Paganini composed his second violin concerto about eight years after the first, when his fame as a virtuoso soloist had been fully established. It is perhaps for this reason that the Concerto for Violin and Orchestra No. 2, in B minor, Opus 7—subtitled "La Campanella" ("The Bell," after the persistent use of a triangle in the famous theme of the final movement)—focuses more on pure melodic content and thematic development than virtuoso flourish. Indeed, in this piece, perhaps more than any other, we see Paganini's virtues as a composer shining forth. Of course there are technical displays, but the focus is on the unity of the concerto and its effect as a dramatic, indeed operatic, piece of music. Paganini had an immense fondness for Italian opera, especially the music of Rossini (who in turn rejoiced that Paganini had not become an opera composer). Rossini's influence is especially marked in the opening movement of the Concerto No. 2, which bears a remarkable resemblance to the overture to Rossini's Barber of Seville. However, the rondo theme of the final movement is its most interesting feature. This brilliant theme has a marked gypsy feel, and is a fine example of pure virtuosity harnessed to the service of a grand musical idea. The theme was used by pianist-composer Franz Liszt in his influential Études d'exécution transcendante d'après Paganini. The overall structure of the Concerto for Violin and Orchestra No. 2 is very precise, with each theme either presaging or echoing another, and echoes of the work resound in many later concertos of the Romantic era.

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Paganini composed his second violin concerto about eight years after the first, when his fame as a virtuoso soloist had been fully established. It is perhaps for this reason that the Concerto for Violin and Orchestra No. 2, in B minor, Opus 7—subtitled "La Campanella" ("The Bell," after the persistent use of a triangle in the famous theme of the final movement)—focuses more on pure melodic content and thematic development than virtuoso flourish. Indeed, in this piece, perhaps more than any other, we see Paganini's virtues as a composer shining forth. Of course there are technical displays, but the focus is on the unity of the concerto and its effect as a dramatic, indeed operatic, piece of music. Paganini had an immense fondness for Italian opera, especially the music of Rossini (who in turn rejoiced that Paganini had not become an opera composer). Rossini's influence is especially marked in the opening movement of the Concerto No. 2, which bears a remarkable resemblance to the overture to Rossini's Barber of Seville. However, the rondo theme of the final movement is its most interesting feature. This brilliant theme has a marked gypsy feel, and is a fine example of pure virtuosity harnessed to the service of a grand musical idea. The theme was used by pianist-composer Franz Liszt in his influential Études d'exécution transcendante d'après Paganini. The overall structure of the Concerto for Violin and Orchestra No. 2 is very precise, with each theme either presaging or echoing another, and echoes of the work resound in many later concertos of the Romantic era.

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