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"La campanella" is a revision of an earlier version from 1838, the Études d'exécution transcendente d'après Paganini, S. 140, and is widely considered one of the most technically challenging piano pieces ever written.
Étude No. 3 in G ♯ minor "La Campanella", marked Allegretto, which is after the final movement of Paganini's Violin Concerto No. 2 in B minor. Étude No. 4 in E major "Arpeggio", marked Andante quasi allegretto, which is after Caprice No. 1 in E major. It was written on one line only, omitting the usual separate line for the left hand, this ...
Unfortunately I can't read Polish and until there is clarity here, with an explanation why the use of the piano is notable, then I have to oppose. Major Bloodnok 19:09, 26 February 2011 (UTC) Info - this piano is last one made by pl:Józef Jan Budynowicz which was reconstructed and is able to play (remaining ones are broken beyond repair).
First performed at a solo concert in La Scala on October 29, 1813. The audience was so impressed that they requested a repeat. [ 4 ] Jean Schneitzhoeffer was so inspired by Paganini's performance that he based the scene of Old Madge's witchcraft which opens Act II of his ballet La Sylphide (1832) on Le Streghe .
La campanella became Étude No. 3. The set of 6 Études were revised as Grandes études de Paganini (S.141). La campanella had earlier been the basis of a separate work, the Grande Fantaisie de bravoure (S.420). [39] Violin Concerto No. 2 in B minor, Op. 7 (1826): III. La campanella [38] Grande Fantaisie de bravoure sur la Clochette: 1831–32
Mario Castelnuovo-Tedesco – Capriccio Diabolico for classical guitar is a homage to Paganini, and quotes "La campanella" Frédéric Chopin – Souvenir de Paganini for solo piano (1829; published posthumously) Ivry Gitlis – Cadenza for the 1st movement of Paganini's Violin Concerto No. 2 Op. 7 "La Campanella" (1967)
Etude No. 3 "La Campanella" (in G-sharp minor) after Paganini (S.141, no. 3) for piano 1915 pub, ded [17] BV B 69 Liszt: Valse oubliée No. 1 for piano (transcr. for cello and piano) 1915 pub: B&H, 1917 BV B 70 Liszt: Etude No. 2 (in E-flat major) after Paganini (S.141, no. 2) for piano 22 Sep 1916 pub [18] BV B 71 Liszt
The outcome is a very transparent texture, with the rondo theme having hints of musical qualities associated with Romani music. This movement has served as the basis of compositions by other composers, such as the Étude S. 140 No. 3 "La campanella" by Liszt, and Strauss I's Walzer à la Paganini Op. 11.
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