The inversion of a theme by Paganini

From one virtuoso to another, Rachmaninoff understood the music of Paganini very well. Paganini was one of the best of his kind—a furious violin virtuoso who composed music accordingly. He rarely let this sacrifice musicality, however, and like Rachmaninoff, he cared more about producing cohesive musical beauty than impressing with finger speed. In his 24 Caprices for Solo Violin, Paganini composes exercises that technically challenge the violinist but are also full of harmonies and melodies. For example, the very last caprice is very simple in its exposition. It starts with a quick and striking theme, memorable for its drama and elemental sound. This caprice is a set of variations on that theme.

One of Rachmaninoff’s beloved works is Rhapsody on a Theme of Paganini—a collection of 24 variations on an original theme by Paganini—which the NJSO will perform from Nov 30–Dec 3. 

You can hear fast virtuosic patterns throughout the work, honoring the style of Paganini’s original theme, but Rachmaninoff also elevated the beautiful musical aspects of this theme. One particular variation, No. 18, sounds so different from Paganini’s original theme that they seem unrelated. It is certainly the most famous; its luscious beauty, a signature of Rachmaninoff’s work, captivates audiences right away. Well, not only are they related, but Rachmaninoff’s 18th variation is barely a variation at all.

Although it sounds like Rachmaninoff, this particular variation is really an “inversion” of Paganini’s theme. In other words, if you were to hold Paganini’s theme up to a mirror, you would see Rachmaninoff’s famous 18th variation theme.

Watch Stephen Hough demonstrate in this YouTube video (jump to 2:00):

 

Also on the program is Prokofiev’s Sixth Symphony, a personal favorite of Xian Zhang’s, and Rachmaninoff’s soothing Vocalise.

» Watch Xian Zhang preview the performance of works by Rachmaninoff and Prokofiev

» Concert info and tickets