The Piano Quintett in E♭, op. 44, is generally regarded as one of the best works which Schumann has given to the world in chamber music form. It is, from the outset, characterised by a straight-forwardness of utterance which is not always found in his compositions, and it is also more than usually grateful to play. The first movement, which is distinguished by an impressive and stately rhythm, preserves an astonishing freshness, even after one notices that it consists of an almost unceasing repetition of the first few notes of both its principal themes. The dirge-like “In modo d’una Marcia” movement, which follows, carries with it the convincing argument of true melody and well-contrasted episodes; the scherzo, with its homespun scale passages, which are, however, so treated as to sound quite unusual; these, and the finale, which brings the work to a resounding and successful conclusion, are all quite clear and need no commentary. That such a work should meet with high approval and retain a permanent hold on the musical world is what might naturally be looked for. The Piano Quartett op. 47, in the same key, E♭, is written somewhat in the same manner, but with hardly the sustained energy and character of the quintett. It is in the andante of this work that we find the succession of sevenths in the chief melody which, while charming in effect, illustrate the tendency frequently shown by Schumann to write passages in the Rosalia form. This is to repeat a phrase or melody at another pitch several times in succession, a method which, at any rate in Germany, is regarded as betokening a certain weakness of inventive power. It is also in this andante that the ’cello tunes the fourth string down to B♭, so as to sustain a pedal bass on that note during the last bars of the movement. [Sidenote: =Piano Trios=] Of the three piano trios, that in D minor is the finest work, and contains much that is admirable, especially as it avoids, as indeed is Schumann’s constant custom, the mere bravura pianoforte style of writing. These trios do not, however, compare favourably with the quintett or quartett named above, and this applies more especially to that in G minor. As regards Schumann’s position as one of the classical composers, Mr. Hadow in his _Studies in Modern Music_, says:—“It may be that much of his work will not survive the attack of time. There are few men who do not find that the greater part of their life’s record is written in water. But something at least will remain. He is not only the best representative, but the virtual founder of a distinct style in music; his sense of beauty is often exquisite; his feeling—pure, manly, and chivalrous. So long as melody possesses the power to soothe, to comfort, to sympathise, so long shall we turn in gratitude to one who could transmute the sorrows of his own heart into an elixir for the cure of others.” Schumann’s chamber music compositions include:—