The most famous composers. 31: Paganini (1782 - 1840) - YouTube The most famous composers. 31: Paganini (1782 - 1840) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Nov 15, 2012 Niccolò Paganini (27 October 1782 -- 27 May 1840) was an Italian violinist, violist, guitarist, and composer. He was one of the most celebrated violin virtuosi of his time, and left his mark as one of the pillars of modern violin technique. His Caprice No. 24 in A minor, Op. 1, is among the best known of his compositions, and has served as an inspiration for many prominent composers. Paganini composed his own works to play exclusively in his concerts, all of which had profound influences on the evolution of violin techniques.

His 24 Caprices were probably composed in the period between 1805 to 1809, while he was in the service of the Baciocchi court. Also during this period, he composed the majority of the solo pieces, duo-sonatas, trios and quartets for the guitar. These chamber works may have been inspired by the publication, in Lucca, of the guitar quintets of Boccherini. Many of his variations (and he has become the de facto master of this musical genre), including Le Streghe, The Carnival of Venice, and Nel cor più non mi sento, were composed, or at least first performed, before his European concert tour. Generally speaking, Paganini's compositions were technically imaginative, and the timbre of the instrument was greatly expanded as a result of these works. Sounds of different musical instruments and animals were often imitated. However, his works were criticized for lacking characteristics of true polyphonism, as pointed out by Eugène Ysaÿe. Yehudi Menuhin, on the other hand, suggested that this might have been the result of his reliance on the guitar (in lieu of the piano) as an aid in composition.

The orchestral parts for his concertos were often polite, unadventurous, and clearly supportive of the soloist. In this, his style is consistent with that of other Italian composers such as Paisiello, Rossini and Donizetti, who were influenced by the guitar-song milieu of Naples during this period. Niccolò Paganini Bocciardo, (Génova, 27 de octubre de 1782 -- Niza, 27 de mayo de 1840) fue un violinista, violista, guitarrista y compositor italiano, considerado entre los más famosos virtuosos de su tiempo, reconocido como uno de los mejores violinistas que hayan existido, con oído absoluto y entonación perfecta, técnicas de arco expresivas y nuevos usos de técnicas de staccato y pizzicato. Empezó a estudiar la mandolina con su padre a los cinco años. A los siete años comenzó a tocar el violín. Hizo su primera aparición pública a los nueve años y realizó una gira por varias ciudades de Lombardía a los trece.

No obstante, hasta 1813 no se le consideró un virtuoso del violín. Tuvo como maestros a Giovanni Servetto y Alessandro Rolla. Con dieciséis años era ya conocido, pero no digirió bien el éxito y se emborrachaba continuamente. Una dama desconocida lo salvó de esa vida licenciosa para llevarlo a su villa donde aprendió a tocar la guitarra y el piano. Conoció al pianista y compositor húngaro Franz Liszt, quien fascinado por su técnica, desarrolló un correlato pianístico inspirado en lo que Paganini había hecho con el violín. En 1833 en la ciudad de París le encargó a Héctor Berlioz un concierto para viola y orquesta; el compositor francés realizó Harold en Italia, pero Paganini nunca la interpretó. Renunció a las giras en 1834.

Su imaginativa técnica influyó notablemente en compositores posteriores como Franz Liszt, Johannes Brahms, Sergei Rachmaninoff, Boris Blacher, Andrew Lloyd Webber, George Rochberg y Witold Lutosławski, entre otros. Category Audio Analogue Paganini Reviewer: Lucio Cadeddu Audio Analogue Paganini CD player Everyone already knows Audio Analogue, the Italian HiFi firm that has conquered the World with a series of high quality/price ratio components, namely the Puccini integrated amplifiers (both the standard and the SE version) and the Bellini/Donizetti preamp/amp combo. If you want more details about Audio Analogue you may need to check our recent factory tour . Audiophiles all around the World were awaiting for a CD player to match these amps with. And here it is: the Paganini, another product of the Great composers series: Puccini, Vivaldi (the DAC, now discontinued), Bellini & Donizetti. Niccolò Paganini (Genova, 1782-1840) is probably the most famous violinist ever.

He is famous for being both an incredible "virtuoso" and composer himself. Among his pieces, you may know the Moto Perpetuo, one of the most difficult tasks for any violinist worth his weight in Stradivari's. Hence Paganini is a HEAVY name for a CD player. We will see if the new Audio Analogue player will be worth the name. The Paganini is a rather heavy CD player (10 kgs-22 lbs), sturdly built and nicely finished. The cabinet is made out of thick-wall steel while up front you find a solid aluminium panel, with pretty unusual looks. Take the buttons/switches, for example: the circular placement is a radical departure from the ubiquitous sequence of horizontal commands. Even the display is circular, with orange LCD digits. The on/off switch is located in the rear panel, close to the IEC power socket. A digital output is available (coaxial) plus a switch that allows to turn it off when the CD player is working as a stand-alone unit. A complete blue-coloured remote control is available. Technically the Paganini consists of a modified Sony transport coupled with a 24 bit Crystal D/A converter.

For more tech details please refer to the official site . The inside view you find below doesn't require any comment by the poor reviewer: the quality of the craftsmanship is simply superb. Excellent if you consider the price tag of the player. The Paganini has been carefully evaluated into different HiFi systems and has been also compared with an Audio Analogue Maestro CD player (of the "Maestro" series, top of the line) which has been already reviewed here on TNT-Audio. I've listened both the CD player as a whole and the transport separately. Moto perpetuo... Paganini -IMPRESSIVE- inside view Its price tag puts the Paganini in the middle between the hi-end stuff and the entry-level players so it should be considered as a natural step forward for anyone willing to upgrade from players like the Marantz CD 67/6000 and the like. The Paganini is, first of all, a smooth and sweet performer, no digital harshness being detectable while listening to it. The high range can be divided into two sections: the lower high range does possess a sweet roll-off while the upper high range is well refined and detailed.

The mid range remains clear and rather bright, quite analytical and very revealing. A very good performer, given the price, with large choirs and multiple voices. Thanks to the clean mid range each single voice can be detected and "followed" while listening to the whole. While being so analytical, the Paganini never sounds harsh or aggressive, always remaining smooth and enjoyable even at loud listening levels. The main difference with cheaper players is the "grain" of its sound. It becomes clear, after the first notes, that the Paganini is a higher class CD player, the same kind of difference you experience when upgrading to 1,000$ speakers your old 500$ boxes. Now, while this sweetness of the high range can be relieving with many recordings, which are overbright oftentimes, it may result a tad "too much of a good thing" with neutral or dark recordings with which it may sound cloudy and shut-in. This is the price to pay for a performance that "smooth". Then you have the bass range. The upper low range, say, above 60 Hz, is powerful and even a bit "forward".

