Difficile. Par PAGANINI NICCOLO. Capriccio de Paganini 'In cor più non mi sento” pour violon solo est une oeuvre pratiquement inconnue dans sa forme originale à deux mouvements, respectivement Andante et Presto. La première (Andante) est une variation basée sur le thème de Paisello, tandis que la seconde (Presto) est une variation virtuose. Beaucoup moins célèbre que la version de Carl Guhr intitulée Introduction et Variations sur le thème 'Nel cor più non m sento' pour violon seul de Nicolo Paganini, qu'il a incluse dans son 'traité'. La version de Guhr, pour laquelle nous n'avons pas de source originale, a été publiée à plusieurs reprises. Il est beaucoup plus long et comporte beaucoup plus de variations que le Capriccio original, ce dernier étant souvent considéré comme une sorte de 'premier croquis' de l'oeuvre plus longue. La version de Guhr a, à bien des égards, éclipsé celle de Paganini, de sorte que l'originalité de sa composition et son intégrité en tant que pièce autonome n'ont pas été suffisamment appréciées. La présente édition critique est basée sur un manuscrit trouvé dans la Staatsbibliothek de Berlin. Il est comparé à l'édition de Zimmermann (1960), assez peu fiable du point de vue philologique, et au 'Tema' et 'Settima variazione' qui correspondent aux deux mouvements du Capriccio des fils de B. Schott (édition de 1829). / Niveau : Difficile / Répertoire / Violon

Avant Paganini ?tait qualifi? de ?capriccio? un morceau de bravoure jou? au violon en guise de cadence dans les sonates ou les mouvements de concertos. Le terme pouvait ?galement d?signer parfois des ?tudes pour instruments ? cordes. La fusion de la forme de la cadence concertante avec celle de l??tude technique fut l?une des plus grandes nouveaut?s introduites par Nicol? Paganini. Avec ses Capricci op. 1 Paganini donna ? ce genre une nouvelle dimension musicale. Donnant l?impression d??tre improvis?es ces pi?ces d?bordent d?invention m?lodique et sont structur?es avec intelligence et clart?. L??dition Urtext propos?e ici repose exclusivement sur le manuscritautographe de Paganini car n?ayant sans doute pas ?t? revue par le compositeur la premi?re ?dition comporte de nombreuses erreurs. Les indications de jeu de Renato De Barbieri dans la version annot?e reposent sur l??tude approfondie du manuscrit autographe ainsi que sur de longues ann?es de pratique en concert. La pr?face d?une grande richesse d?informations vient ainsi compl?ter une ?dition telle que l??uvre en m?ritait depuis longtemps.

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

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

Edizione critica di - Critical edition by Italo Vescovo. Par PAGANINI NICCOLO. This Capriccio per violino solo M.S. 54 should be considered as part of the group of short musical dedications that Paganini was in the habit of giving away to friends, colleagues and the personalities he met during his travels. Dated 1828, dedicated to Count Maurizio Dietrichstein, is a truly unique work, not only for the way in which the music is organised (notated on four staves, one for each string) but also because of the way in which it was conceived musically. The concept of polyphony is brought to an extreme level, at least in conceptual and visual terms, in this composition. Its brief structure is reminiscent of a kind of four-part chorale written in score. It is characterised by its lyrical and elegant writing style, where the four voices move in polyphonic fashion, giving birth to an extremely refined harmonic texture. This critical edition is based on the manuscript kept in the Österreichische Nationalbibliothek of Vienna compared with the modern editions. / Niveau : Avancé / Répertoire / Violon

Référence unique par son ISBN 9790044004133 cette partition musique de Paganini n'est autre que 24 CAPRICES VIOLON SEUL qui a été composée pour Violon. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Durand. La référence catalogue de cette oeuvre est DC00946700. / Violon / Partition

Edizione critica di Italo Vescovo-Paganini’s Sonata a violino solo (M.S. 6) composed during his Lucca period (1805-1809) forms part of a series of music written for solo violin that has failed to attract the attention of both performers and scholars interested in Genoa’sfamous violinist. This work – published several times in the nineteenth century (especially outside Italy with various titles: Duetto per un violino solo Duo Merveille Meraviglia di Paganini word etc.) – is divided into twomovements (Adagio – Allegro molto). Paganini used a two-staff system of musical notation to produce two distinct levels of sound as well as graphically: pizzicato on the lower line arco on the upper. It is a short pleasing piece containing all the typical characteristics one expects from Paganini: melody and instrumental virtuosity.This critical edition based on the autograph kept at the Biblioteca Casanatense in Rome as part of a collection of the most important editions from the 1800s and 1900s is intended to provide scholars and performers a philologically reliable textthat revives the original version.

per violino - Edizione critica di Italo Vescovo-The Caprice d?Adieu (autograph unknown) is appended to Eduard Eliason?s Six Caprices Caractéristiques pour le Violon Op. 12 which was published in Mayence by B. Schott in 1833. This piece which Paganini dedicated to Eliason is part of a series ofcompositions for violin solo that have been widely ignored by both performers and scholars of the great Genoese musician. It is a composition whose size and structure (A-B-A with two refrains) follows the pattern of some of his Capricci Op. 1 but unlike these proper studies the Caprice d?adieu is lighter and more lively in character. Although not as brilliant musically as the Capricci it still contains some original musical ideas mostly articulated in two parts with a few complextechnical passages and a central contrasting section featuring different dynamics and a range of chords and trills.This critical edition is based on the first edition and is collated with the most important nineteenth and twentieth-century editions.

per violino e orchestra in re maggiore. Par PAGANINI NICCOLO / ACCARDO. / Répertoire / Violon

Le temps des études est une collection qui réunit les études les plus
travaillées par niveau et par instrument. Ce recueil pratique, pensé
pour une utilisation confortable et une grande lisibilité (spirale,
saisie musicale aérée), permettra aux apprentis musiciens d?avoir
accès aux maîtres de la pédagogie et d?améliorer ou d?acquérir leur
technique instrumentale. Le professeur trouvera ici matière à élaborer
une ligne pédagogique adaptée à chaque élève, en fonction des
particularités techniques de chaque étude.
42 études des plus grands pédagogues :
PAGANINI , WOHLFART, CAMPAGNOLI, AUER, MAZAS, LEONARD, SEVCICK, DANCLA, ...

Tenant compte des conseils des grands maîtres, l'auteur respecte une progression qui permet à l'élève de franchir avec assurance les difficultés du premier apprentissage.

Le petit Paganini est la méthode la plus utilisée dans les écoles de musique.