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It is widely considered one of the most difficult pieces ever written for the solo violin. It requires many highly advanced techniques such as parallel octaves and rapid shifting covering many intervals , extremely fast scales and arpeggios including minor scales , left hand pizzicato , high positions, and quick string crossings.
Caprice No. 5 is one of 24 caprices for solo violin composed by virtuoso violinist Niccolò Paganini in the early 19th century. The piece is known for its fast tempo and technical difficulty. Paganini is said to have been able to play it on one string, but there is no evidence to support or refute this. [1]
Renardy had played the solo violin version of the 24 in his Carnegie Hall debut the previous October. In 1953, shortly before his untimely death, Renardy recorded the 24 again (on Paganini's Guarnieri del Gesù violin, 'Il Cannone'), in the same arrangement by David, with Eugene Helmer accompanying (2LPs, Remington R-99-146 & R-99-152). [7] [8]
Sonata No. 1 for solo violin (1941) Sonata No. 2 for solo violin (1958) Four Caprices for Violin Solo; Polish Caprice (1949) Johann Sebastian Bach. 3 Sonatas and 3 Partitas, for solo violin: Sonata No. 1 in G minor, BWV 1001; Partita No. 1 in B minor, BWV 1002; Sonata No. 2 in A minor, BWV 1003; Partita No. 2 in D minor, BWV 1004
The pieces are all based on some of the Caprices (Nos. 6/5, 17, 1, 9, and 24) and concertos (No. 2/1) by Niccolò Paganini for violin, and are among the most technically demanding pieces in pianistics (especially the original versions, before Liszt revised them, thinning the textures and removing some of the more outrageous technical difficulties).
for solo violin "detuned" and 2 violins 119: Sul margine d'un rio [2] Vocal / Piano: 120: Ghiribizzo vocale [2] Vocal / Misc. for soprano, violin and guitar 121: Canzonetta [2] C: Vocal / Guitar: vocal part lost 122: Duetto [2] G: Violin / Guitar: 123: Concerto [8] Violin / Orch. 124: Sonatina No.1 [2] Violin / Guitar: 125: Sonatina No.2 [2 ...
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Thus, one violin and one viola in the orchestra tune their strings to the natural harmonics of the bass player. The second movement can be loosely described as a set of variations adapted from the third of his Six Bagatelles for Wind Quintet (an arrangement of the seventh piece from Musica ricercata) but slowed down and nearly two octaves lower ...