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- He never performed the Caprices in public. Rather, they were dedicated “Algi artisti” (“to the artists”) and comprise his legacy, a distillation of nearly all his prized techniques in phenomenally difficult settings. To stretch himself, Paganini often wrote pieces even he couldn't play and then spent months mastering them.
www.classicalnotes.net/classics/paganini.htmlClassical Notes - Niccolo Paganini's "Caprices", Classical ...
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Did Paganini ever perform his own caprices?
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Appearance. Niccolò Paganini. 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.
Paganini composed his own works to play exclusively in his concerts, all of which profoundly influenced the evolution of violin technique. His 24 Caprices were likely composed between 1805 and 1809, while he was in the service of the Baciocchi court.
He never performed the Caprices in public. Rather, they were dedicated “Algi artisti” (“to the artists”) and comprise his legacy, a distillation of nearly all his prized techniques in phenomenally difficult settings.
Oct 31, 2017 · Adding to the mystery around these works is the fact that the records show no evidence of Paganini ever performing his own caprices. "Paganini never programmed any of his caprices, in his entire lifetime, not before they were published, and not after they were was published," Granat said.
He made his first public appearance in 1793, and at Costa's suggestion he then began to play solos regularly in church every Sunday - a discipline which he was to appreciate in later years. A period of study in Parma with Alessandro Rolla and Gaspara Ghiretti followed, and in 1797 Paganini, accompanied by his father, embarked on the first of ...
Apr 18, 2019 · Although Paganini never revealed his secret, he made two claims which seem to have been overlooked. He said: ‘There is only one position, and there is only one scale.’. I have carefully analysed these two important ideas and, in doing so, have begun to unravel the nature of the solution.
This historical neglect and the Paganini mythos notwithstanding, the twenty-four Caprices, op. 1, published in 1820, establish his place as a serious composer whose innovations must be considered in any assessment of early Romanticism. In the Caprices, two voices seem to speak.
