Famous Quotes About Violins and Violinists

by Hermione Lai  

The violin is one of the most perfect instruments! It is the soprano member of the family of string instruments and has extraordinary musical versatility. The beauty and emotional appeal of the instrument are close to the human voice, and the violin is also capable of fantastic agility and brilliant figuration. For many great artists, “the violin represents one of the greatest triumphs of instrument making.” The instrument originated in Italy, and we all know the names of the famed violinmakers Nicolò Amati, Giuseppe Guarneri, and Antonio Stradivari. The violin has since become part of numerous cultural and musical activities across the globe, and composers have written countless great works of art for the instrument. Let us sample 10 famous quotes about violins and violinists from classical musicians and other famous arts personalities.

“I know that the most joy in my life has come to me from my violin” – Albert Einstein

Albert Einstein, 1921

Albert Einstein (1879-1955) is probably one of the greatest and most influential physicists of all time. His theory of relativity revolutionized the way we look at the Universe, but his emotional passion belonged to Wolfgang Amadeus Mozart and his violin sonatas. Einstein once said, “Mozart’s music is so pure that it seems to have been ever-present in the universe waiting to be discovered by the master.” Einstein started to take violin lessons at an early age and he became an accomplished amateur. As Einstein’s friend Janos Plesch wrote, “There are many musicians with much better technique, but none, I believe, who ever played with more sincerity or deeper feeling.” In another famous quote Einstein stated, “If I had not been a scientist, I would have been a musician. Life without playing music is inconceivable for me. I live my daydreams in music. I see my life in terms of music.”   

“I wound up sticking with violin because it was the strongest current in my life.” – Hilary Hahn

Hilary Hahn

Three-time Grammy Award-winning violinist Hilary Hahn is famous for her “clear and brilliant musicality, expansive interpretations of an incredibly varied repertoire, and organic connections with her audience.” Hahn is without doubt, one of the greatest violinists on today’s concert stage. She showed remarkable musical ability as a toddler, but was equally interested in the visual arts, took gymnastics and rowing lessons, and freely admits that her biggest love was ballet. Her ballet lessons complemented instructions on violin technique and musical phrasing, as her teacher “always advised me to think about music as stories beyond the notes, and explained how to memorize and analyze the language of music.” Hahn remembers that after a good performance, “she was rewarded not with going somewhere, not with cakes or candies, but with a new book.” And as we learn from her famous quote, Hahn would have been successful in any field, but thankfully she stuck with the violin.   

“A violinist should always be happy when he is playing. If he is playing well, he should be happy that he is playing well. If he is not playing well, then he should be happy because it will soon be over.” – Jascha Heifetz

Jascha Heifetz, 1907

The unique and singular Jascha Heifetz was nicknamed “God’s fiddler,” as he was hailed as a “transcendentally great violinist.” He was only 16 when he walked onto the stage of Carnegie Hall, and a critic writes, “Heifetz’s breadth, poise, and perfect regard for the turn of a phrase constantly left his hearers spellbound. Nothing that he undertook was without a finish so complete, so carefully considered and worked out, that its betterment did not seem possible…For the moment it is sufficient to say that he is supreme; a master, though only sixteen.” Heifetz was born in Vilnius, Lithuania, and he started violin lessons at the age of two. His public performances quickly created a sensation, and he would soon take Europe by storm. Heifetz was considered “the greatest violin virtuoso since Paganini,” but as his famous quote discloses, he remained a humble servant to music and his profession

“My father gave me my elementary lessons on the violin; in a very few months, I was able to play all manner of compositions at sight.” – Niccolo Paganini

Niccolo Paganini, 1836

Niccolò Paganini is probably the most famous violinist of all time. However, he never really spoke well of his father. As he reported, “It would be hard to conceive of a stricter father. If he didn’t think I was industrious enough, he compelled me to redouble my efforts by making me go without food.” Supposedly, Paganini was forced to practice the violin for up to 15 hours a day, and withholding food and water would certainly be considered child abuse today. The violinist writes, “I really didn’t require such harsh stimulus, because I was enthusiastic about my instrument and studied it unceasingly in order to discover new and hitherto unsuspected effects that would astound people.” The only thing his father really wanted was to make money from the boy’s musical talents. Nevertheless, Paganini almost single-handedly established a new brand of performing musician, the touring virtuoso, and his influence on violin performance is timeless.

