a cura di Simone Gramaglia. Par PAGANINI NICOLO. Paganini?s Sei Sonate op. 2 (M.S. 26), his Cantabile (M.S. 109) and his Sonata concertata (M.S. 2) bring out all of the timbral and sonic possibilities of both the viola and the guitar. In these pieces, the two voices blend together in a natural way, creating a compelling and well-balanced duo. These three transcriptions make up a perfect introduction to Paganini by way of his chamber compositions and give the violists the opportunity to enrich their concert repertoire by adding the works of an author who is still too rarely performed on the viola./ Recueil / Alto et Guitare ou Luth

Lorsque, en avril 1981, je jouai quelques-uns des 24 Caprices de N. Paganini au saxophone sopranino à Radio-France, j'imaginai réaliser une expérience trop personnelle pour mériter une large diffusion - l'exécution au saxophone de ces caprices me paraissait à l'extrême limite du possible. Grande fut ma surprise lorsque, en 1989, Didier Vadrot, alors étudiant en première année au Conservatoire de Paris, joua semaine après semaine chacun de ces redoutables Caprices dans une version parfaitement conforme à l'original. Très impressionnés, les autres étudiants de la classe de saxophone mettaient leurs pas sur ce chemin ardu au cours des mois suivants. L'immense bénéfice que chacun a retiré de ce travail, sur le plan technique - grands intervalles, détachés, perfectionnement du suraigu - et musical - longs phrasés, souplesse de l'expression associée à une grande vélocité - m'a convaincu qu'il était temps de présenter ce travail à un plus large public. Nous ne possédions pas à ce jour d'études transcendantes du niveau de celles proposées aux pianistes, violonistes, flûtistes. Après avoir travaillé les études de Mule, Loyon, Lacour, Bozza, Samyn et s'être déjà largement familiarisé avec le registre suraigu, tout saxophoniste peut se mesurer avec ce monument que Niccolo Paganini ne dédie pas aux violonistes, mais aux artistes! Claude Delangle, Professeur au Conservatoire National Supérieur de Musique de Paris Contenu : Compositeur/Auteur : PAGANINI NiccoloDiscipline/Instrument : saxophone soloCollection : Delangle ClaudeSupport : PartitionStyle/Genre : classiqueDate de parution : juin-93Nombre de pages : 40

Raaf Hekkema (né en 1968) arrangement du célèbre ouvrage de Paganini a été initiée par une commission de la Nederlands Orkest Noord qui lui demandait de jouer le Concerto pour violon de Paganini néerlandais. 2 à une tournée. Comme son homologue virtuose, Capriccio n o. 24, le célèbre dernier mouvement La Campanella qui avait inspiré beaucoup d'autres compositeurs comme Schumann et Liszt reflète, dans la version pour saxophone, la grande richesse de jouer du saxophone du 21e siècle - un morceau à couper le souffle plein d'acrobaties saxophone!Déjà disponible sont les 24 célèbres Caprices op. 1 de Paganini pour saxophone solo (ED 20 559). Pour la version CD de ce travail, le saxophoniste virtuose néerlandais a reçu le prix Echo Klassik dans la catégorie des 'Best instrumentiste de l'année' en 2007. / Saxophone Alto Et Piano / 24 pages / niveau : Avancé / Partition

Par PAGANINI NICCOLO. Paganini’s Inno patriottico con variazioni for solo violin M.S. 81 is a composition dating back to the period between 1796 and 1800, during which he also composed works such as the Carmagnola con variazioni M.S. 1 for violin and guitar, the Grande Concerto M.S. 75, the Tema variato for violin M.S. 82 and the Sonata a violin solo M.S. 83. There is not very much background material regarding the piece: the only certainties we have about it are that it dates from his early period, springs from a Genovese environment and has numerous similarities to the Carmagnola con variazioni M.S. 1: both compositions are based on a sprightly popular theme in 6/8 that can be traced back to the Perigordino, a French dance that first appeared in the Ligurian Apennines during the Napoleonic period. The structure of the Inno patriottico con variazioni substantially follows that of the Carmagnola and Tema variato: a theme followed by a series of variations in which Paganini demonstrates his personal concept of variation. This edition is based on a recently rediscovered, non-autograph source owned by the descendants of Eredi Sivori, in combination with the copy held by the Archivio Storico del Comune di Genova and printed sources./ Répertoire / Violon

