Paganini - Violin concerto N6 e-moll op.post


Paganini - Violin concerto N6 e-moll op.post. You can download the PDF sheet music Paganini - Violin concerto N6 e-moll op.post on this page. Concerto for Violin and Orchestra in E minor, op. post. (no. 6)

  1. Risoluto
  2. Adagio
  3. Rondo ossia Polonese

From a formal and stylistic point of view Paganini's E minor Concerto owes much to the example of Viotti and his school, though the structure, of the first movement in particular, is somewhat looser. The short but expressive Adagio would doubtless have been ornamented in performance, as was the case with Viotti's slow movements. The finale, a Polonaise in rondo form, has a lively principal theme framing playful episodes in which the upper reaches of the fingerboard arc effectively exploited. Viotti's Concerto no. 13 in A major was the work that had initiated the craze for this type of concerto finale. In technique, though, Paganini's Concerto is more demanding than most of those of the Viotti School, especially in its use of extremely high notes, multiple stopping and passages of broken tenths.

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Instrument part: 17 pages. 1381 K

 

Piano part: 32 pages. 1213 K

 

Paganini - Violin concerto N6 e-moll op.post - Instrument part - first page Paganini - Violin concerto N6 e-moll op.post - Piano part - first page
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Paganini's own Concerto in E minor, predates his Concerto no. 1 by several years. He seems to have performed the Concerto in E minor as a "new work" in Milan in early summer 1815 and again in his native city of Genoa in September of the same year. However, within a short time he apparently suppressed it. and for many years it was lost. Even now no full score or orchestral parts have been traced; but the discovery of a solo violin part in manuscript and a guitar arrangement of the accompaniment has allowed a convincing reconstruction to be made.  In comparison with Paganini's other concert pieces from the same period it is nevertheless remarkably restrained, containing no left-hand pizzicato or passages involving harmonics. Probably this is because a concerto was regarded as requiring a more serious and elevated tone, and Paganini did not yet feel confident enough to challenge that convention.
 
 
     
 
 
 
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