Caprice Variations

Ruders writes: There's a solid tradition in the history of Western music of turning the theme of Nicolo Paganini's '24th Caprice' for soloviolin into a set of variations endemic to the time and style of each individual composer; Liszt Brahms Rachmaninov and Lutoslawsky being the most prominent names. When asked by David Starobin to write a concerto for him I though 'well why not have a go at it?' - bearing in mind that not only is Paganini the most celebrated violin-wizard of all times but he was also a more than accomplished guitarist. There are 22 variations in all numbers 1 to 16 all adhering strictly to the 16-bar pattern laid down by Paganini himself. From variation17 though the writing becomes more symphonic and the rigid 16-bar regime is being lossendes up a bit. However the last variation 'Finale Prestisimo' is a 6 x 16 bars 'white-knuckle ride' in which the hitherto soloistic role of the guitar gives way to that of 'primus interpares' i.e. 'first among equals'. As with another set of variations of mine 'Concerto on Pieces' (based on a tune by Purcell) the nature and shape of the 'Pagannini-Variations' may be compared to a stroll through a hall of mirrors: the 'portrait' - the theme is gradually being distorted out of all recognition - but it's still the same 'original' walking by.

Paganini Variations - Piano Concerto No.3 by Poul Ruders. The original guitar-part (for Guitar Concerto No. 2) arranged for Piano and pianist Anne-Marie McDermott by the composer 2014.Piano solo part: WH32201CParts are available for hire: hire@ewh.dk Programme note: In 1999 my friend American guitar virtuoso David Starobin wanted me to write a concerto for guitar and orchestra. It quickly dawned on me that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on NicoloPaganini´s famous 24th Caprice for violin solo a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate but its inherent simplicity and logic just grow on you almost to the point of distraction - and the secret behind it being hauled through 'the wringer' by composers as disparate as Liszt Brahms Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune it´ll always be recognizable and just there however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner and everybody was happy. But the story didn´t end there and it must be the ultimate proof of the durability of the theme not to mention the flexibility and far-sightedness of David Starobin when he 14 years latersuggested 'why not transcribe the solo part for piano?'. The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it 'the

Par DUBUGNON RICHARD. Caprice No.5 ‘Zürcher Art’ is the fifth work in a series of short orchestral concert openers by Richard Dubugnon. Written as a set of variations on a single theme, the 12-minute work was commissioned by Tonhalle-Gesellschaft Zürich AG, Sinfonieorchester Basel and Fondation du Septembee Musical Montruex-Vevey. It is dedicated to Paavo Järvi and the musicians of the Tonhalle Orchestra, who premiered the piece on 24 September 2021. The full score (EP 73612) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. / Date parution : 2022-03-15/ Répertoire / Orchestre

Niccolo Paganini's famous Caprice in A Minor with variations. Arranged by David Richards for Flexible Wind Ensemble. Grade: 2 - 5

Treasury of 15 popular works for solo Piano by famed student of Mozart Johann Nepomuk Hummel:Sonatas Opp. 13 20 81 and 106; well-known Rondo Op. 11; 24 miniature Preludes Op. 67; Variations on a Theme by Gluck Op. 57; Rondo-Fantasie Op. 19; Rondo all?Ungherese Op. 107 No. 6 and 6 more elegantly crafted pieces.Reprint of selections from Sonaten and Klavier-Stücke Universal-Edition Vienna

When looking recently for a Violin and Cello duet for two talented children to play at the Inverness Music Festival Lorna McDougall came up with the idea of arranging Paganini's Caprice No.24.

Cette partition VARIATIONS ET SOLOS 12 CAPRICES OPUS 10 BIS de Kuhlau Friedrich a été éditée par les éditions Billaudot. La référence de cette partition de musique est GB7968. Cette oeuvre d'une durée de 00:43:00 est idéale pour les musiciens pratiquant Flûte Traversière. Après quelques heures de pratique, cette partition n'aura plus de secret pour vous. / Flûte / Partition

Celebrated Violin virtuoso Niccolò Paganini (1782-1840) is well-known for his Caprices for Violin aiding violinists in their technique. Therefore when clarinetist Ulysse Delécluse arranged a selection of the Caprices for Clarinet it was well-received. Paganini's compositions are technically creative and demanding and Delécluse's adaptions for the Clarinet include variations in articulation phrasing breath marks range and dynamics. Considering the success of Paganini's Caprices for the Violin this versatile adaption forclarinetists cannot be missed by advanced performers of the instrument.

