Name: Tchaikovsky: Piano Concerto No. 1 in B flat Minor, Op. 23: I. Allegro non troppo e molto maestoso by Gulan (aka Andrei Gulaikin)
Duration: 4 min 8 s
Description: Pyotr Ilyich Tchaikovsky: Piano Concerto No. 1 in B flat Minor, Op. 23, TH. 55: I. Allegro non troppo e molto maestoso (Fragment)

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The 24 Caprices for Solo Violin, Op. 1, were written by Niccolò Paganini between 1802 and 1817 and published in 1819.[1] They are also designated as M.S. 25 in Maria Rosa Moretti and Anna Sorrento's Catalogo tematico delle musiche di Niccolò Paganini, which was published in 1982. The caprices are in the form of études, with each number studying individual skills (double stopped trills, extremely fast switching of positions and strings, etc.)

Edition Peters first published them in 1819; Ricordi later published another edition in 1821. When Paganini released his caprices, he dedicated them "to the Artists" rather than to a specific person.

Unlike many earlier and later sets of 24 pieces, there was no intention to write these caprices in 24 different keys.

Caprice No. 1 in E major - Andante: Nicknamed "L'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.

Caprice No. 2 in B minor - Moderato: The second caprice in B minor focuses on detache with many string crossings across non-adjacent strings.

Caprice No. 3 in E minor - Sostenuto - Presto - Sostenuto: Caprice No. 3 is a slurred legato exercise with octave trills in the introduction and conclusion.

Caprice No. 4 in C minor - Maestoso; Caprice No. 4 is an exercise featuring passages with many multiple stops.

Caprice No. 5 in A minor - Agitato: This caprice focuses on fast ricochet bowings. It begins and ends with a section of ascending arpeggios followed by descending scales.

Caprice No. 6 in G minor - Lento: 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.

Caprice No. 7 in A minor - Posato: This caprice focuses on slurred staccato passages, featuring many long slurred scales and arpeggios.

Caprice No. 8 in E-flat major - Maestoso: Caprice No. 8 focuses on sustaining a lower note while playing a higher melody at the same time, meanwhile incorporating many trills and double stops.

Caprice No. 9 in E major - Allegretto: Nicknamed "La Chasse" or "The Hunt", the violin's A and E strings imitate the flutes ("Sulla tastiera imitando il Flauto"), while the G & D strings imitate the horns ("imitando il Corno sulla D e G corda"). Primarily a study in double stops, with ricochet occurring in the middle section.

Caprice No. 10 in G minor - Vivace: This caprice is primarily a study in up-bow staccato, with staccato notes punctuated by chords, trills and distant string crossings.

Caprice No. 11 in C major - Andante – Presto – Andante: 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.

Caprice No. 12 in A-flat major - Allegro: 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.

Caprice No. 13 in B-flat major - Allegro: Nicknamed "The Devil's Laughter", this solo violin piece 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. The piece then repeats back to the beginning and ends right before reaching the second part for the second time.

Caprice No. 14 in E-flat major - Moderato: The 14th caprice displays the violin's ability to voice chords. It contains many triple and quadruple stops. Stylistically, the piece imitates brass fanfares.

Caprice No. 15 in E minor - Posato: Caprice 15 starts with a short passage of high parallel octaves, continuing on to ascending arpeggios, descending scales, and broken thirds.

Caprice No. 16 in G minor - Presto: The first part shows the theme, requiring a player's ability of right-hand and left-hand bow control as it consists of arpeggios using either alternate adjacent strings or string jumping. The former requires the player the mastery of upper register, as it is difficult to control especially with the distance. The latter on the other hand requires the performer to master string skipping, where a player jumps from one string to another, rapidly over adjacent positions. The over-all required technique is detache.

The second part is continuous —the earlier part is a consequent passage. The next area differentiates itself by the continued use of a quieter feel, with chromatic passages executed in slur phrases. By analysis, the second part is smorzando legato. It returns with a series of up and down arpeggios and scales increasing in intensity until the caprice's conclusion. The caprice appears to be brief since its entire length is executed in presto.

