According to legend, Paganini was giving a recital when one string after another broke, first the E, then the A, and finally the D, leaving him only with the lowest, the G string. Refusing to give up—or pause to re-string his instrument—Paganini is said to have improvised on his one remaining string. This is, in all likelihood, just a fanciful tale, but the fact remains that Paganini did write his Moses Fantasy solely for the G string, offering tremendous difficulties that strike fear into the hearts of violinists and ensure that the music is rarely played. At any rate, restriction to the G string gives even the high notes a dark coloring that can lead unwary listeners to believe they're hearing music for the viola. After a negligible introduction that performers feel free to cut, Paganini tenderly lays out a theme lifted from Rossini's opera Mosè; the music is flowing, lyrical yet minor key, typical of bel canto opera (a genre that gave Paganini much of his inspiration, particularly in slow movements). This occupies about one-third of the score, whereupon soloists must gird themselves for a few witty but bedeviling variations. The first is jaunty, with flirtatious repetitions of tiny phrases. Next comes a variation relying on flying passagework, the second section faster than the first. The next variation is a hyperactive little dance that requires notes as high as can be played on the G string, followed by a more galloping version of the same treatment.

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