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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 ]
Paganini: all six violin concertos. Paganini composed his own works to play exclusively in his concerts, all of which profoundly influenced the evolution of violin technique. His 24 Caprices were likely composed between 1805 and 1809, while he was in the service of the Baciocchi court. Also during this period, he composed the majority of the ...
The 24 Caprices for Solo Violin were written in groups (seven, five and twelve) by Niccolò Paganini between 1802 and 1817. They are also designated as M.S. 25 in Maria Rosa Moretti's and Anna Sorrento's Catalogo tematico delle musiche di Niccolò Paganini which was published in 1982.
Caprice No. 13, nicknamed Devil's Laughter or Devil's Chuckle, [1] is one of Niccolò Paganini's renowned 24 Caprices for Solo Violin. It is the only one of the suite that is in the key of B-flat major. [2] This solo violin piece starts out with scale-like double-stopped passages at a moderate speed.
Luc Baiwir – Variations on a Theme by Paganini, for solo piano (2007) David Baker – Ethnic Variations on a Theme of Paganini, for violin and piano; BanYa – Caprice of Otada is based on Rachmaninoff's Rhapsody on a Theme of Paganini and is used in Pump it Up NX2; Alison Balsom – recorded a version transcribed for trumpet
Caprice No. 5 is one of 24 caprices for solo violin composed by virtuoso violinist Niccolò Paganini in the early 19th century. The piece is known for its fast tempo and technical difficulty. Paganini is said to have been able to play it on one string, but there is no evidence to support or refute this. [1]
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The pieces are all based on some of the Caprices (Nos. 6/5, 17, 1, 9, and 24) and concertos (No. 2/1) by Niccolò Paganini for violin, and are among the most technically demanding pieces in pianistics (especially the original versions, before Liszt revised them, thinning the textures and removing some of the more outrageous technical difficulties).