An étude (; French: [e.tyd]) or study is an instrumental musical composition designed to provide practice material for perfecting a particular musical skill. The tradition of writing études emerged in the early 19th century with the rapidly growing popularity of the piano. Of the vast number of études from that era, some are still used as teaching material (particularly pieces by Carl Czerny and Muzio Clementi), and a few, by major composers such as Frédéric Chopin, Franz Liszt and Claude Debussy, achieved a place in today's concert repertory. Études written in the 20th century include those related to traditional ones (György Ligeti) and those that require wholly unorthodox technique (John Cage).

Many classical and later composers have written compositions in the form of variations on a theme by another composer. This is an incomplete list of such works, sorted by the name of the original composer. The list does not include variations written on composers' own or original themes, or on folk, traditional or anonymous melodies. Many of these works are called simply "Variations on a Theme of/by ...". Other works, which often involve substantial development or transformation of the base material, may have more fanciful titles such as Caprice, Fantasy, Paraphrase, Reminiscences, Rhapsody, etc. These other types of treatments are not listed here unless there is evidence that they include variations on a theme.

Kazuhito Yamashita (山下 和仁, Yamashita Kazuhito) (25 March 1961 – 24 January 2026) was a Japanese classical guitarist and husband of the composer Keiko Fujiie. His technique and expression are highly acclaimed. By the age of 32, Yamashita had already released 52 albums, including repertoires for solo guitar, guitar concertos, chamber music and collaborations with other renowned musicians such as James Galway and Larry Coryell. He released a total of 83 albums.

An étude is a musical composition (usually short) designed to provide practice in a particular technical skill in the performance of a solo instrument.

An étude is a musical composition (usually short) designed to provide practice in a particular technical skill in the performance of a solo instrument.

An étude is a musical composition (usually short) designed to provide practice in a particular technical skill in the performance of a solo instrument.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

The Magic Flute, an opera by Wolfgang Amadeus Mozart with libretto by Emanuel Schikaneder, was composed in 1791 and premiered to great success. It has been an important part of the operatic repertory ever since, and has inspired a great number of sequels, adaptations, novels, films, artwork, and musical compositions.

This is a list of compositions by Fernando Sor.

An étude is a musical composition (usually short) designed to provide practice in a particular technical skill in the performance of a solo instrument.

An étude is a musical composition (usually short) designed to provide practice in a particular technical skill in the performance of a solo instrument.

An étude is a musical composition (usually short) designed to provide practice in a particular technical skill in the performance of a solo instrument.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

Fernando Sor (baptised 14 February 1778 – 10 July 1839) was a Spanish classical guitarist and composer of the late Classical era and early Romantic era. Best known for writing solo classical guitar music, he also composed an opera (at the age of 19), three symphonies, guitar duos, piano music, songs, a Mass, and at least two successful ballets: Cinderella, which received over one hundred performances, and Hercule et Omphale. Partly because Sor was himself such a classical guitar virtuoso—contemporaries considered him to be the best in the world—he made a point of writing didactic music for players of that instrument of all levels. His Twelve Studies Op. 6, the Twelve Studies Op. 29, the (24) Progressive Lessons Op. 31, and the (24) Very Easy Exercises Op. 35 have been widely played for two hundred years and are regularly reprinted. On the other hand, Sor's concert pieces, like the popular Introduction and Variations on Mozart's "Das klinget so herrlich" Op. 9, belong to the advanced guitar performance repertoire. Unlike modern classical guitar players, Sor used the smaller, slimmer "Romantic" guitars predating today's familiar guitar standards set by Torres. He used the ring finger of his plucking hand "rarely" and "only for harmony (never for melody)." He eschewed the use of nails on that hand.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

An étude (; French: [e.tyd]) or study is an instrumental musical composition designed to provide practice material for perfecting a particular musical skill. The tradition of writing études emerged in the early 19th century with the rapidly growing popularity of the piano. Of the vast number of études from that era, some are still used as teaching material (particularly pieces by Carl Czerny and Muzio Clementi), and a few, by major composers such as Frédéric Chopin, Franz Liszt and Claude Debussy, achieved a place in today's concert repertory. Études written in the 20th century include those related to traditional ones (György Ligeti) and those that require wholly unorthodox technique (John Cage).

