The next noteworthy chamber music organization in the East was the Beethoven Quintet Club formed in Boston in 1873. Then came the era of what we might call the Boston Symphony graduates, viz., the Kneisel Quartet, the Hoffman Quartet, the Adamowski Quartet, and the Longy Club (wind instruments)--all offshoots of the same great orchestra. Of these perhaps the most notable is the Kneisel Quartet (founded in 1884), which has won a deservedly high reputation as well for its splendid interpretations of standard compositions as for its frequent presentation of interesting novelties. Since 1905 the Kneisel Quartet has made New York its headquarters and like the Flonzaleys and other organizations tours the entire country every season. In 1904 Mr. Kneisel's successor as concertmeister of the Boston Symphony Orchestra, Prof. Willy Hess, founded the Boston Symphony Quartet, which has since then given concerts of very high standard in Boston and elsewhere. The Longy Club of wind instruments (founded in 1899) is also a noteworthy organization and does work of the highest artistic excellence in a field but slightly exploited. Among other chamber music ensembles which have seen the light in Boston may be mentioned the Theodorowicz Quartet, the Olive Mead Quartet, the Eaton-Hadley Trio, and the Bostonia Quintet Club, composed of string quartet and clarinet. New York is not quite so well favored in this respect, but it possesses several chamber music organizations of some distinction. Chief of them is the Flonzaley Quartet, which in point of individuality has probably no peer in America. The Barrère Ensemble of woodwinds, headed by George Barrère, first flutist of the New York Symphony Society, is also an organization of exceptional excellence, though it does not possess the perfect balance and all-round finish of the Longy Club. Among others, the Marum Quartet, the Margulies Trio, and the New York Trio are worthy of note. In Chicago the principal chamber music organizations are the Heerman Quartet and the Chicago String Quartet. Practically every other city of importance in the country has one or more such ensembles, some of them professional, some of them semi-professional and some of them amateur. While the private performance of chamber music in any community usually precedes the institution of public concerts, regular professional bodies follow as a rule the establishment of large orchestras; hence it would be futile to look for good chamber music ensembles outside the principal cities.