_Introduzione e Variazioni sul Tema nel cor più mi sento per Violino solo di Nicolò Paganini._ So runs the title in the edition published by Ricordi and Co. The theme is the duet in Paisiello's opera, _La Molinara_, which Beethoven also took as a subject for variations (in 1795). Ricordi's publication agrees in every particular with the version to be found in Guhr's treatise on Paganini's "Art of Playing the Violin," published in 1831--preface dated Frankfurt, November, 1829. Guhr[53] heard Paganini many times, closely watched his playing, and frequently conversed with him on the subject. This piece was written from memory, and is certainly a great accomplishment; but it can scarcely be regarded as an authentic version. The introduction is brilliant, the theme, Andante, G major, six-eight measure, is profusely ornamented, and each of the seven variations--No. 6 is in G minor, the others in G major--has some special form of virtuosity. In the third there are double shakes in harmonics, which Guhr explains. The last is in widespread ascending and descending arpeggios throughout. The theme and third variation are written on two staves, one for bowed melody, the other for left hand pizzicato. That Paganini did not always play the piece in the form in which Guhr wrote it down, is proved by the existence of another manuscript, which is, perhaps, very little known. It was written by the late Mrs. Tom Taylor, who gave it to Mr. Alfred Burnett many years ago, and that gentleman has kindly permitted me to examine it. For this the violin is tuned a whole tone higher. The Introduction is altogether different, and the theme much less floridly embellished. The first variation corresponds to Guhr's No. 2, but the harmonics are not quite the same. In this the melody floats above tremolando chords. The second, in outline, resembles Guhr's No. 4, but whereas the latter has alternate natural notes and harmonics, Mrs. Taylor gives alternations of detached bowed notes and pizzicati. The third is like Guhr's No. 3, in that it has short figures in double notes, alternately for fundamental and harmonic sounds. Guhr's variation consists of twenty-five bars; Mrs. Taylor's of thirty-one, there being a short cadenza. The fourth resembles Guhr's No. 7 in the wide-spread arpeggios, but the harmonics are differently distributed, and the coda is not the same as in Guhr.[54] [Illustration: PLATE 25. (_See Appendix._)] [Illustration: PLATE 26. (_See Appendix._)]