The adagio (in D) is a cantabile of the finest character. More simple than the rest of Paganini’s compositions, it produced but little effect, finishing as it does without the exhibition of extraordinary difficulties, which the public were wont to expect from him; nevertheless, the forms of the melody are elegant, expressive, and full of charms. Good taste prevails throughout this piece. The rondo with the obbligato bell accompaniment is delightfully fanciful; the most incomprehensible feats of skill are here combined with exquisite taste. The first subject is remarkable for its elegance and novelty, both in its details and its general formation. Some charming bow effects are introduced, which Paganini executed with marvellous brilliancy and dexterity. The bow fluttered so nimbly over the strings, and the fingers moved so briskly and lightly, that the performance seemed one of easy accomplishment. The rondo of the “Clochette” obtained enthusiastic success throughout Europe. The allegro of the sonata for Violin and orchestra, entitled “Movimento perpetuo,” is only remarkable as a study for detached bowing of exceedingly rapid movement, which continues until the last bar. This species of difficulty exacts great suppleness of arm to avoid fatigue, and a perfect _ensemble_ of the left hand and the bow. In this piece there are no less than 170 bars without a single rest. Considered as a composition, it is unimportant, but interesting as a study. Few musical compositions ever obtained such universal fame as the “Streghe” (the Witches), either from the prodigious execution of the great violinist, or perhaps because some superstition attached to the title. The original manuscript indicates that the introduction and the variations are composed upon an original air; however, if tradition is to be depended upon, the air was taken from the ballet of “Il Noce di Benevento.” The introduction is short. The first variation, in double and triple notes, is extremely difficult. It may be regarded as a valuable study for playing in tune. In the second there is a mixture of harmonics and pizzicato which produces a very original effect. The third is a dialogue between the fourth string and the double harmonics; a novel effect which never failed to draw down the loudest acclamations of the auditory. The finale, which joins this variation, terminates with rapid passages upon the fourth string, and in harmonics of extreme difficulty.