“Caprices” for Solo Violin – Paganini

musical-f-te-1747.jpg!Large

    “Musical Fête (1747) 

           Giovanni Paolo Panini

                        ____________

though by now you must be assuming 
that Beethoven had been defining the
entire early Romantic Period all by 
himself, 1803, let’s say, to, say, 1810, 
when Schubert, 13 by then, started 
kicking in, however immaturely, with 
his D1 – D1, note, not D960, over a 
thousand compositions later, a work 
imbued, so early, not unexpectedly,  
with the irrepressible spirit of Mozart, 
and therefore, by thenincidentally, 
audibly outdated – but you would be, 
we would  be, overlooking the extraordinary  
influence of a maverick, a relic of the  
earlier Italian domination of the arts, 
from the Renaissance, at least, on – 
Paganini – the wizard of the 
violin, who’d sold his soul, like Faust,  
to the devil, it was susurrated, for his
extraordinary gift
 
Bach had not only changed the course 
of musical history, in the early 18th
Century, but shanghaied the very 
language of art as oracular expression,
and substituted music as the voice that 
spoke for the people, music will define 
henceforth, for a time, the period
 
there is the Italian Baroque, of course,
utterly masterful paintings, sublime
even, see abovebut it has been 
supplanted in our 21st-Century 
popular imagination by the Baroque 
of the German nations, their music, 
Bach’s, transcendental then, though 
ever so intricate, descriptions of his 
particular epoch 

this dominance will migrate to Paris, 
eventually, and back to art, painting, 
after over a hundred tumultuous, 
and impermeable, years, with the 
Impressionists, in the late 19th 
Century

meanwhile, Paganini will get in the 
way, 1780 – 1840, an exact, more or 
less, contemporary of Beethoven, 
1770 – 1827, and show off what 
Romantics can do, unleashed, 
before a newly enfranchised, and 
thrilled, as you will surely be, 
audience  

watch, be dazzled


R ! chard

psst: the Caprices are essentially
          cadenzas, the improvised solo
          sections in concertos, where 
          instrumentalists get to show 
          off their stuff, and riff, however
          exponentially, on their subject

          Paganini, makes an art form 
          of that, as do others, whom 
          I’ll bring up, trust me, later

          stay tuned

 

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