Caprice No. 17 from Twenty-Four Caprices

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Maestoso Caprice in E major 'La chasse': Allegretto Caprice in G minor: Vivace Caprice in C major: Andante — Presto — Andante Caprice in A-flat major: Allegro Caprice in B-flat major 'Devil's Laughter': Allegro Caprice in E-flat major: Posato Caprice in G minor: Presto Caprice in E-flat major: Sostenuto — Andante Caprice in C major: Corrente — Allegro Caprice in E-flat major: Lento — Allegro Assai Caprice in D major: Allegretto Caprice in A major: Amoroso — Presto Caprice in F major: Marcato Caprice in E-flat major: Posato Caprice in A minor: Retrieved from " http: This caprice focuses on slurred staccato passages, featuring many long slurred scales and arpeggios.

Primarily a study in double stops, with ricochet occurring in the middle section.

24 Caprices for Solo Violin (Paganini)

This caprice is primarily a study in up-bow staccato, with staccato notes punctuated by chords, trills and distant string crossings. The eleventh caprice starts and ends with sections that require multiple voices, containing a passage that consists of many dotted notes rapidly jumping up and down the scale. This caprice consists of a slurred pattern of a melody on an upper string alternating with a drone note on a bottom string, forcing the violinist to stretch great distances while keeping a finger on the drone string.

PAGANINI: 24 Caprices - Antal Zalai, violin - classical music

The second part consists of high speed runs that exercise left hand flexibility and position shifting, and right hand high speed string changing and detache bowing. The piece then repeats back to the beginning and ends right before reaching the second part for the second time.

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The 14th caprice displays the violin's ability to voice chords. It contains many triple and quadruple stops.

PAGANINI, N.: 24 Caprices, Op. 1 (Kaler)

Stylistically, the piece imitates brass fanfares. Caprice 15 starts with a short passage of high parallel octaves, continuing on to ascending arpeggios, descending scales, and broken thirds.

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The "A" section contains numerous thirty-second note runs on the A and E strings that converse back and forth with double stops on the lower two strings. The middle section is famous for the incredibly difficult octave passage. The introduction to caprice 18 demonstrates playing on the G string in very high positions.

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This is followed by a rapid display of scales in thirds. Here are many octaves at the beginning; then there are string crossings between G and A strings; this is followed by quick changes of position on the G string.

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  7. Caprice 20 is famous for the use of the D string as a drone, backdropping a lyrical melody on the A and E strings, imitating a bagpipe. This is followed by a rapid sixteenth note passage with trills and flying staccato. Caprice 21 begins with a very expressive, aria-like melody played in double-stopped sixths. This is followed by a section of rapid up-bow staccato. Paganini published relatively little of his music, most of which was kept for his own exclusive use during his career as a travelling virtuoso.

    The Twenty-Four Caprices for solo violin, however, were published in Milan in as the composer's Opus 1.

    They were written very much earlier, probably in , the year of Paganini's first employment under the newly installed Princess Elisa Baciocchi at Lucca. The Caprices are a remarkable compendium of Paganini's technique as a performer, while avoiding the excesses that he found necessary in front of audiences that expected vulgar tricks better suited to the Music Hall.

    The first Caprice is a display of balzato leaping bowing in arpeggiated figuration, followed by a second demanding wide stretches and extensions in left-hand technique. The third Caprice opens with an E minor introduction in octaves, fingered in a way peculiar to Paganini at this time and calling again for extension of the fingers of the left hand.

    24 Caprices for Solo Violin, Op.1 (Paganini, Niccolò)

    The introductory passage, repeated in conclusion, frames a more rapid middle section. A display of double stopping of various kinds in the fourth caprice leads to a fifth introduced and ended by a rapid cadenza, framing a central demonstration of spiccato bowing. Much of Caprice No. admin