Warner Classics 0190295728229
Augustin Hadelich brings out the mysterious and virtuosic character of Nicolo Paganini’s music in his release of this composer’s 24 Caprices for Solo Violin, Op. 1 – an impressive achievement from an impressive 33 year-old artist.
Composers such as Liszt, Brahms, Schumann, Rachmaninoff and Lutoslawski have produced works based on Paganini’s musical motives. Others have been inspired by the pyrotechnical demands of this composer’s writing – as in Piatti’s caprices for cello and etudes for piano by Chopin, Liszt, Ligeti and even Philip Glass.
Musical America has named Hadelich 2018 Instrumentalist of the Year and for good reason. His left hand dexterity and bow arm finesse, that at times seems to defy gravity, turn the well-known No. 24 into a showcase of piquant articulation. In the CD booklet, Hadelich comments, “It would not be out of character for him {Paganini} to have made the caprices even harder when he submitted them for publication, to further the legend of the devil’s violinist!”
May I recommend starting the listening experience with No. 4 to take in how Hadelich’s interpersonal interpretation allows melodic line, 3rds and 10ths to project with a kinda crystalline flowing inertia. Of course, his 1723 Ex-Kiesewetter Stradivarius with its unique qualities of intonation seems an ideal instrument to capture the rich timbre of No. 6, where he draws out sound waves of tremolos of an earthbound and futuristic nature.
Hadelich’s approach has a glow of sincerity that makes each caprice come to life with freshness and a sense of aesthetic completeness – as evidenced in the interplay of dialogue in No. 9 and mocha toned nuances he gives the opening of Nos. 15 and 21. He is totally in command of the finger twisting gymnastics inherent in these works, which includes flying passagework and drone note effects of No. 20 – that creates a continuum of mesmerizing sonorous vibrations.
Hadelich also says in the booklet, “Each caprice is beautiful, witty and original, with its own quirky personality; some are my friends, but others are ferocious beasts to be tamed!” Perhaps there are elements of the Beauty and the Beast story in Paganin’s personality that permeate many of the caprices including No. 17, where Hadelich stirs up an exhilarating blend of delicacy and vigor – that evokes Liszt’s piano version of Paganini Etude No. 2, especially when played by Trifonov, Kissin and Horowitz in his recording of 1930.
Augustin Hadelich is a player who has it all: stylistic sophistication, meticulous fingerwork and extravagant tonal resonance. One gets the impression that he and his Strad are of one mind and soul.