En la cuerda floja

Tercio Creciente ◽

10.17561/rtc.n17.6 ◽

2020 ◽

pp. 83-105

Author(s):

Pablo Martos Lozano

Keyword(s):

Este artículo versa sobre la importancia de la elección de las cuerdas del violín para interpretar la música de Nicolò Paganini bajo criterios históricamente informados. Se visitan la fuentes principales bibliográficas de construcción de cuerdas históricas y se realiza una comparativa entre arcos y entre cuerdas históricas y otras de un uso actual más extendido.

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Winners of the International Nicolo Paganini Competitions

American String Teacher ◽

10.1177/000313137202200316 ◽

1972 ◽

Vol 22 (3) ◽

pp. 26-29

Author(s):

I. S. Arazi

Keyword(s):

Nicolo Paganini

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Innovation of Nicolo Paganini as composer-violinist and performance interpretation of his instrumental works

Humanities science current issues ◽

10.24919/2308-4863/35-6-11 ◽

2021 ◽

Vol 6 (35) ◽

pp. 73-80

Author(s):

Taras YAROPUD

Keyword(s):

Nicolo Paganini ◽

Performance Interpretation ◽

Instrumental Works ◽

And Performance

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Nicolo Paganini and His Guarnerius: A Reminiscence of Genoa

The Musical Times and Singing Class Circular ◽

10.2307/3362928 ◽

1886 ◽

Vol 27 (519) ◽

pp. 266

Author(s):

Ed. Heron-Allen

Keyword(s):

Nicolo Paganini

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Paganini's Quest: The Twenty-four Capricci per violino solo, Op. 1

19th-Century Music ◽

10.1525/ncm.2004.27.3.208 ◽

2004 ◽

Vol 27 (3) ◽

pp. 208-229

Author(s):

Jeffrey Perry

Keyword(s):

Essential Feature ◽

Nicolo Paganini ◽

The One

Nicolo Paganini (1782-1840) has long been viewed as an emblem of virtuosity, his music heard, if at all, through the variations and adaptations of other composers. 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. The first is lyrical and draws on the vocal and operatic roots of PaganiniÕs musical upbringing. The second I have labeled the questive voice. Romanticism is an aesthetic of distance; the questive voice is a means of traversing the immensity that is the one essential feature of early Romanticism in its incarnations. This immensity manifests itself in the wide registral space opened and explored in the Caprices; in the motivically driven, asymmetrical construction of many passages found therein; and in the extensive harmonic reach of many of the Caprices. This article presents close readings of Caprices nos. 1, 2, 4, 9, and 10, drawing on Schenkerian methodologies and work by Ratner, Caplin, and Burnham to articulate the lyrical/questive dichotomy and interplay between technique and expression in these singular works by a singular composer.

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