PAGANINI
VIOLIN CONCERTO
NQ1 IN D MAJOR
VIKTOR TRETYAKOV
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R-40015
MEJJOUHH
Newly Recorded in the USSR
WINNER,1966 TCHAIKOVSKY MOSCOW PHILHARMONIC
COMPETITION IN MOSCOW NEIMYE YARVY Cond.
Can Be Filed Under: Violin Concertos/ Orchestral
MEHOflHH
PAGANINI
VIOLIN CONCERTO
NO. 1 IN D MA J0R.0P.6
VIKTOR
TRETYAKOV
Moscow Philharmonic
Symphony Orchestra
NEIMYE YARVY,
conductor
Side One [21' 55"]
I. Allegro maestoso
Side Two [14'36"]
II. Adagio espressivo [band 1 — 5' 16"]
III. Rondo: Allegro spiritoso [band 2 — 9' 20"]
There is a lithograph of Paganini by Eugene Dela¬
croix, with the face, hands and bow of the great
violinist illuminated by a ghostly light and his fig¬
ure, black and sinister, against a background of
prevailing darkness. This, better than any other
thing, represents Paganini, and portrays the leg¬
endary musician, said to be in league with the devil.
The legend seems to have started at his concerts
in Vienna. Paganini was then forty-six and had
lost his romantic good looks, and when the specter¬
like figure with the cadaverous face framed in
ringlets of hair that fell to his shoulders played The
Witches Dance an imaginative member of the audi¬
ence saw distinctly the devil (horns, tail and all)
guiding the violinist’s fingers and directing his
bow!
Tired of the fantastic stories, Paganini said, “I
see nothing for it but to leave malignity at liberty
to disport itself at my expense!’
In other countries, however, his strange appear¬
ance excited not superstitious fear, but ridicule,
when he first came on the platform, stilled at once
when he began to play.
Delacroix in his Journal speaks of Paganini as
“the true inventor, the man with a natural genius
for his art;” and when one forgets Paganini the
showman and turns to the musician, it is easy to see
that he brought about as great a revolution in the
art of violin playing as Liszt (inspired by Paganini)
did in the art of piano playing. The most novel
thing in Paganini’s playing was the extended use
of harmonics, not merely of the natural harmonics
(which violinists had for long employed for isolated
effects) but of the artificial harmonics (the stopped
harmonic of every tone and half-tone), both of
which Paganini employed as an integral feature of
Library of
Recordings, we sometimes forget, are but one facet of a larger concept,
"communications;’ Through this medium of cultural expression, peoples
speak to one another, seek understanding, explore differences, share
common values, express mutual aspirations.
In these times, we are increasingly, even urgently, aware of the need for
improved communications between the peoples of the Soviet Union and
the United States. This essential dialogue between our peoples takes place
on many levels — political, scientific and cultural — and is, indeed, a
matter of established American foreign policy.
Capitol Records has now entered into a recording agreement with Mezh-
dunarodnaya Kniga (MK), official State recording agency of the Soviet
Union. Under this agreement, Capitol will issue the finest recordings
from MK’s "Melodiya” label in a new series, to be known as
"Melodiya/Angel" Mastered, pressed and packaged in the United States
through the widely acclaimed facilities of Angel Records, these new
recordings will, for the first time in history, constitute a systematic
documentation of contemporary Soviet musical life^.
Alan W Livingston, President
Capitol Records, Inc.
STEREO
SR-40015
his compositions. He also extended the compass of
the violin and, in using thin strings, provided tone
of great brilliance and charm, if lacking in richness.
His amazing execution of passages in double¬
stopping, his feats of virtuosity on the G string
(which he tuned up to B flat, and sometimes even a
semi tone higher), his special kind of staccato, pro¬
duced by throwing his bow forcibly on the strings,
letting it spring while he ran through the scales
with incredible rapidity, the tone rolling like
pearls, his combined pizzicato and arco runs, chro¬
matic slides with one finger and guitar effects, all
these things, originated by Paganini, evoked the
admiration and wonder of musical Europe.
Paganini’s genius was, in the nature of things,
often employed for unworthy ends, and no doubt
his influence on succeeding virtuosi was not wholly
beneficial; but his revelation of the capabilities of
the violin bore good fruit in the string section of
the orchestra, every member of which had to attain
greater executive skill than before to deal with the
demands made upon them by composers who in
their turn were influenced by Paganini. Paganini
himself is said to have rated his merits as a com¬
poser more highly than his talents as a virtuoso,
and certainly his twenty-four caprices for unac¬
companied violin, on some of which Schumann,
Liszt, Brahms and Rachmaninoff founded splendid
works for piano and orchestra, are (as Eric Blom
says in Grove V) “so individual in musical expres¬
sion as to be all but unique among technical studies!’
