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Fazil Say - Paganini Jazz

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Fazil Say
Paganini Jazz

Instrumentation: Klavier
Material: Partitur
Miscellaneous: Variationen über die Caprice Nr. 24 im Stil des Modern Jazz
Publisher: Schott Music
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Item #: SCHOM08853
Collection: The Virtuoso Piano Transcription Series - Band 11
Difficulty: 5 (1-6)
Duration: 4 min
Binding: Rückendrahtheftung
Number of pages: 20
Publication date: 2007

Description:
Fazil Says Paganini Jazz (1988-98) über das Thema aus Paganinis berühmter Caprice Nr. 24 in a-Moll für Violine solo ist gleichermaßen vom Stil der klassischen Musik, der Moderne und vor allem des Jazz inspiriert, denkt man etwa an Namen wie Scott Joplin, Art Tatum, George Gershwin und Leonhard Bernstein. Ursprünglich 1988 als reizvolle Zugabe erdacht, wurde es auf die anerkennende Reaktion von Musikliebhabern und Musikkritikern hin zwischen 1988 und 1995 mehrere Male umgeschrieben und erweitert. Anders als seine Vorgänger in der Berarbeitung der Caprice, darunter Liszt, Brahms, Rachmaninow und Lutoslawski, hat Say seine virtuosen Jazzvariationen nicht als geschlossenen Zyklus, sondern der Musizierweise des Jazz gemäß als offene Form konzipiert / The concert piece Paganini Jazz by Fazil Say, which was inspired by classical, modern and jazz styles, is reminiscent of the music of such greats as Scott Joplin, Art Tatum, Gershwin and Bernstein, and was originally designed as a charming encore work (1988); following the appreciative response of music lovers and, in particular, that of music critics, it was transformed over a perion of time into a more substantial work for piano. Briefly, the piece was rewritten and expanded a number of times between 1988 and 1995. We can evaluate the work as having taken its inspiration from Paganini's renowned `24th Capriccio`, transforming it into `variations on jazz` requiring virtuoso rendition as well as being a creation open to the addition of improvisations and a variety of arrangements. Throughout music history a number of composers have written various works inspired by the `24th Capriccio`. We can count among them Liszt, Brahms, Rachmaninov and Lutoslavski. In Say's work, however, a different aspect must be noted: the composer is prepared to add various `developmental passages` and `transitional improvisations` while interpreting this work in concert. Furthermore, when the work is considered as a short encore piece, it is abbreviated in a manner deemed suitable by Say