Below 60 Hz this power becomes to disappear so that the fundamental lower notes of bass and pipe organ appear a bit "behind" the rest. Perhaps, being the 80-100 Hz a bit "forward", the lower portion of spectrum, while being linear and correct, appears a bit "behind" the rest. Psychoacoustics rules here. For example, if you listen to a bass guitar solo, the upper notes appear to be played powerfully while the lower fundamentals (those that shake the windows panes and the floor) lack some sheer energy. Again, let me remark that these lower fundamentals can be heard only with loudspeakers which go flat till 30 Hz or so, nothing that can be detected with mid-sized bookshelf loudspeakers that appear to be the natural partners of the Paganini into a budget-oriented mid-class HiFi system. Dynamics A smooth performer is a smooth performer. Trivial but true. Hence you wouldn't expect the Paganini to explode into your listening room with larger than life dynamics and extra-fast pace, would you?

Instead, the Paganini offers the Music gently, punchy in the mids and a bit slow in the bass, never aggressive or of the big-baam-boom kind. Simply delicious with small jazz ensembles and orchestras, it lacks the badness which is necessary for large orchestral symphonic works or rock bands. It is a gentleman, you won't be able to make it sound bad or explosive. The bass range appears a bit "out of time" with respect to the mid-bass but the fact isn't truly disappointing. If I had to say something about the overall "pace" of the Italian player, I'd rate it as "relaxing and a bit on the slow side". While playing Music you will easily forget the Hz's and the dB's, concentrating just on the musical sound this player gently offers to the listener. 3D imaging and soundstage The Paganini does possess a large and deep soundstage and, thanks to the analyticity of the mid range, the instruments and the singers appear precisely focused inside the 3D scene. A performance so good you can find it only in players costing twice the price of the Audio Analogue Paganini.

The best thing the Paganini does is to offer a very deep scene, outstandingly deep indeed, for the price. And, of course, it appears to be wider and "taller" than the one created by cheaper players...as I always say, the difference between entry-level and mid-priced HiFi components lies in the capability to create a sound(stage) large enough to be realistic instead of being compressed between the 'speakers. The Paganini, with respect to soundstaging, can rival far more expensive CD players and transport + DAC combos. Kudos! Some advice While sturdly built, the Paganini benefits from using Vibrapods or equivalent damping feet. The sound becomes fuller and more powerful, the bass firmer and the pace a bit faster. The same happens with a good AC cord, with which the Paganini earns some deeper frequencies too. In few words: damping feet and AC cord are strongly recommended if not mandatory. Then leave the Paganini permanently ON, at least in stand-by mode. Do not use dark interconnects or your amp will need a treble tone control. Looking for an upgrade? The Paganini transport is way better than its DAC, imho.

So an easy upgrade, if you already have a Paganini, would be a better external DAC. Having tested the transport separately I can assure you this section of the Paganini is capable of excellent musical perfomances, sounding precise, accurate and very fast. No wonder the same transport has been used into the expensive Audio Analogue Maestro CD player. Complaints The craftsmanship quality of the Paganini is outstanding so it is very difficult to find something to complain about. Personally, I didn't like the orange display, which is quite hard to read, and the switches, that require a long time to be used to: you always end up pressing the wrong switch :-( Sonically, if you're looking for an effervescent performer you should consider something else, period. The Paganini's smooth sound may result "wooly" and shut-in to some listener. With wrong (read: dark) partners the "smooth" tone would easily appear excessive and unwelcomed. Choose the right partners before buying. The Puccini amps being natural partners, provided the speakers aren't on the "soft" side.

Of course I may be wrong, but it seems the designers have tried to give an "analogue" character to this player and, in my humble opinion, they've gone slightly too far. A more "linear" bass response and a more "open" behaviour in the highs would have made this player a more "universal" (read: easy partner) performer. Conclusions If you're looking for a serious upgrade for your entry-level digital front-end with a taste of hi-end, please take the Paganini into proper account. Smoothness, soundstaging and grainless sound will make you easily forget the price, in the sense you wouldn't believe you're listening to a 1,000 $ CD player. Conversely, if you're looking for a lightening fast, punchy and bright CD player you may need to look elsewhere, as the sweet character of the Paganini won't suit your needs. A huge thank you to the Audio Analogue staff for having sent us the Paganini for reviewing.

frontmusic: List of Romantic-era composers List of Romantic-era composers Classical/Romantic era transition composers (born 1770-1799) Name 1827 German regarded by many as the first Romantic composer, famous for his nine symphonies, thirty-two piano sonatas, sixteen string quartets B composer for the guitar, wrote concertos and chamber music Anton Reicha composer who experimented with irregular time signatures; works for wind quintet B music bridged the Classical and Romantic eras B 1839 Spanish composer for the classical guitar who is credited with elevating the guitar to the level of concert instrument Mauro Giuliani opera composer noted for La muette de Portici John Field composer and pianist, notable for cultivating the nocturne B composer and virtuoso violinist, wrote the 24 Caprices for violin B composer, violinist and virtuoso pianist, known for his contribution to the piano repretoire.

Carl Maria von Weber composer, conductor, pianist, guitarist and critic, one of the first significant Romantic opera composers B opera composer (Il crociato in Egitto, Les Huguenots) Gioachino Rossini opera composer, best known for The Barber of Seville and overtures to various other operas B composer and piano virtuoso, head of the Leipzig Conservatory Franz Berwald composer, little known in his lifetime, but his four symphonies are better known today B opera composer, known for Lucia di Lammermoor and L'elisir d'amore among others B 1828 Austrian composer, regarded as the first significant Lieder writer, also known for his chamber music, piano works and symphonies B Early Romantic era composers (born 1800-1819) Vincenzo Bellini (1801–1835), Italian opera composer, known for I Puritani, Norma and La sonnambula among others Eliza Flower (1803–1846), English composer Adolphe Adam (1803–1856), French composer best known for his ballet score Giselle Hector Berli

oz (1803–1869), French composer famous for his programmatic symphony, the Symphonie Fantastique Mikhail Glinka (1804–1857), nationalist Russian composer, wrote operas such as A Life for the Tsar Johann Strauss I (1804–1849), Austrian dance music composer famous for the Radetzky March Fanny Mendelssohn (1805–1847), sister of Felix Mendelssohn who herself wrote piano music and songs Felix Mendelssohn (1809–1847), German composer known for his Violin Concerto and the Wedding March from A Midsummer Night's Dream, also wrote five symphonies including the "Italian" Symphony Frédéric Chopin (1810–1849), Polish composer and virtuoso pianist, his output includes nocturnes, ballades, scherzos, etudes, and a number of Polish dances such as mazurkas, polonaises, and waltzes (including the Minute Waltz) Ferenc Erkel (1810–1893), Hungarian composer of grand opera Robert Sch

