Op. 5, _Tre Quartetti a Violino, Viola, Chitarra e Violoncello. Composti e Dedicati Alle Amatrici Da Nicolò Paganini. Milano. Presso Gio. Ricordi._ By the courtesy of the firm of Novello, I have been enabled to examine this set, the title page of which I quote. The copy I examined is evidently of the original edition. Each quartet is in four movements. No. 1, Presto, D major, sixteen-eight, a peculiar signature, but apparently adopted by reason of the "figures" in quavers. This movement is very much in Rossini Overture form. Andante sotto voce e staccato, D minor, three-four, Canone a tre. The violin begins, the viola answers one bar later, an octave lower, and the violoncello follows in like manner. The guitar is silent. The Canon is kept up strictly to the end. The Trio--not in Canon--is in B flat major, and the guitar supports the strings with full chords. Tema con variazioni, Cantabile quasi Larghetto, D major, two-four, two strains of eight bars, the theme in each begun by the viola, and repeated by the violoncello. Three variations follow, the theme being allotted to each instrument in turn, the guitar included. Finale, Prestissimo, D major, three-eight, a brilliant, showy movement. No. 2, Allegro, C major, four-four measure, in binary form, the subjects given to the violin and violoncello. Minuetto, Allegretto, A minor, three-four, with Trio in two sections, F major and D minor. The violin has the theme, the others accompany with chords. Cantabile, Larghetto, A major, six-eight, the melody, floridly embellished, for violin, the other instruments accompanying. Polacca, Quasi presto, C major, six-four. The violin has the chief melody, subordinate parts being given to the viola and violoncello. The guitar has full chords throughout. No. 3, Allegro, D minor, four-four rhythm, Coda in D major, principal themes for the violin, the viola and violoncello taking up portions here and there with chords and arpeggios for the guitar. Allegro moderato, D minor, three-four, Canone a tre, theme for violin, answered by viola and violoncello at one bar interval, an octave below, as in No. 1. Guitar tacet. Tema Cantabile, Quasi adagio, B flat major, two-four. The movement consists of two periods, the theme for viola and violin alternately, in each. Variation I., florid, violoncello and violin in response; II., in G minor, more elaborate, theme for violoncello and violin, rapid arpeggios for guitar; III., in B flat major, theme for viola and violin, alternately, and finally for guitar. Polacchetta, Allegro con brio, D minor, three-four, a brilliant movement, with themes for the violin; the viola and violoncello share in the figurated passages, and the guitar has an accompaniment in chords and arpeggios.