Paganini Violin Concerto No.1Anna Karkowska London Symphony Orchestra, Ben Walfisch Conductor

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Niccolo Paganini Violin Concerto Op 6 No1 In D(c.1817-1818)
1 Allegro maestoso 16:57 CADENZA, 2 Adagio 21:45, 3 Rondo Allegro spirituoso 27:14
There aren't many works in music that have such a sensational story at their beginnings.Nic Paganini(1782-1840), the legendary Italian virtuoso who mesmerized the public with his mind-boggling technique and uncanny ability to make violin sound like a human being,was also a very shrewd businessman whose Machiavellian scheming would put some corporations to shame. Rumored to be possessed by the devil because of his almost supernatural mastery of the instrument, a legend that he carefully fueled all of his life in order to lure the less musically inclined public to his concerts(and with great success!). Paganini composed his I Concerto for himself and made certain that it would remain his alone for many years to come.It 's a James Bond -meets -Jason Bourne kind of the movie . His little divisionary tactics that insured his copy and performing rights in times predating any FBI-like reinforcements in this are would be called "decoding" . It was an act of quite devilish intelligence to reveal to the public the concerto in a slightly different key from the original. The Concerto immediately won fame as unplayable and for a while it really seemed as if Paganini was a sorcerer. The master plan was quite brilliant if not magical: the virtuoso was tuning his violin a half tone up( a common enough"scordatura" technique) hidden behind a curtain and sounded magnificent( not to mention that he could actually play the Concerto!!). Meanwhile the orchestra (poor violinists!)performed in the rather dull key of E flat. The truth eventually did come out but only after some artful spying by concertmasters. Revealing the truth, however, did't take the magic of this piece.Three movements tell a story full of human emotions, a journey from joy to despair and back. The concerto resembles an opera,with all its moods,unexpected turns of plot and even subplots.The I mvt. opens with a grand tutti in style of Rossini that immediately brings to mind the friendship of these two. And although the violin solo starts on a great ,dramatic scale, it soon turns into a set of delightful surprises, full of elfish passages of double stops flying along with other technical fireworks and delightfully mingled with bel canto melodies.
The II mvt. is almost too beautiful,too heart wrenching for words. It moves from the depth of despair, to the heights of joy in just a couple minutes-it's a masterpiece inside a masterpiece.the eyewitnesses,or rather i should say "earwitnesses" of Paganini playing it were moved to tears while listening.Such testimanials give us a rare look into his powers of interpretation,into his unique gift of conveying rich and diverified emotions through music.
The III mvt. is a welcome antidote after the passionate rollercoaster of the Adagio.It sparkles and bewitches,dances and jumps where the other revealing the mysteries of the human heart.The double harmonics,or ''flute tones,another invention of Paganini's ever active creativity,bring a special spice to this virtuosic tour de force.
by Anna Karkowska


Anna Karkowska
London Symphony Orchestra
Ben.Wallfish conductor

Special Thanks You to Jonathan Dee
Photos Ellen Broughton
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Unauthorized Copying Reproduction Lending Public Broadcasting Prohibited

Virtuosity has been always a thing of wonder. A perfect recipe for a musical feast,both for the conneisseur and for the accidental musical tourist. It combines the mastery of technique, phrase and form with irresistible dressing of sheer daring. It is the risk, the proverbial pinch of salt, which makes it such incredible and completely unique experience.
Now, at the beginning of the twenty first century when classical music is rumored to be entering its twilight years, I am, with the utmost pleasure, reporting that from my experience, virtuoso music is still as big a magnet for today's audience as it was over hundred years ago. Tight clothing and corsets aside, the public of yesterday and today still has a lot in common-a need of something extraordinary, inspiring, something special that makes one forget her or his daily woes...
When I started to prepare the recording project with the London Symphony Orchestra, an exciting idea came to my mind. How splendid would it be to add to my album a new virtuoso piece that would reflect our times and appeal to a younger generation of listeners. For that reason I turned to the last bastion of tonal music...the movies.
with the best of wishes
Anna Karkowska