umann (1810–1856), German composer, a significant lieder writer, wrote many short piano pieces and four symphonies Franz Liszt (1811–1886), Hungarian composer and a virtuoso pianist, wrote a number of tone poems and extended piano technique, famous for his Hungarian Rhapsodies Ambroise Thomas (1811–1896), French composer, best known for the operas Mignon and Hamlet Louis Antoine Jullien (1812-1860), French eccentric conductor and composer of light music, king of promenade concerts in England Friedrich von Flotow (1812–1883) a German composer, chiefly remembered for his opera Martha Alexandre Dubuque (1812-1898), Russian-resident French composer, known for teaching Charles-Valentin Alkan (1813-1888), French composer and virtuoso pianist Ernst Haberbier (1813-1869), German composer of brilliant piano music Giuseppe Verdi (1813–1901), major Italian opera composer, best known for Nabucco

, Rigoletto, La Traviata and Aida Richard Wagner (1813–1883), major German opera composer (Der Ring des Nibelungen, Lohengrin, Tristan und Isolde, Parsifal among others) William Sterndale Bennett (1816-1875), English composer, conductor, and editor Károly Thern (1817-1886), Hungarian composer, conductor and teacher Niels Gade (1817–1890), Danish composer, violinist, and organist Charles Gounod (1818–1893), French composer, best known for his operas Faust and Roméo et Juliette Jacques Offenbach (1819–1880), French opera and operetta composer, known for The Tales of Hoffmann and Orpheus in the Underworld Franz von Suppé (1819–1895), Austrian composer and conductor notable for his operettas Clara Schumann (1819–1896), German composer, wife of Robert Schumann, and one of the leading pianists of the Romantic era Jean-Bapt

iste Duvernoy (1802–1880), French pianist and composer Middle Romantic era composers (born 1820-1839) Joachim Raff (1822-1882), Swiss-born German composer, best known for eleven symphonies, most of them program music César Franck (1822–1890), Belgian-born French composer, noted for his Symphony, also a significant composer for the organ Édouard Lalo (1823–1892), French composer remembered for his Symphonie Espagnole for violin and orchestra and his Cello Concerto Anton Bruckner (1824–1896), Austrian composer of nine large-scale symphonies (one incomplete and two more unacknowledged, the third dedicated to Richard Wagner) Bedřich Smetana (1824–1884), Czech nationalist composer, perhaps best known for his cycle of symphonic poems, Má vlast and his opera The Bartered Bride Jean-Baptiste Arban (1825-1889) Virtuoso cornetist, wrote the "Gr

ande méthode complète pour cornet à pistons et de saxhorn" now referred to as the "Trumpeter's Bible." Johann Strauss II (1825–1899), Austrian composer known as "The Waltz King", composed The Blue Danube and opera Die Fledermaus Adolphe Blanc (1828-1885), French composer of chamber music Louis Moreau Gottschalk (1829-1869), American composer famous for performing his own romantic piano works.

Jan Gerard Palm (1831-1906), Curaçao born composer, best known for his mazurkas, waltzes, danzas, tumbas, fantasies, and serenades. Mily Balakirev (1837-1910), Russian nationalist composer and leader of The Five Johannes Brahms (1833–1897), great German composer, one of the leading musicians of the Romantic period, famous for his working under and of being compared to Beethoven. His most influential works include the four symphonies, Violin Concerto in D major, two piano concertos, and Double Concerto for Violin and Cello in A minor, aside from his other orchestral works and numerous chamber music pieces and songs.

Amilcare Ponchielli (1834–1886), Italian opera composer known for La Gioconda Camille Saint-Saëns (1835–1921), French composer of The Carnival of the Animals and his Organ Symphony Henryk Wieniawski (1835–1880), Polish composer and violinist, famous for two concertos and character pieces of exceptional difficulty Léo Delibes (1836–1891), one of the first significant ballet composers since the baroque, known for Coppélia, Sylvia, and Lakmé Julius Weissenborn (1837–1888), German bassoonist, composer and music teacher, famous for his Practical Bassoon School Georges Bizet (1838–1875), French composer of the opera Carmen Max Bruch (1838–1920), German composer, known for his Violin Concerto No.

1, Scottish Fantasy, and Kol Nidrei for cello and orchestra Julius Reubke (1834-1858), German piano and organ composer, known for Sonata on the 94th Psalm Modest Mussorgsky (1839–1881), Russian composer known for his intensely nationalist works; including his opera Boris Godunov, and Pictures at an Exhibition John Knowles Paine (1839–1906), first native-born American composer to acquire fame for his large-scale orchestral music Late Romantic era composers (born 1840-1859) Pyotr Ilyich Tchaikovsky (1840–1893), Russian composer, known for his ballets (The Nutcracker, Swan Lake), his operas (Eugene Onegin), the 1812 Overture, his First Piano Concerto, his Violin Concerto and his symphonies.

Emmanuel Chabrier (1841–1894), French composer who influenced Maurice Ravel, Les Six, Jean Françaix and many other French composers, known for the opera L'étoile Antonín Dvořák (1841–1904), Czech composer, known for the "New World" Symphony Arrigo Boito (1842–1918), Italian composer and librettist, known as a composer for his opera Mefistofele Jules Massenet (1842–1912), French composer best known for his operas Manon and Werther and the Méditation for violin from the opera Thaïs Arthur Sullivan (1842–1900), English composer known for his operettas in collaboration with W. S.

Gilbert Émile Bernard (1843–1902), French composer and organist known for his Divertissement for Doubled Wind Quintet Edvard Grieg (1843–1907), Norwegian composer known for his Piano Concerto, Lyric Pieces for the piano, and incidental music to Peer Gynt Nikolai Rimsky-Korsakov (1844–1908), Russian composer and member of The Five, best known for Flight of the Bumblebee from The Tale of Tsar Saltan, Scheherazade, and the Capriccio Espagnol Pablo de Sarasate (1844–1908), Spanish virtuoso violinist and composer Charles-Marie Widor (1844–1937), French composer, known for his works for the organ Gabriel Fauré (1845–1924), French composer, known for his chamber music and a requiem among other pieces Henri Duparc (1848-1933), French composer, noted for seventeen mélodies Hubert Parry (1848-1918), English composer, wrote choral song Jerusalem Ernesto Kö

hler (1849-1907), Italian flautist and composer, known by flautists for his instructional work Progress in Flute Playing Vincent d'Indy (1851–1931), French composer, teacher of Erik Satie and Darius Milhaud among others Francisco Tárrega (1852 - 1909) Spanish composer and virtuoso classical guitarist, known as the father of modern classical guitar playing.

