Theme and Variations is arguably one of the oldest musical forms in music history. Composers have used certain themes repeatedly as thematic sources for variations. Among them, Paganini's Caprice No. 24 in A minor is certainly the best known, since the theme has inspired many composers for variations of their own. The purpose of this study is to analyze different sets of Variations on Paganini's theme by Franz Liszt, Witold Lutoslawbski, Johannes Brahms, and Sergei Rachmaninoff, in order to examine, identify, and trace how far an original idea can be stretched by using different variations techniques and their applications. Liszt transcribed Paganini's 24th Caprice for the piano, adding a multi-layered sound to the original Caprice. His treatment of the Paganini theme is the most literal. Lutoslawski's Paganini Variations is written for duo piano. This piece builds on Liszt's transcription technique: it stays close to the original Paganini Caprice, but at the same time overlays many 20 th century compositional devices such as atonality and complex rhythmic devices. Lutoslawski carries Liszt one step further away from Paganini's original theme. In his Variations on a Theme of Paganini, op. 35, Brahms keeps the clear structure and strong harmonic progression of the original theme, but carries his invention further away from the source than Liszt and Lutoslawski. His compositional technique includes adding new harmonies within the harmonic structure, marking different tempo indications and meter changes, playing with a variety of rhythm and motives, as well as accentuating the harmonic progression and the bass progression. Rachmaninoff's Rhapsody on a Theme of Paganini, Op. 43 is the most personal. He places greater emphasis on the melodic and motivic elements of the theme, and nearly exhausts every option of transformation. Rachmaninoff's extensive development represents the furthest point away from Paganini's source.

From the middle of the eighteenth century, the use of left-hand pizzicato and harmonics began to become more common in violin playing. Over time, these techniques underwent substantial developments thanks to several different violinists, among others Heinrich Wilhelm Ernst. These developments, however, have not been adequately investigated or documented, and in general, ignorance and misconceptions prevail regarding who contributed what, as well as to the significance of these individual contributions.This thesis attempts to present Ernst's contributions in this area, and also advance that his lack of adequate recognition is unfair. In order to do this, a more complete and chronologically accurate review of the development of left-hand pizzicato and harmonics from the beginning of their development has been drawn up. This has been done through critical reviews and comparisons of different contemporary sources such as musical journals, violin methods and musical scores.The conclusion has been drawn that Ernst contributed to the development of left-hand pizzicato and harmonics to a greater extent than has been adequately recognised. The importance of his role in this development is partially due to the number of his individual contributions, but primarily because he enabled the violin to play the role of several independent instruments played simultaneously in a more advanced fashion, which has arguably changed the outlook of the instrument.

Thesis (M.Phil.) - University of Queensland, 2005. / Includes bibliography.

The theoretical part of the thesis describes the live of Franz Liszt and his personality, focusing also on his personality, pedagogical work and innovative approaches in music. The practical part analyzes interpretation problems in his piano cycles Consolations, Harmonies poetiques et religieuses, Hungarian rhapsodies and Grandes Etudes de Paganini.

This dissertation on Rachmaninoff's Rhapsody on a Theme by Paganini, Op.43 is divided into four parts: 1) historical background and the state of the sources, 2) analysis, 3) semantic issues related to analysis (discourse), and 4) performance and analysis. The analytical study, which constitutes the main body of this research, demonstrates how Rachmaninoff organically produces the variations in relation to the theme, designs the large-scale tonal and formal organization, and unifies the theme and variations as a whole. The selected analytical approach is linear in orientation - that is, Schenkerian. In the course of the analysis, close attention is paid to motivic detail; the analytical chapter carefully examines how the tonal structure and motivic elements in the theme are transformed, repeated, concealed, and expanded throughout the variations. As documented by a study of the manuscripts, the analysis also facilitates insight into the genesis and structure of the Rhapsody. How Rachmaninoff develops his ideas through several notebooks - including sketches and drafts - is described. Later parts of the dissertation deal with programmatic aspects of the Rhapsody. Related to the composer's significant use of the Dies Irae melody, semantic issues concerning "love and death" are taken into account and closely related to the specific structure of the piece. Rachmaninoff's symphonic poem, The Isle of the Dead, is a work which bears some intriguing resemblances to the Rhapsody in its larger structure as well as its ideology. Therefore, an interpretation of this work is provided to show the special relationship between the two pieces. The last chapter presents a discussion of two recordings of the Rhapsody by Rachmaninoff and Moiseiwitsch made in 1934 and 1938 respectively. Comparing and contrasting the different interpretations of each variation in these two historical recordings, this concluding part of the study explores ways in which analysis can be realized through performance.

