Paganini is said to have repudiated this work, although according to Fétis, the quartets were published at Genoa under his very eyes. I should rather say that the Milan edition was the first, and perhaps the only one. Paganini's assertion was that some one had taken a few of his themes, and badly arranged them. Fétis further states that various pieces published before, and up to, 1851, must be considered as "commercial frauds." Some of them are named, and will be referred to in due course. The music of Op. 5 cannot be regarded as in any way great, but there are graceful melodies, and the movements in Canon form are ingeniously worked out. Op. 6, _Premier Concerto (Mi Bémol), pour le violin avec accomp. de l'orchestrè._ This was the first of the posthumous works, published by the firm of Schott and Co., Paris, in 1851. It is scored for two flutes, oboes, clarinets, bassoon, double bassoon, two horns, trumpets, three trombones, kettle drums, bass drum, cymbals, and the usual quintet of strings. The solo violin is tuned a semitone higher, and the part is in D, while the orchestra plays in E flat. Breitkopf and Härtel publish the orchestral parts in the key of D. There is an arrangement of the first movement, by August Wilhelmj, but with that I have nothing to do here. First movement, Allegro maestoso, E flat, four-four. The orchestral exordium extends to ninety-four bars, six more than in the introduction of Beethoven's Concerto. The movement--so it may be termed--is symphonic in form, with second subject in the dominant, and it is richly scored. The exception I take to it is the persistent employment of the cymbals with the bass drum. There is a delightful little touch in the canonic imitation for first violins and violoncellos. The solo has a principal theme scarcely indicated in the introduction, and also several important episodes. The slow movement, Adagio, C minor, four-four, was inspired, as already mentioned, by the Italian tragedian, Demarini. Paganini witnessed his performance in a prison scene, where, after recapitulating his misfortunes, he supplicated Providence to relieve him of the burden of his life. Paganini retired to rest still under the influence of the emotions excited by the actor. He could not sleep: he rose and sought through his violin a means of expression by which he could pour out the feelings that consumed his soul. Thus, genius tortures and produces. It must have been this movement in which William Gardiner heard "tones more than human, which seemed to be wrung from the deepest anguish of a broken heart." Observe, especially, the recitative passages that close the movement. Finale, Rondo, Allegro spiritoso, E flat, two-four. This is the longest concerto movement known to me, running on to four hundred and eighty-three bars, but the "measure" is short. The concerto is not so long as that of Beethoven, the first and second movements containing fewer bars. It may be noted that in the first and last movements