But Paganini was also one of the most influential musicians of his time, and a series of 24 “Caprices” for solo violin that he wrote between 1802 and 1817 are a landmark of the repertoire. They’re a tour de force of virtuosity — double-stopped trills, left-hand pizzicati, torrents of ricochets played at blinding speed — and Washington audiences will get a rare opportunity to hear all 24 next Sunday, in an unusual two-part concert by the
Rachel Barton Pine
Pine brings an intriguing perspective to Paganini. At 38, she’s a fixture of the international concert circuit, and has been garnering rave reviews for her interpretations of everything from Mendelssohn to Chausson; her 2003 recording of the Brahms and Joachim concertos with the Chicago Symphony Orchestra won a Grammy nomination.
But she’s also one of the more adventurous violinists around, and every month or so she swaps her concert gown for a leather corset, trades her 1742 Guarneri for a solid-body electric violin, and joins Earthen Grave — her thrash/doom heavy metal band — for hard-driving, head-banging shows in Chicago’s late-night club scene.
Which, of course, provokes the irresistible question: If Paganini were alive today, would he be playing shred violin in a thrash band?
“Hard to say!” says Pine, laughing over the phone from her home in Chicago. “Paganini’s Caprices have influenced all the great metal guitarists — many of them are great classical fans themselves — so if there’s one classical concert that metal-heads are going to love, it would be this one.”
But for Pine, the sensationalism of Paganini’s life is only part of the picture. The violinist had a more generous side, she says, and composed in a style that was more Italian bel canto than full-throttle romanticism. True, the Caprices deliver plenty of raw firepower — but their real beauty, she says, comes from their lush melodic writing, their complex counterpoint, and the vivid, unusual colors they evoke.
“His music is supposed to be played with a lightness, a gracefulness, a delicacy that you often don’t hear,” says Pine, whose performance will combine commentary about the works with their actual playing. “The crash-and-burn, muscular style is not how Paganini would have played his own music — it’s really a very refined and elegant style.”
Pine’s fascination with the Caprices goes back to her early childhood, when her mother would play Itzhak Perlman’s classic recording as a reward for her good behavior. Pine was already a budding violinist by then; after hearing her first violin concert at the age of 3, she had begged her parents for lessons and became, as she puts it, “a little obsessed” with the instrument. “By the time I was 5,” she says, “I was signing my school papers, ‘Rachel, violinist.’ It was my whole being.”