Ingolf Turban & His Students - Henri Marteau 5 - COMPACT DISCS [CD]
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If a composer writes 24 caprices for the violin, and if he himself is also a uniquely virtuoso violinist, then a comparison with the 24 caprices by Paganini is inevitable Henri Marteau was not only appreciated and revered as one of the greatest violinists of his time, but his compositional work was lost in the background. He shared this fate with Niccolò Paganini, who was also experienced during his lifetime more as a InchwarlockInch of the violin than as a serious composer and musician. So, if this comparison is almost inevitable, it must be mentioned that Paganini himself, with his main work published in 1820, also took up the example of other composers, such as the Etudes and Caprices of Rodolphe Kreutzer. The subtitle of Henri Marteau's Caprices Inchd'exécution transcendanteInch is also very revealing. Moreover, Marteau has his miniatures accompanied throughout by the piano, unlike Paganini, who uses the violin alone. The violin virtuoso Ingolf Turban considered his own violin class at the Hochschule München predestined for this first recording of all 24 of Marteau's caprices. So together they dared to do the almost unbelievable all twelve students in his class were involved in this mammoth task, the absolute peak of which, of course, lies in the very elaborate piano accompaniment. Here he engaged the pianist Tomoko Nishikawa, who confidently took on this mammoth task! Ingolf Turban also described himself as the Inch13th studentInch, so to speak, so he took the caprices for his own playing from the InchrestInch, which for hidden reasons was rather spurned, and gladly took part in it. The present recording is the result of a live concert on 12 December 2017 in the large hall of the Munich Musikhochschule and a smaller event on 7 October 2019.
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- GenreClassicalDescriptionIf a composer writes 24 caprices for the violin, and if he himself is also a uniquely virtuoso violinist, then a comparison with the 24 caprices by Paganini is inevitable Henri Marteau was not only appreciated and revered as one of the greatest violinists of his time, but his compositional work was lost in the background. He shared this fate with Niccolò Paganini, who was also experienced during his lifetime more as a InchwarlockInch of the violin than as a serious composer and musician. So, if this comparison is almost inevitable, it must be mentioned that Paganini himself, with his main work published in 1820, also took up the example of other composers, such as the Etudes and Caprices of Rodolphe Kreutzer. The subtitle of Henri Marteau's Caprices Inchd'exécution transcendanteInch is also very revealing. Moreover, Marteau has his miniatures accompanied throughout by the piano, unlike Paganini, who uses the violin alone. The violin virtuoso Ingolf Turban considered his own violin class at the Hochschule München predestined for this first recording of all 24 of Marteau's caprices. So together they dared to do the almost unbelievable all twelve students in his class were involved in this mammoth task, the absolute peak of which, of course, lies in the very elaborate piano accompaniment. Here he engaged the pianist Tomoko Nishikawa, who confidently took on this mammoth task! Ingolf Turban also described himself as the Inch13th studentInch, so to speak, so he took the caprices for his own playing from the InchrestInch, which for hidden reasons was rather spurned, and gladly took part in it. The present recording is the result of a live concert on 12 December 2017 in the large hall of the Munich Musikhochschule and a smaller event on 7 October 2019.ArtistIngolf Turban & His StudentsTitleHenri Marteau 5FormatCDLabelSolo Musica
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If a composer writes 24 caprices for the violin, and if he himself is also a uniquely virtuoso violinist, then a comparison with the 24 caprices by Paganini is inevitable Henri Marteau was not only appreciated and revered as one of the greatest violinists of his time, but his compositional work was lost in the background. He shared this fate with Niccolò Paganini, who was also experienced during his lifetime more as a InchwarlockInch of the violin than as a serious composer and musician. So, if this comparison is almost inevitable, it must be mentioned that Paganini himself, with his main work published in 1820, also took up the example of other composers, such as the Etudes and Caprices of Rodolphe Kreutzer. The subtitle of Henri Marteau's Caprices Inchd'exécution transcendanteInch is also very revealing. Moreover, Marteau has his miniatures accompanied throughout by the piano, unlike Paganini, who uses the violin alone. The violin virtuoso Ingolf Turban considered his own violin class at the Hochschule München predestined for this first recording of all 24 of Marteau's caprices. So together they dared to do the almost unbelievable all twelve students in his class were involved in this mammoth task, the absolute peak of which, of course, lies in the very elaborate piano accompaniment. Here he engaged the pianist Tomoko Nishikawa, who confidently took on this mammoth task! Ingolf Turban also described himself as the Inch13th studentInch, so to speak, so he took the caprices for his own playing from the InchrestInch, which for hidden reasons was rather spurned, and gladly took part in it. The present recording is the result of a live concert on 12 December 2017 in the large hall of the Munich Musikhochschule and a smaller event on 7 October 2019.
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The Paganini violin concertos are above all else an exhibition of artistic effects. But when they are played, as Ingolf Turban does, with all piquant bravado and wit and taste, then they are musical fun... He played the concertos with a very taut and steely tone which was able to elicit a smile, even considering the indescribable wizardry of technique. One could not miss hearing how Paganini understood Rossini´s artistry with song He had fused some of this artistry into the parts for violin, as was brought out by Ingolf Turban through his ever elegant, glitteringly clear, and supremely singing production of tone. And to top it all, Turban´s playing of Paganini lacked neither a drew-like fresh fantasy of sound nor an extraordinarily playful vigor. And thus one could enjoy these concertos of that satanic violinist enveloped by legend. We naturally listen to music today differently from the public of Paganini´s time. But we must be aware of the circumstances of that time, and have an ear for relationships. The need is all the more for a rational stance that is equally joyful and anxious. Smiling is only one aspect of Paganini. When our senses fade while facing the bravura, so do our hearing and sight dim before the tremendous plunges that this music conceals within itself, from heaven to earth and then out again to the infinite. The only comparison can be with Chopin at the piano. He performed such plunges, from so soft as to be barely audible to abrupt change of touch. There is eloquent testimony that bears this out. Ingolf Turban, in his attempt to revive the characteristics of happening for the Paganini concertos wants to do justice to both of these dimensions.
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