Souvenir de Paganini was supposedly written in summer,1829, after attending a concert of violin virtuoso Niccolo Paganini's ,who came to Warsaw . A month later, Chopin graduated from the Higher School of Music in Warsaw, where a teacher wrote, “Chopin, Fryderyk : third- year student, amazing capabilities, musical genius.
”For this piece of works , Artur once said so: "It did not reveal any traces of personalization." But we want to return a fair to this composer. His young man's fantasy proposed various charming's idea to let so formulaic tunes become beautiful . He did it to maintain a clear distance, as if that is in play. He then had taken out from among the stored works of decorative figure to use into his later maturity works .
A major variations to this piece of works' performers need a kaleidoscope of change in technology , that means (dual-tone, staccato, tremolo, after the sentence, figure), even in one variation is required to have a lot of flexibility. That was because he wanted these places to cause the relaxed and carefree impression of the game. A major variations to this piece of works' performers need a kaleidoscope of change in technology , that means (dual-tone, staccato, tremolo, after the sentence, figure), even in one variation is required to have a lot of flexibility. That was because he wanted these places to cause the relaxed and carefree impression of the game.
肖邦對帕格尼尼的演奏很感興趣。他於1829年譜寫的無編號A大調變奏曲一定受了其影響。此曲他死後很多年才出版，曲名為《紀念帕格尼尼》Souvenir德帕格尼尼。主題是那不勒斯歌曲《噢，媽媽，親愛的媽媽》。這是帕格尼尼在華沙最後一次音樂會上演出的《威尼斯狂歡節》中的音樂主題。肖邦的變奏曲中固定低音的伴奏貫徹始終，令人矚目。左手的簡樸單純為右手奇巧的音型起著對比性背景的作用。這很自然地令人聯想到肖邦最成熟的變奏曲《降D大調搖籃曲》Op.57，但大家必須清楚地意識到，用右手豐富的音型與左手固定低音對照的思路，搖籃曲在創作上比這首變奏曲要成熟得多。因此，在作品內容表現方面，其所獲得的也無可比擬地多得多。
對於這首作品，阿圖爾·赫德萊曾這樣說過：“它沒有顯露出任何個性化的痕跡。”但是我們要還作曲家一個公平。他那年輕人的幻想提出了各種充滿魅力的、使俗套的曲調變美的主意。他做這事保持著明顯的距離，好像就是在玩玩。他在爾後成熟期的作品中又從這時動用過的裝飾音型庫存中取出來用了。
對這首A大調變奏曲的演奏者來說，技術手段的萬花筒般的變化（雙音、跳音、顫音、經過句、音型），甚至在一次變奏中都要求有很大的靈活性，特別是因為這些地方要的是造成輕鬆、無憂無慮的遊戲的印象。
對於這首作品，阿圖爾·赫德萊曾這樣說過：“它沒有顯露出任何個性化的痕跡。”但是我們要還作曲家一個公平。他那年輕人的幻想提出了各種充滿魅力的、使俗套的曲調變美的主意。他做這事保持著明顯的距離，好像就是在玩玩。他在爾後成熟期的作品中又從這時動用過的裝飾音型庫存中取出來用了。
對這首A大調變奏曲的演奏者來說，技術手段的萬花筒般的變化（雙音、跳音、顫音、經過句、音型），甚至在一次變奏中都要求有很大的靈活性.那是因為這些地方要的是造成輕鬆，無憂無慮的遊戲的印象。
