Ilya Gringolts - Paganini : 24 Caprices for Solo Violin, Op. 1
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Niccolò Paganini : 24 Caprices for Solo Violin, Op. 1
Ilya Gringolts : Violonist
Concert recorded at Verbier Village Church (Verbier, Switzerland), on July 28, 2018.
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Beautiful and sonorous. He performed [as all great violinists do] for such a piece .... he became an opera singer.
This is Paganini op. 1 Caprice no. 4. Just because it’s not in the title or description.
fwepable thank you!
Bravo.... amazing!!
Beautiful, played as a true piece and not as an etude
Wow, great...
#fiddlingwithmywhistle
Он потрясающе играет, случайно услашала, дышать забыла)) это победитель конкурса им.Паганини в 1998 Послушайте еще www.deezer.com/ru/artist/1676555?autoplay=true
Это очень красиво😍
Я сама занимаюсь на скрипке,и мечтаю сыграть произведения Паганини!!!
This was a good as his outfit.
Paganini on the baroque violin...
when you see how Hadelich plays this Caprice, you don´t want to hear only one barr of it in his inappropriate way to play it ! Is this the quality of Verbier ? I don´t think so.
One of the beauties or advantages of classical music is that there is no "one way" to play something. I enjoy both Hadelich's and Gringolts' version. Gringolts' version is very musical and nuanced.
I prefer this. I'm bored of hearing the same performances over and over
@@cesars8090 if you have an idea how the caprices are supposed to be played you know that the Gringolt version is bullshit ! He plays undisciplined and his way to play has nothing to do with interpretation but with lack of technic !
@@villesarkilahti4975 thank you ! all the other exept landolfviolin are probably his friends or pupils. But if your teacher plays not correct, you shouldn´t be so un-critical, all those Olegs and Césars !
@@villesarkilahti4975 well, with competitions, sometimes you wonder, why someone wins. certainly it is the jury, which may be personally influenced. so some years ago, the Ysaye/ Queen Elisabeth competition in Brussels seemed to be helpful for russian musicians. this is often unfair to other competitors. so you first look: is the jury equally balanced, then you hear the musicians play. I was listening to a competition in southern Germany, where those influences were quite obvious. so I lost interest in listening further competitions.
I'm not a violinist, but this reminds me of many electric guitar 'shredders' - technically brilliant but emotionally boring and soulless, just a jumble of notes. I'd rather have something slower but more musical. Just my preference, but maybe Paganini was just showing off a bit when he wrote this?
Paganini's 24 caprices are technical pieces. They intend to have some musicality, but they are essentially like etudes.
You are just used to modern performance, though it doesn't mean that historically informed performances are devoid of musicality. Obviously you will be perplexed when you hear such performance for the first time, it is totally a different way of playing.
You should listen to the 24 caprices and the Paganini violin concerto no.4 played by Shunske Sato. His playing will sound usual to your ears, but to mine it is how 19th century music should be played.
I don't think his technique is good enough to play this piece properly... he's visibly struggling even with the outrageous modifications he has made to the piece to suit his abilities. In particular, I don't like 2:30 at all.
Considering that he won the Paganini competition, I doubt that he lacks the technique. Perhaps his interpretation, which is out there, doesn’t suit you. I think it’s a hit or miss. His interpretations of nos 2 and 16 are my favorite.
@@connorhlane doesn’t matter what competitions he won. Judging competitions is subjective. Technique is objective. You can measure how good or bad his intonation and sound quality are. He was likely a better violinist back when he won the competition. Then once he had that under his belt and became famous he had the freedom to break away from playing pieces in the traditional mold and do whatever interpretation he wanted because nobody would dare suggest to an esteemed colleague like Gringolts that his interpretation sounded like shit. He stands with Pamela Frank and Maxim Vengerov on the juries, who both treat him with dignity and respect - who would dare criticize him in person? That’s why online criticism holds both great value and little value.
@@irisce2799 What I’m saying is that his technique is there, but in his musicality, we sometimes desire more.
@@connorhlane at this point I'm not even sure he has the technique anymore. I haven't seen any recent videos of him playing in a manner where his technique is on display and at a level equal to the great violinists. Maybe back then, but now I can't really stand listening to him. I do not have any issue with anyone who does like listening to him.
actually, I just listened to the performance again and I've changed my mind. His technique is absolutely still there at a top level, I can hear it in the double-stop passages which are incredibly tough to play, and the control he has over the bow. I just don't like the style too much. I prefer the traditional way it's played.
Well he plays this caprice a little bit adjusted so that it is accurate for the baroque violin. I like it, but I don't know it it was intended to be played on this instrument, because by the time Paganini lived and played, violins were already built a little bit different, the sound was brighter and stronger and gut strings weren't as sensitive for intonation mistakes...
He should listen to 24 caprices of Midori. 1 of the best samples.
Nado zanimatsa chuvak
sorry but I think he doesn´t play in a correct manner. he slows down, then again he rushes. thats a very bad example of this caprice. too much of a unnecessary over- interpretation. better: ricci, rabin, perlman, but also markov, zehetmeier, zimmermann, koelman ! they play in time and still make little jewels of these pieces !
Right. Its horrible. He should listen to Midori's 24 c. She is great.
"they play in time"' that's a so 20th-century centered thought. You'll soon discover the tempo rubato and understand it was far more used during Paganini's time than today.
@@TheCreate78 I dont know, who is so arrogant to tell me, how Paganini played at his time. As I know Paganini played very exactly in time and he used his right foot to mark the tempo, when he played with orchestra. So get informed before you write ! 👎
@@manfred4766 It doesn't mean violinists were not able to slow down and then rush, that's the definition of the tempo rubato, one of the principal technical tools of that time.
Awful. 🙈🙈
Everything out of Tune!!
Such a Bad Level in Verbier...
Paganini Capricci are difficult.
Do you even ears bruh?
Gaf Hadly what do you mean?
Sure I have ears.
This is Unprofessional Performance.
Nate Robinson Bravo!!👍👍👍
I am just Wonder that many People like it...
Henri Roy 🙈🙈😀😀
Paganini wrote this not for Barock Violin.
Anywhere on Barock Violin you have to play also in Tune and with good Rythm .
He is not a baroque violinist.