music much pleasanter or easier to listen to than one of Haydn's quartets. The best of them hold their places in the concert rooms of to-day, and they seem likely to live as long as there are people to appreciate clear and logical composition which attempts nothing beyond "organized simplicity." Mozart wrote a great quantity of chamber music, including string quintets, a quintet for clarinet and strings, a quintet for horn and strings, thirty quartets, a quintet for piano, oboe, horn, clarinet, and bassoon, two piano quartets and eight trios. His six early quartets, dedicated to Haydn and published in 1785, do not make any alterations in the form fixed by Haydn. But, to quote the words of Mozart's biographer, Otto Jahn, "following a deeply rooted impulse of his nature, he renounced the light and fanciful style in which Haydn treated them [the features of the form], seized upon their legitimate points, and gave a firmer and more delicate construction to the whole fabric. To say of Mozart's quartets in their general features that, in comparison with Haydn's, they are of deeper and fuller expression, more refined beauty, and broader conception of form, is only to distinguish these as Mozart's individual characteristics, in contrast with Haydn's inexhaustible fund of original and humorous productive power." What is here said of Mozart's early quartets applies fairly to all his chamber music. His part writing is always delightful in its clearness and in its preservation of the balance of power among the instruments. Every one has something agreeable to say, and the saying of it never becomes a muddle of sound. The composer's peculiar feeling for vocal style, already mentioned, gives his various parts a fluency of melody not to be found in the works of some more pretentious composers.