Works without Opus number.

Sonata in A, for violin, with accompaniment of violin and violoncello.

Bravura Variations on a theme from Rossini's "Moses in Egypt," for violin and string quartet, or pianoforte.

Bravura Variations on an Original Theme, for violin and guitar, or pianoforte.

Introduction and Variations on the Theme, "Nel cor più non mi sento," for violin alone.

Duo in C major, for one violin. Solo.

Recitative and Variations, on Three Airs, for the fourth string.

"Le Charme de Padua," Divertissement, for violin and pianoforte.

Works that are unpublished, or that have been lost.

Concertos in D minor, E minor, E major.

Concerto in two movements. Violin and orchestra.

Four Concertos, the scoring unfinished.

Concerto, for bassoon, with string trio accompaniment.

Nine Quartets, for violin, viola, violoncello and guitar.

Fantasia. Violin and orchestra.

Dramatic Sonata, "The Storm," for the same.

Military Sonata on Mozart's "Non più andrai."

Napoleon Sonata for the fourth string.

Sonata on a Theme by Haydn. Ditto.

Sonata di un Canto Appassionata, e variazioni sopra un Tema Marziale. Ditto.

Sonata with variations on a Theme from Jos. Weigl's "L'Amor Marinaro."

Sonata Amorosa Galante, e Tema con variazioni.

Sonata for viola and orchestra.

Sonata Sentimentale.

Sonata, "Varsovie."

Sonata for violin alone.

Preludio e Rondo brilliant, violin and orchestra.

Chant of the Monks of the Monastery of St. Bernard.

"La Primavera," Sonata for violin alone.

Preludio e Fandango, con Variazioni.

"La ci darem la Mano," Variations.

Cantabile, violin and pianoforte.

Polonaise avec variations.

Cantabile e Valse.

Cantabile, for two strings.

Three duos, violin and violoncello.

Duets and small pieces for guitar.

Variations sur un thème comique.

"The Vagaries of a Farm Yard."


Romance pour le Chant.

Fantasie Vocale.

Works with Opus Number.

Op. 1. The full title reads:—Ventiquattro Caprici per Violino solo, dedicati agli artisti; Opera prima. It is not necessary to refer to these pieces in detail; they are in the repertory of the leading violinists, and have been played by Joachim and many others. They embrace almost every kind of violin technique, and have merits apart from that standpoint. Schumann in his Etudés d'apres les Caprices de Paganini, Op. 3, has transcribed for the pianoforte six numbers. They are, No. 5, Agitato, in A minor, without the alteration of a single note; No. 9, Allegretto in E, quite as closely; the Andante of No. 11, in C; No. 13, Allegro, in B flat, beautifully harmonized; No. 19, Lento, Allegro assai, in E flat, more freely treated; and No. 16, Presto, in G minor, the melody assigned to the left hand, and written two octaves lower. These studies were the result of Schumann's hearing Paganini at Frankfort in 1830. The impression the great violinist made on the susceptible youth was so deep, that Wasielewski stated that it was more than probable Schumann's decision to devote himself to music dated from that experience. So here is another debt the musical world owes to Paganini. Schumann's Op. 3 bears the date of 1832. The next year he returned to the Italian master, and his Six Studies, Op. 10, are further transcriptions of the Capriccios. The first is a very free arrangement of No. 12, Allegro molto, in A flat; next is a paraphrase of No. 6, Adagio, in G minor, in which different figuration was absolutely necessary for the keyboard instrument. In No. 10, Vivace, in G minor, he divides the melody for the two hands, and accompanies with bold harmonies. The transcription of No. 4, Maestoso, in C, is almost literal, but there are "cuts," as also in No. 12. No. 2, Moderato, in B minor, with its "leaps and bounds," is altered to bring the intervals more within reach of the hand. The bare octaves which form the opening of No. 3, have been filled in with rich harmonies, and to the Presto movement a counterpoint in semiquavers has been added, making it a very attractive piece of the Tocatta order. It will be remembered that one short movement of Schumann's "Carnival" is entitled Paganini, but it is a reflexion of his style rather than an adaptation of his music. Liszt has borrowed much, in regard to form and melodic outline, from the Capriccios, in his Etudés d'exécution transcendante. Of his Grandes Etudes de Paganini notice will be taken later. Brahms has written two sets of variations on the theme of the Capriccio, No. 24, Quasi presto, in A minor. These are extraordinarily difficult and brilliant. They were published in 1866, and Carl Tausig was fond of playing them. Paganini's Op. 1, was published by Ricordi about the year 1820.

