Variations and Toccata on a theme by Paganini for solo piano, by James Sclater

Program Notes:

         Variations and Toccata was completed in February, 2002. It was commissioned by the Mississippi Music Teachers Association, to be premiered by Dr. Angela Wllloughby at the 2002 Convention of the Association.

         The theme in this work is itself a variation of the famous melody from the A minor Caprice for solo violin by Nicolo Paganini. Other composers such as Brahms, Rachmaninoff and Lutoslawski have used Paganini's theme as a basis for piano works. In the original theme, the principal melodic pitches are
A-E-A-E-A-E-A-E//A-F-G-E-FB-EA-FE-A;
in this new work, they are
A-E-A-E-A-E-AE//Bb-F#-G#-E-FBb-EA-FE-A.
The theme is stretched into one more measure than the original.

Theme: (Moderately)

Var. I. (Stealthy, light) The primary harmonic intervals are the perfect 4th and 5th. The two hands move from register to register and never play at the same time.

Var. II. (Angry, not too fast) Major/minor clashes and chromatic double octaves mark this variation.

Var. III. (Deliberate) Broken octaves are found mostly in the right hand in this short, delicate variation.

Var. IV. (Introspective, moderately slow) Voicing is a prime concern in this portion of the work; a melody and counter melody is given to the right hand. Occasional outbursts of emotion creep in from time to time.

Var. V. (Jovial) Left hand crossings test the player's accuracy. The Trio builds on a rhythmic pattern which appeared in the first part.

Var. VI. (Moderately) Broken 6ths and parallel major chords characterize this variation.

Var. VII. (Energetic, robust) The initial right hand figuration is a spoof of a familiar Chopin edute in C# minor. Var. VIII. (Boiling, agitated) The left hand melody deals with the primary pitches of the theme While the right hand furiously arpeggiates.

Var.IX. (Jaunty, rhythmic) This 'scherzo-trio' form exhibits a puckish humor generated by the dotted rhythms and the staccato touch.

Var. X. (Delicately, with punchy accents) The basic 12-8 meter of this variation is disguised by a constant regrouping of the eighth notes into patterns of 2, 3, 4, 5, and 6 notes.

Var. XI. (Quietly impassioned) The two hands are given the melody in octaves with a mostly-arpeggiated accompaniment. The general outlines of the melodic structure of the theme are retained.

Var. XII. (Very quick, lightly) Alternating perfect 5ths and 4ths in the right hand accompany a vigorous left hand melody; gigue-like.

Var. XIII. (Volatile, quick) Minor chords moving in contrary motion alternate with a canonic two-voice texture in which the theme is only minimally represented.

Var. XIV. (Lush, leisurely) This most romantic variation of the lot features a high1y-embellished texture from which the theme is allowed to emerge.

Finale: Toccata (Vigorous, dynamic) Three main gestures are juxtaposed in this closing section - a 'moto perpetuo' sixteenth note theme, a high1y syncopated chordal passage, and a boisterous repeated-note tune in 7/4 meter.