For Bassoon-To this day Eugène Bozza (1905-1991) remains one of the most prolific composers for wind instruments despite being a violinist himself. His 12 Caprices for Bassoon is no exception to the composer's success. During his studies at the Paris Conservatoire Bozza won prizes for Violin conducting and composition as well as the Grand Prix de Rome. He then conducted the orchestra of the Opéra-Comique and became Head of the Conservatoire in Valenciennes whilst remaining a prominent composer. Compiled in 1968 Bozza's 12 Caprices addresses a variety of very difficult advanced features of the Bassoon includingcomplex rhythms articulation chromaticism variations in time signatures breath control phrasing intervals scales and arpeggios amongst other aspects. For all advanced Bassoon players Bozza's 12 Caprices are essential to continue to develop technique to a high standard.

To this day Eugène Bozza (1905-1991) remains one of the most prolific composers for wind instruments despite being a violinist himself. His 13 Capriccio Studies for Trombone is no exception to the composer's success. During his studies at the Paris Conservatoire Bozza won prizes for Violin conducting and composition as well as the Grand Prix de Rome. He then conducted the orchestra of the Opéra-Comique and became Head of the Conservatoire in Valenciennes whilst remaining a prominent composer. Compiled in 1956 Bozza's 13 Capriccio Studies addresses a variety of very difficult advanced features of the Trombone including complex rhythms articulation chromaticism variations in time signatures breath control phrasing intervals scales and arpeggios amongst other aspects. For all advanced Trombone players Bozza's 13 Capriccio Studies are essential to continue to develop technique to a high standard.

Lower Intermediate to Intermediate-103 arrangements of must-know classical standards by 41 composers at the lower intermediate to intermediate level. BACH: Air on the G String · Arioso · Jesu Joy of Man's Desiring · Sheep May Safely Graze · Sleepers Awake BEETHOVEN: Theme from Symphony No. 5 · Theme from Symphony No. 6 · Theme from Symphony No. 7 · Ode to Joy from Symphony No. 9 BIZET: Themes from Carmen · Farandole from L'Arlésienne Suite No. 2 BOCCHERINI: Minuet from String Quintet BORODIN: Polovetsian Dances from Prince Igor BRAHMS: Hungarian Dance · Lullaby · Theme from Symphony No. 1 · Theme from Variations on a Theme by Joseph Haydn CLARKE: Trumpet Voluntary (The Prince of Denmark's March) DVORÁK: Themes from Symphony No. 9 ELGAR: Nimrod from Enigma Variations · Pomp and Circumstance March No. 1 FAUR??: Pavane · Pie Jesu · Sicilienne GOUNOD: Ave Maria adapted from Prelude in C Major by JS Bach GRIEG: Anitra's Dance from Peer Gynt Suite · Morning from Peer Gynt Suite · Solveig's Song from Peer Gynt Suite · Theme from Piano Concerto HANDEL: Harmonious Blacksmith · Bourrée from Music for the Royal Fireworks · Largo (Ombra mai fu) from Serse · Where'er You Walk from Semele · Hornpipe from Water Music HOLST: Jupiter Chorale from The Planets HUMPERDINCK: Evening Prayer from Hansel and Gretel MAHLER: Adagietto from Symphony No. 5 MASSENET: Meditation from Thaïs MENDELSSOHN: Nocturne from A Midsummer Night's Dream MOZART: Theme from Clarinet Concerto · Minuet from Don Giovanni · Allegro from Eine kleine Nachtmusik · Theme from Piano Concerto No. 20 · Theme from Piano Concerto No. 21 · Theme from Symphony No. 40 MUSSORGSKY: Promenade from Pictures at an Exhibition OFFENBACH: Can-Can from Orpheus in the Underworld · Barcarolle from The Tales of Hoffmann PACHELBEL: Canon in D PAGANINI: Caprice No. 24 from 24 Caprices PARRY: Jerusalem PONCHIELLI: The Dance of the Hours from La Gioconda PUCCINI: O mio babbino caro from Gianni Schicchi · Themes from Madama Butterfly PURCELL: Rondeau from Abdelazar ROSAS: Over the Waves ROSSINI: Themes from The Barber of Seville · Theme from William Tell SCHUBERT: Ave Maria · Serenade · Theme from Symphony No. 8 (Unfinished) · Theme from Symphony No. 9 · To Music · The Trout · SEMTANA: The Moldau from My Homeland SOUSA: The Liberty Bell · The Stars and Stripes Forever · The Washington Post STRAUSS I: Radetzky March STRAUSS II: Emperor Waltz · On the Beautiful Blue Danube · Tales from the Vienna Woods · Tritsch-Tratsch Polka · Viennese Blood · Wine Women and Song TCHAIKOVSKY: Themes from 1812 Overture · Marche slave · Dance of the Reed Flutes from The Nutcracker · Waltz of the Flowers from The Nutcracker · Theme from Piano Concerto No. 1 · Theme from Romeo and Juliet Theme from Swan Lake · Theme from Symphony No. 5 · Theme from Symphony No.6 VERDI: Grand March · La donn