Discos Qualiton was a record label, published by the recording studio Fonema S.A. A garage experiment in Rosario, Argentina in 1961, Qualiton would later become a major independent record label influencing a generation of artists, writers, musicians, poets, and filmmakers.

Lex Eisenhardt (born 1952, in Netherlands) is a performer and recording artist on early plucked instruments, such as the vihuela, the baroque guitar, and the 19th-century Romantic guitar. He studied lute and guitar at the Utrecht Conservatory. In 1981 he was appointed professor of guitar and early plucked instruments at the Sweelinck Conservatorium (later the Conservatorium of Amsterdam). In the forefront of the Historically Informed Performance (HIP) on the guitar, Eisenhardt was the first to make several gramophone recordings (in 1981 and 1984) with music by the Catalan composer Fernando Sor on a period instrument from the early 19th century. He has given solo recitals and lectures in many European countries, Australia, and the United States. Well-known guitarists such as Johannes Moller and Izhar Elias studied with him.

Fernando Sor (baptised 14 February 1778 – 10 July 1839) was a Spanish classical guitarist and composer of the late Classical era and early Romantic era. Best known for writing solo classical guitar music, he also composed an opera (at the age of 19), three symphonies, guitar duos, piano music, songs, a Mass, and at least two successful ballets: Cinderella, which received over one hundred performances, and Hercule et Omphale. Partly because Sor was himself such a classical guitar virtuoso—contemporaries considered him to be the best in the world—he made a point of writing didactic music for players of that instrument of all levels. His Twelve Studies Op. 6, the Twelve Studies Op. 29, the (24) Progressive Lessons Op. 31, and the (24) Very Easy Exercises Op. 35 have been widely played for two hundred years and are regularly reprinted. On the other hand, Sor's concert pieces, like the popular Introduction and Variations on Mozart's "Das klinget so herrlich" Op. 9, belong to the advanced guitar performance repertoire. Unlike modern classical guitar players, Sor used the smaller, slimmer "Romantic" guitars predating today's familiar guitar standards set by Torres. He used the ring finger of his plucking hand "rarely" and "only for harmony (never for melody)." He eschewed the use of nails on that hand.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

"Romance Anónimo" (Anonymous Romance) is a piece for guitar, also known as "Estudio en Mi de Rubira" (Study in E by Rubira), "Spanish Romance", "Romance de España", "Romance de Amor", "Romance of the Guitar", "Romanza" and "Romance d'Amour" among other names. It is composed in the style of parlour music of the late 19th century in Spain or South America.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

Many classical and later composers have written compositions in the form of variations on a theme by another composer. This is an incomplete list of such works, sorted by the name of the original composer. The list does not include variations written on composers' own or original themes, or on folk, traditional or anonymous melodies. Many of these works are called simply "Variations on a Theme of/by ...". Other works, which often involve substantial development or transformation of the base material, may have more fanciful titles such as Caprice, Fantasy, Paraphrase, Reminiscences, Rhapsody, etc. These other types of treatments are not listed here unless there is evidence that they include variations on a theme.

Joseph Joachim (28 June 1831 – 15 August 1907) was a Hungarian violinist, conductor, composer and teacher who made an international career, based in Hanover and Berlin. A close collaborator of Johannes Brahms, he is widely regarded as one of the most distinguished violinists of the 19th century. Joachim studied violin early, beginning in Buda at age five, then in Vienna and Leipzig. He made his debut in London in 1844, playing Ludwig van Beethoven's Violin Concerto, with Felix Mendelssohn conducting. He returned to London many times throughout life. After years of teaching at the Leipzig Conservatory and playing as principal violinist of the Gewandhausorchester, he moved to Weimar in 1848, where Franz Liszt established cultural life. From 1852, Joachim served at the court of Hanover, playing principal violin in the opera and conducting concerts, with months of free time in summer for concert tours. In 1853, he was invited by Robert Schumann to the Lower Rhine Music Festival, where he met Clara Schumann and Brahms, with whom he performed for years to come. In 1879, he premiered Brahms' Violin Concerto with Brahms as conductor. He married Amalie, an opera singer, in 1863, who gave up her career; the couple had six children. Joachim quit service in Hanover in 1865, and the family moved to Berlin, where he was entrusted with founding and directing a new department at the Royal Conservatory, for performing music. He formed a string quartet, and kept performing chamber music on tours. His playing was recorded in 1903.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

