Guitarist, Eliot Fisk is not the first
musician outside the violin playing
fraternity to become preoccupied with
Paganini’s 24 Caprices. Schumann,
Liszt and Rachmaninoff incorporated
aspects of these masterpieces into
their own compositions. Unlike much
of Paganini’s original work, they
were actually published during his
lifetime, appearing in 1820. It has
been suggested that they were probably
inspired by the cadenza-like caprices
that form the twelve violin concertos
of Locatelli, Op.3, published in 1732.
These caprices remain
a supreme test of a violinist’s virtuosity
and explore virtually every aspect
of violin technique: legato, staccato,
spiccato, tremolo, harmonics, trills,
arpeggios, scales, left-hand pizzicato,
and multiple stoppings - thirds, sixths,
tenths and octaves.
The task of arranging
this music for the guitar is challenging
to say the least, and deviation from
the standard guitar technique is required
for execution of some of the caprices.
Mr. Fisk feels that numbers two and
twelve are more idiomatic to the guitar
and multiple stoppings that feature
prominently throughout the set, are
much more natural on the guitar's
six strings than the violin's four.
That said, there are occasions when
some of the arrangements convey a
feeling of uneasiness and that adaptation
may be incongruous with the guitar.
Guitarist, Kazuhito
Yamashita embraced similar challenges
when he adapted and arranged Mussorgsky’s
Pictures at an Exhibition for
the guitar (RCA ARC1-4203). While
its execution also requires innovation
beyond standard repertory technique,
his rendition leaves one with a feeling
of compatibility and fait accompli.
An audition of Mr. Kazuhito’s arrangement
for guitar of the Beethoven Violin
Concerto Op 61 (RCA RL 70847), is
less convincing, albeit intriguing
and beguiling. It is not the amazing
technical capability of Kazuhito that
is in question, but the relevance
of this latter work to such adaptation
no matter how well played on the guitar.
While Eliot Fisk
appears to be the only guitarist to
have recorded all twenty-four of the
caprices on what is a re-release of
a 1992 recording, numerous other guitarists
have recorded one or several. A memorable
example of Caprice No. 24 can be found
on an early vinyl pressing by John
Williams (CBS SBR 235417) and some
subsequent re-releases. More recently
Marco Tamayo included Caprices 5,
11 and 24 on his Naxos recording of
Paganini (8.557598) that has also
been reviewed in this forum.
As with the violin,
these arrangements for guitar require
high levels of virtuosity. Even John
Williams was once noted to have almost
come unstuck in a performance of Caprice
No. 24. In several of the caprices,
as arranged and played by Eliot Fisk,
one gets an impression that they are
either unsuitable for playing on the
guitar or the musician has been stretched
beyond his technical capabilities.
In contrast Marco Tamayo’s renditions
are so well executed that they sound
like original works for the guitar;
John Williams’ rendition of No. 24
is similarly illusionary. A reasonable
observation is that Mr. Fisk may have
bitten off more, technically, than
he can chew.
A hallmark of virtuosity
is precise and accurate execution
of certain passages very quickly,
and exercising good musical judgement
within the context of the music. Laudable
though his arrangements and intentions
may be, Mr. Fisk fails to give a convincing
performance in those caprices that
require execution within the criteria
defined. Some, irrespective of the
speed at which they are traditionally
played on the violin, may benefit
in his hands if their tempi were decreased,
and winning the Paganini Derby
given a lower priority.
As a definitive collection
of the twenty-four Paganini Caprices,
arranged for the guitar, this is an
interesting and worthwhile recording.
There are, however, superior recordings
of several of the caprices by other
guitarists.
Zane Turner
for details
Eliot Fisk (guitar) 
[79:21]