Two volumes entitled Cello Meets Piano edited and published by Árpád Pejtsik were issued many years ago by the Könemann Music Budapest. The first edition was quickly sold out and no further editions followed. EMB has undertaken to issue a new edition entitled Cello & Piano with the content unchanged. The two volumes contain a selection from 200 years of music. Eight Baroque sonatas are included apart from the famous D minor one by Corelli there are some that are appearing in a modern edition for the first time in 300 years. In addition to cyclical works (Haydn: Sonatina Mozart: Divertimento Vivaldi: Concerto)and sets of variations (Beethoven Tartini) there are many shorter pieces as well not only the famous minuets by Boccherini Mozart and Beethoven but also works published for the first time here. Virtuoso pieces are represented by Goltermann's Etude-caprice and Jenkinson’s Dance of the sylphids the lighter kind include Joplin's Ragtime. Book II Contents: 1. Aldrovandini G. A. V.: Sonata2. Bella Domenico dalla: Sonata 3. Boni Pietro Giuseppe Gaetano: Sonata Op. 1 No. 5 4. Passionei Carlo: Sonata 5. Bach Johann Sebastian: Air BWV 1068/II 6. Tartini Giuseppe: L'arte del arco 7. Haydn Joseph: Sonatina Hob. XI:101 5 108 8. Albrechtsberger Johann Georg: Scherzando 9. Boccherini Luigi: Minuetto 10. Mozart Wolfgang Amadeus: Divertimento from KV 487 11. Beethoven Ludwig van: Andante con variazioni WoO 44b 12. Schubert Franz: Ave Maria Op. 52 No. 6 13. Mendelssohn-Bartholdy Felix: Lied ohne Worte Op. 19 No. 4 14. Schumann Robert: Schlummerlied Op. 124 No. 16 15. Goltermann Georg: Étude-caprice Op. 54 No. 4 16. Tchaikovsky P. I.: Chanson triste Op. 40 No. 2 17. Dvorák Antonín: Appassionato Op. 75 No. 3 18. Massenet Jules: Air de Ballet (Scene pittoresque)

Commissioned by the Michigan School Band and Orchestra Association this major work by James Curnow honors the memory and legacy of renowned conductor and educator Harry Begian. In consideration of Dr. Begian's Armenian heritage Nulli Secundus (“second to none”) is a suite of three variations based on the Armenian folk song Cilicia (My Homeland). Movements include: I. March Caprice (concert march in fantasy variationform) II. In Memoriam (honoring victims of the 1915-18 Armenian Genocide) and III. Finale (rapid paced set of variations). Recorded by the Michigan State University Wind Symphony. Dur: 10:00

Variationen über die Caprice Nr. 24 im Stil des Modern Jazz. Par SAY FAZIL. The concert piece Paganini Jazz by Fazil Say, which was inspired by classical, modern and jazz styles, is reminiscent of the music of such greats as Scott Joplin, Art Tatum, Gershwin and Bernstein, and was originally designed as a charming encore work (1988); following the appreciative response of music lovers and, in particular, that of music critics, it was transformed over a perion of time into a more substantial work for piano. Briefly, the piece was rewritten and expanded a number of times between 1988 and 1995. We can evaluate the work as having taken its inspiration from Paganini's renowned '24th Capriccio', transforming it into 'variations on jazz' requiring virtuoso rendition as well as being a creation open to the addition of improvisations and a variety of arrangements. Throughout music history a number of composers have written various works inspired by the '24th Capriccio'. We can count among them Liszt, Brahms, Rachmaninov and Lutoslavski. In Say's work, however, a different aspect must be noted: the composer is prepared to add various 'developmental passages' and 'transitional improvisations' while interpreting this work in concert. Furthermore, when the work is considered as a short encore piece, it is abbreviated in a manner deemed suitable by Say. / Niveau : 5 / Répertoire / Violon, Piano, Guitare Basse et Percussion