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A solo, for Violin, composed by Niccolò Paganini.
Expertly arranged Viola solo by Niccol�_ Paganini from the Kalmus Edition series. This Romantic era collection was transcribed for Viola solo.
(String Solo). For unaccompanied violin.
PrefaceThe 24 Caprices by Niccoló Paganini were written between 1802 and 1817 for Violin solo. The URTEXT version presented for Viola solo, was adapted, edited, and transcripted by Roisber Narvaez, starting from the manuscript and the first editions printed when the composer was still alive. Transposing in an interval of a perfect 5th descended was essential for the adaptation of the viola, for that reason, C-clef prevail the most part of the time as possible to facilitate the study and reading of the player, however, those passages or high register excerpts that are not in conjunct motion were written in G-clef, as long as the height of the notes surpasses the B5, sections that moves in conjunct motion in an ascending movement that reaches or surpasses the C5 are also in G-clef. The octave (8ve) superior line in C-clef has been exclude, and in its place, the notes were written in their real height register in G-key in order to provide better comfort. Also, some suggestions and possible solutions of the editor were placed in parenthesis, as well as: ligature, articulations and accidental notes. One of the aspects of this edition is that the fractionals-stem bars has been placed in a straight - horizontal pattern to avoid overload of visual noise. In case of caprice number 6, it has remained the original writing of the autograph. In spite of being an Urtext unfingered edition, the only ones that can be found are the proper ones of the composer and it offers and spacious design that allows to add fingerings and personal bowings.
Paganini and Wieniawski were among the 19th century's most famous violin virtuosos and composed some of the solo violin repertoire's most treasured works. Here, in one large-format playing edition, are Paganini's innovative Caprices and Wieniawski's much-admired collections, L'Ecole Moderne and Etudes Caprices. The three scores offer hours of rigorous practice and rehearsal.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Expertly arranged Viola Solo by Henry Schradieck from the Kalmus Edition series. This is from the 20th Century and Romantic eras.
A solo, for Viola with Piano Accompaniment, composed by Camille Saint-Saëns and transcribed for the Viola.
An “entertaining and informative” comprehensive guide to 240 classical composers and their music—from the medieval era to the modern age (Library Journal). Music, according to Aaron Copland, can thrive only if there are “gifted listeners.” But today’s listeners must choose between classical and rock, opera and rap, and the choices can seem overwhelming at times. In The Essential Canon of Classical Music, David Dubal comes to the aid of the struggling listener and provides a cultural-literacy handbook for classical music. Dubal identifies the 240 composers whose works are most important to an understanding of classical music and offers a comprehensive, chronological guide to their lives and works. He has searched beyond the traditional canon to introduce readers to little—known works by some of the most revered names in classical music—Bach, Haydn, Mozart, Schubert—as well as to the major works of lesser-known composers. In a spirited and opinionated voice, Dubal seeks to rid us of the notion of “masterpieces” and instead to foster a new generation of master listeners. The result is an uncommon collection of the wonders classical music has to offer.