quoted by Dr. Kuhač from a Quartet in B♭,[26] to— [Music] from a popular folksong of Carniola. [26] Dr. Kuhač calls it the Sixth Quartet (“u Allegru šestoga četverogudja”), but it is not the sixth in the Paris and London edition, or in the Dresden, or in that of Peters. (4) These latter examples do not imply reminiscences, but at most a general sympathy of temper. A good deal more, however, is involved in the treatment of Slavonic dance tunes. It is hardly too much to say that what the Csardas was to Liszt the Kolo was to Haydn; with this difference—that the earlier and greater musician has throughout made a finer use of his materials. The Kolo is a Slavonic measure, which I have seen the children dance at Agram and the men at Sarajevo, bright and cheery of movement, its tune in two-four time ingeniously varied by patterns of quaver and semiquaver figures. Here, for instance, is an example well known in Bosnia and Dalmatia:— [Music] and used with an amended cadence in the Finale of the C major Quartet (Op. 33, No. 3):— [Music] Here, again, is a similar dance-tune from Servia, which opens the Symphony in D major (Haydn’s Catalogue, No. 4):— [Music] and here another in the Finale of the G major Quartet (Op. 77, No. 1):— [Music] in which so wonderful an effect is produced by the alternation of cold unison and glowing harmonies. Many of Haydn’s characteristic melodies follow one or other of these types: _e.g._, this from the Finale of the F major Quartet (Op. 74, No. 2)— [Music] or this from the “Bear” Symphony:— [Music] or this from the Finale of the Quartet in D (Op. 76, No. 5):— [Music] while the metrical peculiarities of the Eastern or Servian Slav may be illustrated by the following, from the Symphony in F major (No. 1 in the Viennese edition):— [Music] as they may, apart from the Kolo measure, in a hundred of his minuets and finales. Again, the early Pianoforte Concerto in D major ends with an oddly named “Rondo à l’Hongrie”, the principal subject of which is as follows:— [Music] This melody, which contains no Magyar characteristics, either of figure, scale, or stanza, is compressed from that of the Siri Kolo, as commonly danced in Bosnia and Dalmatia. The complete tune runs:— [Music] [Music] a typical rustic dance, which in Haydn’s hands has gained not only by compression, but by a more artistic accompaniment. (5) In addition to the dance measure, Haydn has adopted other instrumental forms, _e.g._, marches, bag-pipe melodies, and the like. Here is one, with a strange rhythm, from the Pianoforte Scherzando in F major:— [Music] and here, from the Finale of the B♭ Symphony (Salomon, No. 9), is the march which is commonly played in Turopol at rustic weddings:— [Music] Another Croatian march beginning— [Music] has been identified by Dr. Kuhač from an unpublished Symphony in A major, and there is a further example from the Allegro of the B♭ Quartet (Op. 71, No. 1)— [Music]