Niccolò Paganini between 1802 and 1817. They are also designated as M. 25 in Maria Rosa Moretti’s and Anna Sorrento’s Catalogo tematico delle musiche di Niccolò Paganini which was published in 1982. Ricordi first published them max Stimer PDF 1820, where they were grouped and numbered from 1 to 24 as Op.
Författare: Victor Roudine.
Victor Roudine scrisse questo saggio nel 1910 ricostruendo l’ambiente materiale ed intellettuale nel quale Stirner ha sviluppato il suo pensiero e ha vissuto; ponendo in rapporto il pensiero sociale di Stirner con quello di Marx e Bakunin, e riscoprendo così uno Stirner fautore ed aperto alla lotta sociale per la liberazione dal giogo religioso, statale e politico.
David, as editor, also issued an edition of Caprices with piano accompaniments by Robert Schumann. Unlike many earlier and later sets of 24 pieces, there was no intention to write these caprices in 24 different keys. Nicknamed “The Arpeggio”, this composition matches chordal playing with ricochet across all 4 strings. The piece opens in E major and then quickly transitions into an E minor development section, where descending scales in thirds are introduced.
The second caprice focuses on detache with many string crossings across non-adjacent strings. 3 is a slurred legato exercise with octave trills in the introduction and conclusion. 4 in is an exercise featuring passages with many multiple stops in thirds. 5 focuses on fast ricochet bowings. It begins and ends with a section of ascending arpeggios followed by descending scales.
Nicknamed “The Trill”, the sixth caprice exploits the use of left-hand tremolo on the violin by quickly alternating between different notes in the chord in one of the voices. A melody is played in one line with a tremolo occurring on another. This caprice focuses on slurred staccato passages, featuring many long slurred scales and arpeggios. 8 focuses on sustaining a lower note while playing a higher melody at the same time, meanwhile incorporating many trills and double stops. Primarily a study in double stops, with ricochet occurring in the middle section. 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. Nicknamed “The Devil’s Laughter”, Caprice No. 13 starts out with scale like double-stopped passages at a moderate speed. 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.