The three pianoforte sonatas and the Scherzo Op. 4 reveal the cardinal features of his later chamber and orchestral works: a most excellent thematic material, consisting often of but a few notes, awakening highest expectations; a rich, ingenious development, always coherent and logical; a Beethovenish virility; distinct contrasts and wonderful climaxes in the lively opening and closing movements, usually beginning directly with the principal subject, the working-out section being especially interesting and elaborate, the coda often of rare charm; the slow movements of delicate or intense, always noble feeling, in the form of variations or a long cantilena; the scherzos on a large plan, in three-four or six-eight time, very spirited, with a quieter trio preceding the finale, except in No. 3, where a short intermezzo is interpolated. Everywhere we note an ample and effective use of syncopations, a peculiar style of accompaniments, bold modulations and rhythmic devices, occasionally even some programmatic suggestions. Few masters have shown such originality and maturity in their first works. Of independent pianoforte variations there are sixteen on a touching theme of Schumann, eleven on a beautiful original theme, thirteen on a Hungarian theme (with a combination of three-four and four-four time), twenty-five splendid variations on a short theme of Handel ending with a great fugue, some very difficult variations on a theme of Paganini, and—in a more romantic spirit—nine for four hands on that peculiar theme which Schumann had received “from the spirits of Schubert and Mendelssohn.” Some of these important works have a suggestive and refined sentimental character, others are virtuoso pieces of the highest order. As regards free conception of the variation form and variety of construction and mood, Brahms goes decidedly farther than Beethoven or Schumann. He seems inexhaustible in this form, which he used later most ingeniously also in chamber and orchestra works. The four poetic ballads Op. 10, the capriccios and intermezzos Op. 76 and two Rhapsodies Op. 79 are fine concert pieces of a freer but always coherent style, often very difficult. More popular are the famous Hungarian dances (fascinating settings of melodies, the authorship of which Brahms has never claimed), which he has orchestrated and arranged for four hands. His waltzes Op. 39, also for four hands, are short character-pieces of a bright, graceful or passionate spirit, in certain features recalling Schubert and Schumann, yet so original that they have been much imitated by younger composers. Several piano works for technical study (after Weber, Chopin and Bach), and fine arrangements of most of his chamber works and orchestra serenades and of a gavotte of Gluck may at least be mentioned. The difficulties of his pianoforte style, so rich in polyphonic figuration, harmonic and rhythmic combinations, syncopations, and wide