with the orchestral parts. In the finale, Vogler's original theme is employed, later varied by sixteenth-note sequences, leading to a climactic conclusion where the soloist traverses the entire string with celebratory arpeggios.

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