“The violin—that most human of all instruments.” – Louisa May Alcott

Louisa May Alcott

Our next famous quote about violins and violinists comes from the novelist, short story writer, and poetess Louisa May Alcott (1832-1888). She is best known for her novel Little Women and its sequels Little Men and Jo’s Boy’s. Jo’s Boy’s follows the characters introduced in Little Men, and we learn much about the violinist “Nat.” The famous quotation originates in a scene when Nat, who had studied in Germany, is asked to play and surprises his family with his progress in music and the energy and self-possession, which had made him a new man. “By and by when the violin—that most human of all instruments—had sung to them the loveliest songs without words, he said, looking about him at these old friends with a feeling of happiness and content, ‘Now let me play something that you will all remember though you won’t love it as I do.’ Mrs Jo said, some of our boys are failures, but I think this one is going to be a success.”

“It is as absurd to say that a man can’t love one woman all the time as it is to say that a violinist needs several violins to play the same piece of music.” – Honoré de Balzac

Honoré de Balzac, 1842

For our next famous quote about violins and violinists let’s stay in the realm of literature. The French novelist and playwright Honoré de Balzac (1799-1850) was famous for his keen observation of detail and unfiltered representation of society. Critics called him “one of the founders of realism in European literature.” Balzac did not play any instruments, but music provided much inspiration for his works. Balzac was a close friend of George Sand, and part of an exciting artistic environment in 19th-century Paris. Some commentators have suggested that Balzac was thinking of Franz Liszt when he wrote “It is as absurd to say that a man can’t love one woman all the time as it is to say that a violinist needs several violins to play the same piece of music.” He did apparently qualify this initial assessment with another famous quote, “The majority of husbands remind me of an orangutan trying to play the violin.” I still don’t understand what that means.

“In the musician, there is a tendency to have a narrowness. It’s all compartmentalized. I am playing the violin; that’s all I know, nothing else, no education, no nothing.” – Itzhak Perlman

Itzhak Perlman

The great violinist Itzhak Perlman is one of the world’s most popular classical musicians. “Beloved for his charm and humanity as well as his talent, he is treasured by audiences throughout the world who respond not only to his remarkable artistry, but also to his irrepressible joy for making music.” Perlman has phenomenal talent and produces a big and radiant sound of great beauty and phrasing, with “immense breadth when the music demands it.” But what is even more, his outgoing and genial character and his generous temperament allow him to easily connect with the public, “and to call on deep reserves of emotion and humanity.” Perlman was stricken with polio at the age of four, and had to learn how to walk with crutches and how to play the violin in a seated position. As he said in another famous quote, “to be a child prodigy is a curse because you’ve got all those terrible possibilities.”

“When you play a violin piece, you are a storyteller, and you’re telling a story.” – Joshua Bell

Joshua Bell

Famed violinist Joshua Bell, who made his debut with Riccardo Muti and the Philadelphia Orchestra, has many stories to tell. He studied with the legendary Russian pedagogue Josef Gingold, and is currently in charge of the fantastic Academy of St. Martin in the Fields. Bell performs on the 1713 Huberman Stradivarius violin, an instrument dating from Stradivari’s “Golden Era.” Bell just loves to explore technology, and he has collaborated with artists across a multitude of genres. In the process, he has recorded well over 40 albums, been named a “Young Global Leader,” and been nominated for six Grammy Awards. In 2007, Bell performed incognito in a Washington, D.C. metro station, which inspired the children’s book and subsequently an animated film titled. “The Man with the Violin.” You can easily tell where his love for storytelling is coming from, can’t you

“Art begins where technique ends.” – Leopold Auer

Leopold Auer

Leopold Auer (1845-1930) might be the most iconic violin teacher the world has ever seen. Among his students were Jascha Heifetz, Nathan Milstein, Mischa Elman, Efrem Zimbalist, and numerous other great musicians. Jascha Heifetz wrote, “Auer is a wonderful and an incomparable teacher; I do not believe there is one in the world who can possibly approach him. A half-hour with Auer is always to me a great emotional and intellectual stimulus. ”Many commentators consider him as the founder of the “Russian Violin School,” and a decisive force in the development of modern violin pedagogy. The majority of his students came to him as finished technicians, so that he could develop their interpretative powers. And that is exactly what his famous quote refers to, which continues as follows: “There can be no real art development before one’s technique is firmly established. And a great deal of technical work has to be done before the great works of violin literature, the sonatas and concertos, may be approached.”