Niccolò (or Nicolò) Paganini (; Italian: [ni(k)koˈlɔ ppaɡaˈniːni] ; 27 October 1782 – 27 May 1840) was an Italian violinist and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions and have served as an inspiration for many prominent composers. Son of a ship chandler from Genoa, Paganini showed great gifts for music from an early age and studied under Alessandro Rolla, Ferdinando Paer and Gasparo Ghiretti. Accompanied by his father, he toured northern Italy extensively as a teenager. By 1805 he had come into the service of Napoleon's sister, Elisa Bonaparte, who then ruled Lucca where Paganini was first violin. From 1809 on he returned to touring and achieved continental fame in the subsequent two and a half decades, developing a reputation for his technical brilliance and showmanship, as well as his extravagant, philandering lifestyle. Paganini ended his concert career in 1834 amid declining health, and the failure of his Paris casino left him in financial ruin. He retired to southern France and died in Nice in 1840 at the age of 57.

José Rey de la Torre (December 9, 1917 – July 21, 1994) was one of the most significant classical guitarists of the mid-twentieth century, and considered by many to be the father of "modern classical guitar technique".

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

Introduction and Variations on a Theme by Mozart, Op. 9, is one of Fernando Sor's most famous works for guitar. It was first published in London in 1821 and dedicated to Sor's brother Carlos.

Introduction and Variations on a Theme by Mozart, Op. 9, is one of Fernando Sor's most famous works for guitar. It was first published in London in 1821 and dedicated to Sor's brother Carlos.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

Many classical and later composers have written compositions in the form of variations on a theme by another composer. This is an incomplete list of such works, sorted by the name of the original composer. The list does not include variations written on composers' own or original themes, or on folk, traditional or anonymous melodies. Many of these works are called simply "Variations on a Theme of/by ...". Other works, which often involve substantial development or transformation of the base material, may have more fanciful titles such as Caprice, Fantasy, Paraphrase, Reminiscences, Rhapsody, etc. These other types of treatments are not listed here unless there is evidence that they include variations on a theme.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

This is a list of compositions by Fernando Sor.

An étude is a musical composition (usually short) designed to provide practice in a particular technical skill in the performance of a solo instrument.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

This is a list of compositions by Fernando Sor.

Many classical and later composers have written compositions in the form of variations on a theme by another composer. This is an incomplete list of such works, sorted by the name of the original composer. The list does not include variations written on composers' own or original themes, or on folk, traditional or anonymous melodies. Many of these works are called simply "Variations on a Theme of/by ...". Other works, which often involve substantial development or transformation of the base material, may have more fanciful titles such as Caprice, Fantasy, Paraphrase, Reminiscences, Rhapsody, etc. These other types of treatments are not listed here unless there is evidence that they include variations on a theme.

This is a list of compositions by Fernando Sor.

Introduction and Variations on a Theme by Mozart, Op. 9, is one of Fernando Sor's most famous works for guitar. It was first published in London in 1821 and dedicated to Sor's brother Carlos.

Timo Korhonen (born 6 November 1964) is a Finnish classical guitarist and is one of the most distinguished classical guitarists in his generation.

"Nel cor più non mi sento" is a duet from Giovanni Paisiello's 1788 opera L'amor contrastato, ossia La molinara, usually known as La molinara (The Miller-Woman). The duet is sung twice in the opera's second act, first by the miller-woman Rachelina (soprano) and Calloandro (tenor) and then by Rachelina and the notary Pistofolo (baritone). The duet is notable as its theme has been used many times as a basis for other musical works, and due to its inclusion in Alessandro Parisotti's 1885 collection Arie Antiche, the song has secured a place in classical vocal pedagogy.