La partie principale du Supplément Volume 12 dispose le prédécesseur de Grandes Etudes de Paganini , une série de six études écrites après Paganini entre 1838 et 1840, et en passant par Liszt performances transcendant ( Etudes d'exécution transcendante d'apres Paganini ) . La série a été inspiré non seulement par le violoniste virtuose et Caprices et le Concerto pour violon du compositeur en si mineur , mais aussi par les études de Paganini de Schumann , Liszt probablement rencontrés grâce à Clara Wieck au début de 1838. Le volume comprend également les première et deuxième versions solo de piano de Die Zelle dans Nonnenwerth (1840 et 1841 ) , que Liszt compose d'un certain nombre de fois dans plusieurs versions , ainsi que deux transcriptions de Wagner et les premières versions de l'adaptation de deux oeuvres de Russie compositeurs .Une préface détaillée en hongrois , anglais et allemand , y compris les nouveaux résultats de la recherche , de nombreux fac-similés de manuscrits et notes critiques font de ce volume de la nouvelle édition Liszt une publication particulièrement important de valeur scientifique . Simultanément, le livre de poche pour des raisons pratiques , son volume Complete Edition tissu lié est publié avec les notes critiques . / Piano

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

[Homage to Paganini Il Canto dell'Angelo]. Par PAGANINI NICOLO. / Date parution : 2022-11-29/ Répertoire / Piano

Niccolo Paganini's Six Grand Etudes as arranged for solo Piano by Franz Liszt, and critically revised with fingering, pedalling and marks of expression by Paolo Gallico. / Piano

Robert Schumann was fascinated by the Violin virtuoso Nicolò Paganini as were many composers of the time. When he was planning a Piano tutor in 1832/33 that was to include his own works as well as those byothers Schumann took a close look at Paganini’s virtuosic Caprices for Violin. Schumann’s own Caprices Op. 3 were composed in this spirit based very closely on Paganini’s original andfollowing their educational intention. Opus 10 on the other hand deals more freely with the model and is designed more with an effective performance in mind. Our Urtext edition of all of the PaganiniStudies is supplemented by the composer’s extensive explanation on their execution which he placed at the beginning of his Opus 3.

Variations On The Caprice 24-The concert piece Paganini Jazz by Faz?l 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 renditionas 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.

Par PASQUINI BERNARDO. Langue: International (more than one language)/ Répertoire / Piano

[Variationen über ein Thema von Paganini Opus 35] / Classique / Editeur : Hans Kann / Doigtés : Hans Kann / Partition / Broché / Edition Urtext

Piano / Edition Delrieu / Bach : Cantate `Jésus que ma joie demeure` Beethoven : Marche turque Brahms : Danse hongroise n°4 Chopin : Tristesse Valse de l'adieu Dvorak : Humoresque Haydn : Sérénade Martini : Les Moutons Paganini : La Campanella Schubert : Marche militaire Weber : Dernière pensée

Les Variations de Paganini occupent une place particulière dans le oeuvre piano -s de Brahms