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The first three recitals included one recital of chamber music and two recitals of solo piano music. The first recital consisted of music for clarinet and piano, performed with Dr. Lee Gibson of the music faculty of North Texas State University. This program included the Mozart Clarinet Concerto, Five Atonal Pieces by William Latham, Sonata in F minor by Johannes Brahms, and Four Pieces for clarinet and piano by Alban Berg. The second recital contained the D minor Concerto of Marcello, transcribed by J. S. Sach, Sonata No. 1 by Karl Haria von Weber, Sposalizio by Franz Liszt, Sonata in F by Nels Harveland, and Three Fantasies from Opus 116 by Johannes Brahms. The third recital consisted of the F minor Fantasy by Mozart, Variations on a Theme of Rameau by Paul Dukas, Sechs Kleine Klavierstucke by Arnold Schoenberg and Four Preludes by Sergei Rachraaninov. The fourth recital featured a comparison of selected Liszt and Schumann piano transcriptions of Paganini Viol in Caprices. Musical examples comparing the Paganini Caprices and the transcriptions by Liszt and Schumann, in addition to examples comparing the similarities and differences between the transcriptions of Liszt and Schumann, were interspersed throughout the lecture.

Since the late 1970s much interest has been shown in the development of electric guitar technique. Advances have been considerable, enabling players to explore new genres and repertoires but development methodologies have remained woefully fragmented. A new approach that sets out to promote electric guitar technique with development methodology is the purpose of this study. To this end, a process of transcription combined with an advanced technical analysis has been undertaken including a full categorization of the technical subgroups extant within each Caprice. The hypothesis behind this task has been to ascertain whether a ‘technical essence’ could be discovered in the Caprices and how that could be imparted in the process of transcription. Transcribing the 24 Caprices for the electric guitar disclosed the technical components required for development which were then reduced to their constitute elements. The virtuosity and variation within the Caprices ensured that the each identified technique was developed to a high degree. The subjective nature of transcription ensured that multiple solutions were explored when a single solution to a technical problem was not obvious. The analysis section of the study demonstrated that three fundamental techniques were required to play all 24 Caprices: alternate-picking, sweep-picking, and hammer-ons and pull-offs. The analyses also provided trends showing how each technique needed to be developed to comprehensively cover all twenty-four pieces. In conclusion, the hypothesis was found to be correct.

Only a few of RakJimaninov's compositions were popular with audiences during the lifetime of this Titan of the piano. Such youthful works as the Prelude in c# minor, op. 3, no. 2 and the Piano Concerto no. 2, op. 18 demonstrated only one facet of a creative process that evolved throughout his life. The purpose of this thesis, therefore, is to consider the extent of Rakhmaninov's stylistic evolution, especially the changes embodied in the large scale piano solo, Variations on a Theme of Corelli, written in the last decade of the composer's life. In the discussion of Rakhmaninov's lifelong stylistic development the author considers three distinct stages in his life as important landmarks. The first stage shows certain early influences upon the composer's creative powers, whether conscious, such as his acknowledged sensitivity to melody, or unconscious, such as medieval chant (Dies Irae), the sound of church bells, poetry and painting. The second addresses the question of the mixed legacy of Rakhmaninov's break with the past, when he left Russia in 1917 to re-settle in the United States the next year. On the one hand he never entirely broke his links with "Mother Russia," his fascination with the sounds of bells and chants, in his last decade of musical composition. For example, a comparison of the ancient Dies Irae theme with the La Folia tune that Corelli had used reveals striking similarities that Rakhmaninov undoubtedly found attractive, albeit unconsciously. On the other hand, he was inspired to seek a new conciseness of style and form in composition. The third stage relates to trends nurtured perhaps by his friendship with eminent string players and performers in America such as Fritz Kreisler. It is not surprising that Rakhmaninov's last two important works owe their themes to famous violin pieces: the Folia tune used by Arcangelo Corelli in the Corelli Variations and Paganini's well known 24th Caprice in the Paganini Rhapsody. These new directions in Rakhmaninov's music are most clearly present in the Corelli Variations, which are examined in terms of: (a) a new keyboard style; (b) string influenced variations; (c) elements of American jazz; and (d) a new clarity of structure. Finally, the writer examines similarities between the Corelli Variations and the Paganini Rhapsody that writers have sometimes touched upon. / Arts, Faculty of / Music, School of / Graduate

The diploma thesis investigates 24 Caprices for Solo Violin op. 1 by Nicolo Paganini in great detail. It also includes a brief biography of the famous performer and composer but mainly focuses on 24 caprices op. 1. The author of this work addresses circumstances of their creation, their main features and methodology problems. He further looks into interpretation options and compares recordings of Ruggiero Ricci, Ivan Kawaciuk, Itzhak Perlman and Shlomo Mintz. The aim of the work is to offer violinists who study any of the capricies recommendation regarding technic and interpretation problems.