
Niccolo Paganini - Paganini for Two - Gil Shaham Gil & Göran Söllscher (DMM, Japanese Pressing)
Composer - Niccolo Paganini
Guitar – Göran Söllscher
Violin – Gil Shaham
1LP, standard sleeve
Original analog Master tape : yes (Direct Metal Mastering)
Heavy Press : 180g
Record color : Black
Speed : 33RPM
Size : 12'’
Stereo
Studio
Record Press : Toyokasei Co Ltd Japan
Label : Deutsche Grammophon
Original label : Deutsche Grammophon
Engineered by Hans-Peter Schweigmann
Produced by Christian Gansch
Audiophile direct metal mastering cut by Hans-Jorg Maucksch at Pauler Acoustics
Cover photography by Jim Rakete
Recorded in November 1992 at Berlin, Jesus-Christus-Kirche
Originally released in 1993
Reissued in 2025
Tracks :
Side A:
Sonata concertata M.S. 2 in A Major
- Allegro spiritoso
- Adagio, assai espressivo
- Rondeau. Allegretto con brio, scherzando
Sei sonata M.S. 27, Op. 3, No. 1 in A Major
- Larghetto
- Presto variato - Variazione
Sei sonata M.S. 27, Op. 3, No. 4, in A minor
- Andante largo
- Allegretto
Sei sonata M.S. 27, Op. 3, No. 6, in E minor
- Andante
- Allegro vivo e spiritoso - Minore
Grand Sonata M.S. 3 in A Major
- Romance. Piu tosto Largo, Amorosamente
Side B:
Centone di sonate - Lettera A, No. 2 in D Major
- Adagio cantabile
- Rondoncino. Andantino, Tempo di Polacca - Minore
Centone di sonate - Lettera A, No. 4 in A Major
- Adagio cantabile
- Rondo. Andantino, Allegretto - Minore - Maggiore
Cantabile M.S. 109 in D Major
- Cantabile M.S. 109 in D Major
Introduction and Variations on "Dal tuo stellato soglio" from Rossini's Mose M.S. 23
- Introduction. Adagio
- Theme. Tempo alla Marcia
- Variation I
- Variation II. Vigoroso
- Variation III
- Finale
Moto perpetuo M.S. Op. 11, in C Major
- Allegro vivace a movimento perpetuo
Reviews:
"A glance in Grove will reveal, if you didn't know it already, that Paganini wrote a great deal of guitar music both with and without the violin, bringing together the two instruments he played so well. Paganini played these works with the guitarist/violinist Luigi Legnani who, it is said, finally protested that he always had the easy guitar parts, whilst Paganini enjoyed the violinistic limelight. However, when Paganini produced his Grand Sonata and gave the violin part to Legnani the roles were doubly reversed; the violin plays such a minor role that it is usually omitted from performances; I can recollect only one other (now deleted) recording in which it appears! As a violinist was to hand he plays his part here, from which you may judge what is (not) lost when it is omitted. The guitar parts in the Six Sonatas, Op. 3 are of student level—Segovia refused many invitations to play them—and could benefit from revision, as those in Opp. 11 and 17, adapted from the original piano parts, firmly suggest. The Sonata concertata finds the two instruments on a more even playing field, with the guitar often leading the way. This is not the music of Paganini wearing his devil's cloak but I would have liked a little more emotional fire and bite than is present in these polished and expressive performances. They are nevertheless clearly recorded, well annotated, and welcome.” John Duarte, Gramophone
Ratings:
Discogs : 4.3 / 5