Paganini - Salvatore Accardo - Concerto MS75 No.3

Nicolò Paganini - Salvatore Accardo - Concerto for violin e orchesta in E minor Op. Posth-MS75 No. 3 Rondò ossia Polonese - Salvatore Accardo (Italian pronunciation: [salvaˈtoːre akˈkardo]; born September 26, 1941 in Turin, northern Italy) is an Italian violinist and conductor.
He is particularly noted for his interpretations of Paganini, J. S. Bach, Antonio Vivaldi, contemporary works, chamber music, and opera conducting.
Accardo studied violin in the southern Italian city of Naples in the 1950s. He gave his first professional recital at the age of 13 performing Paganini's Capricci. In 1956 Accardo won the Geneva Competition and in 1958 became the first prize winner of the Paganini Competition in Genoa.
He has recorded Paganini's 24 Caprices (re-recorded in 1999) for solo violin and was the first violinist to record all six of the violin concerti by Paganini . He has an extensive discography of almost 50 recordings on Philips, DG, EMI, Sony Classical, Foné, Dynamic, and Warner-Fonit. Notably, he has recorded an album of classical and contemporary works in 1995 on Paganini's Guarneri del Gesù 1742 violin, Il Cannone Guarnerius.
Accardo founded the Accardo Quartet in 1992 and he was one of the founders of the Walter Stauffer Academy in 1986. He founded the Settimane Musicali Internazionali in Naples and the Cremona String Festival in 1971, and in 1996, he re-founded the Orchestra da Camera Italiana (O.C.I.), whose members are the best pupils of the Walter Stauffer Academy. He performed the music of Paganini for the soundtrack of the 1989 film Kinski Paganini. In the 1970s he was a member of the celebrated Italian chamber orchestra "I Musici".
Accardo owns one Stradivarius violin, the "Hart ex Francescatti" (1727) and had the "Firebird ex Saint-Exupéry" (1718).

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Paganini - La Campanella - Rondo Allegro

Nicolò Paganini - La Campanella - Rondo Allegro - Niccolò Paganini was born in Genoa, Italy, the third of the six children of Antonio and Teresa (née Bocciardo) Paganini. Paganini's father was an unsuccessful trader, but he managed to supplement his income through playing music on the mandolin. At the age of five, Paganini started learning the mandolin from his father, and moved to the violin by the age of seven. His musical talents were quickly recognized, earning him numerous scholarships for violin lessons. The young Paganini studied under various local violinists, including Giovanni Servetto and Giacomo Costa, but his progress quickly outpaced their abilities. Paganini and his father then traveled to Parma to seek further guidance from Alessandro Rolla. But upon listening to Paganini's playing, Rolla immediately referred him to his own teacher, Ferdinando Paer and, later, Paer's own teacher, Gasparo Ghiretti. Though Paganini did not stay long with Paer or Ghiretti, the two had considerable influence on his composition style.

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Glazunov - The Sea

Glazunov - The Sea (more) fantasy orchestra in E major, Op. 28 - Alexander Konstantinovich Glazunov (10 August 1865 -- 21 March 1936) was a Russian composer of the late Russian Romantic period, music teacher and conductor. He served as director of the Saint Petersburg Conservatory between 1905 and 1928 and was also instrumental in the reorganization of the institute into the Petrograd Conservatory, then the Leningrad Conservatory, following the Bolshevik Revolution. He continued heading the Conservatory until 1930, though he had left the Soviet Union in 1928 and did not return. The best known student under his tenure during the early Soviet years was Dmitri Shostakovich.
Glazunov was significant in that he successfully reconciled nationalism and cosmopolitanism in Russian music. While he was the direct successor to Balakirev's nationalism, he tended more towards Borodin's epic grandeur while absorbing a number of other influences. These included Rimsky-Korsakov's orchestral virtuosity, Tchaikovsky's lyricism and Taneyev's contrapuntal skill. His weaknesses were a streak of academicism which sometimes overpowered his inspiration and an eclecticism which could sap the ultimate stamp of originality from his music.[citation needed] Younger composers such as Prokofiev and Shostakovich eventually considered his music old-fashioned while also admitting he remained a composer with an imposing reputation and a stabilizing influence in a time of transition and turmoil

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