In the Imperial Library, Berlin, there is a manuscript by Paganini, inscribed "Capriccio a Violino Solo di Nicolo Paganini In cor più non mi sento," in which the embellished theme differs from both those already described. The first page is reproduced in facsimile in Paul Stoeving's "Story of the Violin," p. 213. Then there is an autograph copy in the British Museum with this inscription: "In cuor più non mi sento, Thema con variazioni per Violino, con Accompagnementi di Violino e Violoncello Composta da Niccolo Paganini." The piece consists of an Introduction, Theme and four Variations, and, so far, agrees with Mrs. Taylor's copy. Finally, Paganini played the piece with the orchestra, as will be seen from this extract from a programme: "Prelude and Variations on the Tema, 'Nel cor più non missento,' with orchestral accompaniment, by Signor Paganini." This was played at the concert of June 27th, 1831, at the King's Theatre, and the programme from which this extract is taken is in possession of Mr. Richard Harrison, of Brighton, who most obligingly copied it for me.
Duo pour le violon seul. This begins with an Adagio, C major, three-four measure, with a melody for the bow, and left hand pizzicato accompaniment. A short Allegro molto follows, in square time, the pizzicato accompaniment being chiefly in double notes, with occasional chromatic harmonics. This little piece must have been on sale in London a year before Paganini arrived, for the following anecdote was in print in May, 1830. "A few days since, a footman went into Mori's music shop to buy a fiddle string. While he was making his choice a gentleman entered the shop, and began to examine various compositions for the violin. Among the rest he found Paganini's celebrated Merveille—duo pour un seul Violon and, perceiving the difficulties in which it abounded, asked the shopman if he thought that Mori himself could play it. The young man, a little perplexed and unwilling to imply that his master's powers had any limits, at length replied, that he had no doubt he could perform it, provided he practised it for a week. Upon which the footman, who stood intent upon the conversation, broke in on the discourse and swore that Mori could do no such thing, for that he himself had been practising the piece for three weeks and could not play it yet."
Trois Airs Variés pour le Violon, pour étre éxécutes sur la Quatrieme Corda seulement, avec accompagnement de Piano par Gustavo Carulli. Fétis says these are merely souvenirs arranged by the author of the accompaniments.[55] Antonio Minasi includes them in the lists of works performed by Paganini in England. The fourth string is to be raised to A, for all three. The first is in C, with two easy variations; the second, in G, resembles a folk song, and has three variations; the third, in C, also has three variations. The first two are marked Andante; the third, Andantino. The accompaniments are of the easiest song kind.
Le Charme de Padua, Divertimento pour Violon et Piano concertant, composé par Nicolo Paganini. This piece was published in London before the date of Paganini's first concert, and possibly before the arrival of that artist in England. It was issued by a firm of repute, Wessel and Stodar, who were the first publishers in England of the works of Chopin. The music was reviewed in The Harmonicon, June 1831, the notice concluding thus: "It perhaps is a bagatelle on which he (Paganini) has bestowed little time and less thought. It certainly is a flimsy affair, and might have been produced by the dullest and most mechanical repieno in the band of a suburb (sic) theatre." The piece consists of a Larghetto and Presto, in C major, the slow introduction being in six-eight rhythm, the Presto in six-four. There is one principal theme in the first part, given out by the violin and repeated by the pianoforte, a simple melody, with embellishments. The Presto is in Rondo form, with leading theme for pianoforte, continued by violin, and relieved by an episode contrasted in character. The music is not great, but unprejudiced musicians will scarcely endorse the captious remarks of the reviewer. The firm of Edwin Ashdown (successor to Wessel) publish the composition, also a version by S. Godbé for viola and pianoforte. In this the themes are written an octave lower, and modifications occur in double-stops, and so forth, to suit the viola. There is likewise an arrangement for flute and pianoforte, by J. Sedlazek. It is not stated by whom the pianoforte part was written, but it is very well done, and is not a mere accompaniment.
Works Unpublished, or Lost.
Concerto in D minor. Fétis terms this a magnificent concerto; it was performed by Paganini at the first concert he gave in Paris, March 25th, 1831, and that seems to be all that is known about the piece. Concerto in E minor. This was in three movements; Allegro maestoso; Adagio flebile, con sentimento; Rondo, Andantino Gàjo, "with a triangle accompaniment." It was played by Paganini at the King's Theatre, June 13th, 1831. Concerto in E major. The three movements of this piece were; Allegro Marziale; Cantabile Spianato; and Polacca brillante. Paganini played this concerto at his concert, July 4th, 1831. Concerto in two movements. This was a medley. The one movement, Cantabile a doppie corde, was by Paganini; the other, Ronda scherzoso, by Rodolphe Kreutzer. Played, August 17th, 1831.