“The only downside to playing the violin is that you never know when you’re going to be asked to play.” – Charlie Siem

Charlie Siem

Charlie Siem is one of today’s foremost young violinists, with such a wide-ranging diversity of cross-cultural appeal as to “have played a large part in defining what it means to be a true artist of the 21st century.” And that means countless collaborations and endorsements from fashion brands including Armani, Chanel, Dior, Dunhill, and Hugo Boss. This kind of notoriety is expressed in his famous quote, “The only downside to playing the violin is that you never know when you’re going to be asked to play, I could be out to dinner or having a drink at a bar, and someone could just give me a violin, and I’ve got to be ready to play.” Above all, Siem is passionate about bringing classical music to new audiences, and it certainly appears that he is succeeding. There are literally hundreds of famous quotes about violins and violinists, so this top 10 is just a small and very personal sample. I hope you enjoyed my selections.

Niccolò Paganini’s Devilish Genius>: 10 Tracks that Conjure his Violin Sorcery

by Hermione Lai 

In the 19th-century concert hall, Niccolò Paganini emerged like a figure plucked from a dark fairy tale. His tall, gaunt frame was cloaked in black, with his long jet-black hair trailing like a shadow.

Niccolò Paganini

He moved with quiet intensity, and when he raised his violin, it was not just an instrument but a magical wand ready to cast a spell. Audiences didn’t just listen but were transfixed, caught in his nimble dance across the strings that felt almost unnatural.

Offstage, Paganini was a mess, gambling away fortunes, chasing romance, and living on borrowed time. However, when he played, none of that mattered. He didn’t just perform but summoned something primal that could make you feel the weight of a broken heart or the thrill of a midnight chase.

Paganini died at the age of 57, on 27 May 1840. And what better way to commemorate his passing than to feature 10 tracks that conjured his violin sorcery.

Caprice No. 24 in A minor, Op. 1

Niccolò Paganini’s Caprices

The Caprice No. 24 in A minor is the crown jewel of Paganini’s Op. 1 set of 24 Caprices. This collection of solo violin works redefined what the instrument could do. Known for its ferocious technical demands and electrifying energy, this piece has captivated listeners and terrified violinists for nearly two centuries.

This dark and driving theme, followed by dazzling variations, has inspired countless musicians, from classical composers to modern rock guitarists. The piece starts with a punchy theme that sounds like a musical hook, instantly grabbing attention.

The rhythm is bold and a little menacing, and the catchy melody builds on a driving pulse. But that’s just the opening, as the piece unfolds through 11 variations, each one a mini-adventure that showcases a different technique or mood. 

“La Campanella” (The little Bell) comes from the third movement of Paganini’s Violin Concerto No. 2 in B minor, Op. 7. It is without doubt one of his most beloved and dazzling works, and it has been adapted for any and all instruments imaginable.

Known for its shimmering, bell-like melody and jaw-dropping virtuosity, this piece captures the magic of Paganini’s “Devilish Fiddler” reputation in a way that’s both enchanting and fiendishly challenging.

Written in 1826, it is a perfect blend of lyrical charm and technical wizardry. The light and playful opening melody in the upper register mimics the chime of a little bell, while the episodes sound like virtuosic fireworks. The combo of delicate harmonics, breakneck speed, and intricate bow work makes this a nightmare for even the most seasoned violinist. 

Caprice No. 13 in B-flat Major, Op. 1 “Devil’s Laughter”

Niccolo Paganini shown spellbinding a young English lady with his music, in an etching from 1900 © Bettmann Archive/Bettmann

The Caprice No. 13 from the legendary 24 Caprices set is a dazzling solo violin piece that pulses with mischievous energy. Nicknamed “The Devil’s Laughter” for its playful yet slightly sinister trills, this work blends technical brilliance with an almost supernatural vibe.

The piece starts with a series of rapid, high-pitched trills, short, vibrating notes that sound like a chuckle or a shiver. It feels like the violin is giggling, hence the catchy nickname.

The trills, which dominate the piece, sound effortless in the hands of a master but are brutally difficult to play at speed. The sudden shift to the darker middle section adds a touch of menace, and when we combine it with Paganini’s almost supernatural stage presence, it’s no wonder that the audience thought he was possessed. 

