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The final variation in each section is virtuosic and climactic. Brahms intended the work to be more than simply a set of theme and variations; each variation also has the characteristic of a study. He published it as Studies for Pianoforte: Variations on a Theme of Paganini. The work was dedicated to the piano virtuoso Carl Tausig. It is well ...
James Barnes: Fantasy Variations on a Theme by Niccolò Paganini (concert band; the theme is the Caprice No. 24) Boris Blacher: Variations on a Theme by Paganini (orchestra; 1947) Hans Bottermund: Variations on a Theme by Paganini (solo cello) Johannes Brahms: Variations on a Theme of Paganini, Op. 35 (piano; 1863)
The Variations retain most of Paganini's original material for solo violin. [1] As Paganini's original composition, it is structured as a theme with variations, presenting the theme, a total of twelve variations, and a final coda. The additional twelfth variation before the coda is Lutosławski's only structural alteration in the piece.
Trois caprices de Paganini Op. 40 (re-composition of Nos. 20, 21 and 24) by Karol Szymanowski (1918; rev. 1926) Trois caprices de Paganini Op. 97 (re-composition of Nos. 10, 13 and 22) by Darius Milhaud (1927) Paganini Variations Op.25 for Violin and Piano ('ad libitum') dedicated to Ruggiero Ricci by Paolo Pessina (1997)
Paganini in Metropolis for Clarinet and Wind Symphony (2001), also for Clarinet and Orchestra (2002) Manuel Quiroga – 9 Variations on Paganini's Caprice No. 24, 12 Variations on Paganini's Caprice No. 24, both for violin and piano; Sergei Rachmaninoff – Rhapsody on a Theme of Paganini, Op. 43 (1934), a set of 24 variations for piano and ...
A. 1b/1-36: Various performance materials to works by other composers see [6] for list A. 2a/1-29: Various lost works see [6] for list A. 2b/1-7: Various lost arrangements by Brahms of other composers' works see [6] for list A. 3/14-19: Various sketches and sketchbooks see [6] for list A. 5a/1-3: Various collections of folk songs, notated by Brahms
Études d'exécution transcendante d'après Paganini (S.140): revised as Grandes études de Paganini (S.141) piano 1838–51 S.140, 141 Paganini's Caprices Nos. 1, 6, 9, 17 and 24 were the basis of Nos. 4, 1, 5, 2 and 6 respectively of Liszt's Études d'exécution transcendante d'après Paganini (S.140). La campanella became Étude No. 3.
As a result, Brahms's piece is sometimes referred to today, in recordings and concert programs, as the St. Anthony Variations or Variations on the St. Anthony Chorale, in addition to the original title that Brahms gave it. A detailed survey of the controversy can be found in Douglas Yeo's 2004 edition of the "Haydn" piece (ISMN M-57015-175-1). [3]