Between 27 March 1849 and 2 March 1852 Joachim composed several works calculated, like the fantasies, to secure his international reputation, especially in London, which he visited in 1844, 1847, 1849, and 1852. As he wrote to his brother Heinrich, solos with orchestra were especially suitable for making a name for himself, though Joachim's reputation was at stake, and thoughtful decision-making was necessary:

Exactly which five pieces Joachim meant is unclear. Although the composer found only two ‘grateful’, he performed three in May and June 1852: his Hungarian Fantasy and Irish Fantasy, and his Violin Concerto ‘in One Movement’ Op. 3. But what were the other two? Joachim probably meant his arrangement for violin and orchestra of the Paganini Caprice Op. 1 No. 24, to which he had added an introduction and orchestral tuttis. Created in 1849, the new version of the caprice was heard that season on 25 June. The fifth composition is difficult to discern. Although it seems unlikely, Joachim may have included his Op. 1, already composed in 1844, premiered on 10 January 1848, and published in 1849.

Of the five ‘finished’ compositions, several were at least begun between 1847 and 1849. By 27 March 1849, however, the output was still limited: ‘Other than the work at Kistner's [Op. 1] I have unfortunately only one! A piece on which I am now working I’m thinking of finishing in London.’ Thus, two of the five pieces Joachim brought to London in spring 1852 were in progress on 27 March 1849, one of them having just been revised.