Although marked off in separate movements, this quartet is practically one long continuous piece. It opens with a mystic Fugue, organ-like in character and contains several fine enharmonic changes of key. At the _Allegro molto vivace_ the tonality is lifted a semitone. This movement is light in character and simple in texture, almost Mozartian. An air with variations is approached by a _recitative_ and introduction. This is followed by a _Presto_, where Beethoven appears in one of his joking moods. The _tempo_ here alters continually, then comes a short _Adagio_ section, a lamentation broken off by one of Beethoven's gruff shrugs, and the last movement opens with a clearly marked theme in happy mood. Strongly contrasted portions occur from time to time, but the work ends triumphantly. 15th QUARTET, Opus 132, in A minor. _Assai sostenuto--Allegro--Allegro ma non tanto--Molto adagio--Andante--Alla marcia--Allegro appassionata._ The opening movement is on the same lines as that of the preceding quartet. Moods change constantly and the development is of the freest kind; there are two parts to the second subject, one a vivacious little figure, two a short singing phrase. The _Allegro_ in A major is in ternary form and takes the place of the _Scherzo_. Then follows that remarkable movement in the Lydian mode headed "A convalescent's sacred song of thanksgiving to the divinity." This interesting modal piece was written after the composer's illness. The variations of it alternate with the _Andante_ in D major, thus producing striking contrasts of key colour. The final _Allegro_ is in free Sonata form. 16th QUARTET, Opus 135, in F major. _Allegretto--Vivace--Lento assai--Grave ma non troppo tratto._ This quartet is on a much smaller scale. The opening movement, whilst characteristic of the third period, is easily comprehended. The subject of the slow movement is one of Beethoven's most beautiful melodies, and the _Finale_ commences with the famous musical motto-- "_Must it be? It must be_" founded on a little altercation with his cook. The movement is characterised by some very perverse part-writing. These final quartets present many problems, even to the most profound students of Beethoven's works. BIBLIOGRAPHY BIBLIOGRAPHY If one wishes to know Beethoven better, reference should be made to the principal biographies and other works on Beethoven, of which we give a brief list:-- I.--FOR BEETHOVEN'S LETTERS. LUDWIG NOHL.--_Briefe Beethovens_, 1865, Stuttgart. LUDWIG NOHL.--_Neue Briefe Beethovens_, 1867, Stuttgart. LUDWIG RITTER VON KOECHEL.--_83 Original Briefe L.V.B. an den Erzherzog Rudolph_, 1865, Vienna. ALFRED SCHOENE.--_Briefe von Beethoven an Marie Graefin Erdödy geb. Graefin Niszky und Mag. Brauchte_, 1866, Leipzig. THEODOR VON FRIMMEL.--_Neue Beethoveniana_, 1886.