Quartet, No. 14, in A major. The first movement, Allegro maestoso, A major, four-four measure, is very brilliant, opening with a theme in which arpeggio and scale figures abound. This closes in B, and the second subject begins in E. Here occurs some very free chromatic writing, suggestive of Richard Strauss, as, for instance, D sharp for violoncello against E flat for guitar and viola; and C natural opposed to B sharp. But it is a mere matter of spelling. The first part ends in E, and is marked for repetition. Then, with a single prefatory chord of E minor, the working out section begins in C, with a new motive, which passes through a number of keys, the primary returning with the second subject. Minuetto, Scherzo affettuoso, A major, three-four. The subject is based on a three-note figure, giving, by cross accents, to the four-bar phrase the effect of a six-bar phrase in duple measure--Tempo rubato. The Trio, in D, has a theme in triple measure, but the middle sentence has the displaced accents of the Minuet. Largo, con sentimento, G flat major, four-four measure. For this the pitch of the guitar is raised a tone, and the part written in E major. The movement is in song form, the melody opening in stately fashion, but the writing soon becomes florid. At the second entry the theme begins in A major, the return to G flat being ingeniously effected. There are some rapid pizzicato passages for the violoncello. Finale, Allegro vivace, A major, four-four rhythm. This is a moto perpetuo, sempre staccato, for the violin. The theme is quite unlike that of the movement known as Op. 11. After the exposition of the subject, the violin has figure-playing of an easy kind, while the violoncello has a Cantabile theme. This recurs, and snatches of it are heard in the brief coda. The other instruments merely accompany. This quartet has distinct character.