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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)
Theme and Variations in D minor piano 1860 transcription of 2nd mvt of String Sextet No. 1 Op. 18; published 1927 Op. 24: Variations and Fugue on a Theme by Handel in B ♭ major ("Handel Variations") piano 1861 Op. 35: Etudes for Piano: Variations on a Theme of Paganini: piano 1863 A. 3/6: Variation on a Theme by Schumann in F ♯ minor piano 1868
Johannes Brahms – Variations on a Theme of Paganini, Op. 35 (1862–63), for solo piano (2 books) Charles Camilleri – Paganiana , for two pianos Frédéric Chopin – quotes Niccolò Paganini's Caprice No. 24 in his Rondo à la Krakowiak and includes a variation on the quotation
The 24th variation is more playful in tone than most of the other variations, ending with a glissando sweep of the keyboard, before quoting the original theme in the last bar. [7] Due to the speed and the large leaps on the piano, the 24th and last variation of the rhapsody presents considerable technical difficulty for the pianist.
Eugène Ysaÿe – Paganini Variations for violin and piano; The Caprice No. 24 in A minor, Op. 1, (Tema con variazioni) has been the basis of works by many other composers. Notable examples include Brahms's Variations on a Theme of Paganini and Rachmaninoff's Rhapsody on a Theme of Paganini.
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]
Brahms: Variations on a Theme of Paganini (Op. 35), manuscript sketches elaborated on (given a more virtuosic flavor) by Tausig and returned to Brahms for completion (c1862-63) Chopin: Étude (Op. 10 No. 2) [reconstructed] (c1862-63) Chopin: Étude (Op. 25 No. 2), transcription in double notes (sixths and thirds in the right hand) [lost ...
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