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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 ]
Moretti and Sorrento refers to a thematic catalogue of the works of Niccolò Paganini. The catalogue was commissioned in 1982 by the city of Genoa in celebration of the bicentenary of Paganini's birth. [1] It was edited by Maria Rosa Moretti and Anna Sorrento, hence the abbreviation "MS" is assigned to Paganini's catalogued works. [1]
Niccolò Paganini was born in Genoa (then capital of the Republic of Genoa) on 27 October 1782, the third of the six children of Antonio and Teresa (née Bocciardo) Paganini. [ 1 ] : 11 Antonio Paganini was an unsuccessful ship chandler , [ 2 ] but he managed to supplement his income by working as a musician and by selling mandolins .
Rodolphe Kreutzer used the melody in 1816 in the music for the ballet Le Carnaval de Venise choreographed by Louis Milon. [5] Niccolò Paganini played variations of this melody in his concerts under the title of "Carnival of Venice", Op. 10 (1829). [6] [7] [8] It was thanks to Paganini that the subject enjoyed greater popularity. [9]
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
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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).
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 ...