Op. 2, and Op. 3. The house of Ricordi publish the Twelve Sonatas for violin and guitar, and Breitkopf and Härtel publish an edition for violin and pianoforte, edited by Ferdinand David. There is no clue as to the arranger of the pianoforte part, but it may be the work of Moscheles, who, it will be remembered, was induced "to make a pianoforte accompaniment for twelve small violin pieces," but who refused to have his name affixed to the title-page. Anyway, the pianoforte accompaniment is the work of a good musician. The title page of Op. 2 runs thus: Sei Sonate per Violino e chitarra, Composte e Dedicate Al Signor Dellepiane, Da Nicolo Paganini. The pieces are sonatas in the primitive sense of the term. Each contains two movements only. No. 1, Minuetto, Adagio in A, three-four, the violin part in the nature of a florid cadenza but very clear in rhythm, the guitar accompaniment in semiquaver groups of broken chords. Second movement, Polonese, Quasi allegro, A major, three-four, tuneful, all derived from a short motive, not difficult. No. 2, Larghetto expressivo, C major, six-eight, lyrical, melody highly embellished after the first phrase, varied bowing. Allegro spiritoso, same key and measure, in the style of a Canto popolare. No. 3, Adagio maestoso, D minor, two-four, principal motive of a dramatic kind, with brilliant passages intervening. Andantino gallantement, a crisp, staccato melody, with middle section in D major. No. 4, Andante calcando, A major, four-two, theme, in sixths, thirds and octaves. The movement is entitled La Sinagoga, but I can trace no Jewish melody corresponding to its subject. The second movement, Andantino con brio, in two-four measure is as bright and sparkling as the corresponding movement in No. 3. No. 5, Andante moderato, D major, two-four, two strains of eight bars, with a lyrical theme. The second movement in six-eight rhythm, is another specimen of the Italian Cantilena. No. 6, Largo, A minor, six-eight, a combination of recitative and Cadenza passages. Tempo di Valse, in three-eight measure, a tripping, fluent theme, for light bowing. The music altogether is light and pleasing, abounding in showy passages, and with the real Italian gift of melody. The accompaniments are in no way difficult.

The Six Sonatas, Op. 3, have rather a curious dedication: Alla Ragazza Eleonora. "Ragazza" is a familiar term for a girl, and may be translated as "lass," or even "wench." The Eleonora it may be impossible now to identify, though the lady possibly was connected with the period of Paganini's disappearance when Napoleon invaded Italy. Sonata, No. 1, is in two movements, as are all the others. The first, Larghetto, A major, six-eight measure, has a theme resembling a popular melody, the close of each strain being highly embellished. Ricordi's edition gives an alternative reading of the penultimate bar, in the style of a cadenza. The second movement, Presto variato, in two-four rhythm, has a dance-like theme, with one variation. The two bars preceding the final cadence have semiquaver groups to be played pizzicato, each note with right and left hand alternately. No. 2, Adagio, con dolcezza, G major, three-eight, theme, pure Italian cantilena, in thirds or sixths throughout. Andantino scherzoso, two-four, crisp, tripping melody, chiefly for staccato bowing, ending with arpeggios extending to four octaves. No. 3, Andante sostenuto, D major, two-four, theme for six bars to be played on the second string. Rondo, Molto allegro, six-eight, bright and spirited; the opening might have been inspired by the Irish air "Garyone"—the lilt is so much the same. The movement ends with a rapid descending chromatic scale of three octaves. No. 4, Andante largo, A minor, two-two, the opening bars of the theme for the third string, declamatory, sad. Allegretto mottegiando, two-four, light, tripping melody, to be delivered in a spirit of banter. No. 5, Adagio amorosa, A major, two-four, theme, Italian melody embellished, in thirds throughout, with some semi-staccato bowing. Allegretto energicamente, two-four, a merry, quick-step movement of two eight-bar periods. The second part, in the tonic minor, has the theme divided equally for guitar and violin, in each strain. A coda of four bars, major, is added by way of close. In the arrangement for pianoforte, the violin has the theme throughout. No. 6, Andante innocentemente, E minor, four-four, a pathetic melody, simple, but touching. Allegro vivo e spiritoso, six-eight. One could imagine an Italian peasant singing this melody; it has all the characteristics of a folk-song. It is written throughout in double-notes, mostly thirds. The second part, in the minor, is in a different manner to the first part, which is repeated after it. The guitar accompaniments, with the exception named, are all in chords or arpeggios. The pianoforte part has more variety. It may be observed that the movements in two-four measure have much of the spirit of Haydn's Allegros.

Op. 4, Three Quartets for violin, viola, violoncello and guitar. These were once in the Circulating Music Libraries of the firms of Novello and Augener, but are no longer to be met with. I have failed to obtain copies elsewhere.

Op. 5, Tre Quartetti a Violino, Viola, Chitarra e Violoncello. Composti e Dedicati Alle Amatrici Da Nicolò Paganini. Milano. Presso Gio. Ricordi. By the courtesy of the firm of Novello, I have been enabled to examine this set, the title page of which I quote. The copy I examined is evidently of the original edition. Each quartet is in four movements. No. 1, Presto, D major, sixteen-eight, a peculiar signature, but apparently adopted by reason of the "figures" in quavers. This movement is very much in Rossini Overture form. Andante sotto voce e staccato, D minor, three-four, Canone a tre. The violin begins, the viola answers one bar later, an octave lower, and the violoncello follows in like manner. The guitar is silent. The Canon is kept up strictly to the end. The Trio—not in Canon—is in B flat major, and the guitar supports the strings with full chords. Tema con variazioni, Cantabile quasi Larghetto, D major, two-four, two strains of eight bars, the theme in each begun by the viola, and repeated by the violoncello. Three variations follow, the theme being allotted to each instrument in turn, the guitar included. Finale, Prestissimo, D major, three-eight, a brilliant, showy movement.