Paganini: Centone di Sonate, Vol. 2

Naxos: 8553142

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Paganini: Centone di Sonate, Vol. 2



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72 minutes


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Paganini: Centone di Sonate, Vol. 2

Sonatas for Violin and Guitar, Op. 64


Sonata for Violin & Guitar No. 7 in F major

Sonata for Violin & Guitar No. 8 in G major

Sonata for Violin & Guitar No. 9 in A major

Sonata for Violin & Guitar No.10 in C major

Sonata for Violin & Guitar No.11 in A minor

Sonata for Violin & Guitar No.12 in D major

Moshe Hammer (violin), Norbert Kraft (guitar)



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Nicolo Paganini: Sonata No. 7

Allegro giusto

Polacca: Andantino allegretto

Nicolo Paganini: Sonata No. 8

Andante cantabile

Rondo: Allegretto

Nicolo Paganini: Sonata No. 9

Allegro maestro, Tempo di Marcia

Tema: Andante placido con 3 Variazioni

Nicolo Paganini: Sonata No. 10

Allegro risoluto

Rondo: Andantino vivace, Tempo di Pastorale

Nicolo Paganini: Sonata No. 11

Cantabile, Andante appassionato con flessibilita

Tema: Allegro moderato con 2 Variazioni - Finale: Tempo di Valtz

Nicolo Paganini: Sonata No. 12

Andante cantabile

Rondo: Allegretto

Classic CD

“Played by Moshe Hammer and Norbert Kraft with debonair charm.”

Gramophone Classical Music Guide


“The Centone di sonate (a 'hotchpotch of sonatas') consists of 18 'sonatas' which are really salon works with a variety of movements – none of them in sonata form. Whether Paganini, who wrote them sometime after 1828, intended these pieces for public performance or merely for the use of the then abundant amateur musicians isn't known. As usual in his works of this genre, it's the violin that hogs the limelight while the guitar remains a humble bag-carrier.
The guitar parts are indeed so simple that they would have been within the reach of any amateur who was capable of keeping his end up with another musician; Segovia considered them beneath his dignity and refused many invitations to play them with famous partners! Nothing is harder than to be 'simple': Mozart managed it, while at the same time being deceptively complex; Paganini did it at a far less sublime level, with sentimental, cheerful and pert tunes. Truth to tell, they aren't the kind of works which impel one to listen to them at one sitting except for the most devoted aficionado of Paganini's violinistic voice or of hearing the guitar in an unremittingly subservient but genuinely complementary role.
These splendid performances on modern instruments make no claim to 'authentic' status, but they're no less appealing for that. They squeeze every last drop from the music with ( inauthentically) full sound, and a Siamese-twin tightness of ensemble that was probably rare amongst those who played these works in Paganini's own time. In the end, these works have a charm that's hard for any but the most straitlaced to resist. It's unlikely that the Centone will ever be better played and/or recorded.”

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