Within a historical, analytical, and archival study of Paganini's 24 Caprices, Op. 1, is an examination of their influence on contemporaneous pianists and on later composers of violin caprices. Sigismund Thalberg, Robert Schumann, and Franz Liszt all sought to transfer Paganini's 24 Caprices or distinctive techniques from a specific caprice to the piano. In contradistinction, Chopin did not attempt to transfer Paganini's idiom to the piano, although Paganini's Op. 1 may have provided inspiration for his own twenty-four etudes, Op. 10 and Op. 25. Similarly, although Paganini's 24 Caprices exerted influence on later nineteenth-century violin caprices, these works generally do not model the 24 Caprices' serious affect and instead include special effects that suggest the influence of his less serious and often unnotated concert works. Extensive lists of compositions dedicated to Paganini and compositions influenced or based upon his works are included, as well as a facsimile of the autograph manuscript of the 24 Caprices.

Works: Sigismund Thalberg: Prière de Moïse (15-16); Chopin: Etude, Op. 10, No. 1 (19-20), Etude, Op. 10, No. 5 (19-20), 12 Etudes, Op. 25 (19-20); Robert Schumann: 6 Etudes pour le pianoforte d'après les caprices de Paganini, Op. 3 (24-25), 6 Etudes de concert . . . d'après des caprices de Paganini, Op. 10 (24-25, 195-96); Liszt: Grandes Études de Paganini transcrites pour le piano et dédiées à Clara Schumann (30-31).

Sources: Paganini: Introduction and Variations on 'Nel cor più non mi sento' from Paisiello's "La molinara" (15-16), 24 Caprices, Op. 1 (18-20, 24-25, 30-31, 195).

Index Classifications: 1800s

Contributed by: Virginia Whealton