Engelbert Humperdinck (1854–1921), German opera composer influenced by Richard Wagner, famous for Hänsel und Gretel Leoš Janáček (1854–1928), Czech composer, known for his operas Káťa Kabanová and Jenůfa and orchestral pieces Sinfonietta and Taras Bulba Alfredo Catalani (1854-1893), Italian composer, known for the operas Loreley and La Wally Moritz Moszkowski (1854-1925), German Jewish composer-pianist who wrote prolifically for the piano. Also composed a piano concerto and violin concerto.

John Philip Sousa (1854-1932), American composer, "The March King" Ernest Chausson (1855–1899), French composer influenced by Franck and Wagner, seen as a bridge from them to Claude Debussy Julius Röntgen (1855–1932), German-Dutch composer influenced by Brahms, close friend to Grieg Edward Elgar (1857–1934), English composer, wrote oratorios, chamber music, and symphonies, most famous for his Enigma Variations and Pomp and Circumstance Marches Cécile Chaminade (1857–1944), French composer and pianist Ruggero Leoncavallo (1858–1919), Italian opera composer known almost exclusively for Pagliacci Giacomo Puccini (1858–1924), Italian opera composer known forLa bohème, Tosca, and Madama Butterfly Samuel Maykapar (1867-1938) Romantic era/20th century transition composers (born 1860-1880) Isaac

 Albéniz (1860–1909), Spanish composer, known for nationalist piano works such as Iberia Gustave Charpentier (1860–1956), French composer best known for his opera Louise Gustav Mahler (1860–1911), Austrian composer, one of the most important late-Romantic/early-Modernist composers.

His works include nine innovative large-scale and sometimes programmatic symphonies and many songs. Edward MacDowell (1860–1908), American composer best known for his piano concertos and piano suites includes his most popular short piece, "To a Wild Rose". Hugo Wolf (1860–1903), Austrian composer of lieder, influenced by Richard Wagner Claude Debussy (1862–1918), French composer, one of the most prominent figures working within the field of Impressionist music, known for his compositions Clair de Lune (from Suite bergamasque), Deux Arabesques, and many others.

Frederick Delius (1862–1934), English composer, used chromaticism in many of his compositions Pietro Mascagni (1863–1945), Italian opera composer, known for Cavalleria rusticana Ricardo Castro (1864-1907), Mexican composer of piano music Richard Strauss (1864–1949), German composer, known for Also sprach Zarathustra, ("Thus Spoke Zarathustra"), wrote many tone poems and operas Paul Dukas (1865–1935), French composer, known for his piece of program music The Sorcerer's Apprentice Alexander Glazunov (1865–1936), Russian composer, influenced by Wagner and Liszt Carl Nielsen (1865-1931), Danish composer of six symphonies Jean Sibelius (1865–1957), Finnish nationalist composer of seven symphonies, known for the symphonic poem Finlandia Ferruccio Busoni (1866–1924), Italian composer and pianist, known for his opera Turandot and his many trans

criptions and arrangements of Johann Sebastian Bach Umberto Giordano (1867–1948), Italian opera composer Enrique Granados (1867–1916), Spanish composer and pianist Wilhelm Peterson-Berger (1867–1942), Swedish composer, wrote symphonies, operas, vocal and piano music Amy Beach (1867–1944), American composer and pianist Franz Lehár (1870–1948), Hungarian composer mainly known for his operettas Henry Kimball Hadley (1871-1937), American composer and conductor, his opera Cleopatra's Night appeared at the Met in 1920.

Oreste Ravanello (1871–1938), Italian composer, wrote for choir and for organ Alexander Zemlinsky (1871-1942), teacher of Schoenberg and Korngold Ralph Vaughan Williams (1872-1958), English composer of nine symphonies, Fantasia on Greensleeves, and other orchestral poems Hugo Alfvén (1872-1960), Swedish composer, known forSwedish Rhapsody, contributions to choral music, and five symphonies Alexander Scriabin (1872–1915), Russian, known for his harmonically adventurous piano sonatas and theatrical orchestral works Sergei Rachmaninoff (1873–1943), Russian composer, conductor, and virtuoso pianist, wrote three symphonies, four piano concertos, and Rhapsody on a Theme of Paganini Max Reger (1873–1916), prolific German composer, known for his Variations on a Theme of Mozart Reynaldo Hahn (1874–1947), Venezuelan composer known for his strikingly beautiful and unabashedly ton

al melodies Arnold Schoenberg (1874-1951), Austrian composer, whose early works are influenced by Mahler, but subsequently developed atonalism and serialism Franz Schmidt (1874–1939), Austrian composer influenced by Brahms and Bruckner Reinhold Glière (1875–1956), Russian who wrote pieces in a romantic style well into the 20th century Mieczysław Karłowicz (1876–1909), Polish composer in the late romantic and nationalist styles Manuel de Falla (1876–1946), Spanish composer, best known for The Three-Cornered Hat Ottorino Respighi (1879–1936), Italian composer known for symphonic poems The Fountains of Rome and The Pines of Rome) Nikolai Medtner (1880-1951), Russian composer best known for his piano sonatas and concertos.

Classical musical midi, a good place to read a composers biography with a list classical midi files for download. I would like to thank George Pollen for the picture of Paganini. 1782 --- 1840 Niccolo Paganini on of the most celebrated of all 19th century Italian musicians was on of the greatest violinist of his time. Paganini whose astonishing virtuosity that gave birth to the legend that he was in league with the Devil. He was a son of a shopkeeper born in Genoa in 1782. It was from here that he received lessons on the Mandolin from his father, and it was from this he retained his love for string instruments thoughout his life. Not only was he a virtuoso voilinist but he also was on the guitar. Later his father sent him to study with qualified teachers, soon the young Paganini made his public debut when he was only eleven years old. Paganini was very self willed and independent which force him to leave home at a early age, travelling as a freelance virtuosos and thus winnibg notoriety by both his talents and wild living.

He was such an obsessive gambler that before the age of eighteen he had staked and lost his very voilin. For three years he held an offical appointment but gave it up in 1805, and thereafter travelled restlessly throughout Europe until his death in 1840. Paganini's life is wreathed in legend, he certainly had many love affairs, astonished audiences with outstanding technique and amassed a huge fortune which he left to his illegitimate son, Achille. It is perhaps not surprising that Paganini was a poor ensemble player, yet despite his nervous brilliance as a performer, his own compositions include many which are more than mere displays of virtuosity. Last Updated on 30th June 2001 By Steven And now for the Music I like to thank George Pollen for the beautiful sequences that follows, email (gpollen@polleng.freeserve.co.uk">GEORGE and let him know what you think of his music.

