Paganini, Niccolò
Complete Solo Guitar Works
620 g
Delivery state   Available
Re-issue of our successful previous Paganini edition, now in one volume; all Paganini´s solo works for guitar are included. Full commentaries by Giuseppe Gazzelloni and complete facsimiles make this the standard edition for this repertoire.
Neuauflage unserer alten, erfolgreichen Paganini Ausgabe, jetzt in einem Band. Enthält alle Werke Paganinis für Gitarre Solo. Der ausgiebige Kommentar von Giuseppe Gazzelloni und vollständige Faksimiles, machen dies zur Standardausgabe dieses Repertoires.
47 Ghiribizzi (M.S.43), 37 Sonate (M.S.84), Composizioni Varie (M.S.85-105)
Niccolò Paganini 1782-1840
Recent research has confirmed Paganini’s predilection for the guitar and with it the important stimulus that it had on his creative output. It is now clear that his fascination with the instrument lasted throughout his life. He began his guitar studies when he was still a boy his Variazioni sulla Carmagnola for violin and guitar were composed when he was 12.

Paganini’s father, Antonio, first taught him to play the mandolin and later the violin, his guitar tuition is unclear. Some claim that Rolla taught Paganini the guitar. There is no evidence for this, beyond the fact that Rolla composed some sonatas for violin and guitar, so probably it was his father also provided him with the rudiments of guitar technique. Interestingly, Antonio’s elder son, the violinist Carlo Paganini, was also a proficient guitarist; the theory that Antonio taught both his sons is strengthened by this fact. In any case, Paganini first established contact with Rolla at the time of his studies in Parma in 1796-7, after he had composed the Carmagnola con variazioni (M.S. 1). That his guitar playing may have improved under Rolla’s instruction cannot be denied.

Very little is known of Paganini’s youth but references in his 'Notice Autobiographique' relate: Paganini constantly used the guitar for composing and Ferdinando Carulli refers to this in his Guitar Method: “It is not generally known that Paganini was an excellent guitarist and that he composed most of his airs on that instrument, arranging and developing them on the violin according to his fancy”. From the same source: “Paganini plays the guitar extraordinarily well, executing difficult chords and magnificent arpeggios, using fingering which is his own and very special”

Berlioz praised him in a similar manner: “Occasionally, when he tired of the violin, he took from his case a collection of duets that he had composed for violin and guitar, an as yet unidentified collection, and together with the worthy German violinist M. Sina, active professionally in Paris, he played the guitar part to extraordinary effect. Sina the humble violinist and Paganini the incomparable guitarist, spent long evenings alone in this way. Even the most important people were not admitted to these evenings.”
Paganini knew the most eminent guitarists of his day. But the manner in which he develops the technical form of his compositions is always original and does not reveal their influence. He met Giuliani in 1821, Carulli in 1831 and Zani de Ferranti in 1834; giving the latter a particularly flattering testimonial. When he met Legnani in 1836 he described him as the “leading player of the guitar”. They became friends and agreed to play a series of concerts in Turin that year. There is, however, no evidence to suggest that they ever actually performed in public together – maybe because of Paganini’s poor health.
In the light of Paganini's continuous interest in the guitar, his works for this instrument naturally merit the attention they are now beginnig to receive.