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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.
The 24 Caprices for Solo Violin were written in groups (seven, five and twelve) by Niccolò Paganini between 1802 and 1817. They are also designated as M.S. 25 in Maria Rosa Moretti's and Anna Sorrento's Catalogo tematico delle musiche di Niccolò Paganini which was published in 1982.
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]
Heinrich Wilhelm Ernst (8 June 1812 – 8 October 1865) was a Moravian-Jewish violinist, violist and composer. He was seen as the outstanding violinist of his time and one of Niccolò Paganini's greatest successors.
A Piece of PI for Solo Violin (2008) Ruggiero Ricci "Jeux interdits" Romance (arranged: from Anonimous) "Recuerdos de la Alhambra" for violin solo (transcription from: Francisco Tarrega) "La Cumparsita", Tango for solo violin (transcription from: Gerardo Matos Rodríguez / arranged by Vicente Zito / edited by Ricci) George Rochberg
Year Op. M.S. catalog [1] Title Key Instruments Notes 1795 c. 1: Carmagnola con variazioni (Carmagnola variations) A: Violin / Guitar: 14 Variations on the French Hymn "Carmagnole"
Caprice No. 13, nicknamed Devil's Laughter or Devil's Chuckle, [1] is one of Niccolò Paganini's renowned 24 Caprices for Solo Violin. It is the only one of the suite that is in the key of B-flat major. [2] This solo violin piece starts out with scale-like double-stopped passages at a moderate speed.
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).
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