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The work consists of two books. Each book opens with the theme, Paganini's Caprice No. 24 in A minor, followed by fourteen variations. 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.
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)
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
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.
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 ...
Variations on a Theme by Paganini by Hans Bottermund; Variations on a Theme of Paganini, Op. 35 by Johannes Brahms; Variations on a Theme by Niccolò Paganini by Søren Nils Eichberg; Thème de Paganini varié, Op. 1 by Stephen Heller; Variations on a Theme of Paganini by Joseph Horovitz; Variations on a Theme by Paganini by Gary Kulesha ...
The set was the penultimate of Brahms's published works. It was also his penultimate work for piano solo. The pieces are frequently performed. Like Brahms's other late keyboard works, Op. 118 is more introspective than his earlier piano pieces, which tend to be more virtuosic in character. The six pieces are: Intermezzo in A minor.
[1] [2] The second movement is a theme and variations inspired by the song Verstohlen geht der Mond auf. Brahms was to rewrite it for female chorus in 1859 (WoO 38/20). The third movement is a scherzo and trio. The fourth is a loose rondo whose theme is noticeably changed at every recurrence. It is highly technically demanding on the performer ...