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The slow 18th variation is by far the best known, and it is often included on classical music compilations without the rest of the work. It is based on an inversion of the melody of Paganini's theme. In other words, the A minor Paganini theme is literally played "upside down" in D ♭ major, with a few other changes. Rachmaninoff himself ...
August Wilhelmj – Paganini Concerto in D major (recomposed paraphrase of the first movement of the Op. 6 Concerto) for violin and orchestra; 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
(original version for solo violin) 60 Variations on the Genoese folksong "Barucabà" (Part I: Tema in A major, with 20 Var. - Part II: Tema in C major, with 20 Var. - Part III: Tema in D major, with 20 Var.) 1835: 14: 71b: Variazioni sul Barucabà (Barucaba variations) Violin / Guitar
Since Paganini, many variations on the theme have been written, most notably those by Jean-Baptiste Arban, Del Staigers, Herbert L. Clarke for the cornet, trumpet, and euphonium, Francisco Tárrega and Johann Kaspar Mertz for classical guitar, Ignace Gibsone and Louis Moreau Gottschalk for piano, and Giovanni Bottesini for double bass. [3]
Alexander Rosenblatt – Variations on Theme of Paganini, for solo piano (1988) Poul Ruders – Paganini Variations: Guitar Concerto No. 2 (1999–2000), 22 variations for guitar and orchestra; Fazıl Say – Paganini Jazz in Say Plays Say, for solo piano (1988) Stanisław Skrowaczewski – Concerto Nicolò, for piano left hand and orchestra (2003)
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.
The Grandes études de Paganini, S. 141, are a series of six études for the piano by Franz Liszt, revised in 1851 from an earlier version (published as Études d'exécution transcendante d'après Paganini, S. 140, in 1838). It is almost exclusively in the final version that these pieces are played today.
The Violin Concerto No. 3 in E major was composed by Niccolò Paganini in 1826. [1] On 12 December 1826, Paganini wrote from Naples to his friend L. G. Germi that, having recently completed his Second Violin Concerto, he had now "finished orchestrating a third with a Polacca", and added: "I would like to try these concertos out on my own countrymen before producing them in Vienna, London and ...