PAGANINI 24 CAPRICES for Guitar VOL.1 ELIOT FISK master series SPARTITI CHITARRA LIBRO 1-12

PAGANINI NICCOLO', 24 CAPRICCI OP.1. VOL.1. L'opera completa dei 24 capricci trascritti per chitarra da Eliot Fisk. Dal n.1 al n.12. Vi ricordate la sfida tra Steve Vai e il giovane ragazzo nel film "crossroads" uscito in Italia con il titolo "Mississippi adventures"? Quelle scale e quegli arpeggi sono presi dal Capriccio n. 5.

SHEET MUSIC BOOK FOR GUITAR . 

LIBRO DI MUSICA CLASSICA .

SPARTITI PER CHITARRA CON PENTAGRAMMA . 

TRASCRITTO E DITEGGIATO DA ELIOT FISK.

PAGANINI, NICCOLO
24 Caprices, Volume 1 (Fisk)
Caprices 1-12
"These Caprices should be heard more often on guitar for the sake of the guitar. This is a musical feat well worth the effort&any one of the 24 could provide material for masses of practice&such a schedule should improve even the very best players. With comments, fingerings, exercises and advice from Fisk on these masterworks.&the editor has worked hard to present the reader with a solution&I can only recommend this sturdy issue to all of the Paganini devotees out there." Neil Smith, Classical Guitar Magazine

"I'm sure many of you were blown away when you listened to the Fisk CD of Paganini Caprices, but now the transcriptions of his arrangements are now published!" Guitar Magazine

"Finally, we have the book to accompany Fisk's wonderful CD. This publication is exemplary!" Gitarre & Laute Magazine

"Now with these transcriptions, the definition of a guitar virtuoso is at a new level." D.B., American String Teacher Magazine

ELIOT FISK
Since his first solo recital at the age of thirteen, Eliot Fisk has performed in major concert halls on four continents. He has devoted considerable energy to expanding the repertoire of the guitar-first through his transcriptions of literally hundreds of compositions by masters of the past (Frescobaldi, Froberger, Scarlatti, ].S. Bach, Soler, Haydn, Mozart, Schubert, Schumann, Mendelssohn, Paganini, Granados, and others) and second, through intense collaboration with contemporary composers such as Robert Beaser, Luciano Berio, Nicholas Maw, and George Rochberg, all of whom have written major works for him. In addition to his numerous recordings, he performs regularly in recital and as soloist with orchestra. Mr. Fisk has sustained a life long passion for chamber music, working frequently with flutist Paula Robison, and also performing with Victoria de los Angeles and Hermann Prey, cellist Steven Isserlis, double bassist Gary Karr, and violinists Gidon Kremer and Dmitri Sitkovetsky among others. Eliot Fisk is also active as a teacher. He has taught at Yale University (where he founded the guitar department upon earning his M.M.A. in 1977), the Hochschule fur Musik in Koln (where he was Professor from 1982 - 1990), and was recently appointed Professor of Guitar at the "Mozarteum" in Salzburg where he founded the Andres Segovia Institute, as a tribute to the great Spanish guitarist who was his teacher and mentor. The Institute seeks to develop new and creative solutions to problems in performance practice, instrumental technique, and career development facing young musicians today. Eliot's 1992 Music Masters release of Paganini's Caprices climbed to 18th place on the Billboard classical charts, and elicited awe and astonished praise from around the country.  

For me there are three great landmarks along the Gradus ad Pamassum of guitar technique: the

essential Etudes of Fernando Sor, the 12 Etudes of Heitor Villa-Lobos, and a final peak of truly daunting
proportions, the 24 Cap ricci, Gp. 1, of Niccolo Paganini. John Williams opened the door to this final
possibility some years back when he showed so superbly that the Capriccio 24 could be played on the
guitar. I began to experiment with others in the set around 1977, and slowly became convinced that
a way could be found to play all 24 on the guitar in the original keys. I often felt like Dante at the start
of the Divina Commedia: lost in a dark wood with no idea how to get out: "mi ritrovai per una selva
oscura che la diritta via era smarrita."
At times this feeling approached that famous inscription over the gates of the same author's inferno:
"Lasciate ogni speranza, voi ch'entrate" ("Abandon all hope, ye who enter here!"). Nevertheless, little
by little I found ways of negotiating what had seemed impossible. Along the way a lot of people gave
encouragement. I would like to single out Antonio de Innocentis of Caserta, Italy, who, in addition
to his careful proofreading of the engravings for this edition shared with me some of his tricks of the
trade, particularly in Capricci 11, 15, and 17. Enormous artistic inspiration came from maestro
Ruggiero Ricci who graciously shared the wisdom of over half a century's experience of performing
and living with these works of genius and who even made some specific practical suggestions on how
to transcribe some intransigent passages in parallel octaves in the first part of Capriccio 23!
At this writing, after 15 years of playing these pieces on the guitar, I can still say, time permitting, I
would happily spend an entire day practicing any single Capriccio of the 24. So rich are their
instrumental and musical possibilities. I'd like to share a few tips that have helped me along the way:
1) Isolate the difficulties: Even in the most difficult passages most of the notes are not hard to play.
It's the 10 - 20% that are truly hard to get to or from that can make an entire passage sound sloppy.
Therefore: Analyze through slow practice exactly where the difficulties lie. Practice what's difficult.
Don't be scared by what is not difficult! When you lose your fear, you play better.
2) Transpose difficult passages in the order of the cycle of fifths until you have played the difficult
passage in 12 keys. (A "passage" may be as short as 4 notes!)
3) Experiment with various rhythmic alterations of difficult passages. ... (continua)
 
24 CAPRICES, OP. 1,
Volume 1

 

I E major: Andante
II B minor: Moderato
III E minor: Sostenuto; Presto; Sostenuto
IV C minor: Maestoso
V A minor: Agitato
VI G minor: Lento
VII A minor: Posato
VIII Eb major: Maestoso
IX E major: Allegretto
X G minor: Vivace
XI C major: Andante; Presto; Primo tempo
XII Ab major: Allegro
VI (addendum)

 

Paganini originally divided the Caprices into three books: I - VII VII - XIII and XIII - XXIV
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