In 1820, the publishing house Ricordi issued Niccolò Paganini’s 24 Caprices for solo violin, works by a legendary composer who left an indelible mark on his era, transforming the violin into not merely a musical instrument but also an instrument of virtuosity and endurance — almost an “athletic” instrument — both in his own time and in the years that followed.
Ever since, many composers have measured themselves against Paganini, writing works for violin or other instruments inspired by his Caprices: Franz Liszt with his Études d’exécution transcendante d’après Paganini for piano; Robert Schumann with his works for violin and piano; and Sergei Rachmaninov with his Rhapsody on a Theme of Paganini for piano and orchestra, based on the 24th Caprice.
Two centuries later, the Greek composer Theodoros Antoniou engages in his own dialogue with Paganini, composing his own 24 Caprices for solo violin. Through a contemporary lens, he challenges the violinist to keep the tradition alive — both in our time and in the future.