_Variazioni di bravura sopra Temi del Mosè di G. Rossini, per Violino sulla quanta corda, di Nicolo Paganini._ This was originally for violin and orchestra. Berlioz has a reference to this piece, in which he states that Paganini employed the bass-drum with better effect than did Rossini himself in the accompaniment to the prayer, "Del tuo stellato soglio." Paganini placed the stroke of the drum on the syncopated beat to which the verbal accent was assigned, whereas Rossini gave the drum stroke on the first beat of the bar. Some one, complimenting Paganini upon his composition, added; "It must be confessed that Rossini furnished you a very beautiful theme." "That's very true," replied Paganini, "but he didn't invent my bang of the big drum." It is said that in this piece Paganini produced a tone that dominated the whole orchestra even in fortissimo passages. The firm of Ricordi publish an arrangement, for string quintet, and for pianoforte accompaniment. The G string of the solo violin is raised to B flat, and the Adagio is played in C minor and major, while the accompaniment is in E flat minor and major. The strain in the minor key is played three times. The second time, the first eight bars are to be played an octave higher then the first time; the third in harmonics. The Introductory Adagio is the celebrated Prayer. Then follows a Tema, Tempo alla Marcia, E flat, four-four, the violin part in C. This is a different theme, and appears to be a paraphrase of part of the March and Chorus (in the Oratorio), "Hail, happy day!" There are three variations, and a short coda. Harmonics are sparingly introduced. Rossini's opera, "Mosè in Egitto," was produced at Naples in 1818, and was remodelled by the composer some years later, for performance at the Grand Opera, Paris (1827). It is not known when Paganini wrote his variations, but his themes were most probably taken from the first version of the opera. _Variazioni di Bravura per Violino sopra un tema originale con accompagnamento di Piano o Chitarra._ The theme is that of the Twenty-fourth Caprice, from Op. 1, and the variations are the same, only the notation of the eighth is different. The accompaniment, for either guitar or pianoforte, is extremely simple. There is a short interlude (called _Tutti_ in Ricordi's edition) of six bars to be played between the variations.