Niccolò Paganini Violin Concerto No. 1 in D major, Op. 6

 

Niccolò Paganini

Paganini in 1836 by John Whittle

 

(27 October 1782 – 27 May 1840) was an Italian violinist and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions and have served as an inspiration for many prominent composers.

 

Violin Concerto No. 1 in D major, Op. 6

https://youtu.be/Gd0JIK0Gv1k

리카르도 오드노포소프 (바이올린) 잔프랑코 리볼리 (지휘) 제네바 라디오 심포니 오케스트라 1954

00:00 Violin Concerto No.1 in D major op.6: I. Allegro maestoso

17:19 Violin Concerto No.1 in D major op.6: II. Adagio expressivo

22:21 Violin Concerto No.1 in D major op.6: III. Rondo (Allegro spirituoso)

 

파가니니가 1815년에 작곡하여 자신이 직접 바이올린 독주자로 초연을 올린 작품. 파가니니의 바이올린 협 주곡 1번은 1악장 '알레그로 마에스토로 (Allegro Maestoso)', 2악장 '아다지오 에스프레시보 (Adagio espressivo)', 3악장 '론도, 알레그로 스피리토소 (Rondo. Allegro Spiritoso)'로 구성되어 있습니다. 단 한 대의 바이올린으로 오케스트라뿐만 아니라 청중들까지 압도하는 테크닉을 보여주는 이 곡은 첫 시작부터 화려하며 기교적인 음계로 눈길을 사로잡는데요. 그가 왜 '악마의 바이올리니스트'란 별명으로 불리었는지도 짐작할 수 있는 작품입니다.

바이올린의 귀재 파가니니가 작곡한 바이올린 협주곡은 6곡 정도 되었으나 인쇄된 곡은 그 중 2곡이었고 오늘날까지도 가장 자주 연주되는 곡이 바이올린협주곡 1번이다. 기교적인 난이도가 높기 때문에 화려하고 비르투오적이나, 화음이나 형식에 있어서는 간단하고 형식적이다. 1811년, 파가니니가 29세 되던 해에 완성되었으며 초연은 파가니니 자신의 연주로 이루어졌다고 짐작된다.

 

1악장: 관현악 전주에 이어 바이올린 독주가 상쾌하게 제1주제를 연주하며 등장하여 선명한 기교로 강한 인상을 심어 주고 나면 매끄럽고 달콤하게 노래하는 제2주제가 나타난다. 제1악장은 몇 개의 황홀한 선율이 다채로운 변화를 보이며 듣는 이를 깊이 사로잡는다.

제2악장: 극적인 관현악으로 시작하여 표정 풍부한 독주가 부드러움속에 열정을 담고 노래한다.

제3악장: 론도는 파가니니가 고안한 독특한 스타카토 주법의 주제를 경쾌하게 전개시키는 부분이 유명하다. 당시 사람들은 그 스타카토 주법에 깊이 매료 되었다고 한다.

 

        

 

 

The Violin Concerto No. 1, Op. 6, was composed by Niccolò Paganini in Italy, probably between

1817 and 1818. The concerto reveals that Paganini's technical wizardry( outstanding) was fully developed. Contemporary audiences gasped [놀람 등으로] 숨막히다 at the extended passages of double-stop

thirds, both chromatic 반음계의 and in harmonics.

 

Tonality[음조]

Paganini intended the Concerto to be heard in E-flat major: the orchestral parts were written in E-flat, and the solo part was written in D major with instructions for the violin to be tuned a semitone high (a technique known as scordatura) so that it would therefore sound in E-flat. This enables the soloist to achieve effects sounding in E-flat, which would not be possible with a normal D tuning. An example of this is the opening of the third movement, where the violin plays a rapid downward scale A-G-F♯-E-D, both bowed and pizzicato, which is possible on an open D-string, but not possible in the key of E-flat (i.e. playing B♭-A♭-G-F-E♭) because two strings would be required to play this downward scale, whereas only one string is required to play it in a D tuning. In addition, having the orchestra playing in E-flat appears comparatively to mute the sound of the orchestra compared to the solo violin, because the orchestral string section plays less frequently on open strings, with the result that the solo violin part emerges more clearly and brightly from the orchestral accompaniment.

Contemporary audiences did not realise that Paganini had retuned his instrument, and were thus all the more amazed at what he appeared able to play. (The more musically adept members of the audience would have recognised the distinctive sound of a violin's open string, and would have observed that this fell on the keynote of work (E-flat), and would have therefore realised that Paganini had re-tuned his violin.)

D major arrangement

A version of the piece was later published (by a composer unknown) with the orchestral parts written out in D major. This was presumably done with sight of the first edition, to accommodate a rendition without the requirement of scordatura. Perhaps due to the disuse of this technique, the D major version assumed popularity, becoming more recognised and performed than the original. As a result, the existence of the work in its originally-intended key of E-flat is rather unknown, and the original composition has been obscured.

Leslie Howard's arrangement

Scholar and musicologist Leslie Howard (known for his work on Paganini's contemporary Franz Liszt) has prepared for publication an edition of the concerto in the correct key of E-flat, with reference both to Paganini's manuscript and the first (not entirely correct) edition. Howard's edition is the first to be published in the correct key and with the solo part. (Paganini was famously secretive with the orchestral and solo parts of his compositions, often collecting them personally immediately after a performance, in order to avoid the possibility of other people copying his 'tricks' or performing his works; so the solo part of the concerto was not included in the original published score.)

Leslie Howard's edition was commissioned and published by the Istituto Italiano per la Storia della Musica (Rome, 2007), as Volume VIII of the Edizione Nazionale delle opere di Niccolò Paganini. This scholarly edition includes facsimiles of the score, the solo part, and also all the extra parts that were added from time to time.

Instrumentation

Paganini's original published scoring was for 1 flute, 2 oboes, 2 clarinets, 1 bassoon, 2 horns, 2 trumpets, 1 trombone, and strings.

In the years following the original publication of the work, Paganini occasionally expanded his orchestration, writing out some odd parts to add from time to time in performance: 2nd flute, 2nd bassoon, doubled the horns, added trombones 1 & 2 (moving the existing trombone part to trombone 3 basso), timpani, and banda turca (bass drum, crash cymbals, and suspended cymbal). He never added these into the one and only manuscript score.

Style

The concerto shows the great influence of the Italian bel canto style, and especially Paganini's younger contemporary Gioachino Rossini ^[1]

The later addition of instruments from a military band give this orchestration a distinct "military" sound.

 

Structure

The concerto is in three movements:

1. Allegro maestoso – Tempo giusto (in D major)
2. Adagio (in B minor, ending in B major)
3. Rondo. Allegro spirituoso – Un poco più presto (in D major)

The keys listed above are for the D major arrangement.

Émile Sauret (1852 – 1920), a French violinist and composer, wrote a famous cadenza for the first movement.