[Homage to Paganini Il Canto dell'Angelo]. Par PAGANINI NICOLO. / Date parution : 2022-11-29/ Répertoire / Piano

24 Capricci. Par PAGANINI NICCOLO. RAAF Hekkema, un virtuose du saxophone néerlandais, a organisé la célèbre Capricci 24 opus 1 de Niccolò Paganini pour saxophone solo - pour soprano ou saxophone alto selon le registre. Pour l'enregistrement de CD des arrangements sur les OMD, a reçu Hekkema/ Répertoire / Saxophone Soprano ou Alto Solo

Variations On The Caprice 24-The concert piece Paganini Jazz by Faz?l Say which was inspired by classical modern and jazz styles is reminiscent of the music of such greats as Scott Joplin Art Tatum Gershwin and Bernstein and was originally designed as a charming encore work (1988); following the appreciative response of music lovers and in particular that of music critics it was transformed over a perion of time into a more substantial work for piano. Briefly the piece was rewritten and expanded a number of times between 1988 and 1995. We can evaluate the work as having taken its inspiration from Paganini's renowned 24th Capriccio transforming it into variations on jazz requiring virtuoso renditionas well as being a creation open to the addition of improvisations and a variety of arrangements.Throughout music history a number of composers have written various works inspired by the 24th Capriccio. We can count among them Liszt Brahms Rachmaninov and Lutoslavski. In Say's work however a different aspect must be noted: the composer is prepared to add various developmental passages and transitional improvisations while interpreting this work in concert. Furthermore when the work is considered as a short encore piece it is abbreviated in a manner deemed suitable by Say.

Par PAGANINI NICCOLO. The autograph composition entitled Alla spagnola is a fleeting piece, similar, in size, to other small works that Paganini called “capricci”, that he gave, on more than one occasion, to friends, colleagues and other figures he encountered during his travels: a piece which gives us a clear sense of the spirit of the Genoese master of brief compositions. The publication of this pleasant piece will add to his significant and varied body of pieces for solo violin./ Répertoire / Violon

Nicolò Paganini compte parmi les rares musiciens à avoir conquis leur rang uniquement grâce à un unique instrument. Ses compositions pour violon seul sont originales et ses apparitions en tant que soliste virtuose fascinaient le public. Pourtant Paganini avait appris enfant à jouer non seulement du violon mais aussi de la guitare. Et sans doute en bon Génois avait-il découvert avant de parcourir le monde la chanson «Barucabà» sur laquelle il écrivit en 1835 ses «Variations op. 14» pour violon et guitare. Cette édition de musique de chambre a été élaborée avec la précieuse collaboration du musicologue Alberto Cantù et du violoniste Renato De Barbieri. Les doigtés de ce dernierdans la partie de violon complètent très utilement cette édition.

There is not a great deal known about the violinist, teacher and composer Edward Mollenhauer (1827-1914) from Erfurt. However, two of his compositions virtually immortalized him: the fantasia The Infant Paganini as well as the somewhat more difficult sister work The Boy Paganini (Schott ED 21703). Both are played with great enthusiasm by young violinists all over the world. Both compositions present a sparkling display of beautiful melodies and brilliant idiomatic figurations which are effective without being too difficult. / Violon Et Piano

The Paganini Variations occupy a special place in Brahms' Piano oeuvre. They are true to their main title a work for study but at the same time (in contrast to for instance the 51 exercises) also suited for concert performances. Both aspects were important to Brahms himself too. When he planned the variations in 1862/63 he was still working on a loose collection of individual exercises which he used as finger practice when preparing for concerts. He eventually reworked this collection of exercises into a 'work' in its own right in 1865 repeatedly playing it in concert and publishing it in 1866. The Paganini Variationsare also interesting in their double function for contemporary pianists. Anyone studying them is able to marvellously develop his or her Piano technique while at the same time working on a very effective piece for concert events. For the first time all the sources known to us could be used for this new edition even two early manuscripts that were thought to be lost after 1945 and were rediscovered in St. Petersburg just a few years ago.

This fabulous selection comprises four of Paganini's earlier works for Violin and Piano edited by Jean Becker. With the exception of the Moto Perpetuo Op.11 these pieces are all composed using a 'theme and variations' structure. The colour and variety imbued within Paganini's writing for the Violin is truly inimitable and provides the accomplished violinist with the great challenge of realising this beauty through the technical virtuosity of the writing.The solo violin part is also included on a separate insert.