Professor Ritter,[22] in discussing Mendelssohn’s position, says “he was more lyric than dramatic, more refined than profound, more conventional than original,” a judgment which is, in a general sense, in accord with that of another competent authority, who, speaking of Mendelssohn, writes:—“It has not been the lot of many men to win so much affection, or to give so much pleasure. His various gifts were in constant employment for the benefit of all people who were capable of enjoying music and good company; and he squeezed as much work into his short life as most men get into a life of twice the length. The spirit in the end wore out the body; indeed it seems wonderful that it stood the strain so long. But his nature would not allow him to live otherwise, and the enjoyment of all the things which came in his way was a necessary condition to enable him to produce the happy genial style of music which is characteristic of him.... He was too full of occupation to brood over the troubles of the world, or to think much of tragedies and the stern workings of fate; but all moods must have their expression in art, and those which were natural for him to express he dealt with in the most delicate and artistic way, and the results have afforded healthy and refined pleasure to an immense number of people.”[23] [Footnote 22: _History of Music_ (Ritter).] [Footnote 23: _Studies of Great Composers_ (C. Hubert H. Parry).] The following are Mendelssohn’s principal chamber music compositions:— 3 Quartetts, op. 1, 2, and 3, for piano and strings. 7 String Quartetts, op. 12, 13, 44, 80, 81, etc. Octett for Strings, op. 20. 2 String Quintetts, op. 18 and 87. 2 Trios, op. 49 and 66, for piano and strings. Sextett, op. 110, for piano and strings. 2 Concert-pieces, op. 113 and 114, for clarinet and basset horn, with piano accompaniment. 2 Sonatas, op. 45 and 58 } A Set of Variations, op. 17 } for ’cello and piano. A Lied ohne Worte, op. 109 } And a Sonata, op. 4 in F minor, for violin and piano. [Sidenote: =Schumann=]