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The musical Cross Road, premiered 2022 and revived 2024, features Niccolo Paganini as a main character, played by Hiroki Aiba (2022 and 2024), Kenta Mizue (2022), and Kento Kinouchi (2024). [32] The story is about his making a contract with the Devil of Music, Amduscias , played by Akinori Nakagawa in both productions.
Variations on a theme from the ballet of Salvatore Viganò Il noce di Benevento , music by Franz Xaver Süssmayr. First performed at a solo concert in La Scala on October 29, 1813. The audience was so impressed that they requested a repeat. [ 4 ]
The Violin Concerto No. 3 in E major was composed by Niccolò Paganini in 1826. [1] On 12 December 1826, Paganini wrote from Naples to his friend L. G. Germi that, having recently completed his Second Violin Concerto, he had now "finished orchestrating a third with a Polacca", and added: "I would like to try these concertos out on my own countrymen before producing them in Vienna, London and ...
The tempo marking here means "brisk and majestic". The movement modulates from D minor → F major → A minor → D minor → D major. The first movement begins with a powerful Beethoven-esque theme with striking similarity to the third movement of Vivaldi's Violin Concerto No. 6 consisting of a six-note melody, played by the viola and violin sections, punctuated by strong and syncopated ...
Nicolo Paganini: His Life and Work. London: E. Shore & Co. ISBN 0-559-80636-1. Philippe Borer, The Twenty-Four Caprices of Niccolò Paganini. Their significance for the history of violin playing and the music of the Romantic era, Stiftung Zentralstelle der Studentenschaft der Universität Zürich, Zurich, 1997
Gregor Piatigorsky – Variations on a Paganini Theme, for cello and orchestra (1946), later arranged for cello and piano; Simon Proctor – Paganini Metamorphasis, for solo piano; Frank Proto – Capriccio di Niccolo for Trumpet and Orchestra (1994). Nine Variants on Paganini for Double Bass and Orchestra, also for Double Bass and Piano (2001).
Paganini's original published scoring was for 1 flute, 2 oboes, 2 clarinets, 1 bassoon, 2 horns, 2 trumpets, 1 trombone, and strings.. In the years following the original publication of the work, Paganini occasionally expanded his orchestration, writing out some odd parts to add from time to time in performance: 2nd flute, contrabassoon, doubled the horns, added trombones 1 & 2 (moving the ...
The outcome is a very transparent texture, with the rondo theme having hints of musical qualities associated with Romani music. This movement has served as the basis of compositions by other composers, such as the Étude S. 140 No. 3 "La campanella" by Liszt, and Strauss I's Walzer à la Paganini Op. 11.