The chaconne can easily be counted among the most important genres for solo violin.

Originally a Spanish folk dance, the chaconne found its way into the art music of France, Germany and Italy in the 17th century. Probably the most famous representative of this genre is the fifth movement of the Partita No. 2 in D minor for solo violin BWV 1004 from 1720, which is considered by connoisseurs to be particularly difficult. As mourning and memorial music for J. S. Bach's deceased wife Maria Barbara, it is demanding and profound, with great emotions, and is therefore considered one of the most complex and multi-layered pieces of music of that time.

Biber's Passacaglia in G minor, a German variant of the Chaconne, comes at the end of the Rosary Sonatas. It is thematically reminiscent of the Blessed Virgin Mary and combines musically highly sophisticated playing techniques with deep emotion. Almost thoughtfully saddened, Biber composes a piece over a theme of four simple descending notes that is still thought-provoking today.

The concerto is complemented by the Ciacona op. 21 from 1908 by Richard Barth. It can be seen as a tribute to Bach's Ciaccona, but incorporates stylistic elements from Paganini's time.