Here is the familiar melody as it now stands in the Quartett (op. 76, No. 3) referred to. The five versions of this melody which by the praiseworthy investigations of Mr. Hadow are now brought to light are quoted below. Each one presents the tune as it is found to-day in a certain district of Croatia. It will, as Mr. Hadow points out, be seen that in all these versions there is “apparent the same touch of inspiration, and the same weakness of development.” Haydn took advantage of the inspiration and dignified the tune by a continuation worthy to make it take rank among the best national anthems of the world. [Music: FROM HAYDN’S KAISER QUARTETT, OP. 76, NO. 3.] [Music: No. 1.] [Music: No. 2.] [Music: No. 3.] These three are of course very much alike, but the next two differ considerably from the others, and No. 5 has two bars more than No. 4. [Music: No. 4.] [Music: No. 5.] [Sidenote: =Haydn’s Other Chamber Music=] Haydn’s compositions in the chamber music style embrace a large number of pieces which are now forgotten. Many of these were probably written to order for his patrons, and have little permanent value. Among them are some 32 Trios for strings and other combinations, 2 for 2 flutes and ’cello, 3 for piano, flute, and ’cello, and some 35 for piano, violin, and ’cello. As regards the last-named, some of which are still occasionally played, an examination of the twelve published in the Peters Edition, which may be regarded as favourable specimens, shows that many of them are hardly trios at all in the modern sense of that word. The ’cello part, generally speaking, either doubles the actual notes, or strengthens the harmony, of the left-hand piano part, and in some movements (_e.g._ the slow movement of No. 1 in G major) has not a single independent passage. There would, indeed, be little loss of effect if the music were played by the piano and violin. There is more interest and vitality in No. 6 in D major, but even in this the continual doubling of the parts, and want of independence between the instruments, becomes at last somewhat wearisome. It ought, however, to be remembered that some of these Trios were published as Sonatas for the piano with an accompaniment for violin and ’cello, and that this kind of composition was common during the period of which we speak. It has also been stated that Haydn wrote these Trios for a wealthy and enthusiastic patron, who unfortunately was a poor ’cello player, and hence that part was written in the simplest form.