24 Caprices Op.1 (arr. Marina Piccinini)
Marina Piccinini (flute)
rec. 10–12 October 2012, Reitstadel, Neumarkt in der Oberpfalz, Germany
Tracklist at end of review
AVIE AV2284 [58:34 + 41:21]
Most, like me, will only know the Twenty-Four Caprices by Paganini in
their original violin form. Yet when researching this review I was surprised
to find several recordings in the catalogue of flute arrangements of this
famous Op. 1. Patrick Gallois has made his own, and there are also recordings
by Dora Seres, Bonita Boyd and Julian Cawdrey.
The Caprices have been frequently used as a pedagogical vehicle for the
training of flautists since 1902, when Jules Herman, a professor of flute
at the Brussels Conservatory transcribed and published them for his instrument.
Whereas Herman’s arrangement is based on a spurious edition of the
Caprices where there has been some toning down and smoothing out of the
advanced harmonic flow and angularities of Paganini’s original,
Piccinini takes as her starting point the Urtext edition of 1820. In the
introduction to the booklet notes, she elaborates: "I was drawn to
transcribe and record all the Caprices as a challenge and stimulus for
my own development, a path towards pushing the envelope outside my personal
comfort zone. What I discovered and fell in love with was a musical voice
that demanded a far greater emotional expression through technical perfection
of phrasing, flexibility of embouchure, depth of sound, breath control,
digital dexterity and precise articulation."
Piccinini’s is an impressive virtuosic achievement, underpinned
by intelligent musicianship. On display is a great show of resourcefulness
and respect for the score. She tackles the violinistic technicalities
in a variety of ways. Double-stops are solved either by broken chords
or grace notes. Some are omitted, where either of these two solutions
adversely affects the shape of the melodic line. Right and left hand pizzicato
is achieved by staccato tonguing. Light double-tonguing is employed in
No.5 to replicate quick-fire semiquavers. With all of these techniques,
it is Piccinini’s intention ‘to remain true to the music’s
creative thrust’ with regard to the specific tonal qualities and
expressive range of the flute.
Sound quality is excellent, with the recording engineers achieving brightness,
warmth and spaciousness around the instrument. I would imagine that this
recording would appeal to a limited audience, specifically flute players,
in the main. Julian Haydock’s notes provide background and context.
Stephen Greenbank
CD 1
No.1 in E: Andante [3:00]
No.2 in B minor: Moderato [5:02]
No.3 in E minor: Sostenuto [3:44]
No.4 in C minor: Maestoso [9:22]
No.5 in A minor: Agitato [3:08]
No.6 in G minor: Lento [7:34]
No.7 in A minor: Moderato assai (Posato) [5:09]
No.8 in E flat: Maestoso [4:09]
No.9 in E: Allegretto [3:10]
No.10 in G minor: Vivace [3:31]
No.11 in C: Andante [5:15]
No.12 in A flat: Allegro [5:27]
CD 2
No.13 in B flat: Allegro [3:15]
No.14 in E flat: Moderato (Marcia) [1:32]
No.15 in E minor: Posato [3:30]
No.16 in G minor: Presto [1:55]
No.17 in E flat: Sostenuto [5:08]
No.18 in C: Corrente [2:51]
No.19 in E flat: Lento [3:18]
No.20 in D: Allegretto [3:49]
No.21 in A: Amoroso [3:40]
No.22 in F: Marcato [3:34]
No.23 in E flat: Posato [3:09]
No.24 in A minor: Quasi presto [5:36]
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