(2210) "Moto Perpetuo" Large file please click here for pkunzip.exe, a beautiful sequenced by George Pollen (882) "La Campanella Large file please click here for pkunzip.exe, a beautiful sequenced by George Pollen I like to thank Emily Gray for sequencing and donating the fllowing piece, to contact Email (farlang@altavista.com">Emily Gray. Gitlis plays Paganini - Violin Concerto No. 2 in B minor, Op. 7 "La campanella" (1826) - YouTube Gitlis plays Paganini - Violin Concerto No. 2 in B minor, Op. 7 "La campanella" (1826) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jan 16, 2011 Violin Concerto No. 2 in B minor, Op. 7 (1826) I.

Allegro maestoso (cadenza: Ivry Gitlis) [ 0:00 ] Music for Kids: Famous Violin Players Music for Kids Famous Violin Players There have been many wonderful and famous violinists throughout history. Here are just a few of them. Perhaps the most famous or greatest violinist is Niccolo Paganini. Arcangelo Corelli (1653-1713) - Corelli is most known for first implementing many of the finer playing techniques still used by violinists today. These include posture, how to use the bow, and fingering. He was a great performer and composer during his time as well. A fun fact about Arcangelo Corelli is that he didn't like to play high notes as he thought they sounded bad and screeching. Antonio Vivaldi (1678 - 1741) - Vivaldi is considered one of the great Baroque composers as well as virtuoso violinist. He is most famous for using music to create images in four compositions called the four seasons. In these compositions he uses music and the violin to create the sounds of nature like birds singing, thunder and storms, dogs barking, and streams flowing.

A fun fact about Vivaldi is that he was called il Prete Rosso ("The Red Priest") because of his red hair. Niccolo Paganini (1782 - 1840) - Paganini is widely regarded as the greatest violin player ever. He was extremely skilled in playing the violin and was known to play very difficult pieces on just a single string. He wrote many great compositions as well, but his most famous was Caprice Number 24. This work, written for solo violins, has been used as the basis for many other composers over the years. Violin player Niccolo Paganini It was often said that Paganini must have sold his soul to the devil to play so well. Doctors even dissected his hands when he died to see what was so special about them. It turns out they were just normal hands that could play the violin better than anyone in history. Paganini played a number of great violins crafted by the two greatest violin makers, Guarneri and Stradivari.

Pablo de Sarasate (1844 - 1908) - A Spanish violinist and composer, Sarasate is considered one of the great virtuosos of the late 1800s. His most famous work is called Zigeunerweisen. There are some recordings of Sarasate. Although the recordings are not of the greatest quality, experts are able to tell just how skilled he was in playing the violin. Isaac Stern (1920 - 2001) - Isaac was one of the most famous violinists of the 20th century. He was known for his recordings as well as finding other great musical talent like cellist Yo-Yo Ma. He played the violin in the famous musical Fiddler on the Roof. His favorite instrument was a violin made by the famous Italian luthier Giuseppe Guarneri. Itzhak Perlman (1945 - ) - Itzhak Perlman is often considered the greatest violinist of the 20th century. He was born in Israel in 1945 and contracted polio at the age of 4. He is still somewhat handicapped from recovering from polio and plays the violin while sitting down.

He has won many Grammy Awards for his performances and plays a famous Stradivari violin. Itzhak Perlman Sarah Chang (1980 - ) - Sarah is a Korean American violinist born in Philadelphia. She is one of the great young players of modern times. At the age of 9 she played with the New York Philharmonic and the Philadelphia Orchestra. She plays a Guarneri violin which she received from another great violinist on our list, Isaac Stern. More on the violin: Paganini, Niccolò (1782 - 1840) - Credo Reference Topic Page: Paganini, Niccolò (1782 - 1840) Definition: Paganini, Niccolò from Philip's Encyclopedia Italian violinist, the most famous virtuoso of his day. He enlarged the range of the violin by exploiting harmonics and mastered the art of playing double and triple stops (two or three notes at a time). Summary Article: Paganini, Niccolò from The Hutchinson Unabridged Encyclopedia with Atlas and Weather Guide Image from: Paganini, etching by Luigi Calamatta after a...

in Britannica Concise Encyclopedia Italian violinist and composer. He was a concert soloist from the age of nine. A prodigious technician, he drew on folk and gypsy idioms to create the modern repertoire of virtuoso techniques. His dissolute appearance, wild love life, and amazing powers of expression, even on a single string, fostered rumours of his being in league with the devil. His compositions include six concertos and various sonatas and variations for violin and orchestra, sonatas for violin and guitar, and guitar quartets. Paganini's father taught him to play the guitar and violin. He afterwards studied with the theatre violinist Antonio Cervetto and the cathedral maestro di cappella Giacomo Costa. As a composer he profited by the advice of Francesco Gnecco, and in 1795 his father sent him to the violinist Alessandro Rolla at Parma. While there he also studied composition with Gasparo Ghiretti, and in 1797 made his first professional tour, winning early acclaim for his technical virtuosity and flamboyant platform personality.

After that he became increasingly famous, travelled widely, beginning with Vienna and Paris 1828–31, and in the latter year went to England for the first time. In 1834, he invited Berlioz in Paris to write a concert work for viola; Harold en Italie was the result, but he never played it. WorksOrchestral six violin concertos (1815–30; Op. 7 with the Rondo alla campanella); variations (including one on ‘God save the King’) and concert pieces for violin and orchestra. Chamber three string quartets with a guitar part; 12 sonatas for violin and guitar; 24 capricci (studies) for violin solo. quotations Niccolò Paganini - Musician, Composer - Biography.com Niccolò Paganini Sometimes called "the Devil's Violinist," Niccolò Paganini's virtuoso talent, accompanied by his extraordinary dexterity and flexibility, gave him an almost mythic reputation—he is considered by many to be the greatest violinist of all time.

IN THESE GROUPS “I am not handsome, but when women hear me play, they come crawling to my feet.” Niccolò Paganini Synopsis Italian virtuoso violinist Niccolò Paganini may be the perfect example of nature meets nurture. Taught the violin by his father as a child and tutored by the best teachers, Paganini was considered a prodigy. The ferocity with which he played , coupled with his elongated fingers and extraordinary flexibility, gave him a mysterious, almost mythical reputation. Mobbed in the street and rumored to have a deal with the devil to achieve the heights of his virtuoso performances, he ultimately became considered the greatest violinist of all time. Early Life Niccolò Paganini was born in Genoa, Italy, on October 27, 1782, the third of six children born to Teresa and Antonio Paganini. The elder Paganini was in the shipping business, but he also played the mandolin and began teaching his son the violin at an early age. Niccolo's mother had high hopes of her son becoming a famous violist.

