The Concerto in E minor is located in the Historical Archives of the municipality of Genoa.

The review published in April 2017 is based on the analyzed manuscript.



Although it is impossible to date it with certainty, the Concert is certainly attributable to a youthful production by Paganini: they echo models traceable to Kreutzer and Viotti. The first resolute movement, formally very balanced, is almost an excursus of violinistic motifs preceded by an introduction at whim. Furthermore, we can note evident similarities between the first theme and the incipit of Solo in the First Concerto.

The Adagio in E major is instead intimately touching: it seems to anticipate the protoromantic characters and the tone of the romance without words. The operatic accents are totally banned, the cadences are not written but entrusted to the taste of the interpreter. Virtuosity is certainly less pronounced than in other concerts, partly because of a setting that still shuns the theatrical canons.

The last movement, a Polish in the form of Rondo, anticipates the Third concert in E major. At each strophe of the rondo the brilliance increases, until recalling in the drawing and the intention the eleventh whim for solo violin.