The question, of course, is how an interpreter today should or can approach these 24 miniatures. The answer lies in the many performances captured in recordings, but these reveal—as I mentioned earlier—the enormous interpretive variety (assuming there is little to criticize in the technique itself). Broadly speaking, they fall into two obvious categories (though with much diversity within them): performances characterized by theatrical flair and showy virtuosity, or by musical depth in the form of 24 character studies, in which virtuosity is only one component.
The Argentine violinist Tomás Cotik, as shown in this album, belongs to the latter category. This is also his reputation: his interpretations are profound yet marked by great technical finesse, combining a lyrical touch with controlled energy. His playing shines musically in every conceivable respect and never falls prey to routine or complacency.
The result is a sublime musical monument. That Cotik frames his selection of seventeen Caprices with Paganini’s Cantabile in D, Op. 17 at the opening and the Sonata a preghiera, Op. 24 (the Moses Fantasy) as the closing piece—with pianist Monica Ohuchi—could not have been more fitting within Cotik’s utterly convincing vision of Paganini’s music. Add to this the recording, which provides just the right spaciousness to allow both violin and piano to come into their own. The final conclusion: an exceptionally loving and carefully made production that fully deserves to be called a landmark addition to the Paganini discography.
Aart van der Wal
Recensie (cd) - Tomás Cotik - Paganini: 17 Caprices - OpusKlassiek