The nickname "The Devil's Chuckle," which adorns the thirteenth one, refers to that piece's rapid trills and its composer's apocryphal relationship with Satan.
A technique known as ricochet is required for several of these pieces, many of which call for the extensive use of a drone note. Dedicated "to the artists," some were transcribed by Robert Schumann, who wrote accompaniments to all of them. They are not Beethoven's piano sonatas, but one is often called "The Hunt" (*) and imitates the flute on the high notes on horns on the low notes. A "détaché" playing style is implemented on the thirteenth of these pieces, another of which sees double-stopped sixths followed by a series of up-bow staccatos. The nickname "The Devil's Chuckle," which adorns the thirteenth one, refers to that piece's rapid trills and its composer's apocryphal relationship with Satan. Recorded by the likes of Jascha Heifetz and Itzhak Perlman, this collection's most famous piece is its last, the subject of variations by Brahms and Rachmaninoff. For 10 points, name this group of solo violin works published by Niccoló Paganini.
A technique known as ricochet is required for several of these pieces, many of which call for the extensive use of a drone note.
24 {Caprices} for Solo Violin [or {Paganini's Caprices}]