Caprice No. 17 in E-flat major - Sostenuto – Andante: 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.

Caprice No. 18 in C major - Corrente – Allegro: The introduction to caprice 18 demonstrates playing on the G string in very high positions. This is followed by a rapid display of scales in thirds.

Caprice No. 19 in E-flat major - Lento – Allegro Assai: Here are a lot of 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.

Caprice No. 20 in D major - Allegretto: 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 No. 21 in A major - Amoroso – Presto: 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.

Caprice No. 22 in F major - Marcato: Caprice 22 explores many types of double and triple stops with louré bowing, then implementing various elements of slurred staccato, slurred tremolos and strings crossings.

Caprice No. 23 in E-flat major - Posato: Caprice No. 23 begins with a melody in octaves in E-flat. The middle, contrasting section is a formidable exercise in string crossings: it requires the violinist to play patterns of 3 sixteenth notes on the G string and then cross quickly to play one on the E string, and then back to the G string, all at a quick tempo.

Caprice No. 24 in A minor - Tema con Variazioni (Quasi Presto): Caprice No. 24 in A minor is the final caprice of Niccolò Paganini's 24 Caprices, and a famous work for solo violin. The work, in the key of A minor, consists of a theme, 11 variations, and a finale.

It is widely considered one of the most difficult pieces ever written for the solo violin. It requires many highly advanced techniques such as parallel octaves and rapid shifting covering many intervals, extremely fast scales and arpeggios including minor scales in thirds and tenths, left hand pizzicato, high positions, and quick string crossing.

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Niccolò Paganini - 24 Caprices for solo Violin, Op. 1.

Pyotr Ilyich Tchaikovsky: Piano Concerto No. 1 in B flat Minor, Op. 23, TH. 55: I. Allegro non troppo e molto maestoso (Fragment)

Tchaikovsky: Piano Concerto No. 1 in B flat Minor, Op. 23: I. Allegro non troppo e molto maestoso

Il ne faut pas longtemps à Johann van Beethoven pour détecter le don musical de son fils et réaliser le parti exceptionnel qu’il peut en tirer. Songeant à l’enfant Mozart, exhibé en concert à travers toute l’Europe une quinzaine d’années plus tôt, il entreprend dès 1775 l’éducation musicale de Ludwig et, devant ses exceptionnelles dispositions, tente en 1778 de le présenter au piano à travers la Rhénanie, de Bonn à Cologne. Mais là où Léopold Mozart avait su faire preuve d’une subtile pédagogie auprès de son fils, Johann van Beethoven ne semble capable que d’autoritarisme et de brutalité et cette expérience demeure infructueuse, à l’exception d’une tournée aux Pays-Bas en 17817. Parallèlement à une éducation générale, qu’il doit pour beaucoup à la bienveillance de la famille von Breuning (chez qui il passe désormais presque toutes ses journées et parfois quelques nuits) et à son amitié avec le médecin Franz-Gerhard Wegeler auxquels il fut attaché toute sa vie, le jeune Ludwig devient l’élève de Christian Gottlob Neefe (piano, orgue, composition) qui lui transmet le goût pour la polyphonie en lui faisant découvrir Le clavier bien tempéré de Bach. Il compose pour le piano, entre 1782 et 1783, les 9 variations sur une marche de Dressler et les trois Sonatines dites « à l’Électeur» qui marquent symboliquement le début de sa production musicale. Enfant, son teint basané lui vaut le surnom de « l'Espagnol » : cette mélanodermie fait suspecter une hémochromatose à l'origine de sa cirrhose chronique qui se développera à partir de 1821 et sera la cause de sa mort. (wikipedia)

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Tchaikovsky: Piano Concerto No. 1 in B flat Minor, Op. 23: I. Allegro non troppo e molto maestoso

Gulan (aka Andrei Gulaikin)

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