Paganini's Caprice Number 24, from his Twenty-Four Caprices for Solo Violin (Opus 1), is widely considered one of the most difficult pieces for violin solo, and has served as an inspiration for many composers. He was one of the most celebrated violin virtuosi of his time, and his works had profound influence on the evolution of violin techniques. Niccolò Paganini (1782 - 1840) was an Italian violinist, violist, guitarist, and composer. Liszt composed an extensive and diverse body of works, which influenced subsequent composers such as Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg, and Alexander Borodin. He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time. During the 19th century he was famous throughout Europe for his great skill as a pianist. The work has been arranged by other composers and pianists, for example by Ferruccio Busoni and Marc-André Hamelin.įranz Liszt (1811 - 1886) was a Hungarian composer, pianist, conductor, and teacher. La campanella's melody comes from the final movement of Niccolò Paganini's Violin Concerto Number 2, in which the tune is reinforced by a little handbell. The technically demanding work abounds with rapid octaves, scales, and arpeggios.La campanella ( Italian: the little bell) is the nickname given to the third of the six Grandes étude s de Paganini ( Grand Paganini Études), S. 24, with a slightly altered theme and 11 variations. 6 in A minor (Quasi presto, a capriccio) – after Caprice No. 5 in E major (Allegretto, dolcissimo) ("La Chasse") – after Caprice No. 4 in E major (Andante quasi allegretto) – after Caprice No. 2 in B minor, and containing the first theme of the final movement of Paganini's Violin Concerto No. 1 in E ♭ major. 3 in A ♭ minor (Allegro moderato) – after the final movement of Paganini's Violin Concerto No. Contains many rapid scales and octaves and requires elegance and quality of tone. 2 in E ♭ major (Andantino capricciosamente) – after Caprice No. Voicing and dynamics are important in "Tremolo", and adding to its difficulty is the fact that many tremolos are marked to be played by the left hand only. Begins with a prelude of rapid arpeggios and scales and then enters the main étude section as the name suggests, the piece is meant to employ tremolos. Has anyone of you tried to play it Id like to know your opinion. 1 in G minor (Preludio: Andante Non troppo lento, cantabile) ("Tremolo") – after Paganini's 24 Caprices for Solo Violin No. As you might already know, this relatively obscure piece by Liszt is claimed by Valentina Lisitsa to make Feux Follets and La Campanella like a 'walk in the park', and that Liszt himself was unable to perform it successfully. The pieces run the gamut of technical hurdles, and frequently require very large stretches by the performer of an eleventh (although all stretches greater than a tenth were removed from the revised versions). The pieces are all based on the compositions of Niccolò Paganini for violin, and are among the most technically demanding pieces in the piano literature (especially the original versions, before Liszt revised them, thinning the textures and removing some of the more outrageous technical difficulties). It is almost exclusively in the final version that these pieces are played today. 141, are a series of six études for the piano by Franz Liszt, revised in 1851 from an earlier version (published as Études d'exécution transcendante d'après Paganini, S. Six piano études by Franz Liszt from themes of Paganini
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |