During the last few month I might have seemed distracted from my blog: though I can’t wait to tell you more about all the projects and travels I did recently.

The first seasons tour was in the Baltic countries. 

Introduction: I remember like if it was yesterday, when one day, when I was 12 years old, I was coming back from School, and I received from my parents the long expected book “Geigen und Geiger” (Violins and Violinists”) by Franz Farga. My eyes caught irretrievably the chapter about Paganini’s Life, which I would read with eager: I was so impressed that I even forgot to do my homework and practice my violin for my violin lesson next day…

That day was the beginning of a long road, which I am still walking along today. Who was Niccolò Paganini, this Magician, admired, feared and also hated by his contemporaries, Composers as Musicians?  Schubert, Schumann, Liszt, Heine, Hoffmann, Grillparzer, Rossini, Brahms… the most important Romantic have been influenced by this violinist, before he suddenly had been considered as “too much virtuoso” for quite 200 years. A personality, covered with myths and legends, who changed the Music world for ever, and who appeared like a comet on the musicians firmament, leaving behind him a long and glowing firetail.

Which is the part of myth and which is reality? Here comes a first chapter, a kind of Introduction of a story which never will leave me alone…

“Frühlingsbotschaft”

Leise zieht durch mein Gemüt
Liebliches Geläute.
Klinge, kleines Frühlingslied,
Kling hinaus ins Weite.

Kling hinaus bis an das Haus,
Wo die Veilchen sprießen!
Wenn du eine Rose schaust,
Sag, ich laß sie grüßen.

Heinrich Heine (1797 – 1856)

***

Ernest Chausson’s “Poème” op.25 is one of these musical pieces which touched me since ever in a very particular way. Virtuoso, mysterious and singing at the same time, it’s one of these masterpieces that all violinists fear.

After not playing it for over 12 years I decided to give a completely new try and to play it during the chamber music concerts I had at the beginning of spring in Riga (Latvia). In April, I will be happy to play this piece with orchestra. The perfect moment to have a closer look on this masterpiece, somewhat mystical, and on its composer, yet little known. 

“Neujahr”

Altes Jahr, du ruhst in Frieden,
Deine Augen sind geschlossen;
Bist von uns so still geschieden
Hin zu himmlischen Genossen,
Und die neuen Jahre kommen,
Werden auch wie du vergehen,
Bis wir alle aufgenommen
Uns im letzten wiedersehen.
Wenn dies letzte angefangen,
Deutet sich dies Neujahrgrüßen,
Denn erkannt ist dies Verlangen,
Nach dem Wiedersehn und Küssen.

Achim von Arnim (1781-1831)

Achim von Arnim (1781-1831)

An interview with Jean Claude Malgoire about Hector Berlioz and his time…

INTRODUCTION

When I heard for the first time Hector Berlioz’ “Symphonie Fantastique” i was still a teenager: I had been reading some time earlier, that Niccolò Paganini had been fascinated by the young Berlioz, so I wanted to have a closer look to this eminent french composer’s work.

The story between Paganini and Berlioz is complex: first enchanted by the fire and modernity of his music (especially when he heard the “Symphonie Fantastique”), Paganini ordered a Viola concerto to the young composer. Paganini owns a wonderful viola made by Stradivari, and wants to enhance this wonderful instrument with a work at the height of his virtuosity. On one side we can understand Paganini’s demarche, but on the other side we can easily guess under which pressure young Berlioz felt.

He starts composing “Harold en Italie”, a symphony in four parts. During the first perusals with the composer, Paganini shows himself extremely unhappy. He, the grand Paganini, should play only a few notes here and there, from time to time? The collaboration is violently stopped: Paganini is upset and the symphony will stay in a drawer for several years…