When Niccolo had exhausted his father's abilities, he was sent to the best tutors in Genoa, primarily in the theater, where he learned harmony and counterpoint. His first recorded public performance was at a church on May 26, 1794, when the boy was not yet 12 years old. He had been influenced by the work of Auguste Frédéric Durand, a Franco-Polish violin virtuoso who had a reputation for showmanship. So, the boy moved on to Alexandro Rolla in Parma, who was so impressed with the prodigy that he felt the wisest course for him was composition. After an intensive course of study, Paganini returned to Genoa and began composing and performing, primarily in churches. He also set his own schedule of rigorous training, sometimes 15 hours a day, practicing his own compositions, which were often quite complicated, even for himself. Musical Career By 1801, Niccolò Paganini, who was used to touring with his father by this time, went to Lucca to perform at the Festival of Santa Croce. His appearance was a rousing success, endearing himself to the town.

But he had a weakness for gambling, womanizing and alcohol, reportedly having a breakdown early in his career due to the latter. Post recovery he returned to Lucca, earning the favor of Napoleon's sister, Princess Elisa Baciocchi, and securing the position of court violinist. He eventually grew restless and returned to the life of a virtuoso, touring Europe, amassing wealth by enchanting audiences with the ferocity or sensitivity of his playing—audiences were said to have burst into tears at his execution of tender passages. One patron was purportedly so moved by a performance that he gave Paganini a coveted Guarnerius violin. Another vowed he had seen he had seen the devil helping Paganini with a particularly impassioned performance. Paganini's reputation began to take on mythic proportions—he was often mobbed in the streets. His pure talent, showmanship and dedication to his craft was further augmented by possibly two physical syndromes: Marfan's and Ehlers-Danlos—one giving him particularly long limbs, especially fingers, the other giving him extraordinary flexibility.

These certainly would have factored into his exceptional virtuosity, earning him nicknames such as "the Devil's Violinist" and "Rubber Man." But he also perpetuated the mythology with stunts like severing strings on a violin and playing a piece such as the Witches Dance on a sole string. In 1827, Paganini was made a knight of the Golden Spur by Pope Leo XII. Personal Life and Legacy Paganini had a few close friends, including composers Gioachino Rossini and Hector Berlioz, who composed Harold en Italie for him, and a mistress with whom he had a son, Achilles, who he later legitimized and left his fortune to. Plagued with illness later in life, Niccolò Paganini lost his voice in 1838. He moved to Nice, France, to recover, but died there on May 27, 1840. Paganini is considered perhaps the greatest violinist that ever lived and his compositions, including 24 Caprices, for violin alone are some of the most complex pieces ever composed for the instrument. Fact Check We strive for accuracy and fairness.

If you see something that doesn't look right, contact us ! Citation Information Niccolò Paganini - Listen to Free Music by Niccolò Paganini on Pandora Internet Radio Niccolò Paganini October 27, 1782 - May 27, 1840 born in Genoa, Italy, composed during the Romantic period Niccolò Paganini (1782-1840) was an Italian violinist and composer, regarded in his time as the greatest violinist in the world. His international career began with his first tour of Europe in 1825; between then and 1834, he dazzled audiences with his unprecedented technical prowess. As a composer of violin concertos and chamber works for violin and guitar, Paganini had success, though his music is primarily designed for virtuosity, and to a lesser degree for expression. Perhaps his best-known piece is the Caprice No. 24, the subject of many composers' sets of variations, including Rachmaninov's Rhapsody on a Theme by Paganini.

~ Blair Sanderson, Rovi Track List: Accardo Plays Paganini: Complete Recordings Undo like Disc 1 Title: Violin Concerto No.1 In E Flat Major (Usually Transposed To D Major), Op. 6, Ms 21 1. Violin Concerto No.1 In E Flat Major (Usually Transposed To D Major), Op. 6, Ms 21: I. Allegro Maestoso 2. Violin Concerto No.1 In E Flat Major (Usually Transposed To D Major), Op. 6, Ms 21: II. Adagio Espressivo 3. Violin Concerto No.1 In E Flat Major (Usually Transposed To D Major), Op. 6, Ms 21: III. Rondo - Allegro Spirituoso Title: Violin Concerto No.2 In B Minor ("La Campanella"), Op. 7, Ms 48 4. Violin Concerto No.2 In B Minor ("La Campanella"), Op. 7, Ms 48: I. Allegro Maestoso 5. Violin Concerto No.2 In B Minor ("La Campanella"), Op.

7, Ms 48: II. Adagio 6. Violin Concerto No.2 In B Minor ("La Campanella"), Op. 7, Ms 48: III. Rondo Disc 2 Title: Violin Concerto No.3 in E major, MS 50 1. Violin Concerto No.3 in E major, MS 50: I. Introduzione. Andantino - Allegro Marziale 2. Violin Concerto No.3 in E major, MS 50: II. Adagio - Cantabile Spianato 3. Violin Concerto No.3 in E major, MS 50: III. Polacca - Andantino Vivace Title: Violin Concerto No.4 in D minor, MS 60 4. Violin Concerto No.4 in D minor, MS 60: I. Allegro Maestoso 5. Violin Concerto No.4 in D minor, MS 60: II. Adagio Flebile Con Sentimento - Attacca 6. Violin Concerto No.4 in D minor, MS 60: III.

Rondo Galante - Andantino Gaio Disc 3 Title: Violin Concerto No.5 in A minor (orchestral part lost), MS 78 1. Violin Concerto No.5 in A minor (orchestral part lost), MS 78: I. Allegro Maestoso 2. Violin Concerto No.5 in A minor (orchestral part lost), MS 78: II. Andante, Un Poco Sostenuto 3. Violin Concerto No.5 in A minor (orchestral part lost), MS 78: III. Finale: Rondo. Andantino Quasi Allegretto Title: La Primavera (orchestra parts lost), sonata with variations for violin & orchestra in A major, Op. 30, MS 73 4. La Primavera (orchestra parts lost), sonata with variations for violin & orchestra in A major, Op. 30, MS 73: La Primavera, Sonata with Variations for Violin &amp; Orchestra in A Major, Op.

