The final caprice of Niccolò Paganini’s 24 Caprices for violin published in 1819 has served as a point of inspiration for many a composer and the theme for many a set of variations. Indeed, it is quite the perfect theme for such treatment, with its regular form and as a melody that possesses just enough distinctness while leaving seemingly endless room for the composer’s imagination to reshape. Paganini himself provided the first set of variations. Of the variation sets that followed in the 19th century, Johannes Brahms’s two books of variations, published as his opus 35, are the most notable, but Franz Liszt’s set as the sixth and final Étude d’exécution transcendante d’après Pagnini should not be overlooked. But, of the many that have appeared from the pens of 20th century composers, Sergei Rachmaninoff’s set of variations is unquestionably the most familiar set to any admirer of classical music.
Composed at his villa in Switzerland during the summer of 1834, the Rhapsody of a Theme of Paganini is one of the composer’s last works. It is unique among the compositions that surround it. Rachmaninoff’s pace of composition slowed considerably in his later years, but the Rhapsody was written over the course of a month and a half. It also shuns the stark and cold modern style the composer had adopted in such works as the Variations on the Theme of Corelli for the lush post-Romantic style of his early piano concertos.
Employing the full forces of the orchestra and the piano, the Rhapsody actually embodies the three-movement form of the concerto. The first ten variations mark the work’s first major section, beginning with an introduction in which fragments of the theme are heard. Rachmaninoff delays the actual presentation of the theme proper by preceding it with a variation, quite likely an imitation of the finale of Beethoven’s Eroica Symphony. The seventh variation mixes with Paganini’s caprice one of the trademarks of Rachmaninoff’s major compositions—the Dies Irae chant. Some have wondered if the inclusion of the “Day of Wrath” chant from the Requiem Mass is not an allusion to the myth that Paganini sold his soul to the Devil in exchange for his virtuosic talents. The eleventh variation starts what might be considered the “slow movement,” and culminates in the memorable and lovely eighteenth variation. Based on an inversion of the theme in D-flat major, this variation has become the most recognized portion of the work. Lastly, the remaining variations form the work’s “finale,” culminating in the technically challenging twenty-fourth and final variation. Joseph DuBose
Located in historic Round Top, Texas, The James Dick Foundation for the Performing Arts and its sole project, The International Festival-Institute at Round Top, were founded in 1971 by world-renowned concert pianist James Dick. Begun with a handful of gifted young pianists in rented space on the town square, the project is now an internationally acclaimed European-styled music institute for aspiring young musicians and distinguished faculty. Over a thirty eight year period and with the help of its patrons and friends, The James Dick Foundation for the Performing Arts has developed superb year round education and performance programs.
Classical Music | Piano Music
Sergei Rachmaninov
Rhapsody on a Theme of Paganini, in a minor, opus 43 Play
Recorded on 01/01/1995, uploaded on 05/21/2009
Musician's or Publisher's Notes
The final caprice of Niccolò Paganini’s 24 Caprices for violin published in 1819 has served as a point of inspiration for many a composer and the theme for many a set of variations. Indeed, it is quite the perfect theme for such treatment, with its regular form and as a melody that possesses just enough distinctness while leaving seemingly endless room for the composer’s imagination to reshape. Paganini himself provided the first set of variations. Of the variation sets that followed in the 19th century, Johannes Brahms’s two books of variations, published as his opus 35, are the most notable, but Franz Liszt’s set as the sixth and final Étude d’exécution transcendante d’après Pagnini should not be overlooked. But, of the many that have appeared from the pens of 20th century composers, Sergei Rachmaninoff’s set of variations is unquestionably the most familiar set to any admirer of classical music.
Composed at his villa in Switzerland during the summer of 1834, the Rhapsody of a Theme of Paganini is one of the composer’s last works. It is unique among the compositions that surround it. Rachmaninoff’s pace of composition slowed considerably in his later years, but the Rhapsody was written over the course of a month and a half. It also shuns the stark and cold modern style the composer had adopted in such works as the Variations on the Theme of Corelli for the lush post-Romantic style of his early piano concertos.
Employing the full forces of the orchestra and the piano, the Rhapsody actually embodies the three-movement form of the concerto. The first ten variations mark the work’s first major section, beginning with an introduction in which fragments of the theme are heard. Rachmaninoff delays the actual presentation of the theme proper by preceding it with a variation, quite likely an imitation of the finale of Beethoven’s Eroica Symphony. The seventh variation mixes with Paganini’s caprice one of the trademarks of Rachmaninoff’s major compositions—the Dies Irae chant. Some have wondered if the inclusion of the “Day of Wrath” chant from the Requiem Mass is not an allusion to the myth that Paganini sold his soul to the Devil in exchange for his virtuosic talents. The eleventh variation starts what might be considered the “slow movement,” and culminates in the memorable and lovely eighteenth variation. Based on an inversion of the theme in D-flat major, this variation has become the most recognized portion of the work. Lastly, the remaining variations form the work’s “finale,” culminating in the technically challenging twenty-fourth and final variation. Joseph DuBose
More music by Sergei Rachmaninov
Romance, Op. 11 No. 5
Etude-Tableau in A minor, Op. 39, No. 6
Prelude Op. 3, No. 2, in c-sharp minor
Prelude Op. 32, No. 5, in G Major
Loneliness, Op. 21 No. 6
Prelude Op. 23, No. 10, in G-flat Major
Moment Musicaux Op. 16, No. 3
Prelude Op. 23 No. 5
Moment Musicaux Op. 16, No. 4
Piano Concerto No. 3 in d minor, Op. 30
Performances by same musician(s)
Concerto for Piano and Orchestra No. 4, Op. 58 (Rondo Vivace)
Piano Concerto No. 5 in E-flat major, Op. 73
Piano Concerto No. 1 in b-flat minor, Op. 23
Piano Concerto No. 2 in g minor, Op. 22
Piano Quintet in g minor, op. 57
Concerto for Piano and Orchestra (Canzone)
Piano Quintet No. 1 in d minor, Op. 89
Rhapsody on a Theme of Paganini, Op.43 (Variation 18)
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Courtesy of The International Festival-Institute at Round Top
Located in historic Round Top, Texas, The James Dick Foundation for the Performing Arts and its sole project, The International Festival-Institute at Round Top, were founded in 1971 by world-renowned concert pianist James Dick. Begun with a handful of gifted young pianists in rented space on the town square, the project is now an internationally acclaimed European-styled music institute for aspiring young musicians and distinguished faculty. Over a thirty eight year period and with the help of its patrons and friends, The James Dick Foundation for the Performing Arts has developed superb year round education and performance programs.