Contemporary with Schubert, and outliving him by a number of years was Ludwig Spohr (1784-1859), whose quartets number as many as those of Mozart and Beethoven put together. The only one which still holds its place in concert programs is that in G minor, opus 27. His quartets have the personal faults and virtues of their composer, being somewhat tenuous and mannered, and inclined to stress solo virtuosity. Schumann’s early quartets, especially the three in opus 41, show him very nearly at his best. These, written in the early years of his married life, after a deliberate study of the quartets of Beethoven, are thoroughly workmanlike, and are eminently successful as experiments in direct and ‘aphoristic’ expression. They rank among the best in string quartet literature. Not so much can be said for those of Mendelssohn. They were, of course, immensely popular in their time. But, though their style is polished, their content is not creative in the finer sense. And, strangely enough, their composer frequently committed in them faults of taste in his use of the instruments. The best to be said of them, as of much of the rest of Mendelssohn’s music, is that they were of immense value in refining and deepening the musical taste of the time, when the greater works of every type were caviar to the general. In addition to the quartets of the romantic period we should mention the vast quantity of chamber music written for various combinations of instruments. Spohr in particular was very prolific, and his combinations were sometimes highly unusual. For instance, he has to his credit a nonet, four double quartets, a ‘nocturne’ for wind and percussion instruments, a sextet for strings and a concerto for string quartet with orchestral accompaniment. Mendelssohn’s octet for strings, opus 22, is fresh and interesting, especially in the scherzo, where the composer is at his best. And, to follow the great trios (piano, violin, and 'cello) of Beethoven, we have two trios, D minor and C minor, by Mendelssohn, and three trios, in D minor, F major, and G minor, by Schumann, of which the first is the best. The later Schumann sonatas for violin show only too clearly the composer’s declining powers.