Serenata p[er] l'amandolino, e Chittara Francese [in G major] di Nicolò Paganini. Autograph musical manuscript. Complete. Undated, but between 1805 and 1808. Nicolò PAGANINI.

Serenata p[er] l'amandolino, e Chittara Francese [in G major] di Nicolò Paganini. Autograph musical manuscript. Complete. Undated, but between 1805 and 1808.

Oblong folio (ca. 201 x 300 mm.). In two movements, 33 measures in total. Notated in ink on 10-stave hand-ruled paper. The first movement (17 measures in 6/8 time) with "Larghetto" at head, "Da Capo" at end; the second movement (16 measures in 2/4 time) with "And[anti]no" at head; "Fine" at conclusion.

Two measures extending into right margin.

With manuscript note to verso signed "Christofforo Accame" attesting to the fact that the present autograph was given to him by the Italian violinist and composer [Camille] Sivori at his villa in S. Martino d'Albaro at the end of October, 1883.

Very slightly worn and soiled; creased at folds and slightly overall; right margin with two short tears to blank area; a few small smudges. In very good condition overall.

The present Serenata was composed between 1805 and 1808. Moretti and Sorrento: Catalogo Tematico delle Musiche di Niccolò Paganini, M.S. 16, pp. 50-51.

Apparently the only autograph source for the work. The first edition, edited by Danilo Prefumo, was published in Padova by Libreria Musicale G. Zanibon in 1979 ("Pantheon Musicale" collana di musiche antiche italiane).

Paganini wrote more than 100 works for the guitar. The present work is contemporary to his composition of the Sonata per Rovene per mandolino e chitarra, M.S. 14. Moretti and Sorrento pp. 45-47.

Paganini received the beginnings of his musical education from his father Antonio, who taught him both the mandolin and the violin. "By his development of technique, his exceptional skills and his extreme personal magnetism he not only contributed to the history of the violin as its most famous virtuoso but also drew the attention of other Romantic composers, notably Liszt, to the significance of virtuosity as an element in art. As a composer of a large number of chamber works, mostly with or for guitar, Paganini was influential in furthering the performance and appreciation of music in private circles." Edward Neill in Grove Music Online.

Camille Sivori (1815-1894) was an Italian violinist and composer. "A child prodigy, he received his first lessons from Restano, then studied violin with Paganini’s former teacher Giacomo Costa, maestro di cappella at the cathedral of S Lorenzo... Between October 1822 and May 1823 Paganini was in Genoa, and, favourably struck by the young violinist, decided to give him lessons. Their relationship was brief but intense, and Paganini regarded Sivori as the only pupil for whose formation he was responsible (‘the only person who can call himself my pupil’, he wrote in 1828). He composed various pieces for him (a concertino, 12 cantabili e valtz, 6 cantabili and a sonata con variazioni), which were performed privately, with Paganini himself accompanying on the guitar. After leaving Genoa he continued to follow Sivori’s development, having entrusted him to his disciple Agostino Dellepiane for further study, and before he died, he gave him a violin, a copy of his favourite Guarneri del Gesù, made by Jean-Baptiste Vuillaume."

"Sivori quickly set out to emulate Paganini’s artistic achievements. He adopted the same unusual playing position, and favoured the same notion of the miraculous, which involved imitation and extravagant and rhetorical elements, often misunderstood by classicists such as Wasielewski and Moser. His virtuoso repertory was based principally on his own compositions and those of Paganini, but unlike his teacher, Sivori also became an exceptional performer of Classical and early Romantic chamber music." Flavio Menardi Noguera in Grove Music Online.

A unique source. Autograph musical manuscripts of complete works of Paganini (as opposed to musical quotations) are of considerable rarity. Item #31229

Price: $20,000.00  other currencies

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