Niccolo PAGANINI (1782-1840)
La Lanterna Magica
Centone di Sonate for Violin and Guitar, Op. 64: no 3 in C major [5:17]
Centone di Sonate for Violin and Guitar, Op. 64: no 2 in D major [7:15]
Guitar Sonata No. 34 in A major, MS 84 [1:28]
Centone di Sonate for
Violin and Guitar, Op. 64: no 15 in A [12:26]
Guitar Sonata No. 35
in E major, MS 84 [1:48]
Centone di Sonate for Violin and Guitar, Op.
64: no 5 in E major [9:04]
Guitar Sonatina No. 4, MS 85 [5:41]
Centone
di Sonate for Violin and Guitar, Op. 64: no 6 in A major [9:40]
Guitar
Sonata in A major, MS 104, "Che va chiamando Dida"[2:33]
Centone di
Sonate for Violin and Guitar, Op. 64: no 17 in A minor [8:31]
Cantabile for Violin and Guitar in D major, Op. 17 [5:03]
Keiko Yamaguchi (violin), Rosario Conte (guitar)
rec. Convento dell’Annunziata, Rovato, Italy, 3-6 July 2012
CARPE DIEM CD-16297 [68:53]
This is the debut solo album by the Japanese violinist
Keiko Yamaguchi. She is accompanied by guitarist Rosario Conte in music
that was not intended to be performed in concert halls but rather for
private amusement and relaxation. As Rosario Conte puts it in the liner-notes:
“It is Paganini’s chamber music which shows us his glowing,
enthusiastic, and yet humble soul. It relates to us the close relationship
between folk music and the Italian bel canto tradition, and it
tells us of the tiny world into which Paganini was born, of his city,
Genoa, with its narrow streets and alleys branching out between the
mountains and the sea.”
With the exception of around 12 minutes of solo guitar music - all expertly
played - this CD is dominated by the violin. The guitar has very much
a secondary voice and takes on the role of accompanist rather than equal
partner. The facet of Paganini on show here is the relaxed, lyrical
side of his art - the kind of soaring cantabile melodies to be
regularly encountered in the violin concertos, rather than the virtuoso
fireworks to be heard in his Caprices. The tunes, to some ears,
sound naïve and embarrassing but this is intimate salon music and
if that isn’t your thing you had best stay away. The music plumbs
no depths and breathes the same air as the young Rossini’s string
sonatas. It’s easy on the ear but to be frank it’s probably
best to dip in and out of the 68 minute recital on offer here. After
a time, due to the lack of musical contrast, it all becomes rather cloying
and one sonata merges into another.
Keiko Yamaguchi, judging by the sleeve photograph, is playing on a period
instrument with gut strings and without a chin rest. She produces a
sound that takes a few minutes to get adjusted to. Her playing is good
rather than superlative with patches of less than perfect intonation
and a tendency to produce legato tone at the exclusion of everything
else. There are occasionally some fast bravura passages to be found
in these cantabile-ridden sonatas to give the listener some musical
contrast. Unfortunately, as presented here, these passages are really
lacking in bite and fire. Everything is smooth and cautious to the point
of becoming soporific. There is also very little in terms of dynamic
contrast and no true pianissimo playing to catch the ear. The whole
CD comes across as professional and well prepared but lacking in forward
impetus and verve. The term “studio bound” readily comes
to mind. Ms Yamaguchi should let her hair down and take a few more risks.
Her approach is too careful.
This is delightful music when taken in small doses and it would be ideal
for use as background music at a dinner party. The recording is reverberant
and pleasant to listen to with decent separation between the two instruments.
The booklet notes are excellent. I’m sorry that I can’t
give this release any more than a lukewarm reception.
John Whitmore
