examine the thoughts themselves and their development we find that we are, as in all Brahms' works, in the presence of a powerful and fascinating individuality. Ideas and treatment are the master's own, not easy at once to understand, but offering almost inexhaustible opportunity for discovery and enjoyment to listeners willing to earn such rewards. The two quartets, Op. 51, are more or less severally representative of contrasted sides of Brahms' individuality. The first, in C minor, is generally characterized by fire and impetuosity, exquisitely relieved by the tender romance of the second movement; No. 2, in A minor, is conceived in a softer vein. The last movement of this work contains a beautiful example of the characteristic Brahms coda; the augmented vigour of the climax is preceded by a period of tranquillity that seems to place the listener in an atmosphere of mystic exaltation, to afford him 'glimpses of a spirit world' from which the previous thoughts of the movement flow towards him in transfigured tones. Lovers of the master's music will recall a similar feature in other works. In the opening theme of the first movement, which is suggestive of Joachim's early device F.A.E.-- [Music: Excerpt from the first movement of Brahms's String Quartet in A Minor, Op. 51, No. 2, etc.] we may, perhaps, perceive a passing reference to the remembrance of his friend which must certainly have been present to Brahms' mind as he planned these works. Instances of the composer's mastery of the art of modulation, of his boldness and facility in going to, and returning from unexpected and distant keys, may be found in the two quartets as in the majority of his instrumental compositions. They were dedicated by Brahms to 'his friend Dr. Theodor Billroth of Vienna,' and were published in the autumn by Simrock.