30, Ms 73 Title: Maestosa Sonata Sentimentale ("Variations on the Austrian National Hymn"), for violin & orchestra, Op. 27, MS 51 5. Maestosa Sonata Sentimentale ("Variations on the Austrian National Hymn"), for violin & orchestra, Op. 27, MS 51: Maestosa Sonata Sentimentale ("Variations on the Austrian National Hymn"), for Violin & Orchestra, Op. 27, Ms 51 Disc 4 Title: Violin Concerto in E minor (No.6) (orchestral part lost) 1. Violin Concerto in E minor (No.6) (orchestral part lost): I. Risoluto 2. Violin Concerto in E minor (No.6) (orchestral part lost): II. Adagio 3. Violin Concerto in E minor (No.6) (orchestral part lost): III.

Rondo Ossia Polonese Title: Sonata and Variations on 'Pria ch'io l'impegno' from Weigl's "L'amor Marinaro", for violin & orchestra (or piano) in E major, MS 47 4. Sonata and Variations on 'Pria ch'io l'impegno' from Weigl's "L'amor Marinaro", for violin & orchestra (or piano) in E major, MS 47: Introduzione (Adagio) - Tema (Andante moderato) - Variazioni I & II (L'istesso tempo) - Variazioni III & IV (Piu mosso) - Variazione V (Tempo I) - Coda (Presto) Title: Introduction and Variations on "Non più mesta" from Rossini's "La cenerentola", for violin & orchestra in E flat major, Op. 12; MS 2 5. Introduction and Variations on "Non più mesta" from Rossini's "La cenerentola", for violin & orchestra in E flat major, Op.

12; MS 2: Introduzione (Adagio Cantabile) - Tema (Moderato) - Variazioni I-iv - Finale (Allegro - Tempo Del Tema - Piu Presto) Title: Le streghe, variations for violin & orchestra in E flat major, Op. 8, MS 19 6. Le streghe, variations for violin & orchestra in E flat major, Op. 8, MS 19: Le Streghe, Op. 8: Introduzione - Tema - Variazioni I-III - Finale Disc 5 Title: Caprices (24) For Solo Violin, Op. 1, Ms 25 1. Caprices (24) For Solo Violin, Op. 1, Ms 25: I. Andante in E Major 2. Caprices (24) For Solo Violin, Op. 1, Ms 25: II. Moderato in B Minor 3. Caprices (24) For Solo Violin, Op. 1, Ms 25: III. Sostenuto - Presto - Sostenuto in E Minor 4.

Caprices (24) For Solo Violin, Op. 1, Ms 25: IV. Maestoso in C Minor 5. Caprices (24) For Solo Violin, Op. 1, Ms 25: V. Agitato in A Minor 6. Caprices (24) For Solo Violin, Op. 1, Ms 25: VI. Lento in G Minor 7. Caprices (24) For Solo Violin, Op. 1, Ms 25: VII. Posato in A Minor 8. Caprices (24) For Solo Violin, Op. 1, Ms 25: VIII. Maestoso in E Flat Major 9. Caprices (24) For Solo Violin, Op. 1, Ms 25: IX. Allegretto in E Major, "The Hunt" 10. Caprices (24) For Solo Violin, Op. 1, Ms 25: X. Vivace in G Minor 11. Caprices (24) For Solo Violin, Op. 1, Ms 25: XI.

Andante - Presto - Tempo I in C Major 12. Caprices (24) For Solo Violin, Op. 1, Ms 25: XII. Allegro in a Flat Major 13. Caprices (24) For Solo Violin, Op. 1, Ms 25: XIII. Allegro in B Flat Major, "the Devil's Chuckle" 14. Caprices (24) For Solo Violin, Op. 1, Ms 25: XIV. Moderato in E Flat Major 15. Caprices (24) For Solo Violin, Op. 1, Ms 25: XV. Posato in E Minor 16. Caprices (24) For Solo Violin, Op. 1, Ms 25: XVI. Presto in G Minor 17. Caprices (24) For Solo Violin, Op. 1, Ms 25: XVII. Sostenuto - Andante, in E Flat Major 18. Caprices (24) For Solo Violin, Op. 1, Ms 25: XVIII.

Corrente - Allegro in C Major 19. Caprices (24) For Solo Violin, Op. 1, Ms 25: XIX. Lento - Allegro Assai in E Flat Major 20. Caprices (24) For Solo Violin, Op. 1, Ms 25: XX. Allegretto in D Major 21. Caprices (24) For Solo Violin, Op. 1, Ms 25: XXI. Amoroso - Presto in a Major 22. Caprices (24) For Solo Violin, Op. 1, Ms 25: XXII. Marcato in F Major 23. Caprices (24) For Solo Violin, Op. 1, Ms 25: XXIII. Posato in E Flat Major 24. Caprices (24) For Solo Violin, Op. 1, Ms 25: XXIV.

Tema - Quasi Presto (11) Variazioni - Finale in a Minor Disc 6 Title: Napoléon, for violin & orchestra (or violin & piano) in E flat major, MS 5 1. Napoléon, for violin & orchestra (or violin & piano) in E flat major, MS 5: Introduzione - Agagio - Larghetto - Andantino Variato - Variazioni I-III - Finale Title: I palpiti, introduction & variations on "Di tanti palpiti" from Rossini's "Tancredi," for violin & orchestra, Op 13, MS 77 2. I palpiti, introduction & variations on "Di tanti palpiti" from Rossini's "Tancredi," for violin & orchestra, Op 13, MS 77: Larghetto Cantabile - Recitativo (Con Grande Espressione) - Tema. Andantino - Variazioni I-III - Coda Title: Molto perpetuo, for violin & orchestra (or piano), MS 66 ("Sonata movimento perpetuo", "Perpetuela") 3.

Molto perpetuo, for violin & orchestra (or piano), MS 66 ("Sonata movimento perpetuo", "Perpetuela"): Molto perpetuo, for violin & orchestra (or piano), MS 66 ("Sonata movimento perpetuo", "Perpetuela") Title: Capriccio on "Nel cor più non mi sento", for violin solo in G major, Op. 38, MS 44 4. Capriccio on "Nel cor più non mi sento", for violin solo in G major, Op. 38, MS 44: Introduzzione (Capriccio) - Tema. Variazioni I-III Title: Duo Merveille, Sonata For Violin Solo in C Major, MS 6 5. Duo Merveille, Sonata For Violin Solo in C Major, MS 6: Duo Merveille, Sonata for Violin Solo in C Major, Ms 6: Adagio - Allegro Molto Title: Variations on "God Save the King", for violin & orchestra, Op. 9, MS 56 6. Variations on "God Save the King", for violin & orchestra, Op.

