Among Rosenblatt's solo works, this piece currently possesses the highest level of richness and fulfillment. Regarding this piece, the composer states that it "incorporates the most effective methods in contemporary piano performance, further combining them with highly characteristic jazz features (swing jazz)." Throughout history, artists have been captivated by this Paganini theme and incorporated it into their works. Liszt, Brahms, Rachmaninoff, Lutosławski, and more recently Fazıl Say, are now joined by Rosenblatt. In this work, the explosive rhythm at the beginning of the first variation, the wild bassline, and the quartal chords played by the right hand create a powerful impression. Each variation exhibits a high degree of structural sophistication, culminating in a fugue. The fugue consistently maintains a sense of propulsion, leading to a destructive finale. The world premiere was given by Dmitri Ratser.

Furthermore, it is said that several variations within the work are "portraits" of musicians and other figures. Specifically:

• Variation 1: "Gino Vannelli"
• Variation 2: "Modern Brahms"
• Variation 4: "Modern Boogie"
• Variation 6: "Swing"
• Variation 7: "Thelonious Monk + Oscar Peterson"
• Variation 9: "Bill Evans"
• Variation 10: "Oscar Peterson"

These explanations are from the composer himself but are not notated in the score.

Author's Comment

While being a work of extreme virtuosity with highly challenging rhythmic and metrical expressions, it is full of Rosenblatt's charm. I once had the opportunity to witness Rosenblatt's live performance of this piece up close; his playing was incredibly unique, almost as if he were performing a comedic duo act with the piano. What particularly left a strong impression was his exquisite way of making the bass resonate.