In the variations upon “God save the King,” Paganini seems to have intended concentrating all the new effects he had discovered, and all the enormous difficulties over which he had triumphed. The subject is written in three and in four parts; the melody is played with the bow, and the other parts of the accompaniment is pizzicato. The first variation, in double notes, presents successions of thirds and tenths, which require a large hand and a great certainty of intonation. Paganini played it in a light and rapid manner, which greatly increased its difficulty. The second variation is a complication of rapid triplets, intermingled with passages of double notes and bounding staccatos. The execution of this variation requires extraordinary dexterity. In the third the subject is sustained in a slow movement, during which the accompaniment is going on in extremely rapid passages on the third and fourth strings. The fourth is peculiarly quaint; it consists in rapid passages pizzicato in the upper part, while the accompaniment is played upon the lower, with the bow staccato. The fifth, written in double notes, is an echo effect on the upper octave, the bass is by pizzicato on the lower strings. The sixth and last consists in staccato arpeggios, difficult of execution, arising from the complex positions of the left hand. In the fantasia with variations, on “Di tanti palpiti,” the orchestra is written in B flat, the solo a semitone higher; in the second variation the fourth string is lowered to B flat. Paganini effected this change with so much address, that it was never perceived at his concerts. The piece commences by an introductory larghetto, followed by a recitative. The subject which follows is quite simple, and the first variation without very remarkable difficulties, with the exception of a very rapid descending scale in harmonics. In the second, where the fourth string is lowered to B flat, passages occur in double notes of great difficulty for the bow. The third is the most curious and difficult; it consists of arpeggios with double notes in a presto movement, and combinations of harmonics and ordinary notes in a new and quaint style. The air with variations, on “La Cenerentola” (Non più mesta), is written in E flat for the Orchestra; the Violin is tuned a semitone higher. The first variation contains nothing remarkable; the second, a combination of bounding staccato harmonics and pizzicato, recalls similar passages found in other works of the author. The third, in a minor mood, is composed nearly of octaves. The fourth is an echo, the effects are double harmonics. It is followed by a finale in thirds and octaves, brilliantly effective, but fraught with difficulty.