The first exposition of the subject follows Paganini very closely, but in the development and further progress of the movement Liszt follows his own bent, repeating the principal theme again and again with ever varying treatment. This is a piece for the _virtuoso_, and one of the most showy in the pianist's repertory. The fourth study is an extremely clever transcription of the Caprice No. 1, Andante, E major. Not a note of Paganini's piece is left out, and the arpeggios are ingeniously set out for interwoven fingering, causing the performance to be something to look at as well as to hear. It is nearly all cross-handed work. The fifth study is an arrangement of the Caprice No. 9, Allegretto, E major. On paper it appears easier than the setting by Schumann, but it is more difficult to play. Here, again, the phrases are divided for both hands. The _glissando_ passages in sixths are impossible on modern instruments. The sixth and last study, on the Caprice, No. 24, Tema, con variazioni, A minor, is the most ingenious of all. The theme is simply harmonised at first, then used as a counterpoint to the arpeggios in the first variation. The next is more simply treated, and in the third variation Paganini's theme forms the bass upon which the figuration of the initial motive is superposed. To the end Liszt shows what possibilities in keyboard execution were latent in Paganini's violin figures; and if the latter had written only these Capriccios he would survive as the cause of the most original inventions in pianoforte technique that have yet seen the light. Op. 8, _Le Streghe._ Variations on the "Witches' Dance," theme from the Ballet, "Le Nozze di Benevento," by Vigano, music by Süssmayer. It has already been stated that Paganini witnessed a performance of this ballet, at La Scala, Milan, in 1813. He took the theme from a fantastic scene where the witches appear. In his London programmes Paganini thus described the piece; "Variations on the Country Dance Della Streghe alla Noce di Benevento (or the comic dances of the Witches under the walnut tree of Benevento), composed and performed by Signor Paganini." The piece is in the key of E flat, and the violin is to be tuned a semitone higher, the soloist playing in D. There is an orchestral prelude of eighteen bars, Maestoso, followed by a solo, Larghetto, a beautiful Italian melody, embellished, in two short strains. The theme is simply set forth, and the variations serve for the display of bravura playing with pizzicato and harmonics in the second movement, fourth string melody, and double harmonics in the third, and with the Finale resembling a Galopade. Orchestral parts are published, as well as the arrangement with pianoforte.