Cantabile in D Major, Op. 17

The Paganini Cantabile in D Major, Op. 17, is a breathtaking departure from his usual fiery and virtuosic showpieces. Composed around 1824, this short lyrical work for violin and piano—sometimes guitar—reveals the composer’s tender and soulful side.

With its singing melody and delicate charm, the Cantabile feels like a love letter set to music, proving that Paganini could melt hearts as easily as he dazzled crowds.

The magic of the Cantabile lies in its emotional depth. The challenge isn’t speed but sensitivity, making the violin sing with warmth and clarity without overdoing the vibrato. Its simplicity is deceptive, as it requires a master to bring out its full beauty, with Paganini crafting a timeless melody. 

Caprice No. 9 in E Major “The Hunt”

The Caprice No. 9 in E Major is a vibrant and thrilling solo violin piece nicknamed “The Hunt.” What a wonderful evocation of a hunting scene, full of galloping rhythms and horn-like calls.

The work captures the excitement of a chase through the wilderness, all while showcasing Paganini’s trademark virtuosity. Composed in the early 1800s, it is one of the more picturesque caprices, blending technical dazzle with a playful and almost cinematic energy.

This Caprice isn’t overtly menacing, but its devilish quality comes from its relentless pace and technical demands. The double stops in the horn-call sections require strength and accuracy, while the rapid runs test speed and dexterity. The playful yet driving energy, hinting of a wild chase, adds to the sense of something seriously untamed.  

The Arpeggio

The opening piece of his legendary 24 Caprices is an electrifying solo violin work nicknamed “The Arpeggio” for its whirlwind of sweeping, chord-like passages. Bursting with energy and technical bravado, it’s like a musical lightning bolt that gets the set started.

This caprice earned its devilish reputation through its sheer technical ferocity. Just listen to the ricochet bowing as the arpeggios demand lightning-fast finger work across all strings.

Once you add in the wide leaps, dynamic shifts, and unrelenting pace, it’s a recipe for a nightmare. When Paganini performed it with apparent ease and added his almost supernatural stage presence, everybody wondered how a human could possibly play like this. The music, this mix of brilliance and chaos, feels like a force of nature. 

Moto Perpetuo in C Major, Op. 11

Niccolò Paganini’s Moto Perpetuo

The breathtaking solo violin piece “Moto Perpetuo” is a high-energy work that sounds like a nonstop cascade of rapid notes that push the violin and its player to the absolute limit. This piece is all about relentless speed and endurance.

The “Moto Perpetuo” comes from the later stages of Paganini’s career, reflecting his love for dazzling audiences with sheer virtuosity. It’s not a very complex piece, but the violin becomes a vehicle for raw and exhilarating power.

After nearly five minutes of nonstop playing, the piece concludes with a brief and emphatic flourish. The quick chord feels like slamming the brakes after a seriously wild ride. Today, it is often used in recitals or competitions to demonstrate a player’s stamina and control. Once again, Paganini turned the violin into a force of nature. 

Caprice No. 5 in A minor

Niccolò Paganini’s Caprice No. 5

One of the most thrilling and intimidating pieces in the set, the Caprice No. 5 is known for its breakneck speed and fiendish technical demands. It showcases Paganini’s ability to push the violin to its limits while conjuring a dark and electrifying energy.

The piece is short but rather intense. In three main sections, Paganini creates a sense of relentless motion dominated by rapid arpeggios and scales. A successful performance demands superhuman speed, stamina, and precision.

The Caprice No. 5 is a recital and competition staple, and its reputation as one of the toughest pieces in the set makes it a badge of honour for players. For performers, it is a gruelling test of skill and endurance demanding total focus; for listeners, it’s a pulse-pounding ride that never lets go. 

Caprice No. 17 in E-flat Major

Sparkling with charm and technical brilliance, the Caprice No. 17 is known for its lively, dance-like energy and intricate interplay of contrasting themes. It feels like a musical conversation, playful yet seriously demanding.

Once again, Paganini showcases his ability to blend accessibility with jaw-dropping virtuosity, making it one of the more approachable yet still dazzling pieces from the set.

This caprice alternates between a lyrical theme and virtuosic passages, creating a back and forth between two different personalities. One is calm and melodic, the other fiery and acrobatic. Yet it all flows naturally, but the switch between these contrasting moods is a test of versatility and stamina. 

