Perlman's Paganini

Here's the drill:
Put on yer headphones.
Now, put on Itzhak Perlman's masterful playing of Paganini's 24 Caprices.
If you're a drinker, have a drink. If you like to get high, fire it up. If you abstain from drugs and alcohol of any kind, never mind, just let your imagination have it's way (which, I suppose, is what drugs and alcohol are really any good for, to help in that endeavour).
Close your eyes and imagine, make believe that the sound of the bow striking the violin strings is actually the actual sound of worms eating their way through your brain.
Relax, and let them enjoy their meal, as the music they make with their gnawing and their munching, their nibbling and their crunching is somehow simultaenously full of energy and yet the feel of them against the eardrum is calming, soothing.
This is music for which a strong case can be made for supporting the notion of direct inspiration from God, melodious to a fault, incredibly complex, yet amusing to even the simpleton's ear. This is not a set of pieces that can be performed by just any violinist. Perlman, however, is gifted enough to pull it off, and a thing of beauty it is to behold.
Music that sings of the soul.
A miracle from God, the manner in which the music possesses the performer and opens the channels for the long-dead composer to live on, although it is not his to claim as he lies in the ground. The inspiration, as timeless, eternal as the music He's inspired, is from the Creator of Heaven and Earth, Himself.
Paganini, if my music history knowledge faileth not, was held in awe by those who saw him play the violin, and, one would assume, these 24 Caprices. There sprang up at the time a legend, which is likely the root of the old Robert Johnson-at-the-Crossroads story, that Paganini had made a deal with Satan...a trade...His soul in exchange for incredible, almost magical technique and ability to play the violin. The deal was struck and the music-loving population of the time marvelled at the talent Paganini displayed.
Rank superstition, but there is no question that the 24 Caprices are, if not magical, enchanting nonetheless.
Perlman makes the violin sing throughout these short solo violin pieces. Deft, his fingering is precise and yet, not mechanical at all, almost lyrical. Difficult to believe that such rich, full music is the result of a single violin.
Anyone who understands why Eddie Van Halen is appreciated as a guitarist, or any one of the many great guitar players of the last 50 years should likewise be able to appreciate just how remarkable an achievement is Perlman's handling of Paganini's signature series. The technique required to pull these Caprices off is formidable and would discourage even a seasoned player. But not Perlman. He almost makes it sound easy. Incredibly flawless, Perlman amazes!
At over 72 minutes, the collected Caprices are a lot of music, and none of it boring. Taken as a whole or thrown into Shuffle mode and enjoyed in groupings of 4, 5, 6, 7, a dull moment will not be experienced.