Paganini’s two violin concertos are his other best
compositions. The composer wrote the orchestral
part of the D major concerto in E flat, tuning his
violin a semi tone higher for the solo part and
therein following Mozart’s example in the Sinfonia
Concertante in E flat (K.364) for violin, viola and
orchestra, in which the viola solo part is also writ¬
ten in D but intended to be similarly transposed in
order to give greater brightness and clarity to the
tone in contrast with its orchestral counterparts.
There is, however, no evidence that Paganini knew
Mozart’s work.
The D major concerto (as we now name it) is
Congress Catalog Card Numbers R 67-2783 (mono) and R 67-2784 (stereo) apply
MELODIYA ANGEL
Newly Recorded in the USSR
scored for a large orchestra that includes cymbals
and bass drum; the composer’s use of the bass drum
excited the admiration of Berlioz, but his use of the
cymbals is not so praiseworthy. There is a long or¬
chestral peroration at the start of the first move¬
ment (Allegro maestoso), the main part of which
hints at the second lyrical theme, begun by flutes
and oboes. The soloist, whose entry is prepared
without subtlety, takes only a few notes from the
first theme announced by the orchestra before
launching out into feats of virtuosity, wide flung
arpeggios, clusters of thirds, harmonics and so on,
relief being provided by the charming and warm¬
hearted Italian melody of the second theme. (Paga¬
nini, of course, wrote in no cadenzas, but impro¬
vised his own.)
The slow movement (Adagio) was inspired by the
performance of an Italian tragedian, De Marini, in
a prison scene, in which he prayed to be relieved of
the burden of existence. Paganini was so stirred by
the acting that he could not sleep and felt impelled
to express his emotions on his violin. The result is
this dramatic and impassioned movement, with its
moving passages of recitative at the close.
The last movement (Allegro spiritoso) begins with
the soloist using the springing bow effect men¬
tioned before in playing the main theme. The dazzl¬
ing virtuosity of the solo part is the main feature of
the movement. ALEC ROBERTSON
Viktor Tretyakov was born in 1946 in Kraso-
yarsk into the family of a musician. In 1954 the
family moved to Moscow, and Viktor continued his
education in the Central Music School in the class
of Prof. Yuri Yankelevich, with whom he is study¬
ing in the Moscow Conservatory.
The concert career of the young musician began
in 1963. He has visited many cities in the Soviet
Union, appearing in solo reciatals and with sym¬
phony orchestras. At the All-Union Competition of
Performing Musicians in 1965 Tretyakov was
awarded the title of laureate and accorded a first-
class diploma.
The year 1966 brought the young violinist a fresh
victory — he was granted the first prize at the Third
International Tchaikovsky Competition.
ALSO ON MELODIYA/ANGEL
(S) indicates Stereo
BERLIOZ: HAROLD IN ITALY. Rudolf Barshai, viola;
Moscow Philharmonic Symphony Orchestra conducted by
David Oistrakh. (S)R-40001
KHACHATURIAN: VIOLIN CONCERTO. David Oi¬
strakh, violin; Moscow Radio Symphony Orchestra con¬
ducted by Aram Khachaturian. (S)R-40002
STRAVINSKY: L’HISTOIRE DU SOLDAT (Suite). PRO¬
KOFIEV: QUINTET for Oboe, Clarinet, Violin, Viola
and Bass, Op. 39. Chamber ensemble conducted by Gen¬
nady Rozhdestvensky. (S)R-40005
TCHAIKOVSKY: VIOLIN CONCERTO. Igor Oistrakh,
violin; Moscow Philharmonic Symphony Orchestra con¬
ducted by David Oistrakh. (S)R-40009
to this record.
THIS RECORDING SHOULD BE PLAYED ONLY WITH A STEREO CARTRIDGE & STYLUS
A., LOS ANGELES, CALIF., JACKSONVILLE, ILL.
21
MANUFACTURED BY CAPITOL RECORDS, INC., HOLLYWOOD A
NE STREETS, HOLLYWOOD. CALIF. • FACTORIES: SCRANTON,
MELODIYA
Recorded by
Melodiya in the U.S.S.R.
VIKTOR TRE ISAKOV 4v
MOSCOW PH IL HAR MON I
ORCHESTRA, NEIMYE Y
Recorded by Melodiya id tf
Mfd. m the USA by Capitol
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