Violin Concerto No 1 in D Major, Op. 6 “Allegro Maestoso”

Paganini’s Violin Concerto No. 1 is a thrilling masterpiece that captures the essence of his legendary status as the “Devil’s Fiddler.” It is a work of tour de force, lyrical melodies, breathtaking technical feats, and dramatic flair.

Composed around 1817/18, this concerto weaves the violin’s brilliance into a rich orchestral tapestry, creating a grand theatrical experience. It’s a devilish blend of ferocity and charismatic showmanship, and the first movement is packed with horrendous challenges: rapid runs, wide leaps, double stops, and harmonics.

The cadenza is a high-stakes moment to flaunt every trick in the book, and the opera-like drama of soaring melodies and explosive virtuosity feels like a theatrical spell. Paganini’s music is a blend of devilish complexity and captivating beauty, and it continues to challenge violinists and enchant listeners. His legacy remains a vibrant force in music today.

Composers of the Zodiac: Tropic of Scorpio

by Georg Predota, Interlude

Constellation of Scorpio

The constellation of Scorpio is associated with a number of myths. In one version rooted in Greek mythology, the legendary hunter Orion boasted to the goddess Artemis that he would kill every animal on Earth. Insulted by Orion’s excessive pride, Artemis sent a scorpion to kill Orion. Their heroic battle caught the attention of Zeus, who raised both combatants to the sky to serve as a stern reminder for mortals.

“Scorpio”, plate 23 in Urania’s Mirror
by Jehoshaphat Aspin

To this day, when Scorpio rules the night sky—from about October 23 to November 21—Orion goes away. It has been said the Scorpio is one of the most misunderstood signs of the zodiac. Because of its incredible passion and power, Scorpio is often mistaken for a fire sign. In fact, Scorpio is a water sign that derives its strength from the psychic and emotional realm. Extremely clairvoyant and intuitive, individuals born under the sign of Scorpio are imaginative and intense. They are ruled by Pluto (god of the Underworld) and Mars (god of War), and always know what they want and how to get it. Composer and pianist Roderick Elms, who for many years was the London pianist to cellist Mstislav Rostropovich as well as organist to the London Symphony Orchestra, provides his musical take on this powerful astrological sign.

Georges Bizet

Georges Bizet

Born on 25 October, Georges Bizet was a brilliant student at the Conservatoire de Paris, winning a great number of prizes including the prestigious Prix de Rome in 1857. Once he had returned to Paris after almost 3 years in Italy, he quickly found out that his music was not in demand. In the true spirit of a Scorpio, Bizet was nevertheless determined to orchestrate a career in music. His intentions weren’t necessarily nefarious, he simply knew what he wanted and wasn’t afraid to work hard to realize his ambitions. He was greatly optimistic about the premiere performance of his opera Carmen on 3 March 1875. In the event, it turned into a veritable disaster. The opera was on the verge of being withdrawn, and it has been suggested that the theater had to give away free tickets in order to boost attendance. Bizet, unfortunately died a mere three months after the premiere, and it is suspected that the negative reception contributed to his fatal heart attack. As a biographer wrote, “The spectacle of great works unwritten either because Bizet had other distractions… or because of his premature death, is infinitely dispiriting, yet the brilliance and the individuality of his best music is unmistakable.”

Aaron Copland

Aaron Copland

Born on 14 November, Aaron Copland had a gift for natural leadership, and a great talent for management in all walks of life. On the outside, he displayed a deep calm while his true feelings were hidden deep within. Sensitive to the feelings of others, he displayed the greatest tact in all social interactions. Copland had a thorough understanding of the material world, and he clearly knew that his power and influence must be used for the benefit of mankind. And like a true Scorpio, he had the ability to inspire people and direct them to become part of his vision. Copland was a meticulous and hard worker, but he was easy going in almost all social situations. Realism was part of his nature as he dressed simply, yet he remained mysterious and sensitive. Copland easily bounced back from professional and personal failures, and true to his zodiac, he was wisely assertive throughout his life and in his music.

