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Paganini defined violin bravura in the first half of the nineteenth century. As one of the greatest and certainly the most spectacular executants of the instrument, he provoked a storm of excitement with his recital and concert performances. He wrote six concertos for the violin, the Fifth dating from around 1830. Despite the fact that only the solo part has survived – Federico Mompellio completed the work – it contains a lexicon of brilliant gymnastics and rich melodies cut from his finest cloth. Paganini’s sheer technical mastery can also be gauged from two of his most popular and dramatic pieces, the Moto perpetuo, Op. 11 and I palpiti, Op. 13.
Nicolo Paganini: Moto perpetuo, Op. 11, MS 72 (version for violin and orchestra)
Moto perpetuo, Op. 11, MS 72 (version for violin and orchestra)
Nicolo Paganini: Violin Concerto No. 5 in A minor, MS 78
I. Allegro maestoso
II. Andante un poco sostenuto
III. Rondo: Andantino quasi allegretto
Nicolo Paganini: Introduction and Variations in A major on Di tanti palpiti from Rossini's Tancredi, Op. 13, MS 77, "I palpiti" (version for violin and orchestra)
Introduction and Variations in A major on Di tanti palpiti from Rossini's Tancredi, Op. 13, MS 77, "I palpiti" (version for violin and orchestra)
“[Moto perpetuo] gives a good idea of what to expect from Ivan Pochekin in the more showy parts of the Violin Concerto No. 5: rhythmic, crisply articulated playing, but a lack of tonal allure...Pochekin makes a dramatic entry, but his sound lacks individuality.”
“The disc stands out for its crisply defined recording and for the exceptional playing of Ivan Pochekin, whose pure tone, wide expressive range and precise articulation and tuning bring Paganini's ideas vividly to life...I'm sure even Paganini himself would be impressed.”