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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 ...
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.
Konstantin Sorokin: Variations on a Theme by Paganini, Op. 62 No. 8 (piano) Sir George Thalben-Ball: Variations on a Theme by Paganini (pedal keyboard) Philip Wilby: Paganini Variations (wind band; brass band) August Wilhelmj: Einleitung, Thema mit Variationen nach Niccolo Paganini; Rob Zuidam: Variations on a thema of Paganini (violin-solo)
Niccolò Paganini was born in Genoa (then capital of the Republic of Genoa) on 27 October 1782, the third of the six children of Antonio and Teresa (née Bocciardo) Paganini. [1]: 11 Antonio Paganini was an unsuccessful ship chandler, [2] but he managed to supplement his income by working as a musician and by selling mandolins.
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
While he also became a great admirer and friend of the conservative Beethoven follower Johannes Brahms, Tausig became one of the stanchest champions of the "music of the future" [1] and the New Weimar School founded by Liszt. [3] He single-handedly raised the money to build the Bayreuth Theater for performances of Wagner's operas. [1]
Webern's 1908 Passacaglia, Op. 1, is clearly in part a homage to, and development of, the variation techniques of the passacaglia-finale of Brahms's Fourth Symphony. Ann Scott argued Brahms anticipated the procedures of the serialists by redistributing melodic fragments between instruments, as in the first movement of the Clarinet Sonata, Op ...