Johann Strauss 

Johann Strauss II

Seductive and beguiling, Scorpio is the sign most closely associated with sex. Sex isn’t solely about pleasure for the sensual scorpions, as they also crave the physical closeness, spiritual illumination, and the emotional intimacy that sex can provide. Well, Johann Strauss II, born on 25 October, certainly wasn’t shy when it came to sexual adventures. Like any good son, he initially tried to outdo his father in all aspect of life, particularly in music and sexual promiscuity. He mesmerized Viennese audiences, and in a blatant repeat of history, Vienna’s female population would swoon at the mere mention of his name. His popularity with the ladies got him into serious trouble, as on more than one occasion, jealous husbands challenged him to duels, and once he even had to seek refuge in the Austrian Embassy, barely escaping a double-barrel shotgun gently inviting him to marry a young Russian maid. When a planned marriage did not materialize, Strauss bedded dozens of eager groupies. Strauss II eventually did marry the mistress to a high-profile banker, but following her death, he frequented the local bordellos and after seven weeks he was married again. Be that as it may, music and sex definitely ruled the life of this Scorpio.

Niccolò Paganini

Niccolò Paganini

Born in Genoa on 27 October, Niccolò Paganini left an irrefutable mark on the history of instrumental music and 19th century social life. He was a born leader with extra-ordinary drive and determination. Once he made up his mind to study the violin and discover new and hitherto unsuspected effects that would astound people, nothing would stand in his way. He became obsessed with fame and money, and his relentless ambition translated into increasingly bizarre behavior. Supposedly, he was once invited to play at a funeral, but interrupted the ceremony with a twenty-minute solo concerto. And I am sure you’ve heard the story of him spending eight days in jail for drugging his girlfriend and forcing the abortion of his child. There was even a rumor that he had murdered a woman, used her intestines as violin strings and imprisoned her soul within the instrument. Women’s screams were supposedly heard from his violin when he performed on stage. Always concerned about appearances and to project success and self-satisfaction, this Scorpio demanded unconditional respect and attention.

La Campanella - Paganini/Liszt

747,288 views Apr 12, 2022

Sofia Ros - Accordion Recorded live at The Drake Calleja Trust Scholars Concert, March 18th 2022, at The Purcell Room, London. Hosted by Matthew Hargreaves. https://www.drakecallejatrust.org The Drake Calleja Trust (registered charity: 1164114) was established in 2015 and is proud to be associated with Joseph Calleja, Patron of the Trust. The Drake Calleja Trust financially supports and nurtures exceptionally talented musicians studying in the UK. Our scholarships are open to solo classical instrumentalists and singers aged 18 and above, with Junior Scholarships for 16-18 year old musicians.

A Recital with A Difference: Yuja Wang’s The Vienna Recital

By Maureen Buja, Interlude

The idea of a recital – a single performer on their own stage, showing the best of themselves – is an old idea. Some Romantic performers, such as Liszt and Paganini, were best known through their recitals. The opportunity to showcase your art, unhampered by any other performer or ensemble, is unparalleled, but also fraught with danger: it’s pure exposure and you have to be up to the task.

Yuja Wang

In her recent recording The Vienna Recital, pianist Yuja Wang turns the original idea of a recital on its head. She does what you expect, with a bit of Beethoven to cover the Classical period, a bit of Brahms for the Romantic period, and a bit of Scriabin for the 20th century but then there’s music by Albéniz, Glass, Scriabin, and Kapustin for some jazz preludes. Delicacy of touch and contrast in styles seem to be the driving force for the assemblage of pieces here and there are some brilliant choices. The juxtaposition of Arturo Márquez’s Danzón No. 2, one of the best-known modern Mexican orchestral pieces, here transcribed for solo piano, with one of Brahms’ Intermezzi, op. 117, seems to move Brahms into the same space where you were just dancing to Márquez’s music.

The selection of the music takes you over a range of centuries – from Gluck to the modern day – and presenting the works in a non-chronological order makes you rethink the details of the works, from harmony to rhythm.

It’s difficult to pick one track that shows how wonderful this album is, but we’ll go with one of the Ligeti Études. Number 13 from Book 2, The Devil’s Staircase, is a toccata of unending movement.

György Ligeti: Book 2, No. 13 – L’escalier du diable

Chinese pianist Yuja Wang (b. 1987) started her studies at age 7 at the Central Conservatory of Music in Beijing before entering the Curtis Institute in Philadelphia at age 15. Even before her graduation in 2008, she had come to the world’s attention when she replaced Martha Argerich in a series of concerts with the Boston Symphony Orchestra in 2007. Her performing triumphs continued, today making her one of the leading pianists in the world.

