In April 1831, Liszt first experienced Paganini's captivating virtuosity, which inspired him to achieve similarly extraordinary feats on the piano and to realize previously unexpressed musical ideas. Driven by this fascination, Liszt created works based on Paganini's melodies, a direction later taken up by Schumann. Schumann initially composed a sketch for piano and orchestra, and later his Etudes (Opus 3) based on a Paganini capriccio. Shortly thereafter, Liszt presented his own arrangement of Paganini's compositions.
Paganini's capriccios had a considerable influence on violinists and composers throughout the 19th century. With his Études d’exécution transcendante d’après Paganini, Liszt generally adhered closely to the original, transferring many of the virtuosic elements to the piano. Although these works are considered transcriptions, they are unequivocally attributed to Liszt. His variations, known as the Grandes Études de Paganini, were based on the sources of the first versions. Liszt dedicated the 1838 edition to Clara Schumann, a dedication that was not universally well-received.
Liszt drew inspiration for his études from various capriccios by Paganini and further developed the pieces over time. He masterfully translated the diversity of variations and the high technical demands into pianistic expression. The influence of both Paganini and Liszt is clearly evident in these études.