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3. Francisco Fullana, a Modern-Day Paganini

On December 16, Beirut donned its most radiant colors, reaffirming, through an exceptional concert by violinist Francisco Fullana as part of the Beirut Chants Festival, its resolute will to rise again. In a city marked by grief, art—and music in particular—bears a promise: to heal, rebuild and confront the unacceptable.

Beirut, it was time—high time to shed mourning and embrace the vibrant hues of life. Finally, it was time to rebuild, both this ruined country and its wounded souls, so this city of light could once more begin to heal. The musical evening of December 16, led by Spanish violinist Francisco Fullana as part of the Beirut Chants Festival, was a stirring reaffirmation of Beirut’s indomitable spirit. It embodied a promise to stand against adversity and to draw strength from music to resist and defy despair.

“An artist must convey a message of hope and peace, opening their mind beyond their own universe,” Francisco Fullana told This is Beirut. “Canceling this concert felt ethically inconceivable for me as a Western musician.” On both moral and spiritual levels, the internationally acclaimed Spanish virtuoso shared his compelling desire to visit Lebanon—even before the ceasefire was announced. “Look at the power of music,” he said with enthusiasm. “The church was packed, and together, we created a profound connection, no matter what was happening outside those walls.”

A Resonant Sound

At precisely 7 PM, Francisco Fullana broke the silence with Bach’s Chaconne from the Partita No. 2 in D minor, BWV 1004. From the very first note, the violinist’s rich and resonant tone gripped the audience, revealing an artist deserving of the highest praise. His rounded sonic aesthetic, measured intensity and finely nuanced vibrato were captivating and enveloped listeners in a warm projection that avoided excess. Yet, this velvety approach could have benefited from a deeper dramatic density, delving further into the violin’s expressive depth.

In fact, the Chaconne—the fifth and final movement of this Partita—is, according to German musicologist Helga Thoene, deeply linked to the tragic death of Bach’s first wife, Maria Barbara. The composer incorporates the Easter chorale Christ lag in Todesbanden (“Christ Lay in Death’s Bonds”), imbuing the work with a funeral dimension. This context thus called for an interpretation that more vividly traversed grief and resurrection, extending into the promise of eternal life.

Virtuosity Under Pressure

The concert continued with a second Chaconne, this time by Spanish composer Joan Valent (born 1964). It is worth commending the performer's choice of a contemporary tonal work, which fits seamlessly within the natural evolution of classical music. This composition once again demonstrates that musical modernity is not confined to the atonalism influenced by the Second Viennese School, which, for 70 years, hastened the decline, even the demise, of Western art music. Following this luminous interlude, Fullana transitioned to the celebrated Caprice No. 24 in A Minor, the final piece from Niccolò Paganini's Twenty-Four Caprices for Solo Violin, MS 25 Op. 1.

This work, among the most demanding in the violin repertoire, tolerates no approximation or compromise. Absolute purity of intonation, flawless dexterity and bowing agility are sine qua non for an ultimate performance, and the young artist’s virtuosity blends perfectly with these demands. Midway through the tenth of the eleven variations, a violin string loosened during the performance. With a serene smile, far from showing any nervousness, Fullana quickly retuned his instrument and announced, “You know what? Let’s start over from the beginning!” He then adopted a slightly faster tempo, highlighting every facet of instrumental virtuosity, from bowing leaps and rapid passages to parallel octaves, double and triple stops, and pizzicatos, which, however, could have benefited from greater finesse.

Meticulous Craftsmanship

The Partita No. 3 in E major, BWV 1006 by J.S. Bach, which followed, aligned seamlessly with the spirit of the three preceding works. Fullana demonstrated superlative expressiveness, knowing precisely where he led his interpretation and committing to it without hesitation. He avoided any rush, approaching the seven movements with the serenity of one who, after meticulous preparation, savors each nuance, chord, trill, mordent and legato. In short, he asserted himself as a master of the finest details. Following a frenetic Prelude, a slow and graceful Loure, a lively Gavotte en rondeau, two pastorally tinged Minuets and a dynamic Bourrée, he concluded with an exuberant Gigue, bringing the work to a warm and convivial close.

With Asturias by Isaac Albéniz (1860–1909), Fullana captivated a mesmerized audience. Originally composed for piano (and later transcribed for guitar), this piece demands even greater technical virtuosity from the violinist. The Spaniard meets this challenge brilliantly, effortlessly transitioning from the frenzy of Spanish folk dances to the emotional depth of flamenco. The concert concluded on a more introspective note with El Cant dels Ocells (“The Song of the Birds”)—immortalized on the cello by Pablo Casals—and jazz variations on Amazing Grace. This evening, Francisco Fullana transported us to a golden age of violin artistry, one revered in the historic recordings of Yehudi Menuhin, Fritz Kreisler and David Oistrakh, and often thought irretrievably lost. Perhaps we were wrong to believe so.

Amid thunderous applause, the violinist treats the audience to an encore from the guitar repertoire: Recuerdos de la Alhambra (“Memories of the Alhambra”) by Francisco Tárrega (1852–1909).