In 1838 he completed a set of six piano pieces collectively entitled Études d'exécution transcendante d'après Paganini (Etudes of Transcendent Performing Difficulty, after Paganini).
He could unleash torrents of chords and whispering or chiming sounds that were new to music altogether, and in general play the part of the creative artist, the new hero of Romantic literature and music. Liszt similarly built his public performances around a carefully constructed stage persona and an ability to stun the audience with brand-new feats of virtuosity, some taking advantage of technical advances incorporated in newer pianos. He drew unprecedented technical effects from the violin, often achieved by specially tuning the strings to notes other than standard, allowing himself to create unusual double stops and to allow the violin to ring in resonance on unexpected notes.
Paganini virtually invented the persona of the touring virtuoso, drawing huge audiences and commanding stellar fees on the basis of his star power. In matters of style and showmanship, Liszt profoundly admired the great Italian violin virtuoso Niccolò Paganini (1782 - 1840). As is often the case, it exists in more than one form and is also a setting of music by an earlier composer. La Campanella is one of the most popular and characteristic of Franz Liszt's huge output of showy piano etudes.
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