If your idea of a recital is something to be endured with a few gems as a reward, then this recording will change your mind completely – it’s both constantly challenging to the pianist and constantly rewarding to the listener.

YuJa Wang: The Vienna Recital
Deutsche Grammophon 00028948645671

Official Website

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LANG LANG - La Campanella - Liszt/Paganini

Paganini: Violin Concerto No.1

1,592,440 views  Jun 9, 2012  Violinist: Sarah Chang

Conductor: Zubin Mehta 

Berliner Philharmoniker

NICCOLO PAGANINI

Allegro maestoso

from violin concerto No.1 D major op.6

27 October: Niccolò Paganini Is Born

by Georg Predota, Interlude

Niccolò Paganini

Niccolò Paganini was born in Genoa, then capital of the Republic of Genoa, on 27 October 1782. His father, Antonio Paganini was a dockworker and unsuccessful trader who supplemented his meager income by playing the mandolin for social occasions. Unsurprisingly, under the tutelage of his father, young Niccolò started studying the mandolin at the age of 5. Two years later, he started lessons on the violin, and Paganini recalls, “When I attained my seventh year, my father, whose ear was unmusical but who was nevertheless passionately fond of music, gave me my elementary lessons on the violin; in a very few months, I was able to play all manner of compositions at sight.”

Antoine Watteau: Guitar Technique

In due course Paganini became the most famous violin virtuoso and one of the greatest musicians of all time. Not as well known is the fact, however, that Paganini composed a large number chamber works, mostly with or for guitar. As he pointedly stated, “The violin is my mistress, but the guitar is my master.”

Paganini: Grans Sonata for Guitar

By the turn of the 19th century, the modern six single string guitar had become increasingly common. The instrument had lost much of its communality with the lute, and it gradually morphed into the modern guitar. The sound of the guitar became more powerful, more expressive and its playing techniques, notation and tuition improved. Hector Berlioz, who was a competent guitarist mentioned the instrument in his Grand traité d’instrumentation et d’orchestration modernes of 1843, and commented that “it is almost impossible to write well for the guitar without being a player on the instrument.” The instrument was highly prized in aristocratic circles, and it was also used for performances in private homes. We have no conclusive evidence that Paganini took guitar lessons, but he certainly possessed the physical and intellectual skills to master the instrument. As he later told his biographer Julius Schottky, “he very much enjoyed playing the guitar” and he composed well over 100 works for the instrument.

Paganini’s guitar by Gennaro Fabricatore, 1826

Paganini wrote, “I love the guitar for its harmony; it is my constant companion on all my travels.” Seemingly, he would play the guitar alongside the violin, often as a soloist or in duet with the Italian guitarist Luigi Legnani. They met in Genoa in 1835 and did perform a number of concerts together. Legnani was called the “Paganini of the guitar,” and Paganini’s compositions dedicated to him feature brilliant guitar parts discreetly accompanied by simple violin passages. It has been suggested “this feature allowed Paganini and Legnani to swap their instruments in concert in order to perform these works: as a basic violinist, Legnani could easily accompany his friend playing the guitar.” On one occasion, Paganini wrote, “I do not like the guitar, but regard it simply as a way of helping me to think.” This appears to be somewhat of an understatement, as Paganini owned a number of guitars throughout his life. In fact, he refused to sell an instrument by Gennaro Fabricatore even during his period of greatest financial stress, “and it was still among his possessions at the time of his death.”

Guitar owned by Paganini and Berlioz

The Italian publisher Ricordi first advertised two sets of sonatas for violin and guitar and six guitar quartets by Paganini in 1820. Over time, Paganini would compose a further nine quartets combining the violin with the viola, cello and guitar. However, a substantial number of his chamber works featuring the guitar remain unpublished. At one time, the Italian government was offered the entire collection of Paganini’s guitar composition, but they turned down the offer. Only recently have scholars and performers started to explore this hidden repertoire. A scholar writes, “Both violin and guitar are integral parts of Paganini’s unique personality. It is no longer possible to think of one without thinking of the other. The links may not at first be obvious, given that the violin music was for public consumption, with all the superficial display that the public demanded, while the guitar was for music at home among friends. It remains, however, music created by the same man.” There was no such hesitation in London between 1832 and 1834. Paganini had become rather interested in the viola as a solo instrument, and he performed his Terzetto for viola, cello and guitar at a private concert. On that occasion, Felix Mendelssohn played the guitar part on the piano.