Quartet, No. 15. The title simply runs: "Composto da Nicola Paganini," without any dedication. Note the copyist's spelling of the Christian name. In the first movement, Maestoso, A minor, four-four measure, the first subject is given out by the viola. It begins with a mournful, somewhat stern motive, bold, and with an embellished subordinate theme. The second subject, also assigned to the viola, is an impassioned lyrical theme in C major. In the working out section, the violin takes the first subject, and joins the violoncello in an episodial theme, the viola contributing a florid counterpoint. There are modifications in the recapitulation, but the viola again has the second subject now in the tonic major. The guitar is busy throughout the movement, with full chords and extended arpeggios. Minuetto a Canone, Andantino, A major, three-four measure. The Canon is confined to the violin and viola, the latter starting with a theme in short, detached figures, the violin following, an octave higher, one beat later. Guitar and violoncello give supporting harmonies. In the Trio, in D major, the melody is given to the guitar, with a pizzicato accompaniment for the other instruments. At the seventeenth bar, there are again four bars of canon, this time in the unison, staccato bowing. The Minuet, abbreviated, is then repeated. The canon is not continuous, a cadence occurring at the end of each eight bars. Next comes an Interlude, Recitative, Andante sostenuto, con sentimento, D major. This is for the viola, and extends to twenty-one bars, the expression being dramatic. The other instruments have a rather elaborate accompaniment. The slow movement immediately ensues, Adagio Cantabile, D major, two-four rhythm. The viola has the melody, in the form of the Italian aria, embellished with prima donna fioriture. The movement is short, only running to forty-six bars. Rondo, Allegretto, A minor, two-four. The leading theme, marked by syncopations, is given to the viola, the violin joining in the repetition. The tonality is constantly changing from the minor to the major and back again. There is a new theme in the middle section, and some elaboration before the first subject returns. The close is abrupt. The viola has the chief part in this quartet, which is quite different to the others.