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Year Op. M.S. catalog [1] Title Key Instruments Notes 1795 c. 1: Carmagnola con variazioni (Carmagnola variations) A: Violin / Guitar: 14 Variations on the French Hymn "Carmagnole"
version of No. 24 by composer himself, for violin and piano or guitar published separately as Variazioni di bravura; piano accompaniments for Nos. 1–23 by Robert Schumann (1855) arrangement of Nos. 1–24 by Ferdinand David for violin and piano (c. 1860) version of the 24 caprices "avec accompagnement de pianoforte" by John Liptrot Hatton (1870)
Since Paganini, many variations on the theme have been written, most notably those by Jean-Baptiste Arban, Del Staigers, Herbert L. Clarke for the cornet, trumpet, and euphonium, Francisco Tárrega and Johann Kaspar Mertz for classical guitar, Ignace Gibsone and Louis Moreau Gottschalk for piano, and Giovanni Bottesini for double bass. [3]
"36 Études", for violin and piano or for violin solo, Op.48 -Op.2 posthumous; dedicated to the Conservatoire de Paris-(1881) "6 Morceaux" pour violon seul suivis d'un Capriccio pour alto seul, Op.55 -Op.9 posthumous-(pub.1883) No.1 Andante; No.2 Moderato; No.3 Prélude (dedicated to violinist Léon Reynier) No.4 Tempo di minuetto; No.5 Andante
Nine Variants on Paganini for Double Bass and Orchestra, also for Double Bass and Piano (2001). Paganini in Metropolis for Clarinet and Wind Symphony (2001), also for Clarinet and Orchestra (2002) Manuel Quiroga – 9 Variations on Paganini's Caprice No. 24, 12 Variations on Paganini's Caprice No. 24, both for violin and piano
Although the role of the violin in music drastically changed through this period, progress in violin technique was steady but slow. Much of Paganini's playing (and his violin composition) was influenced by two violinists, Pietro Locatelli (1693–1746) and August Duranowski (Auguste Frédéric Durand) (1770–1834).