Composer’s Note
Today, new music — or perhaps more accurately, postmodern music — has found within the contemporary soundscape its own set of conventions. These conventions impose upon the composer a particular mode of sonority and a specific way of handling the musical material. In the present work, I have sought to distance myself from such prescriptions by remaining faithful to my own aural heritage, for it is precisely this heritage that sets my musical imagination in motion.
No tradition, rule, or sound possesses the power to mend the fractured porcelain of our listening experience. Only the composer, through the act of composition itself, can forge a new alloy from all that exists — granting melody a renewed definition and being.

The recording was made in Iran, by an Iranian performer, for I believe that both the performer and the real context of performance constitute the final link in a work’s contemporaneity — capable of reawakening, within the piece itself, the very wounds that first set its creation into motion

Paganini: 24 Caprices, Op. 1: No. 2 in B Minor

Itzhak Perlman

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