9, MS 56: Tema. Andante Sostenuto. Variazioni I-IV Title: Caprices (24) For Solo Violin, Op. 1, Ms 25 1. Caprices (24) For Solo Violin, Op. 1, Ms 25: I. Andante in E Major 2. Caprices (24) For Solo Violin, Op. 1, Ms 25: II. Moderato in B Minor 3. Caprices (24) For Solo Violin, Op. 1, Ms 25: III. Sostenuto - Presto - Sostenuto in E Minor 4. Caprices (24) For Solo Violin, Op. 1, Ms 25: IV. Maestoso in C Minor 5. Caprices (24) For Solo Violin, Op. 1, Ms 25: V. Agitato in A Minor 6. Caprices (24) For Solo Violin, Op. 1, Ms 25: VI. Lento in G Minor 7. Caprices (24) For Solo Violin, Op.

1, Ms 25: VII. Posato in A Minor 8. Caprices (24) For Solo Violin, Op. 1, Ms 25: VIII. Maestoso in E Flat Major 9. Caprices (24) For Solo Violin, Op. 1, Ms 25: IX. Allegretto in E Major, "The Hunt" 10. Caprices (24) For Solo Violin, Op. 1, Ms 25: X. Vivace in G Minor 11. Caprices (24) For Solo Violin, Op. 1, Ms 25: XI. Andante - Presto - Tempo I in C Major 12. Caprices (24) For Solo Violin, Op. 1, Ms 25: XII. Allegro in a Flat Major 13. Caprices (24) For Solo Violin, Op. 1, Ms 25: XIII. Allegro in B Flat Major, "the Devil's Chuckle" 14. Caprices (24) For Solo Violin, Op. 1, Ms 25: XIV.

Moderato in E Flat Major 15. Caprices (24) For Solo Violin, Op. 1, Ms 25: XV. Posato in E Minor 16. Caprices (24) For Solo Violin, Op. 1, Ms 25: XVI. Presto in G Minor 17. Caprices (24) For Solo Violin, Op. 1, Ms 25: XVII. Sostenuto - Andante, in E Flat Major 18. Caprices (24) For Solo Violin, Op. 1, Ms 25: XVIII. Corrente - Allegro in C Major 19. Caprices (24) For Solo Violin, Op. 1, Ms 25: XIX. Lento - Allegro Assai in E Flat Major 20. Caprices (24) For Solo Violin, Op. 1, Ms 25: XX. Allegretto in D Major 21. Caprices (24) For Solo Violin, Op. 1, Ms 25: XXI. Amoroso - Presto in a Major 22.

Caprices (24) For Solo Violin, Op. 1, Ms 25: XXII. Marcato in F Major 23. Caprices (24) For Solo Violin, Op. 1, Ms 25: XXIII. Posato in E Flat Major 24. Caprices (24) For Solo Violin, Op. 1, Ms 25: XXIV. Tema - Quasi Presto (11) Variazioni - Finale in a Minor Track List: Paganini: Centone Di Sonate, Vol. 2 Undo like Title: Sonata For Violin & Guitar In F Major (Centone Di Sonate, Letter B/1), MS 112/7 2. Sonata For Violin & Guitar In F Major (Centone Di Sonate, Letter B/1), MS 112/7: II. Polacca: Andantino Allegretto Title: Sonata For Violin & Guitar In G Major (Centone Di Sonate, Letter B/2), MS 112/8 4.

Sonata For Violin & Guitar In G Major (Centone Di Sonate, Letter B/2), MS 112/8: II. Rondo: Allegretto Title: Sonata For Violin & Guitar In A Major (Centone Di Sonate, Letter B/3), MS 112/9 6. Sonata For Violin & Guitar In A Major (Centone Di Sonate, Letter B/3), MS 112/9: II. Tema: Andante Placido Con 3 Variazioni Title: Sonata For Violin & Guitar In C Major (Centone Di Sonate, Letter B/4), Ms 112/10 8. Sonata For Violin & Guitar In C Major (Centone Di Sonate, Letter B/4), Ms 112/10: II. Rondo: Andantino Vivace, Tempo Di Pastorale Title: Sonata For Violin & Guitar In A Minor (Centone Di Sonate, Letter B/5), Ms 112/11 10.

Sonata For Violin & Guitar In A Minor (Centone Di Sonate, Letter B/5), Ms 112/11: II. Tema: Allegro Moderato Con 2 Variazioni Title: Sonata For Violin & Guitar In D Major (Centone Di Sonate, Letter B/6), MS 112/12 Title: Grand Sonata, For Guitar & Violin In A Major, Op. 35, MS 3 1. Grand Sonata, For Guitar & Violin In A Major, Op. 35, MS 3: Allegro Risoluto 2. Grand Sonata, For Guitar & Violin In A Major, Op. 35, MS 3: Romanza 3. Grand Sonata, For Guitar & Violin In A Major, Op. 35, MS 3: Andantino Variato Title: Sonata For Guitar No. 4 In D Major, MS 84/4 4. Sonata For Guitar No. 4 In D Major, MS 84/4: Minuetto-rondoncino Title: Ghiribizzi (43), For Guitar, MS 43 5.

Ghiribizzi (43), For Guitar, MS 43: XV. Allegro 6. Ghiribizzi (43), For Guitar, MS 43: XVI. In Cor Piu Non Mi Sento: Larghetto 7. Ghiribizzi (43), For Guitar, MS 43: XXXVII. Adagietto Con Espressione 8. Ghiribizzi (43), For Guitar, MS 43: XXXVIII. Vivace 9. Ghiribizzi (43), For Guitar, MS 43: XXII. Larghetto Title: Sonata For Guitar No. 30 In A Major, MS 84/30 10. Sonata For Guitar No. 30 In A Major, MS 84/30: Minuetto-allegro Title: Sonata For Guitar No. 6 In F Major, MS 84/6 11. Sonata For Guitar No. 6 In F Major, MS 84/6: Minuetto-allegretto Title: Sonata For Guitar No.

14 In F Major, MS 84/14 12. Sonata For Guitar No. 14 In F Major, MS 84/14: Minuetto-valtz (Allegretto) Title: Caprice For Solo Violin In C Major (Andante-Presto-Tempo I), Op. 1/11 13. Caprice For Solo Violin In C Major (Andante-Presto-Tempo I), Op. 1/11: Caprice No.11 Title: Caprice For Solo Violin In A Minor (Agitato), Op. 1/5 14. Caprice For Solo Violin In A Minor (Agitato), Op. 1/5: Caprice No.5 Title: Caprice For Solo Violin In A Minor (Theme & Variations), Op. 1/24 15. Caprice For Solo Violin In A Minor (Theme & Variations), Op.

1/24: Caprice No.24 Track List: Paganini: Violin Concertos Nos.1 & 2 Undo like Title: Violin Concerto No.1 In E Flat Major (Usually Transposed To D Major), Op. 6, Ms 21

Question: Italian Niccolo Paganini (1782-1840) was a composer and virtuoso player of the?
Answer: Violin