Paganini introduces harmonics, and passages in tenths, most probably for the first time in a concerto. In the slow movement there is no double stopping. The Cadenzas were improvised, and Paganini, like Beethoven, in his improvisations surpassed anything he ever committed to paper. Op. 7, Concerto No. 2, in B minor. Allegro maestoso, B minor, twelve-eight. Adagio, D major, two-two. Rondo, Andantino allegretto moderato, B minor, six-eight. This is not so long as the first concerto by some two hundred bars, and is not so fine a work, but it is a piece worthy of being occasionally heard. In the principal theme of the Rondo occur the passages where the silver bell three times echoes the violin note--the top F sharp of the pianoforte keyboard. Failing the bell, the violinist produces the sound by an artificial harmonic. It is this Rondo that Liszt has included in his _Grosse Etüden von Paganini_. His treatment of Paganini must be briefly described. There are six "studies," the first a transcription of Paganini's Caprice, No. 6, Adagio, G minor. To this Liszt adds a prefix, the arpeggio prelude of No. 5. The Caprice itself is very literally copied, the whole being an octave lower, and at first assigned to the left hand alone. After the sixteenth bar the treatment becomes more free, while the figuration is much the same. The study ends with the arpeggio passage as at the beginning. The second takes for subject No. 17, Andante, E flat. Scarcely a note is omitted, but the passages are placed higher or lower, and the runs given to either hand. This is a marvel of ingenuity, forming a most brilliant pianoforte solo. It is followed, as by a second sonata movement, by the "Campanella" Rondo, the two being intended to be performed in succession. For this purpose the Rondo from the Concerto is transposed to G sharp minor, the closing E flat of the previous movement changing enharmonically to D sharp.