Op. 14, Sixty Studies in Variation form, on the air known at Genoa as "Barucabà," for violin alone. This is one of the composer's latest works, and was written at Genoa in February 1835, and dedicated to Paganini's friend the Advocate, L. G. Germi. The theme is short, in simple ternary form, the opening sentence of four bars being repeated after the middle period of eight bars. The theme is in A major, Maestoso. The variations are studies upon various species of difficulties, and a special feature is the order of keys. Of the fifteen possible major keys, Paganini employs thirteen, and he is quite modern in the way in which he causes the one to succeed the other. Thus the second variation is in D, the third in B flat, the fourth in F sharp, and the fifth in D--in each case the drop of a major third or its enharmonic equivalent. Then he starts a new series, from D to B, thence to G, E, C, A flat, F, D flat, back to A. In 1835 such a sequence was very uncommon; even Beethoven, in his Variations, only has one such, in the Variations in F, Op. 34. The Variation form is again in full vogue; at this distance we can afford to be just in our estimate of Paganini's achievements. He was not a Beethoven, but his Variations are not to be despised. WORKS WITHOUT OPUS NUMBER. Sonata in A major. As published in the collection of posthumous compositions, this Sonata is for violin, with pianoforte accompaniment. The piece consists of an Introduction, Theme, Three Variations and Coda, the term "Sonata" being employed quite in its primitive sense:--a piece to be played. The Introduction is only eight bars in length, ending with a short cadenza leading to the theme, Andantino, A major, two-four measure. The first part consists of two four-bar phrases, repeated; the second has a phrase extended, by a Codetta, to six bars, and ends with a repetition of the first phrase, with close in A. The first variation has a more florid version, in triplets, of the melody; the second begins with a simple form of the theme for the fourth string, and introduces harmonics; the third is a bravura movement, chiefly for staccato bowing in demisemiquaver passages. The coda, termed Finale, is made up of cadences, on a tonic pedal for eight bars. The accompaniment is easy. Messrs. Schott also publish the Sonata for violin, with accompaniment of violin and violoncello, very easy parts for these last.