The famous recordings of Paganini’s violin concerti by the great Italian violinist Salvatore Accardo and the LPO under Charles Dutoit has never left the catalogue, and no wonder. The performances are about the best around of music that’s apt to sound trivial in lesser hands, and the sound is excellent. There’s plenty of charm and real joy in music making in these performances, which present this music as music, not as virtuoso glitter.
Composer: Nicolò Paganini
Performer: Salvatore Accardo
Orchestra: London Philharmonic Orchestra
Conductor: Charles Dutoit
Number of discs: 1
DR-Analysis: DR 17
Size: 1.8 GB
CONCERTO No. 3. ALLEGRO begins with an orchestral pizzicato motif. A jaunty oboe begins a happy tune at 40 seconds into the piece. At 2 minutes, 5 seconds, the jaunty oboe returns with its cocky little tune. At 3 min, 30 sec, comes a dramatic descending episode featuring the full orchestra. At 4 min, 20 sec, we are treated to a lively violin solo punctuated by orchestral pizzicato thumps.
The ALLEGRO movement is distinguished by its multitude of special effects from Mr.Accardo’s violin: (1) The bow bouncing up and down on a string while bowing; (2) A note changing to another note, by way of a glissando; (3) Violin playing in the extreme upper register, so high that only a dog can hear; (4) Pizzicato episodes; and (5) An almost indescribable special effect that I call a “jiggley-slinky.” ADAGIO. This movement also begins with an orchestral pizzicato.
The violin plays mainly in the lower register. An orchstral pizzicato goes, “Tra-dah-dah-dah.” There is no real tune or melody in this movement. POLACCA. This movement starts out sounding like music for a contra dance. From time to time, there is a brief pizzicato motif that sounds like crackling fireworks. In the entire CONCERTO No. 3, there is no real melody or tune that a layperson could distinguish or hum. However, I very much like the ALLEGRO movement because of the continual array of imaginative posturings by the violin.
|Konzert Für Violine Und Orchester Nr. 3 E-Dur|
|A1||1. Andantino – Allegro Marziale
|A2||2. Adagio: Cantabile Spianato||7:03|
|B1||3. Polacca: Andantino Vivace||11:30|
|Sonata Per La Gran Viola (C-Moll)|
|B2||Introduzione. Larghetto – Recitativo – Cantabile. Andante Sostenuto – Tema. Andantino – Variazioni I-III – Coda
Analyzed folder: /192k Paganini – Violin Concerto No. 2 – Accardo
DR Peak RMS Filename
DR15 -0.68 dB -21.68 dB A1 Konzert Fuer Violine Und Orchester Nr. 3 E-Dur – 1. Andantino – Allegro Marziale.aif
DR19 -1.96 dB -28.23 dB A2 Konzert Fuer Violine Und Orchester Nr. 3 E-Dur – 2. Adagio- Cantabile Spianato.aif
DR15 -1.38 dB -22.06 dB B1 Konzert Fuer Violine Und Orchester Nr. 3 E-Dur – 3. Polacca- Andantino Vivace.aif
DR19 -0.28 dB -26.95 dB B2 Sonata Per La Gran Viola (C-Moll).aif
Number of files: 4
Official DR value: DR17
- Composed By – Nicolò Paganini
- Conductor – Charles Dutoit
- Cover, Illustration – Gerhard Noack
- Engineer [Recording Engineer] – Günter Hermanns (tracks: A1 to B1), Klaus Scheibe (tracks: B2)
- Orchestra – London Philharmonic Orchestra
- Photography By – Paolo Gianbarberis
- Producer – Rainer Brock
- Recording Supervisor – Hans Weber (tracks: A1 to B1), Werner Mayer (tracks: B2)
- Sleeve Notes – Edward Neill, Uwe Kraemer
- Viola – Dino Asciolla (tracks: B2)
- Violin – Salvatore Accardo (tracks: A1 to B1)
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
- Cartridge: Sumiko Black Bird
Cartridge: ZYX 50R Bloom
- Phono amp: Audio Research SP15 own tube phono section.
- ADC/DAC: RME Fireface UC
- Pre Amp: Audio Research SP15
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
A few words about the way i’ve been cleaning vinyl records and post-processing rips, since summer 2017: After washing and recording the vinyl, I use a kind of mixed cleaning of the rip, which consists of mostly manual rather than automatic de-clicking, (the latter only on unimportant passages, such as end of the groove, beginning and end of the songs, applause, speaking). I often leave the rips almost rough, de-clicking only the silences between the tracks. Never de-noising or/and EQ, as unfortunately some do. I prefer to hear a bit of quiet noises of the clean groove, that contain something of the music, rather than generate clinically clean files that may, eventually, sound a bit dead. If you do not agree, do not download my rips and buy instead digital files or CDs.
When I listen to music I “don’t hear” any noise: I enjoy the music 😀
I do not make rips for headphones!
- Software: iZotope RX 5 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.18
- Very careful de-clicking with iZotope, significant clicks manually removed, never de-noising
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